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HomeMy WebLinkAbout235-23 RESOLUTION113 West Mountain Street Fayetteville, AR 72701 (479) 575-8323 Resolution: 235-23 File Number: 2023-1179 STILWELL CONSULTING (SERVICE CONTRACT): A RESOLUTION TO APPROVE A CONTRACT WITH STILWELL CONSULTING IN THE AMOUNT OF $188,900.00 FOR THE CREATION OF AN ARTS AND CULTURE PLAN FOR THE CITY OF FAYETTEVILLE, AND TO APPROVE A PROJECT CONTINGENCY IN THE AMOUNT OF $7,600.00 BE IT RESOLVED BY THE CITY COUNCIL OF THE CITY OF FAYETTEVILLE, ARKANSAS: Section 1: That the City Council of the City of Fayetteville, Arkansas hereby authorizes Mayor Jordan to sign a contract with Stillwell Consulting in the amount of $188,900.00 for the creation of an Arts and Culture Plan for the City of Fayetteville, and further approves a project contingency in the amount of $7,600.00. PASSED and APPROVED on November 7, 2023 Attest: + by � ' •.-p r '�- s . FAYETTE�•iLL'-; � Kara Paxton. City C erk Treasurer �611uuuu►, Page 1 CITY OF FAYETTEVILLE ARKANSAS MEETING OF NOVEMBER 7, 2023 CITY COUNCIL MEMO 2023-1179 TO: Mayor Jordan and City Council THRU: Alison Jumper, Director of Parks, Natural Resources and Cultural Affairs Susan Norton, Chief of Staff FROM: Joanna Bell, Arts and Culture Director —Parks, Natural Resources and Cultural Affairs DATE: SUBJECT: Arts and Culture Planning Engagement with Stilwell Consulting RECOMMENDATION: Staff recommends authorization of Mayor Jordan to enter into an agreement with Stilwell Consulting in the amount of $188,900 for the creation of an Arts and Culture Plan for the City of Fayetteville, and approval of a contingency in the amount of $7,600. BACKGROUND: At the June 6, 2023 City Council meeting, the staff recommended that an arts and culture plan be developed to support the city's existing commitments to fostering the arts and culture ecosystem, to address the lack of a specific strategy for the arts sector in the city's 2040 plan, and to position Fayetteville as a leader in arts and culture in the region. The city council voted 8-0 in favor of allocating funding for the project. The Arts and Culture Plan is a strategic initiative aimed at promoting and enhancing the arts and cultural sector in our city. It will provide a comprehensive roadmap for the development and growth of the arts, foster creativity, and celebrate cultural diversity. The plan will define the municipal role in the field, guide resource allocation, identify opportunities, and strengthen the cultural landscape of our community. DISCUSSION: On July 23, 2023, city staff issued RFP 23-08 which sought proposals from qualified consulting firms to develop a comprehensive Arts and Culture Plan for the City of Fayetteville. Six firms submitted complete proposals. The selection committee selected to conduct interviews with three firms, and unanimously selected to engage Stilwell Consulting. The firm's experience in creative sector planning is the firm's specific area of expertise. The city can look forward to Stilwell's deep research and engagement with the community to build a comprehensive roadmap for the City of Fayetteville's Arts and Culture Division's future. This dedicated plan will provide clear direction for investing in the arts, promoting creativity, and nurturing cultural diversity in our city. It will guide resource allocation, identify new opportunities, and strengthen Fayetteville's cultural landscape. With the approval of this plan, Stilwell will immediately begin the approximately 11 month process to create the city's first Arts and Culture Plan. BUDGET/STAFF IMPACT: The proposed contract with Stilwell Consulting is estimated to cost $188,900.00, which includes consulting Mailing address: 113 W. Mountain Street www.fayetteville-ar.gov Fayetteville, AR 72701 fees, research, public engagement, and the development of the Arts and Culture Plan. This is within the budget allocated for the project. ATTACHMENTS: SRF (#3), RFP 23-08, CONTRACT Signed by Stilwell (#4), RFP 23-08, Appendix A - Scope of Work (#5), RFP 23-08, Appendix B - City Issued RFP (#6), RFP 23-08, Appendix C - Stilwell's Submittal (#7), Council Memorandum Arts and Culture Plan 6.6.23 (#8) Mailing address: 113 W. Mountain Street www.fayetteville-ar.gov Fayetteville, AR 72701 == City of Fayetteville, Arkansas Y 113 West Mountain Street Fayetteville, AR 72701 (479)575-8323 - Legislation Text File #: 2023-1179 Arts and Culture Planning Engagement with Stilwell Consulting A RESOLUTION TO APPROVE A CONTRACT WITH STILWELL CONSULTING IN THE AMOUNT OF $188,900.00 FOR THE CREATION OF AN ARTS AND CULTURE PLAN FOR THE CITY OF FAYETTEVILLE, AND TO APPROVE A PROJECT CONTINGENCY IN THE AMOUNT OF $7,600.00 BE IT RESOLVED BY THE CITY COUNCIL OF THE CITY OF FAYETTEVILLE, ARKANSAS: Section 1: That the City Council of the City of Fayetteville, Arkansas hereby authorizes Mayor Jordan to sign a contract with Stillwell Consulting in the amount of $188,900.00 for the creation of an Arts and Culture Plan for the City of Fayetteville, and further approves a project contingency in the amount of $7,600.00. Page 1 Joanna Bell Submitted By City of Fayetteville Staff Review Form 2023-1179 Item ID 11/7/2023 City Council Meeting Date - Agenda Item Only N/A for Non -Agenda Item 10/9/2023 PARKS & RECREATION (520) Submitted Date Division / Department Action Recommendation: Staff recommends authorization of Mayor Jordan to enter into an agreement with Stillwell Consulting in the amount of $188,900 for the creation of an Arts and Culture Plan for the City of Fayetteville, and approval of project contingency in the amount of $7,600. 1010-090.6600-5315.00 Account Number 23006.1 Project Number Budgeted Item? Yes Does item have a direct cost? Yes Is a Budget Adjustment attached? No Purchase Order Number: Change Order Number: Original Contract Number: Comments: Budget Impact: General Fund Arts and Culture Master Plan Total Amended Budget Expenses (Actual+Encum) Available Budget Item Cost Budget Adjustment Remaining Budget Project Title $ 200,000.00 200,000.00 $ 188,900.00 11,100.00 Previous Ordinance or Resolution # Approval Date: V20221130 CITY Of rPAYETTIYILL■ ARKANGA• City of Fayetteville RFP 23-08, Arts and Culture Plan Contract — Between City of Fayetteville, AR and Stilwell Consulting This contract executed this 7th day of November , 2023, between the City of Fayetteville, Arkansas (City), of 113 W. Mountain, Fayetteville, AR 72701 and Stilwell Consulting (Stilwell) of 2250 Bellwether Lane, Fort Collins, CO 80521, in consideration of the mutual covenants contained herein, the parties agree as follows: 1. Purpose: The purpose of this Contract is to provide the terms and conditions necessary for the preparation of an Arts and Culture Plan for the City of Fayetteville (the "Project"). 2. Contract Documents: The Contract documents which comprise the contract between the City of Fayetteville and Stilwell consist of this Contract and the following documents attached hereto, and made a part hereof: a. Appendix A: Scope of Work & Fees b. Appendix B: City Issued Solicitation for RFP 23-08, Arts and Culture Plan c. Appendix C: Stilwell's RFP Submittal 3. City's Responsibilities: a. The City shall make available to Stilwell, all relevant information or data pertinent to the Project which is required by Stilwell to perform the Services. Stilwell shall be entitled to rely upon the accuracy and completeness of all information and data furnished by the City, including information and data originating with other consultants employed by the City whether such consultants are engaged at the request of Stilwell or otherwise. Where such information or data originates either with the City or its consultants then Stilwell shall not be responsible to the City for the consequences of any error or omission contained therein. b. When requested by Stilwell, the City may engage specialist consultants directly to perform items of work necessary to enable Stilwell to carry out the Services. Whether arranged by the City or Stilwell, these services shall be deemed to be provided under direct contracts to the City unless expressly provided otherwise. If the City chooses not to engage specialist consultants, then the Parties will work cooperatively to modify the scope of services to reflect any reductions or additions to the services to be provided by Stilwell. c. The City shall give prompt consideration to all documentation related to the Project prepared by Stilwell and whenever prompt action is necessary shall inform Stilwell of City's decisions in such reasonable time so as not to delay the schedule for providing the Services. City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Contract: Stilwell Consulting Page 1 of 6 d. The City of Fayetteville's Arts and Culture Director is the project representative with respect to the services to be performed under this Agreement. The Arts and Culture Director shall have complete authority to transmit instructions, receive information, interpret and define policies and decisions with respect to materials, equipment, elements and systems to be used in the Project, and other matters pertinent to the services covered by this Agreement. 4. Stilwell's Responsibilities: a. Stilwell shall furnish the necessary qualified personnel to provide the Services. Stilwell represents that it has access to the experience and capability necessary to and agrees to perform the Services with the reasonable skill and diligence required by customarily accepted professional practices and procedures normally provided in the performance of the Services at the time when and the location in which the Services were performed. This undertaking does not imply or guarantee a perfect Project and in the event of failure or partial failure of the product or the Services, Stilwell will be liable only for its failure to exercise diligence, reasonable care, and professional skill. This standard of care is the sole and exclusive standard of care that will be applied to measure Stilwell's performance. There are no other representations or warranties expressed or implied made by Stilwell. In particular, but not by way of limitation, no implied warranty of merchantability or fitness for a particular purpose shall apply to the Services provided by Stilwell nor shall Stilwell warrant or guarantee economic, market or financial conditions, proforma projections, schedules for public agency approvals, or other factors beyond Stilwell's reasonable control. 5. Non -Assignment: Stilwell shall not assign its duties under the terms of this agreement without prior written consent of the City. 6. Indemnification and Hold Harmless: a. Stilwell agrees to hold the City of Fayetteville harmless and indemnify the City of Fayetteville, but not defend, against any and all claims for property damage, personal injury or death, arising from Stilwell's performance under this contract. This clause shall not, in any form or manner, be construed to waive that tort immunity set forth under Arkansas Law. b. Notwithstanding anything to the contrary, the total amount of all claims the City of Fayetteville may have against Stilwell under this contract or arising from the performance or non- performance of the services under any theory of law, including but not limited to claims for negligence, negligent misrepresentation and breach of contract, shall be strictly limited to the lesser of the fees or $500,000. As the City of Fayetteville's sole and exclusive remedy under this contract any claim, demand or suit shall be directed and/or asserted only against Stilwell and not against any of Stilwell's employees, officers or directors. Neither the City of Fayetteville nor City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Contract: Stilwell Consulting Page 2 of 6 Stilwell shall be liable to the other or shall make any claim for any incidental, indirect or consequential damages arising out of or connected to this contract or the performance of the services on this project. This mutual waiver includes, but is not limited to, damages related to loss of use, loss of profits, loss of income, unrealized energy savings, diminution of property value or loss of reimbursement or credits from governmental or other agencies. 7. Price: a. Stilwell Consulting shall perform the services included in this proposal for a flat fee of $188,900.00. i. Stilwell shall strive to make decisions based on what is best for the City. As such, the Stilwell compensation is structured as a flat fee, with billing to be completed on a monthly basis until completion of project. Monthly invoice shall include a breakdown of completed tasks and/or deliverables for the previous month. b. Additional services requested that fall outside the scope of this project shall be provided on a mutually agreed schedule and price, utilizing the hourly fee schedule provided in Stilwell's proposal. 8. Payments: a. Payments shall be made after approval and acceptance of each itemized invoice, which shall not be unreasonably withheld. b. Unless disputed by the City, payments shall be made 30 calendar days after acceptance of invoice. Electronic delivery to the City is preferred. 9. Terms: All work as required in the Appendix A — Scope of work shall be completed by August 31, 2024. 10. Ownership of Documents: a. All documents provided by the City are and remain the property of the City. Stilwell may retain reproduced copies of drawings and copies of other documents. b. All documents and records, whether in physical or electronic format, prepared by Stilwell or its subconsultant as part of the Project shall become the property of City when Stilwell has been compensated for all services rendered; provided, however, that Stilwell shall have the unrestricted right to their use. c. Stilwell shall retain its rights in its standard document details, specifications, databases, computer software, and other proprietary property. Rights to intellectual property developed, utilized, or modified in the performance of the Services shall remain the property of Stilwell. City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Contract: Stilwell Consulting Page 3 of 6 d. Stilwell will grant the City, the State of Arkansas, and the United States of America a royalty -free, non- exclusive and irrevocable license to publish, reproduce and use, and dispose of in any manner and for any purpose without limitation, and to authorize or ratify publication, reproduction or use by others, of all copyrightable material first produced or composed under this agreement by the contractor, its employees or any individual or concern specifically employed or assigned to originate and prepare such material. 11. Independent Contractor: Stilwell is an independent contractor of the City and shall maintain complete responsibility for applicable state or federal law on unemployment insurance, withholding taxes, social security, or other industrial, labor or discrimination law for its employees. Stilwell is responsible for its agents, methods and operations. 12. Notices: Any notice required to be given under this Agreement to either party to the other shall be sufficient if addressed and mailed, certified mail, postage paid, delivery, e-mail or fax (receipt confirmed), or overnight courier. 13. Freedom of Information Act: City of Fayetteville contracts and documents prepared while performing city contractual work are subject to the Arkansas Freedom of Information Act. If a Freedom of Information Act request is presented to the City of Fayetteville, the contractor will do everything possible to provide the documents in a prompt and timely manner as prescribed in the Arkansas Freedom of Information Act (A.C.A. 25-19-101 et. Seq.). Only legally authorized photo coping costs pursuant to the FOIA may be assessed for this compliance. 14. Termination: This Contract may be terminated by the City of Fayetteville or Stilwell for any reason with thirty (30) days written notice. If either party breaches this agreement, the non -defaulting party may terminate this Agreement after giving seven (7) days' notice to remedy the breach. On termination of this agreement, the City shall pay Stilwell for the services performed through the date of termination within thirty (30) days of acceptance of final invoice. 15. Changes in Scope or Price: Changes, modifications, or amendments in scope, price or fees to this contract shall not be allowed without a prior formal contract amendment approved by the Mayor and the City Council in advance of the change in scope, cost or fees. No modification of this contract shall be binding unless made in writing and executed by both parties. 16. Applicable Law: This Agreement shall be governed by and construed in accord with the laws of the State of Arkansas. Venue for all legal disputes shall be Washington County, Arkansas. City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Contract: Stilwell Consulting Page 4 of 6 17. Contract Administration: The Mayor or their Designated Representative shall be the Contract Administrator for this contract. Stilwell's Principal or their Designated Representative shall be the primary contact for all matters pertaining to this contract. 18. Professional Responsibility: Stilwell shall exercise reasonable skill, care, and diligence in the performance of services and will carry out its responsibilities in accordance with customarily accepted professional practices. 19. Permits & Licenses: Stilwell shall secure and maintain any and all permits and licenses required to complete this Contract. 20. Entire Agreement: These Contract documents constitute the entire agreement between the City of Fayetteville and Stilwell and may be modified only by a duly executed written instrument signed by the City of Fayetteville and Stilwell. In the event of a conflict between the terms of this Contract and the appendices, this Contract and the terms and conditions contained in Appendix B shall control. 21. Force Majeure: Any default in the performance of this Agreement caused by any of the following events and without fault or negligence on the part of the defaulting party shall not constitute a breach of contract: labor strikes, riots, war, acts of governmental authorities, unusually severe weather conditions or other natural catastrophe, disease, epidemic or pandemic, or any other cause beyond the reasonable control or contemplation of either party. Nothing herein relieves the City of its obligation to pay Stilwell for services actually rendered. 22. Severability: In the event that any court of competent jurisdiction shall determine that any provision of this agreement shall be unenforceable, then that provision shall be deemed to be null and void and the remaining provisions hereof shall remain in full force and effect. 23. Debarment Certification: Stilwell hereby provides debarment/suspension certification indicating compliance with the below Federal Executive Order. Federal Executive Order (E.O.) 12549 "Debarment and Suspension" requires that all contractors receiving individual awards, using federal funds, and all sub -recipients certify that the organization and its principals are not debarred, suspended, proposed for debarment, declared ineligible, or voluntarily excluded by any Federal department or agency from doing business with the Federal Government. Stilwell hereby attests its principal is not presently debarred, suspended, proposed for debarment, declared ineligible, or voluntarily excluded from participation in this transaction by any federal department or agency. IN WITNESS WHEREOF, CITY OF FAYETTEVILLE, ARKANSAS by and through its Mayor, and STILWELL CONSULTING by its authorized officer has made and executed this Agreement as of the day and year first above written. City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Contract: Stilwell Consulting Page 5 of 6 C�IU' 9 1-11;1:11fr l STILWELL CONSULTING CONTRACT FOR PROFESSIONAL SERVICES RFP 23-08, Arts and Culture Plan APPENDIX A Scope of Work & Fees INTRODUCTION: Stilwell Consulting (Stilwell or Consultant) shall provide services in preparing an Arts and Culture Plan for the City of Fayetteville. 2. SCOPE OF WORK: The Arts and Culture Plan submitted by Stilwell shall include: A. Executive Summary: an overview of the plan, its goals, and objectives, as well as the key findings. Vision Statement: This should articulate the overarching vision for arts and culture division in the community. C. Cultural Mapping: Deep research and analysis of Fayetteville's cultural landscape, its cultural assets and spaces (including an inventory and map), its history, changing demographics, the implications of regional growth, and the future of Fayetteville and the arts sector. D. Peer and Aspirational City Identification: Research on comparable cities and creative collaborations/opportunities, including reports on best practices in peer cities that could provide policy and practice examples. Needs Assessment: A detailed analysis of needs, opportunities, and community priorities. This should leverage the cultural mapping, evaluate the existing cultural resources and identify any gaps or areas that need improvement. F. Engagement Plan: A deep and thorough community engagement process to include people and organizations in the arts/cultural community; donors; corporate funders; community residents; communities underrepresented in previous grant funding, surveys, conversations, and planning; communities for whom English is a second language, etc. This engagement plan should leverage the work of the Municipal Arts Alliance and Creative Arkansas Community Hub and Exchange (CACHE). G. Communication Plan: This should provide a plan for communicating the plan and its progress to the public, stakeholders, and partners in the community. Both the process and plan should include a public information campaign to educate and excite Fayetteville residents about the impact of Arts and Culture in their community, thus beginning to cultivate greater engagement and long-term support. H. Strategic Plan: Articulation of a long-range vision (potentially ten years) with flexible, nearer - term plans (such as in three-year increments, or another timeframe depending on the consultant's recommendation). Implementation Plan: This should provide a detailed plan for how the strategies identified in the strategic plan will be implemented, including timelines, actionable goals, budgets, and responsible parties. City of Fayetteville, AR and Stilwell Consulting APPENDIX A — SCOPE OF WORK AND FEES Page 1 of 4 ii. Funding Plan: This should outline potential sources of funding for implementing the plan, with recommended funding models and governance structures, with recommendations for each. iii. Public Art Policy: Deliver recommendations for a public art policy for Fayetteville that outlines the City's vision for public art and provides guidance for its creation, funding, public selection processes, management, and maintenance. Overall, the policy should reflect the City's commitment to promoting arts and culture in the community and its desire to enhance the aesthetic and cultural value of public spaces through the thoughtful integration of public art. iv. Evaluation Plan: Outline how the success of the plan will be measured and evaluated over time, including metrics and benchmarks. Plans should measure and gauge the value, quality, reach and impact of programs, arts and cultural experiences, organizations, and individual artists that received funding from taxpayer funds. Strategic Plan Document Writing and Formatting - The consultant will integrate the information generated in the tasks above and produce the written plan in an attractive, inviting and easy to navigate format. The plan shall include chapters on main items and an executive summary. The Arts and Culture Division will provide photos to utilize in the plan. The written Strategic Plan document shall be an attractive color document. A draft plan will be presented to Parks Natural Resources and Cultural Affairs Department, the Fayetteville Arts Council, the Parks and Recreation Advisory Board and public for comments that will then be used to create a final plan. The final plan will be presented for approval to the Fayetteville City Council. Stilwell shall participate in all public presentations leading to finalization of the plan, either in person or virtually. After the final document is presented, an electronic copy shall be given to The Arts and Culture Division in an editable format such as Microsoft Word or InDesign. The Arts and Culture Division shall be the owner of the document and all work generated in the planning process. In accomplishing the work of the Plan, the Consultant shall work closely with staff from The Arts and Culture Division throughout the course of the project. The consultant shall communicate with The Arts and Culture Division staff to keep the project on schedule. The consultant shall submit to The Arts and Culture Division brief monthly written status reports that delineate work completed, work underway, work to be completed and major items that are needed by The Arts and Culture Division staff and by Consultant staff or others. The intent of this is to create a document that tracks progress and keeps everyone informed on progress and items that need to be accomplished. 3. PRICING: A. Stilwell Consulting shall perform the services included in this proposal for a flat fee of $188,900.00 (details below). i. Stilwell shall strive to make decisions based on what is best for the City. As such, the Stilwell compensation is structured as a flat fee, with billing to be completed on a monthly basis until completion of project. Monthly invoice shall include a breakdown of completed tasks and/or deliverables for the previous month. B. Additional services requested that fall outside the scope of this project shall be provided on a mutually agreed schedule and price, utilizing the hourly fee schedule provided in Stilwell's proposal (provided below). City of Fayetteville, AR and Stilwell Consulting APPENDIX A — SCOPE OF WORK AND FEES Page 2 of 4 Fee Breakdown Consultant Hours (combined) Consultant Fees (combined) Phase I: Confirm Workplan 8 Communications 22 $4,400 Phase II: Research and Discovery 230 $41,200 Phase III: Community and Stakeholder Engagement 38' $72,200 Phase IV: Plan Development 170 $31,600 Consulting Fees: $149,400 Creative Sector EconDev Advisor Stipend S5,000 Graphic Design Services (including mapping) 10,000 Community Engagement (supplies/artists fees) 5,000 Travel (not to exceed) $19,500 Total Proposed Budget: $188,900 Consultant Fee Schedule Hourly Rate Est. Hours Jill Stilwell - Co -Lead $200 351 $70,200 Kendall Petersen - Co -Lead and AIPP Specialist $200 351 $70,200 Admin Support $100 9: $9.000 4. TIMEFRAME & PROPOSED SCHEDULE: A. Any adjustments to proposed schedule shall be coordinated through City staff: Execute Contract Confirm Workplan Establish Project Advisory Group Initial Stakeholder List Communications Plan Phase I Deliverables: Confirmed workplan, Signed Contract, IrMial Stakeholder I ist, Comms Plan, Progress Report (Continues on nextpage) City of Fayetteville, AR and Stilwell Consulting APPENDIX A — SCOPE OF WORK AND FEES Page 3 of 4 Immersion Tour Kick-off Meeting with Project Advisory Group Staff/Leadership Interviews Data Research and Anal Cultural Mapping (part 1) Public Art Collection Inventory/Assessment Need Assessment Peer City Benchmarking Phase II Deliverables Arts & Culture nventory,, Pubic Art assessment initial Cultural map, initial Needs Assessment - no ngs, Peer,'Aspiraticinal Cities Report, Month Progress Reports Phase III: Community& StakeholderNovDeceb Expanded Stakeholder List Mar Apr One -on -One Stakeholder Interviews (up to 12) Develop/Activate Speakup.Fayetteville-ar.gov Focus Groups (up to 6) On-line General Survey Targeted Surveys Artful Engagements (3) Public Art Program charrette Cultural Sector Economic Development Session Project Advisory Group work sessions (2) Phase lu Deliverables: Cultural Map, Needs Assessment, E.:parnded -stapeno der List, Project page clesgn;'launcn Community, Stakeholder Engagement Summary, Sur.•e •Iz Analysis Phase IV. Plan Development Theme and Framework Development N• Decer Mar Apr Draft of Arts and Culture Plan Review, Revise, Refine Draft Plan Feedback Presentations Deliver Final Arts and Culture Plan Phase Iv Deliverables: Themes & Plan Framework, Draft Plan, Presentation Deck, Final Arts a r d C i ture = 3 i City of Fayetteville, AR and Stilwell Consulting APPENDIX A — SCOPE OF WORK AND FEES Page 4 of 4 CITY OF FAYETTEVILLE ARKANSAS City of Fayetteville, Arkansas Purchasing Division — Room 306 113 W. Mountain Fayetteville, AR 72701 Phone: 479.575.8256 TDD (Telecommunication Device for the Deaf): 479.521.1316 PROPOSAL)RFP (REQUEST FOR Request for Proposal: RFP 23-08, Arts and Culture Plan DEADLINE: Wednesday, August 16, 2023 before 2:00 PM, local 'W SR. PURCHASING AGENT: Amanda Beilfuss, abeilfuss fa et -ar. ov DATE OF ISSUE AND ADVERTISEMENT: 07/23/2023 .. e) REQUEST FO PO RFP 23-08 A CU619 P No late proposals shall be accepted. sha a ubm hrough the City's third -party q electronic bidding platform or by su I Ing a sea phy ' proposal to the City of Fayetteville, Purchasing Division at the belo io ?13 ity of �teville asin vision — Room 306 1�ountoin Street EY) �ville, AR 72701 All proposals shall Pched bmitted in accordance with the attached City of Fayetteville specifications and document hereto. Each Proposer is required to fill in every blank and shall supply all informatio e ested; failure to do so may be used as basis of rejection. The undersigned hereby offers to furnish & deliver the articles or services as specified, at the prices & terms stated herein, and in strict accordance with the specifications and general conditions of bidding, all of which are made a part of this offer. This offer is not subject to withdrawal unless upon mutual written agreement by the Proposer/Bidder and City Purchasing Director. City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 1 of 18 City of Fayetteville RFP 23-08, Arts and Culture Plan Advertisement City of Fayetteville, AR Request for Proposal RFP 23-08, Arts and Culture Plan The City of Fayetteville, Arkansas, seeks proposals from qualified consulting firms to develop a comprehensive Arts and Culture Plan for the City of Fayetteville. Any questions concerning this solicitation process should be directed to Amanda Beilfuss, City of Fayetteville Sr. Purchasing Agent, at abeilfuss@fayetteville-ar.Rov or by calling (479) 575-8-8220. Solicitation documents and addenda shall be obtained at the City of Fayetteville Purchasing Division "s,,,,eTectronic bidding platform at www.favetteville-ar.gov/bids. All proposals shall be received by Wednesday, AuguaN16 3 before 2:00 PM Local Time utilizing the electronic bidding software or by submitting a sealed physical prop to�he City of Fayetteville, Purchasing Division. All proposals are due before the time stated; no late proposal 3ha<be accepted. Submitting electronically is strongly encouraged. The City of Fayetteville shall not be responsible or misdirected proposals, or for failure of proposer's technical equipment. 45;�All interested parties shall be qualified to do business and licensaccorda ith all applicable laws of the state and local governments where the project is located. Any firm pr4ov a sery e s e r tered with the Arkansas Secretary of State. The City of Fayetteville reserves the right to rejec o all Pr ZN+land i irregularities therein, and all parties agree that such rejection shall be without liabili e part City o Fay eville for any damage or claim brought by any interested party because of such rejecti r shall anreste ty seek any recourse of any kind against the City of Fayetteville because of such reje io h filly State response to this invitation shall constitute an agreement of the interested party to th ition� \CO d *�� rp cj City of Fayettevill By: Amanda Beilfu Sr. Purchasing Agent P: 479.575.8220 abei fuss@fayetteville-ar.gov TDD (Telecommunications Device for the Deaf): (479) 521-1316 Date of advertisement: 07/23/2023 This publication was paid for by the Purchasing Division of the City of Fayetteville, Arkansas. Amount paid: $XXX.XX. City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 2 of 18 City of Fayetteville RFP 23-08, Arts and Culture Plan SECTION A: General Terms & Conditions 1. SUBMISSION OF A PROPOSAL SHALL INCLUDE: Each proposal shall contain the following at a minimum. Proposer must also address detailed requirements as specified in the Scope of Work. a. A written narrative describing the method or manner in which the Proposer proposes to satisfy requirements of this RFP in the most cost-effective manner. The term Proposer shall be in reference to a firm or individual responding to this solicitation. b. A description of the Proposer's experience in providing the same or similar c as outlined in the RFP. This description should include the names of the person(s) wh vide the services, their qualifications, and the years of experience in performing this ty Nw rk. Also, include the reference information requested in this RFP. c. The complete fee and cost to the City for all services outline i s RFP. d. Statement should be no more than twent fiv 5)pos ge �S,7�gle sided, standard, readable, print on standard 8.5x11 documents. Pro s II als subt e (3) page (maximum) executive p summary. The following items will t unt t ar e e�five page limitation: appendix, cover sheet, 3-page executive s�ry, res (res hall be no more than 1 page per person), and forms provided b ity fo letion� Submitting and res d o hi Propos mall be prepared simply and economically, providing a straightfo onc' scripti s ability to meet the requirements for the project. Fancy bindings, color lays, motional material are not required. Emphasis should be on completeness an larit o ent. All documents physically submitted should be typewritten on standar 11" whi ages and bound in one volume. Exceptions would be schematics, exhibits, n ge. esur*s, and City required forms. Limit proposal to twenty-five (25) pages or le x400 ing ne-page team resumes, references, and forms required by the City for completioAlroposal sh II be sealed upon delivery to the City of Fayetteville. i. n 1 —Electronic Submittal (strongly encoura e : Proposers can go to <,AvNv.fayetteviIIe-ar.gov/bic1s and follow the prompts to submit a proposal within the electronic bidding platform. If a proposal is submitted electronically, a physical submission is not necessary. All Proposers must register in order to be able to submit. There is no fee for registration. ii. Option 2 — Physical Submittal: All Proposers shall submit one (1) original copy of their proposal as well as one (1) electronic copy on a properly labeled USB or other electronic media device. The electronic copy submitted shall be contained into one single electronic file and shall be identical to the hard copies provided. The use of Adobe PDF documents is strongly recommended. Files contained on an USB or electronic media shall not be restricted against saving or printing. Electronic copies shall not be submitted via e-mail to City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 3 of 18 City employees by the Proposer and shall be provided to the City in a sealed manner. Fed Ex, UPS, US PS, or other packages should be clearly marked with the RFP number on the outside of the mailing package. e. Proposals will be reviewed following the stated deadline, as shown on the cover sheet of this document. Only the names of Proposer's will be available after the deadline until a contract has been awarded by the Fayetteville City Council. All interested parties understand proposal documents will not be available until after a valid contract has been executed. f. Proposers shall submit a proposal based on documentation published by the Fayetteville Purchasing Division. g. Proposals must follow the format of the RFP. Proposers should structure thei 1S onses to follow the sequence of the RFP. �► h. Proposers shall have experience in work of the same or similar natur and►must provide references p p that will satisfy the City of Fayetteville. Proposer shall furnish a r nce list of clients for whom they have performed similar services and must provide inform s requested in this document. i. Proposer is advised that exceptions to a y oldie ter s tained in this RFP or the attached service agreement must be identified 'fit' pons to FP ilure to do so may lead the City to declare any such term non-negoti rop is sire tK e exception to a non-negotiable term will not disqualify it from co r i tion fo acrd. i. Local time shall be defined e time in ttevill rk nsas on the due date of the deadline. Documents shall be recei ore,;tCjeadIiine shown by the atomic clock located in the Purchasing Division 0 i l►elec ock to in the City's third -party bidding software. T�� ♦► V" 2. WRITTEN REQUESTS FOR INTERPRETATION%OR CLARTFIGA TION: No oral interpretations will be madQkSaVy firms as tdthe meaning of specifications or any other contract documents. All questions perta i Ythe and conditions or scope of work of this proposal must be sent in writing via e-mail tp,�h�►P'elrch�.�iartment. Responses to questions may be handled as an addendum if the respon "o"ul providkcl ifiication to the requirements of the proposal. All such addenda shall become part of then /r►ract documents. The City will not be responsible for any other explanation or interpretation of th,posed RFP made or given prior to the award of the contract. 3. DESCRIPTION YPPLIES AND SERVICES: Any manufacNer s names, trade name, brand name, catalog number, etc. used in specifications are for the purpose of describing and establishing general quality levels. Such references are NOT intended to be restrictive. Proposals shall be considered for all brands that meet the quality of the specifications listed for any items. 4. RIGHTS OF CITY OF FAYETTEVILLE IN REQUEST FOR PROPOSAL PROCESS: In addition to all other rights of the City of Fayetteville, under state law, the City specifically reserves the right to the following: City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 4 of 18 a. The City of Fayetteville reserves the right to rank firms and negotiate with the highest-ranking firm. Negotiation with an individual Proposer does not require negotiation with others. b. The City of Fayetteville reserves the right to select the proposal it believes will serve the best interest of the City. c. The City of Fayetteville reserves the right to accept or reject any or all proposals. d. The City of Fayetteville reserves the right to cancel the entire request for proposal. e. The City of Fayetteville reserves the right to remedy or waive technical or immaterial errors in the request for proposal or in proposals submitted. A f. The City of Fayetteville reserves the right to request any necessar i tions additional information or proposal data without changing the terms of the prop g. The City of Fayetteville reserves the right to make selection of the ser to perform the services required on the basis of the original proposals without negoti`a�� 40�V" h. The City reserves the right to ask for a bes an P nal off rone or more Proposers. The best and final offer process is not guaran refor Opri ser all submit and respond to this RFP on the most favorable terms ava 6 5. EVALUATION CRITERIA: The evaluation criterion defines the fac r Tiat will b pb t sel ction committee to evaluate and score y responsive, responsible and qualifie posa s. posers shaclude sufficient information to allow the selection committee to thorough bate e prop Each proposal submitted shall be evaluated and ranked b a selection committlee. Th act wi D�iarded to the most qualified Proposer, per the Y q p evaluation criteria listed in this RFP. Propo rs ar� ranteed to be ranked. 6. COSTS INCURRED BY PROPOSER All expenses involved with t p 0 ati mission of proposals to the City, or any work performed in connection therewith, s orne s ely y the Proposer(s). No payment will be made for any responses received, or for any othe rt required o , or made by, the Proposer(s) prior to contract commencement. 7. ORAL PRESENT An oral pres ti and/or interview may be requested of any firm, at the selection committee's discretion. 8. CONFLICT OF INTEREST: a. The Proposer represents that it presently has no interest and shall acquire no interest, either direct or indirect, which would conflict in any manner with the performance or services required hereunder, as provided in City of Fayetteville Code Section 34.26 titled "Limited Authority of City Employee to Provide Services to the City". b. The Proposer shall promptly notify Amanda Beilfuss, City Sr. Purchasing Agent, in writing, of all potential conflicts of interest for any prospective business association, interest, or other City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 5 of 18 circumstance which may influence or appear to influence the Proposer's judgment or quality of services being provided. Such written notification shall identify the prospective business association, interest or circumstance, the nature of which the Proposer may undertake and request an opinion to the City as to whether the association, interest or circumstance would, in the opinion of the City, constitute a conflict of interest if entered into by the Proposer. The City agrees to communicate with the Proposer its opinion via e-mail or first-class mail within thirty days of receipt of notification. 9. WITHDRAWAL OF PROPOSAL: A proposal may be withdrawn prior to the time set for the proposal submittal based on a written request from an authorized representative of the firm; however, a proposal shall not be withdrawn after the time set for the proposal. 10. LATE PROPOSAL OR MODIFICATIONS: N 11 12 a Proposal and modifications received after the time set for the pro )IN ittal shall not be considered. Modifications in writingreceived prior to the deadline ill accepted. The City will p p Y not be responsible for misdirected bids. Proposers refer to thei deadline status in the online bidding portal or call the Purchasing Division at (479) 575-822 sure receipt of their submittal documents prior to opening time and date I' The time set for the deadline shall be Ifl for Fivet ille, n the date listed. All proposals shall be received in the Purchasing determine local time shall be the SO Hall, 113 W. Mountain, FayetteA, The laws of the State of Arkansa Tic to a '11% shall comply with all constitutional, tate, VI and subsequent contract(s) including but nc% limil Business Enterprises (DBE), & OSH pWlicable Kestated. The official clock to chasing Division, Room 306 of City under this request for proposal. Proposers 0is, orders and laws as applicable to this proposal al Employment Opportunity (EEO), Disadvantaged contract. PROVISION FOR OTHER AG I . 0ancounties, , Unless otherwise stipul the Pr the Proposer agrees to make available to all Government agencies, departments, m ' ipalities, the proposal prices submitted in accordance with said proposal terms and o itions therein, should any said governmental entity desire to buy under this proposal. Eligible users sh all state of Arkansas agencies, the legislative and judicial branches, political sub i (counties, local district school boards, community colleges, municipalities, counties, or other public encies or authorities), which may desire to purchase under the terms and conditions of the contract. 13. COLLUSION: The Proposer, by affixing his or her signature to this proposal, agrees to the following: "Proposer certifies that their proposal is made without previous understanding, agreement, or connection with any person, firm or corporation making a proposal for the same item(s) and/or services and is in all respects fair, without outside control, collusion, fraud, or otherwise illegal action." City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 6 of 18 14. RIGHT TO AUDIT. FOIA, AND JURISDICITON: a. The City of Fayetteville reserves the privilege of auditing a Contractor's records as such records relate to purchases between the City and said Contractor. b. Freedom of Information Act: City contracts and documents prepared while performing City contractual work are subject to the Arkansas Freedom of Information Act. If a Freedom of Information Act request is presented to the City of Fayetteville, the (contractor) will do everything possible to provide the documents in a prompt and timely manner as prescribed in the Arkansas Freedom of Information Act (A.C.A. §25-19-101 et. seq.). Only legally authorized photocopying costs pursuant to the FOIA may be assessed for this compliance. c. Legal jurisdiction to resolve any disputes shall be Arkansas with Arkansas law applying to the case. 15. CITY INDEMNIFICATION: 4 The successful Proposer(s) agrees to indemnify the City and hold it harmless against all claims, liability, loss, damage or expense, including but not limited to counsel fees, arisinrom or by reason of any actual or claimed trademark, patent or copyright infringement or litigation b hereon, with respect to the services or any part thereof covered by this order, and such obligation shall Pive acceptance of the services and payment thereof by the City. 16. VARIANCE FROM STANDARD TERMS & CONDITION All standard terms and conditions stated in t0docu ues for�po I ply to this contract except as 0 specifically stated in the subsequent sectio�roposa e whi e precedence, and should be fully understood by Proposers prior to submittiq�g 'r is re nt. 17. ADA REQUIREMENT FOR PUBLIC Nortg TRA 1T0`N: Persons with disabilities requirin able odat participate in this proceeding/event, should call 479.521.1316 (telecommunic ions d or the �o later than seven days prior to the deadline. Persons needing translation of this docu ent sha act the City of Fayetteville, Purchasing Division, immediately. F.� 18. CERTIFICATE OF INSURANC O I The successful Proposer I vide a er ' i ate of Insurance of professional liability insurance in the amount of $1 million US I s, at minim . Such Certificate of Insurance shall list the City as an additional insured and not be ire unless firm is selected. 19. PAYMENTS DICING: The Propose u specify in their proposal the exact company name and address which must be the same as invoices submitted for payment as a result of award of this RFP. Further, the successful Proposer is responsible for immediately notifying the Purchasing Division of any company name change, which would cause invoicing to change from the name used at the time of the original RFP. Payment will be made within thirty days of invoice received. The City of Fayetteville is very credit worthy and will not pay any interest or penalty for untimely payments. Payments can be processed through Proposer's acceptance of Visa at no additional costs to the City for expedited payment processing. The City will not agree to allow any increase in hourly rates by the contract without PRIOR Fayetteville City Council approval. City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 7 of 18 20. CANCELLATION: a. The City reserves the right to cancel this contract without cause by giving thirty (30) days prior notice to the Contractor in writing of the intention to cancel or with cause if at any time the Contractor fails to fulfill or abide by any of the terms or conditions specified. b. Failure of the contractor to comply with any of the provisions of the contract shall be considered a material breach of contract and shall be cause for immediate termination of the contract at the discretion of the City of Fayetteville. c. In addition to all other legal remedies available to the City of Fayetteville, the City reserves the right to cancel and obtain from another source, any items and/or services which have not been delivered within the period of time from the date of order as determine by the City of Fayetteville. d. In the event sufficient budgeted funds are not available for a new fisc, the City shall notify the Contractor of such occurrence and contract shall terminate oft eRadayof the current fiscal � period without penalty or expense to the City. _ `J{ 21. ASSIGNMENT SUBCONTRACTING CORPORATE ACQUI I S AND GERS: a. The Contractor shall perform this contra t. assi of subcontracting shall be allowed without prior written consent of the a Pro ose ten^ subcontract a portion of this work, the Proposer shall disclose suucc i t in tie p osa u fitted as a result of this RFP. b. In the event of a corporate acq' Z'�n and (vrrgger, t tractor shall provide written notice to the Citywithin thirty 3 endar d Con cto 's notice of such action or upon the Y( � p occurrence of said actio w i ev r rs first. c 22. NON-EXCLUSIVE CONTRACT: Award of this RFP shall impose no obligati n on hto utilize the Contractor for all work of this type, which may develop during the cont5oth fiod. Thisot an exclusive contract. The City specifically reserves the right to concurrently contr t r panies for similar work if it deems such an action to be in the City's best interest. In t c�f �' se contracts, this provision shall apply separately to each item. 23. LOBBYING: Lobbying of selkonlmmittee members, City of Fayetteville employees, or elected officials regarding request for , request for qualifications, bids or contracts, during the pendency of bid protest, by the bidder/p oser/protestor or any member of the bidder's/proposer's/protestor's staff, and agent of the bidder/proposer/protestor, or any person employed by any legal entity affiliated with or representing an organization that is responding to the request for proposal, request for qualification, bid or contract, or has a pending bid protest is strictly prohibited either upon advertisement or on a date established by the City of Fayetteville and shall be prohibited until either an award is final or the protest is finally resolved by the City of Fayetteville; provided, however, nothing herein shall prohibit a prospective/bidder/proposer from contacting the Purchasing Division to address situations such as clarification and/or questions related to the procurement process. For purposes of this provision lobbying activities shall include but not be limited to, influencing or attempting to influence action or non -action in connection with any request for proposal, City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 8 of 18 request for qualification, bid or contract through direct or indirect oral or written communication or an attempt to obtain goodwill of persons and/or entities specified in this provision. Such actions may cause any request for proposal, request for qualification, bid or contract to be rejected. 24. ADDITIONAL REQUIREMENTS: The City reserves the right to request additional services relating to this RFP from the Proposer. When approved by the City as an amendment to the contract and authorized in writing prior to work, the Contractor shall provide such additional requirements as may become necessary. 25. SERVICES AGREEMENT: A written agreement, in substantially the form attached, incorporating the RFP and the successful proposal will be prepared by the City, signed by the successful Proposer and presented to the City Tf [Fayetteville for approval and signature of the Mayor. 26. INTEGRITY OF REQUEST FOR PROPOSAL (RFP) DOCUMENTS: Proposers shall use the original RFP forms provided b the Purchasing Divisi n aid enter information only p()p Y g Y in the spaces where a response is requested. Proposers may use an attach s an addendum to the RFP form(s) if sufficient space is not available on the original form for the Pro to enter a complete response. Any modifications or alterations to the original RFP tRespo ents b oposer, whether intentional or otherwise, will constitute grounds for rejection of su ny such modifications or alterations a Proposer wishes to propose shall be clearly state,Prop serr`�P r nse and presented in the form of an addendum to the original RFP documents. v Q V" 27. OTHER GENERAL CONDITIONS: a. Proposers must provide the it with thei osals ' ne b an employee havin legal authority p p � Yg g Y to submit proposals on9he alb of t roposer entire cost of preparing and providing responses shall be bo P r. V" b. The City reserves the right to re uest n ional information it deems necessary from any or all Proposers after the s s� on dea . c. This solicitationOe 'o�e * �as an offer, a contract, or a commitment of any kind; nor does it Comm' y to p fo any costs incurred by Proposer in preparation. It shall be clearly understood t a costs incurred by the Proposer in responding to this request for proposal is at the Nq se 's own risk and expense as a cost of doing business. The City of Fayetteville shall not e for reimbursement to the Proposer for any expense so incurred, regardless of WZZ or not the proposal is accepted. d. If products, components, or services other than those described in this bid document are proposed, the Proposer must include complete descriptive literature for each. All requests for additional information must be received within five working days following the request. e. Any uncertainties shall be brought to the attention to Amanda Beilfuss immediately via telephone (479.575.8220) or e-mail (abeilfuss@fayetteville-ar.gov). It is the intent and goal of the City of Fayetteville Purchasing Division to provide documents providing a clear and accurate City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 9 of 18 understanding of the scope of work to be completed and/or goods to be provided. We encourage all interested parties to ask questions to enable all Proposers to be on equal terms. Any inquiries or requests for explanation in regard to the City's requirements should be made promptly to Amanda Beilfuss, City of Fayetteville, Sr. Purchasing Agent via e-mail (abeilfuss@fayetteville-ar.gov) or telephone (479.575.8220). No oral interpretation or clarifications will be given as to the meaning of any part of this request for proposal. All questions, clarifications, and requests, together with answers, if any, will be provided to all firms via written addendum. Names of firms submitting any questions, clarifications, or requests will not be disclosed until after a contract is in place. g. At the discretion of the City, one or more firms may be asked for more detailed information before final ranking of the firms, which may also include oral interviews. h. Any information provided herein is intended to assist the Proposer in r aration of proposals necessary to properly respond to this RFP. The RFP is designed to pr vi ualified Proposers with sufficient basic information to submit proposals meeting mini specifications and/or test requirements but is not intended to limit a RFP's content or lude any relevant or essential data. 11:;� i. Proposers irrevocably consent that an 'I tion r pr edi ainst it under, arising out of or in an manner relating to this Cont all co Ile rkansas law. Proposer hereby Y g p Y expressly and irrevocably waives a or de n in a action or proceeding based on any alleged lack of jurisdiction or im r ven fr ny Simi is. j. The successful Proposer s a as i e whole part of this Contract or any monies due or to become due hereu Acitho en con f City of Fayetteville. In case the successful Proposer p g Ypa Pro assigns all or n mo ue or to become due under this Contract, the Y Instrument of assignment shall ntain`a substantially to the effect that it is agreed that the right of the assignee in a apy monie e or to become due to the successful Proposer shall be subject to prior lien o pers arms, and corporations for services rendered or materials supplied for the v f nce �t�l� ices called for in this contract. k. The successfu PP oser's atten ion is directed to the fact that all applicable Federal and State laws, munici dinances, and the rules and regulations of all authorities having jurisdiction over the servi II apply to the contract throughout, and they will be deemed to be included in the c a s though written out in full herein. The successful Proposer shall keep himself/herself fully in med of all laws, ordinances and regulations of the Federal, State, and municipal governments or authorities in any manner affecting those engaged or employed in providing these services or in any way affecting the conduct of the services and of all orders and decrees of bodies or tribunals having any jurisdiction or authority over same. If any discrepancy or inconsistency should be discovered in these Contract Documents or in the specifications herein referred to, in relation to any such law, ordinance, regulation, order or decree, s/he shall herewith report the same in writing to the City of Fayetteville. City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 10 of 18 City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 11 of 18 City of Fayetteville RFP 23-08, Arts and Culture Plan SECTION B: Scope of Services and General Information 1. INTRODUCTION: The City of Fayetteville is seeking proposals from qualified consulting firms to develop a comprehensive Arts and Culture Plan that reflects the unique characteristics of our community. The goal of this project is to create a roadmap for a vibrant and sustainable Arts and Culture sector that benefits our residents, businesses, and visitors. The plan should outline strategies to enhance access to arts and cultural experiences, promote equity and inclusivity, and support the growth and development of artists, organizations, and businesses in our community. We are looking for a consultant or consulting team with extensive experience in cqsf, lr**� r ning, community engagement, and data analysis. The selected firm will work closely with City stakeholders, and the community to conduct research, gather input, and develop recommendation rat align with Fayetteville's vision and values. The final plan will serve as a roadmap for the City of Fay Oh le's Art ulture Division's initiatives for the next decade. The plan must be comprehensive, fo�rwa d-ti , 11dap ble to the evolving needs of the community as Fayetteville continues to grow an lop. Th la sho vetail with Fayetteville's Parks System Master Plan, adopted in February of �whic entified and Culture Plan as one key recommendation among many. As such, ri's and e PI Id provide clear guidance for the Division's priorities and goals, while also as a t r acc un ility and measurement of success. The plan must be easily understandable essibl mem of the community and should reflect the current needs and perspectives a eville rse po on. Overall, the plan should strike a balance between a visionary approach to�iee fut �e Arts ulture Division in Fayetteville and a practical, actionable framework for implementation. We invite proposals that dem at ltreati 'ty,�Fnnovation, and a commitment to collaboration and inclusivity. The selected firm wil�a a the.o nity to work on a high -profile project that will shape the future of our community's �I land ap . 2. SCOPE OF WORK: �I The City of Fayelo seeks an Arts and Culture Plan that builds a framework for a sustainable and thriving creative com from emerging artists to established institutions. This requires incorporating feedback and insights diverse set of perspectives across the cultural landscape in Fayetteville. The following priorities have een defined for the work, including community and stakeholder engagement, data -driven decision making, principles of equity and inclusivity, and a strong communication plan. Consultant proposals should outline an inclusive, citywide research process to gather ideas from Fayetteville residents and visitors, the artists and creatives and cultural organizations who serve them and who live and work in Fayetteville. Consultants should be well -versed in using a variety of effective and dynamic methods to engage people across Fayetteville neighborhoods and communities within communities, including underserved populations, artists and creatives, nonprofits, creative businesses, funders, and partners. City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 12 of 18 The Arts and Culture plan should provide the vision, priorities, policy framework, strategies, structures, timeline, feasibility, and funding requirements essential to enhancing Fayetteville's arts and cultural sector, with benchmarks and an evaluation framework to measure progress and success. The plan should include: a. Executive Summary: an overview of the plan, its goals, and objectives, as well as the key findings. b. Vision Statement: This should articulate the overarching vision for arts and culture division in the community. 0 e Cultural Mapping: Deep research and analysis of Fayetteville's cultural landscape, its cultural assets and spaces (including an inventory and map), its history, changing demographics, the implications of regional growth, and the future of Fayetteville and the arts sect Peer and Aspirational City Identification: Research on comparable cities ive collaborations/opportunities, including reports on best practices in p ythat could provide policy and practice examples. Iq Needs Assessment: A detailed analysis of needs, opportunities, zmmunity priorities. This should leverage the cultural mapping, evaluate the existing resources and identify any gaps or areas that need improvement. Engagement Plan: A deep and thorough m nity �en rocess to include people and organizations in the arts/cultural com , i , donor c por nders; community residents; communities underrepresented in �1LI�us gra unding, r , conversations, and planning; communities for whom English ' e and la , e is ngagement plan should leverage the work of the Municipal Ar nce a tivekrk as Community Hub and Exchange (CACHE). g. Communication Plan:1 the public, stakeholde h include a public information ca impact of Arts and CultufIQ _� and long-term sup Strategic Plan term plans (sy mmunicating the plan and its progress to ty. Both the process and plan should Ate and excite Fayetteville residents about the , thus beginning to cultivate greater engagement Ota,'hge vision (potentially ten years) with flexible, nearer- ncrements, or another timeframe depending on the consulta ' recvmendation). i I lementation Plan: This should provide a detailed plan for how the strategies identified n the strategic plan will be implemented, including timelines, actionable goals, budgets, and responsible parties. ii. Funding Plan: This should outline potential sources of funding for implementing the plan, with recommended funding models and governance structures, with recommendations for each. iii. Public Art Policy: Deliver recommendations for a public art policy for Fayetteville that outlines the City's vision for public art and provides guidance for its creation, funding, management, and maintenance. Overall, the policy should reflect the City's commitment to promoting arts and culture in the community and its desire to enhance the aesthetic and cultural value of public spaces through the thoughtful integration of public art. City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 13 of 18 iv. Evaluation Plan: Outline how the success of the plan will be measured and evaluated over time, including metrics and benchmarks. Plans should measure and gauge the value, quality, reach and impact of programs, arts and cultural experiences, organizations, and individual artists that received funding from taxpayer funds. Strategic Plan Document Writing and Formatting - The consultant will integrate the information generated in the tasks above and produce the written plan in an attractive, inviting and easy to navigate format. The plan will include chapters on main items and an executive summary. The Arts and Culture Division will provide photos to utilize in the plan. The written Strategic Plan document shall be an attractive color document. A draft plan will be presented to Parks Natural Resources and Cultural Affairs Department, the Fayetteville Arts Council, the Parks and Recreation Advisory Board and public for comments that will then be used to create a final plan. After the final document is presented, an electronic copy sh II be given to The Arts and Culture Division in an editable format such as Microsoft Word or InDesign rts and Culture Division shall be the owner of the document and all work generated in the g process. In accomplishing the work of the Plan, the Consultant shall work closely with s of om The Arts and Culture Division throughout the course of the project. The consultant shall unicate with The Arts and Culture Division staff to keep the project on schedule. The consultant s�bmit to The Arts and Culture Division brief monthly written status reports that deli a ork co , work underway, work to be completed and major items that are needed by The its d Cult ision staff and by Consultant staff or others. The intent of this is to create a docu &r,trac pr ess keeps everyone informed on progress and items that need to be accomplish ` 0 3. PROPOSAL FORMAT: v a. Structure of Proposal: The Art ulture Din seek&pposals from individual firms or teams to consider as a prime con t n r the ArlpPltf Culture Plan. Consultants interested in submitting their proposal s n 1 de e Ilowin i mation: Part I — Qualifications an exper nce onsultant or consulting team: List examples of Arts and Culture Strategic A Plan thal►the team has completed and produced in the last five years, clearly indicati�iie pri sultant's role in each example. If work is being presented that was done b onnel r another firm at the time of the work, this must be clearly indicated. In �errent contact information for project examples. Clearly provide informati on l e team members that will be primarily responsible for facilitating the planning proce g their relevant experience and examples of studies. See the information for these and 0 OF SERVICES TO BE PROVIDED. Pa II — Methodology for conducting research and strategy for community engagement: Preliminary work has been done to map stakeholders and to prime the arts community for engagement, but please propose additional modalities including proposed stakeholder discussions, focus groups, and public input processes focusing on creating awareness and engagement from the citizenry at large to ensure the Plan reflects the community's needs and priorities. Please be sure to address experience with public planning including the use of social media and other technologies and methods. City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 14 of 18 4. 5 Part III — Budget Proposal: Outline all costs associated with the project, including consultant fees, travel expenses, and any other applicable expenses. Part IV— Previous Arts and Culture Plans: Please provide samples of previous plans created by the consultant or consulting team. Company promotional literature is also welcome. Part V - References: Provide three (3) references from past clients to speak to firm's capability to do this work. Part VI — Other relevant information: Proposer shall provide other relevant information indicating the applicant's abilities to successfully complete an Arts and Culture Plan. Part VII — Detailed project timeline: Include specific deliverables for each pha e project. This plan is to be completed by June 2024. �` CONTRACT FORMATION: If the negotiation produces mutual agreement, C9 ract will be considered g p g , for approval by the City of Fayetteville City Council. If negotiations withest-ranking Proposer fail, negotiations may be initiated with the next highest-ranking Proposer$�an agreement is reached. The City reserves the right to reject all offers and end tess wi�cuting a contract. SELECTION CRITERIA: The following criteria3�`used Qtyt City valuate and score responsive ro osals. Proposers shall include sufficien rmat n w it to thorou hl evaluate and p p pY thoroughly score the proposal. Each proposal sub s not rc u ed t nked by the selection committee. The contract may be awarded to the r`GJ ualifi it , per �$uation criteria listed below, based on the evaluation of the selection ittee. ring t eva ation of the proposals, the Selection Committee may request that trann i m(s) m oral presentation or be interviewed. If presentations are necessary, ill to e in F ville, Arkansas. Notices will be sent by the Purchasing Division. V" 1) 2) 20% A:o pelific Project to be Performed: Information reflecting c t, partners, and project team. Indicated specialized competence of the firm in connection with the type and quired. Subcontractors, if used, shall be listed with information perience, Competence, and Capacity for Performance: Information reflecting the names, titles, and qualifications (including experience and technical competence) of the major personnel assigned to this specific project. 3) 20% Proposed Method of Doing Work: A proposed work plan (description of how the project would be conducted as well as other facts concerning approach to scope) indicating methods and schedules for accomplishing scope of work. Include with this the amount of work presently underway. City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 15 of 18 4) 20% Past Performance: Previous evaluations shall be considered a significant factor. If previous evaluations with the City are not available, the professional firm's past performance records with City and others will be used, including quality of work, timely performance, diligence, and any other pertinent information. Firm will provide a list of similar jobs performed and person whom the City can contact for information. 5) 15% Cost/Fees: Complete costs and fees as described in this RFP and for delivery of the proposal including fiscal feasibility and financial stability. All fees shall be clearly identified with RFP response and be itemized as much as possible. 6. ADDITIONAL DOCUMENTS AND INFORMATON: a. The City of Fayetteville's Parks System Master Plan is available at: htt s: ww.fa etteviIIe- a r. Rov/Docu me ntCe nte r/Vi ew/28916/Favettevi I le-PSM P-AD Den d ices-Fi na I-FebrLoRiM23 b. The following documents are included with this solicitation as additional ir�or�n i. Appendix A: Current Arts and Culture Pilot Programming V ii. Appendix B: 2022 Parks Annual Report iii. Appendix C: The Cultural Arts Corrid rmatio V" Q P � � P � \CO )CO NTI N ES O N N EXT PAG E Q City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 16 of 18 City of Fayetteville RFP 23-08, Arts and Culture Plan SECTION C: Signature Submittal 1. DISCLOSURE INFORMATION Proposer must disclose any possible conflict of interest with the City of Fayetteville, including, but not limited to, any relationship with any City of Fayetteville employee. Proposer response must disclose if a known relationship exists between any principal or employee of your firm and any City of Fayetteville employee or elected City of Fayetteville official. If, to your knowledge, no relationship exists, this should also be stated in your response. Failure to disclose such a relationship may result in cancellation of a purchase and/or contract as a result of your re onse. This form must be completed and returned in order for your bid/proposal to be eligible for considera PLEASE CHECK ONE OF THE FOLLOWING TWO OPTIONS, AS IT APPROPRIATELY APPL DOUR FIRM: 1) NO KNOWN RELATIONSHIP EXISTS �QJ 2) RELATIONSHIP EXISTS (Please expl . •_—L ` I certify that; as an officer of this organization, or, e attac e lette thorization, am duly authorized to certify the information provided herein is acc nd tru a my o ion shall comply with all State and Federal Equal Opportunity and Non-Discri n i n requii ents a con itions of employment. Pursuant Arkansas Code Annotated 3, t ractor s and certifies that they do not currently boycott Israel and will not boycott Israel duri ime i the are entering into or while in contract Y Y Y g with any public entity as defined in §25-1-503. f at a during contract the contractor decides to boycott Israel, the contractor must notify thcbed pu lic tity in writing. 2. PRIMARY CONTACT INFORM 0 At the discretion of the City, more fi msy be asked for more detailed information before final ranking of the firms, which may alsude oral in rviews. NOTE: Each Proposer shall submit to the City a primary contact name, e-mail k430ess, and phone number (preferably a committee can call r Nfication or interview via telephone. Corporate Namem: Primary Contact: Phone#1 (cell preferred): E-Mail Address: City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 17 of 18 cell phone number) where the City selection Title of Primary Contact: Phone#2: 3. ACKNOWLEDGEMENT OF ADDENDA Acknowledge receipt of addenda for this invitation to bid, request for proposal, or request for qualification by signing and dating below. All addendums are hereby made a part of the bid or RFP documents to the same extent as though it were originally included therein. Proposers/Bidders should indicate their receipt of same in the appropriate blank listed herein. Failure to do so may subject Contractor to disqualification. ADDENDUM NO. SIGNATURE AND PRINTED NAME DATE ACKNOWLEDGED 4. DEBARMENT CERTIFICATION: �4► As an interested party on this project, you are required to provide debarment/suspe ification indicating compliance with the below Federal Executive Order. Certification can be done by pleting and signing this form. n• Federal Executive Order (E.O.) 12549 "Debarment and S ensionIt that all contractors receiving individual awards, using federal funds, and all sub -recipient c tify th rganization and its principals are not debarred, suspended, proposed for debarment, �e rered iinel' vol tarily excluded by any Federal department from doing business the Gove�t. or agency with �\k Signature certifies that neither you nor your princi esen ebarred p ded, proposed for debarment, declared ineligible, or voluntarily excluded fro r icipat' is a ion by any federal department or agency. Questions regarding this form shoul cted City of eville Purchasing Division. NAME OF COMPANY: PHYSICAL ADDRESS: MAILING ADDRESS: TAX ID #: AR. SECRETARY OF STATE FILING #: PHONE: FAX: E-MAIL: SIGNATURE: PRINTED NAME: TITLE: DATE: City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Page 18 of 18 Appendix A - Current Arts and Cultur. Pilot Programming AK 4 1 We N Or i4a API-70. ff Appendix A - Current Arts and Culture Pilot Programming THE RAM FAYETTE ARKANS FQ Q- K11% Set �etween pockets of restored .� &,erness and Fayetteville's beloved wntown Arts and ��► istrict, The Ramble Entertainment illuminates the evolving role of public space in our ommunity. By embracing the journey, it Q— serves as an urban through line and gathering space, a canvas for activating public art and programming, and a connection to natural woodlands and waterways in the heart of downtown. The Ramble is a celebration of the journey — connecting people with people, people with nature and people with art. r. 'gK8�r.y�a`. 1 4 s 1 '^� `�\ �'�� N1�, •II oil Ill Ile IIIIU4111ry �llull R 1- N h � i I 1' ' w.. ti w v ,� am El - --------------- ---- VA�,,,,,.,,,,,,,�„��� �� ,, ��I � II ICI I � _ ���� � z� 1- -i - .Lmes.............. I Ii11 . a Hosted partnered events I i ke Trick or Treat on the Tra i I and the Pumpkin Pageant with organizations life Experience Fayetteville and the Rotary. 0 IV 7 rr i3 7 `r _ r. _� Appendix A - Current Arts and Culture Pilot Pr ming fT TAKES ONE LK To END JWM Jr, F0 Z), 01 • , D Cj oted programming with Community Organizations including the Community Creative Center, 00 ArtVentures NWA, and Her Set, Her Sound. IF 8 Ternrora CommIsso Works k. m7p( t7,'V,Z - 3091). and Cultir Ig tv f ry 10..: ned Appendix A - Current Arts and Culture Pilot Programming KLY OUTDOOR CELEBRATION rS AND LIVE MUSIC, 4.28-6.30 U CITY255 WEST v E FAYELE MUSIC ARKANSAS Appendix A - Current Arts and Cultur Pilot Programming x�e�rAr• h,� " y r } G tol i., i .Y a a R PHRKS3 NATURAL RESOURCES & r+111 TIIQeI eCCeTC Appendix B - 2022 Parks Annual Report Director's Statement Dear Fayetteville, 2022 was a year of new programming, planning, foundation bui and tremendous progress. Iq The opening of the Lower Ramble marked the beginnin Arts and Culture programming for the City of Fayetteville. D f activations occurred in this new urban park, of ng new QOM ities for the public to experience and participate in vis d per�g arts. V" We continued plans for the e Ri awn C nity Center 6�expansion, the first since cility o e din 1996'. e began developing a master plan for the n com y par e west side of town, Underwood Park. We also Carrie ew aInWRe YDion S stem Master Plan to the finish line. The fist sys ideplan update since 2002, once approved by Cit Coun H, wile e the guiding document that establishes a 66rbonr he epartment to carry us into the future. I also m Highi an extraordinary year of new ideas and tans, tVDolur bntinuehieve excellence in programming and events. p p g g T s creative and dedicated team, we had an incredible year for t and program attendance. From soccer to road races, our programs d events continue to improve and grow. Iqz The past year prepared us for the work to come, and I am thrilled to work with this incredible staff in 2023 and beyond. Sincerely, Alison Jumper Director of Parks, Natural Resources, and Cultural Affairs Appendix B - 2022 Parks Annual Report Leadership Advisory Boards Urban Forestry Parks and Recreation Arts Council Lacey Jennen Will Dockery Abby Hollis Chair Chair Chair Samuel Adkisson Jim Parrish Zane Colvin William Chesser John Crow Ken Eastin Lee Farmer Recreation Superintendent Lacie Ballard Tiffany Hoover Josh Lainfiesta Mark Banks -May Jeff Poole Dean Rawlings Sonia Harvey Chloe Bell Emily Miller Jessica D Lara Hightoer Roberta ford Q St �p- G Al'eor m er v d Jack 11-7 I;y Wing Superintendent Zach Foster �QA n n nanci C dinator v John Scott Siy`a o� Joanna Sheehan Bell pgrations � Arts and Culture Director r� Andrew Brink Julie Chambers Sarah Downing Joel Freund Yarri Davis Hugh Kincaid Doug Walsh Stephen Shesq) Frozen Toes 5111(/1 ter. Appendix niannual Recreation System Master Plan 2022 brought the department to the finish line of creating anew Perks and Recreation System Master Plan; a process that began with'it community engagement in 2018. This plan is a long-range evaluates current parks, recreation facilities, and programs` determine tOqW service gaps, analyze trends, align actions with commul?y needs and desires, and identify future improvement opportuni `provides a framework to guide city leadershi isions f resource allocation but allows for flexibility in ngin ions. This plan describes a future 'ring tte I4 arks and improving recreation offerings and �r are ;hr ►aml�j p�vision and five guiding princi 'This new community -led master plan will shape our parks system for the next 10 years, ensuring it continues to serve our growing community." - Mayor Lioneld Jordan Appendix B - 2022 Parks Annual Report 2,535 people provided input critical to the creation of the Parks and Recreation System Master Plan. The department reached out to the community through online and in -person surveys, focus groups, community workshops, and four project advisory committee meetings. This feedback led to the creation of five guiding principles and aspirational statements that shape the framework of this plan and our future. i i n Principles5 Gu *�k Nature Connection NIV Our outdoor spaces are integrated with everyday lives to attract people near ZI for the ' health benefits of ou tural en i nt. Stewar '.p n�Lpbla' nance We care f arks sse,4J sure they meet ths of r rat andN4edf,6 generations. Our e tions an est is rioritize u ili al res it , and equity. °� � p Y ti aEEFj ��� rt�initi fo recreation, health, and wellness are essib II through our parks, fitness and spor pr rams, and trails and benefit our physical and al health. Gathering and Placemaking Our parks are designed to provide gathering spaces and amenities for our community while celebrating our unique culture, the arts and music, the people, and the beauty of the region. Resilient Natural Systems Our natural systems and parks help support a city environment that integrates natural and built landscapes and maximizes ecosystem benefits and nature -based recreation for the community. Appendix B - 2022 Parks Annual Report Connenting to Nature 2613682 Total park users in 2022 Qo r-.Or, 28� 1 Totall&r&sers in 2022 QV" nqj'QPark premi ountain biking nati the Arkansas 9&Non nd Parks Association's !p'pO�acility of the Year award. Lake Fayetteville Forest We received a trail grant of $100,000 to assist with the first phase of an accessible trail loop that will include boardwalks and decks to provide lake access and stunning views. Trail Connections The work to connect the Fayetteville Traverse to the Markham Hill Trails broke ground, further cementing our effort to connect our parks systems through our trails. At tne riwon-cutting ceremony for The Ramble, we introduced Fayetteville's first urban park and outdoor event space. +� * .,•ice �t.n oil tt, 4 k I A. 2ttft R��e r. , Nr Appendix B - 2022 Parks Annual Report Nature's connection to the Fayetteville community is a key focus of this department and, based on our Master Plan results, will continue to be top -of -mind for years to come. Real ' progress was made on this front with our trails, parks, and outdoor spaces over the past year. These efforts will continue with three goals in mind from our Parks and Recreation System Master Plan. Goals for Nature Connection 1. Increase recreational opportunities in nature, lakes, and streams. 2. Raise awareness about parks, recreation offerings, environmental education, and trails. 3. Increase nature interaction opportunities in parks; focusing o r� urbanized areas of Fayetteville. Master Plan 927 O% Of respondents to resp is ar V Of respondents our surveys listed Pint �in mo stated lack of "Spend Time in ur an camping access to Nature" as a value. �pportuNities. information as a O. �� deterrent. Appendix B - 2022 Parks Annual Report Stewardship and Maintenance Volunteering The Fayetteville community gave back to #KeepFayettevilleBeautiful tc the tune of 25,408 volunteer hours of cleanups, invasive plant removals, and habitat restorations. Underwood Park The master plan process for a Fayetteville's newest commu rk was kicked off with two pu put meetings, multiple focu s, an6; public survey. ., P Yvonne Ric ftnt Community� We received 411. matc "ng!ran t from the Walto amily Foun ion to suppor expansion of the YRCC slate b in in 2023. Kessler Mountain Regional Park We wrapped construction on a new pinwheel of four youth baseball fields. The project includes a new concessions and restroom building as well as turf infields. Appendix B - 2022 Parks Annual Report Department Revenue 2022 0 '18-'21 Avg. $500,000 $400,000 $300,000 $200,000 NUE 2022 O O o NCREASE 4OVER ���������� P� ' ���� ����� 2 018 - 21 ° AVERAGE Hotel, Motel, Res ant evenue Interna!(TO* a ue Revenue sessions $0 $250,000 $500,000 $750,000 $854K Total 2022 Internal Department Revenue, $48K over projections. Appendix B - 2022 Parks Annual Report Fayetteville is a giving community with a long history of caring for the natural beauty with which it is blessed. Our team, as well as our volunteer community, deliver on this front year after year. This work will continue with four goals in mind from our Parks and Recreation System Master Plan. Goals for Stewardship and Maintenance 1. Improve the financial sustainability of park operations through increasing and diversifying funding sources and partnerships. 2. Prioritize existing park and facility improvements, horticulture services, and maintenance. //�� 3. Expand opportunities for volunteerism, community contribui�►�fs, nd stewardship actions. `` 4. Support the use and safety of all in parks, reducing use cts and partnering with service providers. �J► . Am Master Plan Feedback 717M Q� Of respondents desire a focus on O improving exis " parks and faci i Of respondents feel it is essential to improve or build parks in underserved areas of the city. Appendix B - 2022 Parks Annual Report ctive an Well Community Engagement Over 93,00 people particip n park programs or atte ents, and 139 external even took place in our parks in 2022'(�� Su r mps B ctive S Camps and the ne on Community Mer Fun4Kids Camp ximum capacity for all 17 camp. Trick -or -Treat Trail We partnered with Experience Fayetteville and The Rotary Club to offer a free community trick -or -treat and Pumpkin Pageant. Wilson Park Pool Wilson Park Pool achieved the highest visitor and revenue totals in over 20 Appendix B - 2022 Parks Annual Fort 17,500 The world came to Fayetteville in Attendees 2022 for the UCI Cyclo-Cross 219 World Championships at OHO Cyclists Centennial Park. 21 Nations �a-�k 6� le Appendix B - 2022 Parks Annual Report We pride ourselves on providing people of all backgrounds, interests, ages, and abilities an outlet to recreate and enjoy the `resources we revere. We know the impact our work has on Fayetteville, and we will continue to provide it under the direction of the goals set forth by our Parks and Recreation System Master Plan. Goals for Active and Well 1. Provide inclusive program offerings to meet the needs of all. 2. Improve access within and to parks and enhance and broaden the recreational value of our trail corridors to strengthen them as linear parks. 3. Improve existing properties and anticipate the need for anoq\o d parks for completion. FQ 84% Of respondents believe it is important to provide places for residents to maintain and improve their health. 1 Is Master Plan Feedback 82% Of respondents believe providing mobility, with trails and paths for exercise and transportation is important. 75% Of respondents believe providing recreation opportunities to underserved residents is important. Appendix B - 2022 Parks Annual Report atherin lacema and ing This year we launched the Arts and Culture division to tap into the creativity of local artists that is key to shaping our vibrant city. Fall Fridays � week art programming n<rra ncerts, performances, int e di ys, and k# sdoVisions. IQN �z Opportuniti�c �� 88 artist opportunities in first year ' . Free community events Nearly 3,000 people attended Rock Fish To be used in further stream restoration work Part of the effort to integrate art into park design Provides discovery opportunities for children Our goal is to ensure local arts and culture have a healthy future by developing policies and strategies to support the arts and cultural sector, incentivizing opportunities for thriving artists and organizations, growing the creative industry ecosystem, and responding to community needs. Three new mural installations from local artists commissioned by the Arts and Culture Division. jmw 7T .e wairegory Park Artist: Jason Jones j 4Ar. "Fail � I''�r� �. I, rP r� r "'9m"Archibald Yell artist: Austin Floyd IF Lafayette Bridge of Arkansas Advanced p9fiE-pphy Design Class r�� I 1 1 1 X Nhh' Cj` Establishin e new Arts and Culture Division and successfully ins i a new series of programs and events is an exciting new a for us to engage and unite the community. We will continue to the scope of this division under the vision of these goals from our rks and Recreation System Master Plan. Goals for Gathering and Placemaking 1. Design parks and greenways to celebrate our heritage and communities surrounding landscape and culture. 2. Improve parks to address comfort and the ability to gather for activities. 3. Partner with organizations and provide infrastructure to support programming and events in the parks system, such as theater, music, races, games, food, access, and markets. 4. See opportunities to integrate art into public spaces. '0000i Lb % v� �'�~, • �/J 7 >1 . 4,N, U) t Amazing Tree of Fayetteville�' LL 6od Tree at Lake Favetteville Park A Appendix B - 2022 Parks Annual Report Our natural environment and the care this department and community share for it make Fayetteville a beautiful place to call home. Public input indicated a desire for green infrastructure, environmental conservation, and stream bank restoration in parks. We will take the goals instituted in the Parks and Recreation System Master Plan and expand upon the already outstanding work we have accomplished. 1. a 3. Goals for Resilient Natural Systems Conserve land and strategically direct acquisitions for conservation meet environmental and community objectives.' Promote green infrastructure and regional systems in support environmental conservation and preservation. Enhance the ecological performance of existing parks anral land properties. ��►` aseh lan ack 7% Of respondents support protecting the natural environment and promoting environmental sustainability. 617a Of respondents prioritize water quality at Lake Fayetteville as a focus. 56% Of respondents expressed there are not enough designated areas for natural environment preservation and open space. Appendix B - 2022 Parks Annual Report Looking Ahead 2023 promises to be another banner year for the Parks, Natural Resources, and Cultural Affairs Department. We will continue planning and shaping our future through more master plans, facilit expansions, park renovations, and much Here is a sample of what to expect from our department ion 23: • Walker Park Master Plan Laun • Urban Forestry Master Plan v �- G Q • Arts and Culture Mast ining . Yvonne Richards mmu ' e ter D�gnnveiling . Yvonne Rich a Co ity Ce novation Groundbreaking Ni . Gulley Park laygr enov d Splash Pad Addition • Lake Fayett le So tball telex Renovation . Wilson PaBull nd Restroom Construction . Wil k Tends C} its Renovation ipl entation of the Parks System Master Plan Appendix B - 2022 Parks Annual Report We already have several projects slated for the coming years from Phase II Bond Projects and previous planning. We look forward to beginning work and completing these projects while continuing to add and set more ambitious goals. These projects currently include: • Bryce Davis Park Master Plan and Construction • Completion of Yvonne Richardson Center ExpansionIq • Combs Park and White River Master Plan �z • Continued evaluation of the Park Land Dedicatio ii nce V iy Park T M 4-10 51. Kessler Mountain Regional Park I FEST AVENUE CIVIC Sp C ••• . .• FAYETTEVILLEI� ULTURAL AR ;ZE=CENTERINGFAYETTEVILLE'S BLI L K N WEST CORRIDOR IIIIIIIIM A S E a _ 6A I SITE PLAN -ILI r■! m (Tom . . , r t' 1( SON STRE -1, 04 16 All .. ilk - r % r. •, '► WALTON A .Ss _ l\ y CENTER w d� _ N.4 14 4 O A A ,► JI 1 ow 'wi IL IN r S l1 0 Jc �- .: Lu 'Q Ilk w sc cj=r' • i' , cn•~` '� BIRDSEYE i A A + A • n k WEST AVENUE CIVIC SPACE r k � .rim • • . � R k _ :e.,, � 4 LARGE -MEDIUM -SMALL .Y> / 7r A A s 1 , 13 KEY ► t' �X I ADDITIONAL EVENT SPACE J { { SPRING STREET r` 6 "' g a_ TEMPORARY TRACK CROSSING AND / ,• Y , 01-LAWN ,\\ STAGE GARAGE ACCESS POWERHOUSE ALLEY f ; -FLEXIBLE EVENT SPACE �} TIRA }�} #}I+Z___ -- _ \f PEDESTRIAN IMPROVEMENTS .` 1+1j___ --��# +�1� "�a MEDIUM -tot 1 02 - PROMENADE r "��, '�+-------_��# A611�',} �1��' ►�' ��,' ��z}' , I ,) tit'o�}'''-- � FORMANCE !Ile . z 03 - ARTFUL STORMWATER r;.... �� ��� �� �� }'�, � � 1�1 ��- + } � ; ` ��}�}+� � (� �+}�.�+ j + +'�t,��.r���+ � + j � 1 EVENT ACCESS 1 2 �• 04 - INTERACTIVE WATER COURSE T t r 1 �} } t }} ifi + STAGING AND EMERGENCY ON : ,% EVENT if N 05 - SHADED GARDENS SUPPORT' __ - ;:,; # ¢ +�' �► ER !. r► �f' TENTSARDE - - - 06 - OUTDOOR CAFE SEATING PROM E 1�' } �� f r - , . P�'• ,i { , I ,, ���j _ EVENT SUPPORT 07 - PERMANENT SCULPTURE �"�' -� F.= ,i AND RESTROOMS 08 - BIKE TRAIL 1 09 - STREET PARKING W� 4 «; ,- ` .• %•[ ..- . 10 OPEN SHADE PAVILION SMALL ,a • J PERFORMANCE I 11 - ONE STORY BUILDING .' � � _ �_ _ ' Otis*._•dip,. .,"' \ — - \ �- - -- - CAFE/GALLERY/BIKES - SPRING ST EET 8 12 - MULTI STORY BUILDING oN / -�->'� `"..,:�` �_ '`�....- •� -. -, WEST AVE �G POSSIBLE USES: PROMENADE 9 % WALTON ARTS tit OFFICE, MAKER SPACE .� 1,�. , .•'` : .. - CENTER •- � �' �.-� � -ART GALLERIES ��, ,, WEST AVE • THEAT ,,- PEDESTRIAN AND CA Ott wlz� ,.._� 0. / • � r � / _ e � ,,, VEHICULAR TRAFFIC CAN �� •• r - CAFE/RESTAURANT REMAIN OPEN ON DICKSON SQUAB PARKING UNDERNEATH , ,� _� *, _ 13 STAGE/OVERLOOK FESTIVALOEVENT LARGE R WEST AVENUE CIVIC SPACE RE -CENTERING FAYETTEVILLE'S PUBLIC a. • a N . IV ti tr .�,lala!�E��' rW ti • 7 .1w tv IV seat a. J 't I / 1 MEMO A moo 4nnendix C Cultural Arts Corridc -The 11 ND EST FAYETTEVILLE CULTURAL ARTS CORRIDOR ,,.-.ter''"'., Irt r IL, _0� • 0^ F7&'a " e4 mom L do ,a> , f � �' : iv t t r '•'R.,;31 � . r .. • ,.c - .•� •' � � ` w...,� � - nT- __ --� • _ �..r - � � ` f r •• � '�, Ile 1p 4 4A gM a IN, sti )a jM4L"If is ­7 IF -47 A a• . I V, AL.l: rr 'abdo Fv ik 09 _31 4t Op Ap —saw pr "alMEN ._ i.�� - J � I . VIM I floor A� 1� r lO if ---mwmmmm.- off P mom ------ .................... GONE= A4 MINOMMOMM-M 16 '4f Olt Ot D m owl k :Lei L I h*Lv i. Tn at I O"d, F jp.. for !t, uM • 'F V I " —*V.A i1 1.vI *-, A W P,• '6 'W i 01ft 4' W. OL L', 7 4A to 4, 4 7r _ si 46 all IF #" N14 L ft ma- A"O' 464 *'j "W Pal il i, W_"pol' e4 W to 27 W:t 14 *- we: 41 jai ir� j" k M7 IMF OW- 1W I -- rid low TPDDAC!F- AND LAWN MATERIAL LANGUAGE -1 I ! �:II �1�1��: Let'. V. Erma, 0 •l' -jr1 A b UNIVERSITY � 4 E�' OFARKANSAS • LJ TANGLEW Sii!A RESTORATIO0 AND CELEB Ail6 L, EDWC�IMPRTONr-T�' R QUALMAND V�SIBI uCi SPRING STREET SPRING RESTORATI RESTORATION AND CEL ORATION IMPROVED WATER QUAI�fY I�ND VISIBILII EDUCATION II GREENWAY TRAIL W THIN THE-GQRRI 0 - ❑ HUMAN HEALTH AND C,ONNECTIbN ❑ 10 ----------------- 0 =, 0 a TA "LEOOD BR � N EIS�TOR . , 0BRAN�H ❑ - REDUCE EROSION � III [ ] ",COOLINP TEMPERAT REiS---j .� f IMPROVED WVATER ALI I y E-0UUD SEDIME 0ADJ f SAFER ORE STABL E a GREGG AV6�JE NATURAL AREA EDUCED R,' OF 1 I PROVED BIT `--j UPPORT P LIN TORS 1 I ° UMAN HEALTH AND EXCERCISE ART + NATUR INS LAT S G o� ED 4-7 ❑ f ❑ L u ❑ r� CD -- ° ED � a ED � o °L ❑ - ° Cj- -- 0 o ❑ 0 ❑� 0 ❑ 4 p 77-7 ti UofA ART + �)ESIGN DISTRICT r-I -� [:] o [1 • CIO DO D6�o� STr ET � ADDED STREET TREES p .Pndix C - The Cultural Arts Corridor f tion IV, 11kill RM"= 0: J L�BSURFACE A R STORAG SPRING STREET BIOSWALES WALTON r'17:1 FCIVI SPACE OTHER O SIDERATIONS ARTS TH F 5 ARE )TER D S O"MWATER TORAGE _ - LOCAL SOURCING, �1C f CANOPY � � - - RE U E-"UNOFF RESPdNSI LEA NJt~ATERIALS IALLI A 0 HAByTAT ❑RESP )N IBLEMACTICES =ATION MATt1L RE AND YCLING ONGOING M ENANCE a VUROMENADE ❑ El n i1gUC INVOLVEMENT - R Eh PEAK STGRAGE �-�I INCREASED CANOPY ❑ UCA I r f' ADINE B UM ST IOS� ; TAT A UTURE-RE EVEL MENT) ❑ o ROOFTOP RDENS 0 :NERGY IMPROI M_ ENTS7D� LJ , Y URBAN COOLING C ❑ ❑ ff Ls ff] r-j- R UCE RUNOFF , E --- 7 LLI `TIOUSING ITY �- HOUSING AUTHORITY • IRONMENTA I 0 RENTS E�J El r>. IMPR VED E E Gy USE - �r --- t., 'RE'DUD STORRUNOFF - Q C a o NEI B RHOOpjfoEE INCENTIVES y n771 N I BO OB-TREE INCENTIVES I P (fftD CA Y HABITAT DO NT WN 1 n Q ° ° L� 0ADE & ER Y BENEFITS SQUARE GREENWAY CONNECTIONS SOLAR POWER OR GREENROOF SUSTAINABLE ARCHITECTURE AND STORMWATER RECAPTURE OZARK TREES AND UNDERSTORY t GARDENS \_ SUBSURFACE WATER TSTORAGE FOR STORM EVENTS �\ I\ 1� \ LOCALLY SOURCED vw MATERIALS CONNECTIONS IMPROVED URBAN RECOVERED SUSTAINABLE CANOPY AND HABITAT ARCHITECTURE AND TANGLEWOOD SPRING .,� STORMWATER RECAPTURE AND EDUCATION RECYCLED ASPHALT 1r� INCREASED SHADE` NATIVE CANOPY SPECIES ON G�5 w o� 0 IpiS::Ifilk : WEST AVENUE CIVIC SPACE LARGE -MEDIUM -SMALL U ° 1 J CANOPY STRATEGY FAYETTEVILLE MAINTAIN HEALTHY NATIVE CANOPY TREES PUBLIC V � LIBRARY �' REMOVE INVASIVE VINES FROM NATIVE TREES �L � ;.. - � (—� REMOVE DEAD, DYING OR POOR HEALTH TREES —) LEAVE STRATEGIC SNAG TREES FOR HABITAT STRATEGICALLY PLANT NE NATI E CANOPY TREE r LIBRARY EXP�AN ION _ r_—_ .; w v c o s ❑ - -- - MENTAL IMPRMVIEM TS --STORMIRATER MA -NAG �a Y J N S WOODLJ Ll NATURAL MATERIALS, ACCESS & EDUCATION UNDERSTORY STRATEGY REMOVE INVASIVE UNDERSTORY TREES AND SHRUBS THIN VEGETATION (3'-10' HIGH) TO OPEN SIGHT LINES STRATEGICALLY PLANT NATIVE SHRUBS FOR HABITAT �o �l E, a � e ❑Q eRA1 RiE W DLAND CANOPY- �-J HABITAT 11PBAN CO G � ❑�� BSO .. 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' 1 r� z i , - i1 b.c es - I � t TIT ti - Ir t '0i •)- - - 1. .-.: _ -'� 1 1 - - - - rc$$�� 1, �., ,+'.. �� } �•1 �.4' 11�1 �- '. r,� t •;4 - -1 i �a" Q i ,h - . _ ' 3, . , �,. i i' 1 Yy I ,,i �el-j- �� ��\ ��Z f • �' �'`;�, w � *1 ,*' ?,' - .^ L '.- . ems- - - _ _ - -_- �- �-- __ Al0101J'MTA,"/A\■'AM 1•lb D11 • UNIVERSITY OF ARKANSAS DICKSON STREET B ILDI G HOLDS THE STRE T D COMPATIBLE US n - INCREASED ACTI IT I dlTy N r+ CIVIC PLA 1111� TTTT 17 C MMUNITYG HERING ID NT i EII�N�F UH7IPLE SC LES MULTIUSE STRUCTURE IMPROVED STREET CHARACTER AND FRONT COMPATIBLE USES SPRING STREET }V SPRING STREET � PEDESTRIAN ZONE 7 / EVENT SPACE / WALKABILIT •,F. \:1b1J'l0IC'I'l� Appendix C - The Cultural Arts Corridor J� Information /1 OC � �� ° ❑ Q [� L_j ID 5,Elcn FAY PAS WOODS i � SMALL SPACE �SDONii�EET 0 51�PRO;?AhDt0 USINESS DISTRIiCT� 401 1 A 0 Ll U. ACCESSIBLE T� CANOPY OVERLOOKS r CONNECTIONS 25 PEOPLE � � t CANTILE SPINE SMALL GATHERING WALTON 2-5 PEOPLE ❑ ❑ ARTS CENTER -� ❑ LD —�CrFEWVE OMENADE ❑ N�5 G� - ❑ �O SMALL GATHERING C] GATHERING SPACE �❑ �❑ ❑❑ FPS . % ❑ ❑❑ SHADED WALK LJ 2.5 PEOPLE E❑ FESTIVAL SPACE ❑❑� ❑ j ow ED � TH �RE � ❑ ❑❑ � �❑ BICYCLE�OYVNECTION �■ RED `'-' ❑ ❑ ❑� ' 610S(7' ADINE B UM ST ❑ 1 MEDIUM GATHERING SPACE 0❑❑ � T N A UT-drI€ E EVEL _ENT) ❑ 1 ❑ ❑❑ 10.25 PEOPLE � ❑ ADDE SITY ❑J1-['-ISTRUCTURED KING 1 L-� ❑❑ ❑❑ ❑❑ ❑ Q LINER BUILDINGS ❑i ❑1 -' - - LJ ❑ ❑❑ --STRE V L fETAI IMPROVEMENTS TO GREEN A RAI — _ - ❑ — ❑❑ ❑ REGIONAL CONNECTIO �ILnJ❑ ❑� - - - I - ❑ MULTI MODAL ❑ El Q ❑ �#O IN UT RITY —1 WALKABILITY/BIKABIL 1 ❑� � POT TI U Uri � V M E NT 0 50A ; on 0 nk mk FAY JONES WOODS MEDIUM SPACE CANOPY 'Nests' 5-8 PEOPLE �-f 1 C 1C s ' • 4 t_ li ' , ❑ � ( MPROVED STREET_FRO_NTAGE 1 WEST AVENUE CIVIC SPACE L DEVELOPMENT POSSIBILITIES 1 LARGE -MEDIUM -SMALL -- - --- - - IMRROVED MEETS 1 O , �❑ ❑ ❑ - - - - - - - -- I I I I �\ ADDED DENSITY AND ' ❑ ❑❑ CID ❑ — I I I I I I I I I� J' COMPATIBLE USES ❑� `�J SPRING STREET IMPROVED TRACK f�❑ — — ` IMPROVEMENTS CROSSING AND GARAGE �❑ u �— j ❑❑ — — MPROVED `� ❑�' �-J �O�/NT W� `� G IDEWALKS `:;\ \ INFORMAL ACCESS ❑1 ,�❑ �❑ [❑ _ ❑ ❑ - 1- = (� ON WEST STAGE �J J ❑ — v TERRACES ❑ �❑ i ❑ SQUARE a► �t MEDIUM BICYC ���■�s LARGE GATHERING +�� HERING �❑ ❑ o ® �� NECTIOIII❑ GJ LAWN ❑ ' FAYETTEVILLE 7JJ N, fi ° PUBLIC I � � � ❑❑ ❑ i❑ , o ❑❑I LIBRARY ❑ ` ❑ `� \ \ IMPROVED ❑ ❑� 41 ✓ \` `\ MID -BLOCK ❑ ❑ ❑_ - - ❑ ' 1 ❑ CROSSING _ _ \ ' ❑ ��I I / 1 I `\ `\\ - PORCH GROVE - El �� ❑ ❑❑ ❑ ❑� G ` - OVERLOOK SHADED CAFE SEATING \ ` ❑ , ❑❑ `� _ — Q� ADDED DENSITY AND STREET ❑ �❑ ❑ �� 1 ❑ ❑� PU LIBRARY ADDITION - `\\ `\\ EDGE, COMPATIBLE USES ] ❑] f ' BLIC LIBRARY ADDI I � 1 ] CIVIC ENGAGEMENT AND GATHERING _ ❑ ❑❑ ❑ `\\ ADDED PARLLEL PARI�t�1G/- \ `\ ❑ \\ ❑ �' ❑ ❑ O 1 ❑ CHILDRENS GARDEN AND AMPHITHEATRE DROPOFF ZONES ❑❑ GREGG AVIiii)E ATURAL AREA rt/- _ tiI ❑ ❑❑ o `\\ �y ``,, �J TREET CHAMCT AND QUALIT / a CO W— TIONS TO[IOREEN fit OMMUNI AT RING \ `\ q PROMIli ENT ❑❑ r /� I �� 1 0NNE ITY ALKABIL[T � ❑ \\\\\ �'LG CORNER PLAZA ❑ ❑ �� 1 OMMUTING ❑ m ■ ■ -- __ ..Y r Ir I� � � � • i .: • r � - . *�, . _—._. --n. J� -q 1 of ■ � • �1�.��•- '! Y' � �� ice- _, .. 't __1,..�� ` � „ -' l�; � �� _ '- _.a 1 � ` - x,, � � • � y � {mot .-'� � x � � 1/�t��� �.. SEEN gown 916 1111, POWERHOUSE ALLEY PEDESTRIAN IMPROVEMENTS 1� SMALL GATHERING 2-5 PEOPLE h HILLSIDE SCRAMBLE 5.10 PEOPLE m,A 71 7M ML-'"Iq �,i 11 ,s .?WIN OIL I fob + rr� DICKSON ST SIDEWALK I I I I I I I I I CAFE SPACE WITH IMPROVED WALKABILITY +. c " r NN "Emil Ir W DICKSON S T9 mt] G1 rX �G1 ob WALTON ��Gcr a ARTS CENTER Irm •�f < OVERHEAD POWER= LINES BURIED MEADOW STREET PEDESTRIAN t CONNECTION TO TRAIL WITH STREET TREES CENTER STREET '' r PEDESTRIAN ; CONNECTION TO TRAIL -- A / Ti r GREGG ST SHARED � ST WITH CREEK ACCESS�� AND CONTINUOUS BIOSWALE CREEK ACCESS A IMPROVED GREG AVE NATURAL AR ►r- PEDESTRIAN PLAZA ACROSS WEST AVE, CONNECTING no L ="& 1 WALTON ARTS CENTER TO NE CIVIC SPACE W SPRING ST 31aL NADINE THEATRE t� BAUM SQUARED - STUDIOS � ` -jwmv LOW IMPACT DEVELOPMENT y SWALE TO CAPTURE FIILLCRESTSPgIN �11 W MEADOW �m FAYETTEVILLE _ LIBRARY 00 r m oil FPL ADDITION (2020) ®� PRAIRIE ST JV;aW W MOUNTAIN ST A � 1 W ROCK ST PEDESTRIAN PLAZA ACROSS WEST AVE, CONNECTING FAY JONES WOODS TO FAYETTEVI PUBLIC LIBRARJ[7 ANSI W SOUTH ST IMPROVED STREET CAPE ' �tH STORMWATER STO AGE, STRE TREES, AND CONTINUOUS PEDESTRIAN CONNECTION I IIIL I ARCHIBALD YELL lit L] �I Appendix C L - The Cultur Informatio PERMEABLE PARKING SPACES STREET TREE LOW IMPACT DEVELOPMENT SWALE WITH ADA WEATHERING STEEL GRATE SIDEWALK r �. � ,s 2 6 - 12-18' 301116 Cj 6'-8' _61 01 GRATE PL 11 E 6" 4" TUBE STEEL CURB GRATE SIDEWALK SUPPORT `(�✓ Fo ✓ CONTINUOUS STORMWATER BIOSWALE WITH STREET TREES @ 30' AND WALKABLE GRATE 10' 7' � 8' DRIVE LANE TREE WELL SUSPENDED SIDEWALK �� 1' 6 CURB RETAINING WALL WEST AVE PEDESTRIAN CONNECTION LINKING LIBRARY, THEATER SQUARED, WALTON ARTS CENTER NEW 8' WIDE CONCRETE SIDEWALK CONTINUOUS FROM PRAIRIE ST TO DICKSON ST ' Will 0 own wean 4A lit 5' 4' SWALE 20MOUNTABLE CURB SHARED STREET 18° RETAINING WALL GREGG AVE SHARED BIO-STREET WITH CREEK ACCESS 4 � 4 9 SIDEWALK PLANTER DRIVE LANE 1'-6" CURB & GUTTER 9' 4' 4' DRIVE LANE PLANTER SIDEWALK 1'-6" CURB & GUTTER MEADOW STREET CREATE A WALKABLE CONNECTION BETWEEN THE TRAIL AND DOWNTOWN NEIGHBORHOODS ,& 11 Wm m ONA UNIVERSITY OFARKANSAS NFAIN 1 [010 me Appendix C - The Cultural Arts Corridor Information Al FAY JONES WOODS SMALL SPACE WOODLAND ART INSTALLATIONS WATER COURSE PLAY 0` MAKI OT IP ART AND IN�T 01�' �---POiff� HOUSE ALLEY ART OPPORTUNITIES I -- - - SMALL PERFORMANCE (G ORGE'S) I SPRING STREET ALL EXTEND COMMUNITY AI FESTIVAL SPACE PEDESTRIAN ZONE ENVIRONMENTAL ART MEADOW STREET GREENWAY THRESHOL X DI K--- - - SCULPTU LOCATION - `� E P N ED PERFORMA C-E/S UT - -- \\\ 77 WaTs" OTHER O❑ 1NSR� CENTER 0 ❑ Y SEASONAL EVENT ` TIC_E] SIB LAW TRAIL GRAPHICS PE I 'EVENT _ R ERA LE E F NCE �o El ❑ �STIVALS, PTU NS L l01�L,$ITE \\ �. _ �� �, f ❑ ❑ CONMUCTIWf ENCING ' 1 I�� �� I �` �� ❑ AV ROMENADE L70P A IONS AND ENA CL - 0 IZAT ON NATURE AND ART NNECTIONS �.- ' .1 h,r L ❑ ❑ P R Y IhSlALW,,ONS PROGRAMS MARKETS AND FESTIVALS T TEMPORARY ART ❑ ❑ � f- ` I - r I � TH 'R ❑ ❑ ❑ \ -sQ REti On — RE R - EVELO ENT-D ❑ -- ARTIST H SING ❑ [� _ 7 W 7 ACE ❑ 0 n n T N DOD BR N R NMENTAL ARP � � GR�NW Y TRAI W[kN THE 16,0 �RFA E 0 PORTU TY L----UGHTING STALLA ONS a n o ` Jn C] �_ ART NODE q � SMAL6PERFQfiMA � t Q -GREGG A IE U ATURAL ARE � \'J01: m ICI=M01'J'JIbI0I' � � V u CUD[] qE] E3 ,i LJ[� E TRANC�ZA U L CULPTU T TREET ❑ L L�J❑ ❑ ° — ❑ ter � Q k G IN NS > .—� ❑ ❑ � � � X 1V ST�IL 0 L__F L-&HbDi AVE. ❑ �❑ a [� - , L — .- — I EXISTING S UDIOS AN B SINE$SES r SMALL PERFORMANCE r ❑ - RALS ' --- ❑ I ARTS CORRIDOR I GREENWAY IDENTITY NADINE ❑ ❑ _j BAUM ❑ 11013 ❑ � STUDIOS ❑ __r—� ` ARTS CORRIDOR F_ � - `� THRESHOLD r ♦ EATRE % `� OARED COMPATIBLE [[ DOWNTOWN �V/ ❑ ❑ ❑ �n ❑ _ OMMONS INTERIOR SPACE 0 SQUARE ❑ NTA S� CORRIDOR ��� FAYETTEVILLE IDENTITY � ❑ P PUBLIC ❑ LIBRARY ALLER a EXHIBITION\CO MEETING SL ❑ F0 FP EXP N ION — --- Cj A A i FAY JONES WOODS MEDIUM SPACE iiiii�IlllliNlilll�r 1111I V TI 1 1 1 W,1 I I I U WOODLAND ART LIGHTING INSTALLATIONS INSTALLATIONS `1'� 'i I l l ley l l l l l �t� 1 1 lafl MURAL SPACE STAGE OR PROJECTION �\�NNS .�� SCREEN V� PERFORMANCE x LIGH •" SPACE INSTALA N SMALL FORMANCE CHILDRENS PLAYGR ND MAKEARSPAOE _ - PROMENADE // 11� J ❑1 AMPHITHE RE ❑ FESTIVAL SPACE STORYTEL I, C ❑UFI[]❑ CANOPY OVERLOOK OODLAND INSTALLATIO �' �_ [❑ �r11 ❑ LIGHT INSTALLATPRJS �❑ PERFORMANCE �/ I � ART NOBS— ❑ EENVIRONMENTAL RT ❑ G.1 WOODLAND INSTALLATIONS � n o o� Y =RESff0LD ,TALLAI"S n WALTON ARTS � '� ❑ ���� CENTER � r e a J ODLAN RE H LDS ART NODE,o [�❑[ El Q ElSM LL PERFORMANCE �j Q �❑ E ❑ � o _I E:1 D❑Q Ll ❑ ❑ 7 CT] Ll L ED 0 ❑ o o a E:�] - AR DE/THRESHOLD0E-10 F T L ' ❑ o e,E A�rE ED a ❑ ❑ o o ❑ ❑ ❑ 4 _ , ❑ L-77 (-y ❑ k. ❑ ❑E:1 El ❑ ❑ r] FF r ❑moo MLK TUNNEL AND TRAI M MURAL OR LIGHTING-TNSTALLLATft--- DESIGN DISTRICT THRESHOLD-- ED 0ID 0 r-- ❑ 4 O UWA ART + �J LJ DESIGN DISTRICT ; d jUQAM L� 4 , _ •r r«= Atz J oilA 4 _.� N_ ■ "A Fy SMALL PERFORMANCE SPACE WEST AVENUE CIVIC SPACE LARGE -MEDIUM -SMALL i LOCAL SCULPTURE CREATIVE J# AND ROTATING ART, PAY lei IN CREAPLAY TIVE ��ss•.• 1w MURAL COMPATIBLE INTERIOR SPACE SPACE EI t SIGNATURE h PIECES 1 lei4 fit INFORMAL STREET PERFORMANCE i w 109 .jv if Z_ D N. M • J D PARK N _J I/ ,1 l ' --, -1 1 —J i __J Lafayette St. temmis r—•—•---•—•—•-- _ 1 I - �■■.■ uM . --PROX/MA T _J _i 9�� 1 Deck 1 c R - I J EBS ..: . _ _ J r -1 we Dickson St. �► I ' J / 1 I r �` � �1� 1 c I i West Aver 1 _1 II _J -1 _J 1� i ces Lot well • ft ! J J 1 C ' �, ♦ I J -_ f! 1 Harmon Ave � ♦ Sprin � --' � —J ' • Parking Deck r De ! J — -� -r J •LU1 �1!r J / J J J t J J J _.Meadow Sit• %% J 1 . i ' -1 .� � 1 I ,ram 1 _J --� Downtown i J� rJ J- • _ _J -( I Square � Mountain St. _J J _1 � IJJ 0 _f J _,J f _J Fay Jones J -"' Woods ai J I @ N ,J _J -� J I J -J -' J J J _F J J �J _J J J �� • -� , J I I J _ ,I J, • _ , _J _-J J J J J J J J � J .J J J _ J • -J' J- 1 _J .,J - J J J J_J ; -1 _J I� � J • J J I J J new parking opportunity utilize existing parking potential locations Connect existing underutilized parking A - School Ave Improve signage and payment B - West/Dickson Private lot owner agreements C - Gregg Ave Safe, walkable pedestrian experience D - Nadine Baum connect available parking downtown parking shuttle 1 - Harmon Ave Deck 2 - FPL Deck 3 - Downtown Square 4 - Central UMC Deck . Underutilized Parking* Proposed Parking Options Existing Parking Decks . Institutions o-•4 Potential Downtown Parking Shuttle Route .... Razorback Greenway Streetscape Improvements *underutilized spaces calculated based on peak parking times within the Entertainment District from the 2016 Downtown Parking Study CITY OF FAYETTEVILLE PARKING STATEMENT The City is in the process of hiring a consultant to provide a parking site analysis that will evaluate possible parking configuration, feasible number of spaces, most viable locations (based on survey responses), and other schematic site details for at least four (4) Downtown/Dickson Parking Options to replace the West Ave Parking Lot. The results of this analysis will be used to guide further development (next steps) of a Downtown/Dickson Parking Replacement Plan. Implementation of that Plan will occur prior to the start of construction of the West Ave Civic Plaza space on the existing West Ave Parking Lot. Appendix C - The Cultural Arts Corridor Information 00. J _J _'j jT 0 DEV L P1 "MEN • J A __ r_J _,_J _J .•.- I J J J rJ _J r� ; , � J • J _J J '� + J � F _J _J IJ % ' J - - . + Jrt� j —'JJ J —� J �., �O i J •I I — rr `` �JI I r Dickson St. i r � �l (• I I i i West Ave. Civic Space i J —J ,-J I / I __J i / • i—1 _J i _J _J r J __J , � ; i —� -_ J J ( IJ I J Meadow St. ' r+ 1 -J _J J- —� ,, J ' � I i r I --- _J ——] —1 . �1_ ---� J ------ -1' >- -1 J JJ J a I Mountain St. _I N__J J I J _J I -� I • - �+ __J • _� J _J J Fa � _I J r_J y Jon _J _J Woo J J J J J JJ _J J� J / I i •� J �� �J � � I �� J J B _J `J J J I J J I J J J JI �Q' �� �J, _J J J -J J _J _J_J 1 .-_.r - 1 ' _ I J — I • I i J ,i J — — — — —J _J J I f I I J --I I _J J Public or quasi -public land w/ development opportunities Privately -owned parking w/ development opportunities Privately -owned land NXN NX,Nw/ increased density potential NXN PV_"47NII -- CITY OF FAYETTEVILLE DEVELOPMENT STATEMENT The Cultural Arts Corridor (CAC) presents an exciting opportunity to bring new amenities, activities, vitality and private investment to Downtown Fayetteville. Private development can help bring more people downtown and provide safety and security for public spaces. The West Ave Civic Space will include public/private development opportunities for buildings located within/adjacent to the Civic Plaza. Since detailed design and construction of these adjacent buildings is outside the scope of the Cultural Arts Corridor, a Request for Proposals process will ensure that these buildings will have a complimentary timeline, cohesive design, and compatible uses to the adjacent CAC. Construction of those buildings will be coordinated with the West Ave Civic Plaza Space construction. It UA ART + DESIGN DISTRICT CONNECTION K6' Z, 9' 11' SIDEWALK SIDEWALK SIDEWALK PARKING EL N EL DROP OFF OUTSIDE ROW IN LANE TRAVEL LFNC TUflN LANE TRAVEL LANE LANE (WIDTH VARIES) EASEMENT EXISTING DICKSON ST 56' R.O.W. 62'-82' EFFECTIVE R.O.W. r I y ��7727 - SIDEWALK SIDEWALK CLEAR TREE + ENTA PERMEABLE DRIVE LANE DRIVE LANE DROP OFF OUTSIDE ROW CAFE SIDEWALK AMENITY ZON PARKING LANE ZONE ZONE ZONE / LANE (WIDTH VARIES) SILVA CELL 70NE PROPOSED DICKSON ST 56' R.O.W. 62'-82' EFFECTIVE R.O.W. FAYETTEVILLE CULTURAL ARTS CORRIDOR Ir �A , '-' - I SIDEWALK CAFES_ ... _ - - W DICKSON ST --- •mow_ L�1, :� �� MLK JR. BLVD . ,a EXISTING SPRING ST 50' R.O.W. L -L t J � 1- Mile ' SHARED PARKING DRIVE LANE DRIVE LANE DAYLIT SIDEWALK MULTI-USETAAIL LANE+ STREAM THEE WELLS PROPOSED SPRING ST SHARED MULTI —USE TRAIL 55' R.O.W. IR �i A EXISTING MOUNTAIN ST 55' R.O.W. PROPOSED MOUNTAIN ST DUAL DIRECTION BIKEWAY 55' R.O.W. s ' ;.: I. EXISTING BIKE ALLEY 10'-17' R.O.W. • fi PROP( fi ;A ■ ■ �(y i CONCRETE g CONCRETE BIKE PAVEDRAIN BIKE LANE LANE )SED BIKE ALLEY 0' -17' R.O.W. CITY OF WA FAYETTEVILLE ARKANSAS RFP 23-08 Addendum 1 Event Information Number: Title: Type: Issue Date Deadline: Notes: Stilwell Consulting Supplier Response RFP 23-08 Addendum 1 Arts and Culture Plan Request for Proposal 7/23/2023 8/16/2023 02:00 PM The City of Fayette consulting firms vel the City of Facwillp., process sho;ltiiAe dir Purchasing Agent, 575-8220 NIV Iq r, .�Jc a,+ G6, + �� is, see '�►r'�posals from qualified ►rehe Arts and Culture Plan for concerning this solicitation Beilfuss, City of Fayetteville Sr. iyetteville-ar.gov or by calling (479) F0 XN Contact Infor fiobb Contact: AmaJ4 6jifuls Address: P rchavg m 306 it Hall 13 West Mountain Street - Room 306 Fayetteville, AR 72701 Email: abeilfuss@fayetteville-ar.gov Page 1 of 2 pages Vendor: Stilwell Consulting RFP 23-08 Addendum 1 Stilwell Consulting Information Contact: Jill Stilwell Address: 2250 Bellwether Lane Fort Collins, CO 80521 Phone: (970) 218-6542 Email: jillstilweII07@comcast.net Web Address: stilwellculturalconsulting.com By submitting your response, you certify that you are authorized to represent and bind your company. Jill Stilwell Signature Submitted at 811612023 12:52:12 AM (CT) uested Attachments jillstilwe1107@comcast.net Email 23.08 Fayetteville Arts and RFP 23-08, Arts and Culture Plan Culture Plan Proposal -Stilwell ZX�V�tab, Consulting.final.pdf Please attach the signed and completed RFP form, located inCjAttach` long with any additional documents. V" G Response Attachments arts_vision_2030_DIGITAL_SPREADS.pdfz Sample Plan - ArtsVision 2030 2023-1-6_Golden_PAFP_V5.pdf Sample Plan - Golden Public Art Fr orkPI 2023-1-5_PAC-Hand book _v4.pdf Sample Plan - Golden Art in Public Plac r%lbook 2023-1-5_GoldenPAFP Appendix Q0 Sample Plan - Public Art Colle9ultulral 1 dit an �s s Report Master Plan 2022-Final fro Ian . Sample Plan - City of L nd Se es Master Plan Team Resumes - St' Monsulting.pdf Consulting team s RFP 23-08, Arts a Culture Plan Attachments.pdf Completed RFP Forms - Stilwell Consulting LLC Bid Attributes 1 Addendum Acknowledgement By selecting "I agree", you acknowledge that you have read all addendum(s) that have been issued for this solicitation, if applicable. 9 1 agree Page 2 of 2 pages Vendor: Stilwell Consulting RFP 23-08 Addendum 1 City of Fayetteville RFP 23-08, Arts and Culture Plan SECTION C: Signature Submittal 1. DISCLOSURE INFORMATION Proposer must disclose any possible conflict of interest with the City of Fayetteville, including, but not limited to, any relationship with any City of Fayetteville employee. Proposer response must disclose if a known relationship exists between any principal or employee of your firm and any City of Fayetteville employee or elected City of Fayetteville official. If, to your knowledge, no relationship exists, this should also be stated in your response. Failure to disclose such a relationship may result in cancellation of a purchase and/or contract as a result of your re onse. This form must be completed and returned in order for your bid/proposal to be eligible for considera PLEASE CHECK ONE OF THE FOLLOWING TWO OPTIONS, AS IT APPROPRIATELY APPL DOUR FIRM: X _1) NO KNOWN RELATIONSHIP EXISTS fZ 2) RELATIONSHIP EXISTS (Please expl n): o ._� r� -Raw Ni— I certify that; as an officer of this organization, or e attac e letter o orization, am duly authorized to certify the information provided herein is acc nd tru a my or n ion shall comply with all State and Federal Equal Opportunity and Non-Discri n n requii ents a o itions of employment. Pursuant Arkansas Code Annotated 3, t racto r es and certifies that they do not currently boycott Israel and will not boycott Israel duri im i ich the are entering into or while in contract Y Y � Y g with any public entity as defined in §25-1-503. f at ai during contract the contractor decides to boycott Israel, the contractor must nedphone c'%+ed putity in writing. 2. PRIMARY CONTACT INFO At the discretion of the City, ��Y be asked for more detailed information before final ranking of the firms, which may als "er iews. NOTE: Each Proposer shall submit to the City a primary contact name, e-mail a, n ber (preferably a cell phone number) where the City selection committee can call Nfication or interview via telephone. Corporate Nam' m: Stilwell Consulting LLC Primary Contact: _Jill Stilwell Title of Primary Contact: _Owner/Principal Phone#1 (cell preferred): 970-218-6542 Phone#2: E-Mail Address: jillstilweII07@comcast.net City of Fayetteville, AR RFP 23-08, Arts and Culture Plan 3. ACKNOWLEDGEMENT OF ADDENDA Acknowledge receipt of addenda for this invitation to bid, request for proposal, or request for qualification by signing and dating below. All addendums are hereby made a part of the bid or RFP documents to the same extent as though it were originally included therein. Proposers/Bidders should indicate their receipt of same in the appropriate blank listed herein. Failure to do so may subject Contractor to disqualification. ADDENDUM NO. SIGNATURE AND PRINTED NAME DATE ACKNOWLEDGED RFP 23-08, Addendum 1 Jill Stilwell 8-14-2023 4. DEBARMENT CERTIFICATION: 4Zification N As an interested party on this project, you are required to provide debarment/suspe indicating compliance with the below Federal Executive Order. Certification can be done by pleting and signing this form. e) Federal Executive Order (E.0.) 12549 "Debarment and S ension" r that all contractors receiving individual awards, using federal funds, and all sub-recil cc tify th rga&ization and its principals are not debarred, suspended, proposed for debarment, dec red inel volu excluded by any Federal department or agency from doing business with the l�Gover n t. W Signature certifies that neither you nor your princi resent ebarred, se�ded, proposed for debarment, declared ineligible, or voluntarily excluded fro ' i icipati is tr on by any federal department or agency. Questions regarding this form shout cted t ity 0 ville Purchasing Division. � y NAME OF COMPANY: Stilwell Consulting PHYSICAL ADDRESS: 2250 Bellwe o e�, For �31 `s, CO 80521 MAILING ADDRESS: 2250 Beier La �� ollins, CO 80521 TAX ID # PHONE E-MAIL: 521-37-75 �. SECRETARY OF STATE FILING #: _970-2 42 FAX: __jillstilweII07@comcast.net SIGNATURE: PRINTED NAME: fill Stilwell TITLE: Owner/Principal DATE: 8/ 14/2023 City of Fayetteville, AR RFP 23-08, Arts and Culture Plan R F P #23.08 August 15, 2023 Proposal for CITY OF FAYETTEVILLE ARTS & CULTURAL PLAN Stilwell Consulting LLC 2250 Bellwether Lane I Fort Collins, CO 80521 1970-218-6542 i i I Isti IweI I07aa comcast.net stilwellculturalconsulting.com FAYETTEVILLE ARTS &CULTURAL PLAN PROJECT #23-08 Executive Summary We, Jill Stilwell of Stilwell Cultural Consulting and Kendall L. Peterson of ThereSquared are proud to team together for this project and respectfully submit the following proposal in response to the RFP #23-08 Arts and Culture Plan for the City of Fayetteville. We understand that this plan - as well as the planning process - has the potential to be a high -profile and catalytic project for the City of Fayetteville and its creative community. As we will demonstrate in this proposal, this kind of creative sector planning is not only our passion but our specific area of expertise. We look foerd to the opportunity to partner and engage with your community and build a Nnap for the City of Fayetteville's Arts and Culture Division's future -together. THE TEAM . ) Our team is perfectly suited to this task. Toc years of experience and a demonstrated deep planning and visioning for any size commune and complementary skills to our projects,,A problem solvers, organizers, activators, ar!>' We are public art, municipal arts 1i unparalleled and specialized pub ' a and experience. Jill Stilwell and all F art programs in Fort Collin a e ve worked together on a numpubl cultural plans for municipal Nrgani art projects, developed public art po cy hands-on, practical experience'I wing a and translating that experience to cork We are community Engagements, we cl� into the planning_pr online engag expand our r4 ds possess over 50 arts and culture d knowledge , listeners, %gym has culture expertise managed municipal actively. We have te%Anning projects and arts and I has managed dozens of public rted public art programs. Jill has ipal arts and culture department Through our Artful nces which seek to draw the community es thro�f creativity. Our team also brings expertise in .ills, specifically with the EHQ/Bang the Table platform, to the community. Creative k~ development and sustainability is key. The arts, culture and creative co munity are key stakeholders in an Arts and Culture Plan. We have invited creative sector development expert Jamie Giellis to join our team as an advisor. In collaboration with the community, she will help identify economic development opportunities, public/private partnerships, potential funding models and how to best support and grow creative businesses and enterprises in the city. METHODOLOGY We approach every project as unique. No two communities or projects are the same and a cookie cutter approach doesn't work. We will partner with you to develop a 0 1 STILWELL CULTURAL CONSULTING LLC FAYETTEVILLE ARTS &CULTURAL PLAN PROJECT #23-08 process and a plan that meets your community's specific needs and aspirations. We believe your community knows what it needs and it's our role to act as facilitators, idea generators, conveners, listeners, problem solvers and consensus builders. We understand intentional effort must be made to include all voices and invite those who may be disinclined or who have been traditionally or systematically marginalized to participate. APPROACH We are eager to partner with you to craft a comprehensive Arts and Culture`l n that fulfills the goals outlined in the RFP and a process that generates inspirati � ZI energy for implementing the plan. To do so, we propose a 4-Phase Ap s detailed in our proposal. This approach includes: 1) Confirming our workplan to make sure we have designed a pro, deliverables and communication plan that meets the goals and expectations of is and Culture Division.► 2) Research and exploration will help us cliscoyel& uni ara ristics and assets of your community. A Needs Assessment Qr*d ope of r rite ing tools, Cultural Mapping, will help to uncover c es and c nge ,!Wand opportunities, strengths and aspiratio' 3) Based on research, we embark o bust vely C unity and Stakeholder Engagement process. We use tr anal en men c niques, including e interviews, focus groups, charrsury targe �veys, and online engagement (we are experienced using HQ/ang ble f line engagement.) We believe residents are more likely to1hink c �f wh t y are having fun making and thinking creatively. To enhance pub c parti 1 A n, we will collaborate with staff and even local artists to invent "Ar I En age �1�s" that are tailored to the Fayetteville community. These can be �, ha activities that pop-up at existing community events or co-c a on a t' s. Finally, we will develop and host a facilitated special sess* u4j- for Economic Development during this phase. 4) The final phase is esizi tn. he input and research into plan themes and lf developing a fry01Vw for the We will collaborate with the Arts and Culture Division staff stakeholders to refine the themes and framework into goals, strategies ction steps for the plan. We understand the plan is to include an executiv ary, vision statement, strategic plan with recommendations for implemen Pion, public art policy, funding, and evaluation framework. The Arts and Culture Plan will be a colorful, attractive, inviting and easy to navigate format with a look and feel that reflects the passion and the purpose of the Fayetteville creative community. EXPERIENCE Asyou'll find in our plan samples and work experience listed in our proposal, our team has extensive experience in cultural planning, public art planning, community ■ 2 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CU LTU RAL PLAN PROJECT #23-08 engagement, and data analysis. As arts and culture and creative sector specialists, we will work collaboratively with staff, stakeholders and your community to develop a plan that reflects the unique characteristics of the Fayetteville community and serves as a roadmap for a vibrant and sustainable Arts and Culture sector for residents, businesses and visitors. As one client shared about us: "Kendall and Jill are a powerful combination. Their decades of diverse experience and complementary skills deliver a comprehensive client experience and exceptional results. The large scope and timeline of our project made us especially grateful for how they fully commit through the natural ups and downs, with resilience and warmth thK . ghout the process." Angela Seals, Executive Director, Cultural Office of t 11q Peak Region Thank you for considering our qualifications and proposal outline, the following pages. We look forward to the opportunity to serve as your par r creating Fayetteville's Arts and Culture Plan. C) Kind regards, Jill Stilwell "Kend I YPeterson Owner, Stilwell Cultural qn O hereSquared LLC LLC 781 .22nd Place 22SO Bellwether Lane tver, CO 80238 Fort Collins, CO 8OS21 ) 902-1600 970-218-6S42 (�kendall. eterson theres uareddenve comcast.n Jillstilwell07 t V P q � r.com ■ 3 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CULTURAL PLAN PROJECT #23-08 We have assembled a team with unparalleled municipal art experience to submit our qualifications and proposal for the City of Fayetteville's Arts and Culture Plan. Jill Stilwell of Stilwell Cultural Consulting and Kendall L. Peterson of ThereSquared will co -lead the project. We are arts and culture planning experts with more than 50 years of experience and a complement of skills in cultur nd strategic planning, public art master planning, placemaking consultin ct management, community engagement, and visual arts and perfor s programming that makes our team an exceptional fit for this proje� Jill and Kendall have been teaming together since 2019 and will ead the project. Kendall is a public art specialist with deep experience in proje jJ inning and coordination. Jill brings expertise from munic �rl arts an e management and certification in public engagement. Stilwell C to I con wi I serve as the coordinating entity and contract holder. Joining Jill and Kendall as a Special Ad 1s is Jame �ellis, �r/president of Centro, which specializes in strateg neighborhoods, with a specialty i facilitated session around creat.M- Fayetteville creative GARDNER STILWELL; 91 (rent in ;r�r.amie will host a special t which will gather development of the Ji �rdner Stilwell has more than 25 years of lic sector arts and culture experience. She founded Stilwell Cultural Consulting in 2015 in Fort Collins, Colorado as a woman -owned consulting firm providing planning services for the arts and culture industry. Jill assists communities and organizations in vision - oriented projects including cultural planning, strategic planning, master planning, mission development, and creative district designation. She also consults on museum accreditation, and operational and facility planning efforts for museums and theatres. She is certified in planning effective public participation through IAP2. Prior to consulting, Jill served as the Cultural Services Director for the City of Fort Collins from ■ 4 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CULTURAL PLAN PROJECT #23-08 2003 - 2016. In this role, she oversaw the City's performing arts center, museum, art in public places program, botanic gardens, and creative center. She drafted Fort Collins' first Cultural Plan and nominated the City for the 2011 Governor's Arts Award (which it won). She oversaw the department's two largest capital projects: the $8.4 million renovation of the Lincoln Center for the performing and visual arts and the $27 million public/private partnership that is the Fort Collins Museum of Discovery. She also led the effort to establish the Downtown Fort Collins Creative District and has deep experience in programming the performing and visual arts and creative placemaking. Before serving as Director, she worked in museums in curatorial roles and as an executive director. In addition to consulting, Jill shares her expertise and experience withgro�&`e Denver and a Bachelor of Fine Arts from Colorado State Universi, d Jill will co -lead the City of Fayetteville's Arts and Culture PI in all aspects of the project. She will bring her &rtise ir% planning and community engagement as we0+ y culture experience to the project. Jill wills`4as th KENDALL L. PETERSON, Co & P61ic A �ct and participate kNr-gic and cultural So'f m icipal arts and I )ntacrUN administrator. L ecialist Ken . Pet s a creative project ns an tt ore than 24years of arts, is a ural program planning and P�11, cject m gement. Her specialties include ar Culture planning, place -making CcWing, public art planning and policy, 19 jnt-for-art program master planning, lementation and policy development, art site -selection, public process management, arts advocacy, and education. She also has experience in event planning, documentary film, video, and multimedia projects. Kendall established her consulting company i THERESQUARED LLC in 2017 in her hometown of Denver, Colorado to connect and build specialized teams to bring creativity, artistry, and authenticity to all projects whether it's a new plaza or park plan, bringing art to public spaces, community cultural planning or a historic documentary. ThereSquared was begun as a means of bringing Kendall's love of municipal planning, arts advocacy, placemaking and many years of creative project management experience to a broader audience in Colorado and beyond. 0 5 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CULTURAL PLAN PROJECT #23-08 Prior to beginning ThereSquared, Kendall served as the Manager of the Public Art Program for the Hotel and Transit Center Program (HTC) at Denver International Airport (DEN) until 201S and prior to her work at DEN, Kendall was the Public Art Program Manager for the City and County of Denver. She holds a Master of Arts in modern architectural and art history from New York University's Institute of Fine Art and a Bachelor of Arts degree in art history from Wellesley College. Kendall will co -lead the City of Fayetteville's Arts and Culture Plan project and participate in all aspects of the project. She will draw on her vast experience in public art and cultural planning, cultural policy, research acumen, and creative energy to bring best practices, innovation, and excitement to the plan. JAMIE GIELLIS, Special Advisor Jamie Giellis, founder/presi of Centro, specializes in strategic a ughtful _ (re)invest nt in ne' oods, with a specialty s pporti�ts districts. She works closel ith cPsh �y sta Iders to form eff 'v / arts an that help them th v"con so nd culturally. from the Univers Relations from Jamie will tNo decades of experience 711 2011, she helped do Creative Districts and oversaw the aenf86fthe RiNoArt District in Denver. PM more than 60 communities across s well as extensive work in Singapore ��Tmie holds a Masters of Public Administration ver, Colorado and a BA in Journalism/Public Zas our creative sector economic development advisor for the project. She wilJJWher in-depth experience and knowledge of creative sector develop nt and economic planning to the project. She will be engaged in research and develop and host a special session to discuss creative sector economic development and sustainability for Fayetteville. ■ 6 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS &CULTURAL PLAN PROJECT #23-08 Experience U Arts Vision 2030, Community I" �__ '\ ► '� Cultural Plan Client: Cultural Office of the Pikes Peak Region & Bee - = - Vradenberg Foundation _ - - - Consultants: There red & Stilwell Consu I Completed: ber 2021 Client co AngelDir Pi e David Siegel, Former Executive Dire c Bee VA enbur dsiegel@uccs.edu K. z s, Executive ultural Office of the ak egion lc�r loffice.org elation, Arts Vision 2030 is a 10-yea ural pla r6the �s Peak Region commissioned by the I I ff' the eakRegion and the Bee Vradenburg Foundatio n of r prings. Kendall Peterson and Jill Stilwell were the co -lead cons sKithj:�7sential project support from Rachel Cain. Initially Iaun ed i Febof 2020, this project took almost a year's hiatus due to the 9 Pic. Our team pivoted and delivered an almost entirely virtu rocesS. �nched in March of 2021, the process eo used Zoom and th ne B Table platform for interviews, focus groups, surveys, ng, eation and touched 4,S00 people with 664 making direc on ution the plan. Several in -person activities were held as pande strictions were lifted, including a Mad -Lib pop-up booth at Poetry7l d launch event. The unique format of the final plan as Declar reflected the advocacy and passion of the creative community in the re 'on. The Cultural Office Board of Directors brought Jill Stilwell back to develop the Board's five-year strategic plan. ■ 7 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CU LTU RAL PLAN PROJECT #23-08 Arts and Culture Master Plan Cultural Services Department City of Loveland, Colorado Consultants: Stilwell Cultural Consulting Completed: 2019/Adopted 2022 Client contact: Susan Is� Cultural Services D'r Susan.ison cit d.or 970.962.2411 X ' The City of Loveland hired Stilwell Cultural Consulting to prod W first Arts and Culture Master Plan to guide the work of the Cultural Servic s partment for the next 10 years. The Master Plan included the R' It Theatr eats), Loveland Museum, and Art in Public Places. The plan en ed t e mu ty through one- on-one interviews, focus groups, and corms+��i ity e nt deve�' �. emes, focus areas, strategies and actions. The proje nv Ivrea i ission statement, proforma budgeting, and facility rec ndati for the ct Pulliam Building. One of the action items of the Art ultur ter P as to establish a state - certified Creative District in Do n Lov . Jill I was brought back to facilitate the process of develp the crew ' e distr' ich was certified in 2019. Public Art Assessment Client: City of Golden, CO Consultant: Kendall Peterson, ThereSquared Completed: 2021 Public Art Framework Plan Client: City of Golden, CO Completed: December 2022 Consultants: ThereSquared LLC with MIG Completed: 2023 Client Contact: Robin Flieschmann, Manager, Community and Economic Development, City of Golden rflieschmann@cityofgolden.net ■ 8 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CULTURAL PLAN PROJECT #23-08 In 2020, the City of Golden hired Kendall Peterson of ThereSquared, LLC to conduct a thorough audit and analysis of the entire public art collection in Golden. Based upon the audit and analysis, the City then issued a second RFP for a Public Art Master Plan (re -named a Framework Plan) and ThereSquared LLC, teamed with MIG, won this new project in late 2021. The Public Art program in Golden is relatively new, and they were seeking guidance on policies, best practices and near- and short-term goals for the program. The Framework was adopted by the City Council in early 2023. n _ee& i n g a ams The City of Aurora, the seco gest oVosSiNVse city in Colorado, updates its Public Art Ma Ian er ive y.M aving usually done the plan in-house, in 202 it s d th ulting team of ThereSquared and Stil e onsulti to complete the project. The project began with a survey ar na iFthe existing collection which numbers well over 200 rks, tmoved into identifying locations for art and prioritizing 3S I sit �inst updated criteria. The plan also includes a five-year st t gic 10 ith goals and objectives that were developed with i from mmunity in the form of interviews, focus groups, and an Ii su �e outreach phase dovetailed with a s� simultaneo rt and Cu e Master Plan which also informed the strategic . The consulting team also reviewed and recommended updat the Art in Public Places policies and guidelines to meet current best es. The plan is in the final stages of review and is anticipated to be pres nted to a sub -committee of the City Council in November 2023. 0 9 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CULTURAL PLAN PROJECT #23-08 Art in Public Places Strategic Plan and Policy Update Program Plan for Artist in Residence Program Client: Town of Vail, Colorado Consultants: ThereSquared & Stilwell Consulting Completed: 2023 Client Contact: of pard, Art in Public P Coordinator Public Works, To n of Vail Me and vail ov.or The Town of Vail hired ThereSquared an Sti ell C ��Consulting to conduct a thorough analysis of their ex' ti Ar H : INCes policy and guidelines and develop a new Stra an f r t pro �. n addition, our team developed a program pill an tis n Re eoce Program to be housed in Ford Park. The projec its fi ases will be completed and presented to the Town C I in t}Z t cq_u of 2023. 1 Projects In Progl ss P. 5� CO ram. -• kPu rt Master Plan & and Public Art blishment CliofAspen ants: ThereSquared & Stilwell Consulting ted completion: Spring, 2024 Client Contact: Sarah Roy, Executive Director, Red Brick Center for the Arts sarah.royoa aspen.gov v In Spring of 2023, the City of Aspen, CO hired the team ART of ThereSquared & Stilwell Consulting to embark upon "�' the development of its first -ever public art master plan. Ja5ptemn1pub;11cMplan Until this point, the City of Aspen has had no official - public art program, so the consulting team will be leading the City through the research and development of an entirely new program -as unique as the City of Aspen itself. While the project is just ramping up, the consulting team has already helped to plan several unique outreach events for the planning process, 0 10 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CULTURAL PLAN PROJECT #23-08 including an asphalt mural collaboration between the Aspen Ideas Festival and the City of Aspen, as well as events at the Pitkin County Public Library and a fall event to come at the Aspen Art Museum. As a kickoff project for the new public art program, the consulting team will be guiding a "pilot partnership project" co -sponsored by the Aspen Art Museum and the City. The end product will be a public art plan and policies tailor-made for Aspen's world-renowned community. In 2021, as the tail end of the gl its doors to a new Parsons Thr& new facility replaced an cultural amenities, the No h- 1 a long-range cultural plan for I` the new theatre, but also its ar events. The resulting plan v0 Parks and Recreation of being a beacon for, Northglenn Arts Long -Range Plan Client: Northglenn Arts a Humanities Founda io HF) Consultants: Stilw ulting & ThereSquared Expected Comti : November 2023 f lient t: ich e rick& , its & Culture & C1 M ity M er Ci Nor1 n 'N v Vovid p m senic, i c er ar1c lirlXVlt intelll y of Northglenn opened rS.eation center facility. The To accompany the new d Humjfties Foundation embarked upon will guide the activities for not only o am, public art program and cultural imiIar plan being developed for the p to guide Northglenn Arts toward its goal Denver Metro region. 0 11 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CULTURAL PLAN PROJECT #23-08 L a ThereSuared and Stilwell Cultural Consulting approach our projects and commnity engagement with these values underpinning our methodology: No two projects are the same. We do not start or end our process with a preconceived idea of an outc e; the outcome is driven by and derived from input from the key stakeholda the community. Nr& Collaboration is key. Y We are experts at working with multiple stakeholders. We e it is essential to fully integrate not only City staff and Boards, but also lead rom the cultural community and other key sectors, and th��3rrmuniti� ge into our process. Your community knows what it nee �� We act as facilitators, idea generato Sv ve&er ener iddlem solvers and consensus builders. Our goeast6sidering in ' ive guidance, experienced feedback and tise eed never take the process away from stakehoco nity ers. Include all voices. We understand intent r t be ma to reach those who may be disinclined to participat or w ve aditionally or systematically marginalized. People wit dive e ba� nds and identities will be given space to speak and share their lhectiv aping the plan. We will: • Seek oppo U i ies to people where they are • Lower J�r�rs to ment • Ideq!i keh illing to advise on pathways to engagement • Ask we ca of service We will for "Artful Engagement." Resi are more likely to think creatively when they are having fun making and ng creatively. To enhance public participation, we will invent "Artful Engag ments" that are tailored to the Fayetteville community. These can be low -tech, hands-on activities that pop-up at existing community events. We can also develop more interactive or co -creation activities to engage the community in art in public spaces. Whether simple or in-depth, these engagements are designed to increase community input into the planning process and foster inclusion and participation. ■ 12 STILWELL CULTURAL CONSULTING LLC FOUR -PHASE APPROACH _�k 3CONFIRM WORKPLAN & COMMUNI TIONS Our Team will work closely with staff ro The A Culture Division throughout the course of the pro' t. gul r o uni ions meetings will keep the project on track M the ule e will rovide brief monthly project updates that track pro an ke verV ormed on progress and items that need to be accomplish v Confirm project -specific ives, mes, rables and schedule. Create a Project Advis oup Wd p of om the Arts and Culture Division and other n ifie he C' • Determine our spe ' is p is nn gemen tivities, timeline, marketing plan, and materials. Establish a regular m eting ate/tI' th The Arts and Culture Division Staff/Project Advisor &P D' Initial identificatio o y sta bM�ers (this list will be further defined in Phase III) .`� Provide brie hlytatus reports to The Arts and Culture Division Staff. OurteatOTyvill evelop a ommunications Plan to share progress on the plan wi Nublic, stakeholders and partners and educate and build ex ent for Fayetteville residents about the impact of Arts and Culture. 1 and confirm outreach needs, especially for inclusion of under - pa cipating groups that are critical to the planning process. Begin working with the Municipal Arts Alliance and Creative Arkansas Community Hub and Exchange (CACHE) and other groups to identify key stakeholder groups who may have been underrepresented in other Fayetteville planning efforts. Phase I Deliverables: + Confirmed Work Plan + Signed Contract + Initial Key Stakeholder Contact List + Monthly progress reports + Communications Plan ■ 13 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS &CULTURAL PLAN PROJECT #23-08 RESEARCH AND DISCOVERY With the help of the Fayetteville Arts and Culture Division and others, we will identify areas of research for our team and conduct in-depth analysis of existing conditions in the city. The research will include: Immersion Tour Our planning process begins with an in-depth tour of Fayetteville. Since we are new to the city, we would take extra time at the outset to tour your key cultural assets, placemaking locations, external partner locations, public art, and important gathering spaces will help us better understand Fayetteville'tN assets, challenges, and current conditions. This Immersion tour ca K e in one -to -two days, with guidance from City Staff and stakeholders r could be combined with the kick-off meeting, public art assessment a key interviews, if needed. e) Kick-off meeting with Project Advisory G u Facilitate a workshop with the Project Ad sor_* Group*, rstand the environment in which Fayetteville's Arts nd-Cult r ion erates and to begin to discover the needs, opport prior ie d a Nns for the Division. , �® Staff/Leadership Interviews o' Conduct up to five one -on- ervie h re a City staff and/or City leaders to gain an in-dep erst di ofille's current Arts and Culture Division and org l wit City. Data Research and Analysis CO • Research and analyz emo raph ends in Fayetteville including key demographic, eco s'acia1, �ther trends and characteristics of the community that rT54rpact e Arts and Culture Division serves the community. • Assess and ie exis ' `vant plans and policies, as identified by the City. • Assess curreity su —financial and structural --for Fayetteville's arts and cuprograms and current partnerships. Research possible funding me a S. • PH^ h existing Public Art and/or Arts and Culture policies or guidelines. • . e an inventory of existing cultural assets and spaces in Fayetteville, inc ding projects, programs, or facilities being planned. • Research the current economic impact of the creative industry in Fayetteville. ■ 14 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS &CULTURAL PLAN PROJECT #23-08 Cultural Mapping In addition to our Immersion tour, Cultural Mapping is one of our favorite creative tools to research and analyze Fayetteville's cultural landscape. Through research with staff and stakeholders, as well as hosting a charrette and engaging the community (in Phase III), we will develop a cultural map that identifies Fayetteville's existing cultural assets and spaces, future areas of cultural growth, its history, note areas of changing demographics, and the implications of regional growth. Public Art Collection Assessment As part of understanding the existing conditions and preparing f opment of a public art plan, our team will assess the City's existing perm nt and temporary public art collection. As needed, we will update anpl.�nhance the existing asset inventories and characterize the strengths aaknesses of the existing collection. Needs Assessment v ,�`►V Through the data gathered in Phas t� arcf(rj&miov r �I Phase III Communit Engagement),wewill I11riv s Assessment that (Community P details and analyzes needs, oppor es, ga hallen d community priorities. The Needs Assessme it lever e cu mapping, evaluate the existing cultural resources a ntify aps s that need improvement. In Phase III om ,z ni will e, in providing input into the Needs Assessment. �(/, Peer and As irational it Id "ca Research and benchmar up to thre 11 parable cities or programs that demonstrate creative ;S�ortunities Ntions that can serve as models for Fayetteville. While n45)t enchrogram will be a perfect roadmap for FayetteviIle's Arts urnon, this report will include analysis of best practices in oth.2.r c ti s th rovide policy, procedural and practice examples for considerati n Phase I iverables: + Arts a ture Inventory + Public A Inventory and Assessment + Initial Cultural Map (based on research, inventory and internal charrette) + Initial Needs Assessment (initial findings) + Peer and Aspirational Cities Report + Monthly progress report ■ 15 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS &CULTURAL PLAN PROJECT #23-08 COMMUNITY and STAKEHOLDER ENGAGEMENT PROCESS The focus of this Community Engagement phase will be to gather ideas from Fayetteville residents and visitors as well as the artists, creatives and cultural organizations in Fayetteville. The process will also create awareness and engage residents in the process to ensure the Plan reflects the community's needs and priorities, while also building enthusiasm for the plan. Below is an outline of a series of well -organized and directed activities that will ensure inclusive, citywide engagement. We are professional facilitators, and well -versed in using a variety of effective and dynamic methods to engage all communities across Fayetteville including underserved and under - participating populations, communities for whom English is a second �kl language, artists and creatives, nonprofits, creative businesses, donQ�'� corporate funders and partners. These methods are aimed at solicitquality input from as many people as possible, in an open, equitable anoa`ctive process. Expanded Stakeholder List �,� Based on the research and cultural mappin f P e�e ca further develop our stakeholder engagement plan i t d in a . By d his, we can hone our efforts and maximize our ch Zito co Y. Stakeholder Interviews Conduct up to twelve one- 00 inter I ,�r s oup sessions (virtual) with key stakeholders identifi hase i.e. it hip, cultural leaders, elected officials, artists, busin ers, �pers,� n-profit leaders, donors/grantmakers, velop ,aJ7Mershi fr underrepresented communities, etc.) ♦ Lo Our team will create �r sect a )7Speakup.Fayetteville-ar.gov. We will design a look andtf Q10for the t page and draft content including an introduction to e�gpnnl '�cess, a project timeline, details about upcoming community eng ment�✓ities, and provide regular updates on the planning process. C rr eam has specialized experience in using EHQ/Bang the Table for outrea po 11 S'.0 cream understands how to utilize engagement tools such as Q & A, quick n and mapping tools as well as launching surveys. We can also Led outreach via polls in languages other than English, as well as mapping in target neighborhoods. We will work with The Arts and Culture Division staff/Project Advisory Group to develop a schedule of updates and messaging to keep the project page fresh. Focus Groups Host up to six focus groups (virtual or in -person) with stakeholder groups such as project partners, local artists, arts organizations and groups representing hard to reach populations and individuals with disabilities. We will coordinate with the City to identify and connect with people from each of these groups. ■ 16 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS &CULTURAL PLAN PROJECT #23-08 Project Advisory Group Work Sessions In addition to the initial meeting in Phase II, we will host two work sessions/meetings with the Project Advisory Group during Phase III. The meetings can be confirmed during Phase I, but will likely include: • Discussion of Community and Stakeholder Engagement Summary and emerging themes • Vision and Goals workshop Artful Engagements To enhance public participation, particularly for under -served populations, we will develop three "Artful Engagements." These pop-up outreach activities expand opportunities for the public to engage with the planning process. These engagements can be low -tech, hands-on interactive activities that pop-up at existin community events or venues or working ith local Fayetteville artists to develop a co - creation activity of making art in a p ace, or a stand-alone event inviting the uni to engage in a facilitated creativ ersati n. ne of Engagements can focus on en g the unit A / l: n I - depth, these designed to increase agement and give direct tfu I Itural Mapping. �e planning process and foster d participation. We will develop tful Engagements in consultation ayetteville staff based on event aortunities, communities identified for rall budget. wllydesign and launch a community survey to learn more about the desires of the broader community for arts and cultu re in Fayetteville. use the survey tool on EHG/Bang the Table or link to SurveyMonkey. Targeted Surveys We can also design targeted surveys to reach artists and creatives, non -English- speaking populations, creative business entrepreneurs, and other constituents through EHG/Bang the Table or link to SurveyMonkey. This allows more in-depth discovery about the needs and aspirations of the creative community and how the Arts and Culture Division can support the creative industry. ■ 17 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CU LTU PAL PLAN PROJECT #23-1 Public Art Program Development/Charette Public Art is a specialty area for our team. Since one of the key deliverables is a new Public Art Policy document for Fayetteville, we will hold a Public Art Charette with the Project Advisory Group and invited guests as determined by the City. The goal of this charrette is to discuss the existing collection, public art policies, selection methods, locations for new placemaking and artworks, funding mechanisms and identification of areas where the policies can be better developed and defined. Ultimately, the information for the charrette will provide information for the final Public Art Policy deliverable. Creative Sector Economic Development: Special Session As stated in the PFP, this project will be a" high -profile project that w' pe the future of our community's cultural landscape." We have invited J ellis as a special advisor on this project to provide the City of Fayetteville a special session to discuss creative sector economic development an st inability. Jamie's expertise with arts, culture and creative sector dev ent and planning runs deep. She began her compa Centro i o help communities catalyze collaborations and art ership een the public and private sector. Centro's work has helped to ster e an funding districts, neighborhoods and communities, a ides er ' s to s then cities and neighborhoods, from research and gy ve erg -the-ground implementation. Her firm is focu emp ring p nd organizations to create great, sustainable place tingg a an Ivity in the process. The Consultant team, wit ial A isami is will partner with Fayetteville's Project i ro plan ecial session. Phase III Deliverables: + Cultural Map (revised) + Needs Assessment (revi Z'� V + Expanded Stakeholder t + Webpage design aOe I CI ch �� + Community and old ement Summary • Up to 12 on - one i�ews • Up to us roux • Thre ul Engagements • P1 idkLI i rt Program Charette + Cultu for Economic Development Session Summary + Survey( analysis ANALYSIS AND SYNTHESIS OF FINDINGS & PLAN DEVELOPMENT Theme Development Following our robust community engagement phase, themes will begin to emerge. We will analyze and synthesize all our data and community input to develop themes and a framework for the Arts and Culture Plan. These themes and ■ 18 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CULTURAL PLAN PROJECT #23-08 framework will be reviewed with the Project Advisory Group and others as needed in preparation for drafting the plan. Draft Plan The consultant will integrate the information generated in the three phases above and produce a written plan with a ten-year horizon. The Plan will be in an attractive, inviting and easy to navigate format. The look and feel of the plan will reflect the passion and the purpose of the Fayetteville creative community, which could include engaging a local graphic designer and/or local artists in the design of the plan. The full -color document will include photos provided by the Arts and Culture Division as well as photos gathered during the planning process and local ork as specified. The final Arts and Culture Plan will include: • Executive Summary: This short document will be a down,peypa le PDF to provide an overview of the plan, its goals, and objectives a ell as the key findings. `` • Vision Statement: The creation of an a QPIr tional Statement that is very specific to Fayetteville is a key cQmen Plan. will identify the overarching vision for arts and cLl"e4ivisio in C ity. • Strategic Plan: we will divide the plan int ne erns, erm and long- term priorities, goals and stra es'. inclu I timel' udget recommendations and actieps. TT tegi we will include: i. Implementat' an: ��wl�f'crea aphic or chart to outline the action steps im tin ategic plan goals. ii. Funding Plan: As m i 2lti f our research, we will outline and prioritize possi fun ing r rements and potential sources needed to augment AiIIe's nd culture sector, public art program, and other k ures plan as well as recommending govegbe4 ctuf iii. Pu`b�i ►Art P .Based on Phase III research and review of existing ies, the consu ting team will deliver a recommended new public ZRolicy document for Fayetteville. It will identify vision and goals ecific to the public art program, provide guidance and policies for unding and selection of new artwork and murals, collection management, and maintenance. iv. Evaluation Framework: Often arts and culture departments can find it challenging to quantify the success and impact of their programs. Our consulting team are experts in designing flexible frameworks by which progress toward the strategic plan goals can be measured. This could include metrics, qualitative and quantitative data, anecdotal evidence and benchmarks by which the community can gauge the value, quality, reach and impact of programs, arts and 0 19 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CULTURAL PLAN PROJECT #23-08 cultural experiences, organizations, and individual artists that received funding from taxpayer funds. Review, Revise and Refine the Plan Draft Through an iterative process, our team will work with The Arts and Culture Division staff and key stakeholders to review, revise and refine the draft plan. Presenting Draft Plan for Feedback The Plan will then be presented to Parks, Natural Resources and Cultural Affairs Department, the Fayetteville Arts Council, the Parks and Recreation Advisory Board for comment. In addition, key goals and strategies of the plan can be post EHQlBang the Table for public comment. Our team will use this feedk�a further refine the plan. Final Arts and Culture Plan Ze Our team will use the feedback above to finalize the Arts and Plan. We will deliver an electronic copy to The Arts and Cult Division ' a ditable format such as Microsoft Word or In Design. We understan T Arts Iture Division shall be the owner of the document as well as all w rk er he pining process. • txlu Phase Iv Deliverables: Phase •, + Themes and framework for the PI V► + Draft Plan + Presentation deck + Final Arts and Culture Pla ble f as o.� Q ■ 20 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CULTURAL PLAN PROJECT #23-08 Below is an outline of all proposed costs associated with the project, including consultant fees, travel expenses and other applicable expenses. This Budget Proposal assumes the City will provide access to marketing resources, including web platform and social media, venues and hospitality for hosting meetings and events, and access accommodations for translation, either in -person or written. If ^City is unable to provide these resources, the consulting team can update the sed budget. QN, �W' Fee Breakdown Consultant Hours (combi (consultant vv Fees (combined) Phase I: Confirm Workplan & Communicatio%382� $4,400 Phase II: Research and Discovery $41,200 ^ Phase III: Community and Stakeholder Engagement n' V $72,200 Phase IV: Plan Development $31,600 Y�C(ans'U'1$ g Fees: $149,400 Creative Sector Econ v Ad 'sor Si A 11:1� $5,000 Graphic Design Servic clu in apping) 10,000 Community Eng r8it (s rtists fees) 5,000 Trav not to exceed) $19,500 Total Proposed Budget: $188,900 Consultant Fee Schedule Hourly Rate Est. Hours Fee Jill Stilwell - Co -Lead $200 351 $70,200 Kendall Petersen - Co -Lead and AIPP Specialist $200 351 $70,200 Admin Support $100 90 $9,000 ■ 21 STILWELL CULTURAL CONSULTING LLC FAYETTEVILLE ARTS & CULTURAL PLAN PROJECT #23-08 Please see the "Other Attachments" upload for samples of previous plans created. We have provided three plans for your review: • ArtsVision 2030 _^ • Loveland Arts & Culture Master Plan • Golden Public Art Framework & Policy v For Kendall Peterson & Jill Stilwell �G Deana Miller, Executive Dir owr oundat' admin lowr foundation 03-3 81 Angela Seals, Execu ' irect , Ctfltura e of the Pikes Peak Regionan ela to is an amail.com Michael Stricker, Arts & CuI rFe & C AnCDnity Manager, City of Northglenn mstricker north le or` V CLIENT LIST V Following is a seIelVi of ou s collected client list: Arts District on Santa F C� Cityo akewood, CO Aurora Housing Aut , CO City of Lone Tree, CO Avenir Museum of i and City of Loveland, CO Merchandisin City of Northglenn, CO Beaver Creek R or , CO City of Thornton, CO Biennial ofthe A ericas City of Wheat Ridge, CO Butler Arts Center, IN Cherry Hills Village, CO City of Aspen, CO City of Aurora, CO City and County of Denver, CO City of Colorado Springs, CO City of Commerce City, CO City of Fort Collins, CO City of Golden, CO Colorado Department of Transportation Colorado State University Cultural Office of the Pikes Peak Region, CO Denver International Airport Denver Regional Council of Governments Denver South, CO Foothills Arts Center, Golden, CO Fort Collins Museum of Discovery, CO Golden History Museum & Park, CO Good Times Restaurants, Inc., CO Metta Urban Design, MT Middlesex County, NJ National Western Center, CO QDOBA, CA Rampart Range Metro District, CO Regional Transportation District, Denver, CO River North Arts District, CO Steamboat Art Museum, CO Town of Parker, CO Town of Vail, CO ■ 22 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS &CULTURAL PLAN PROJECT #23-08 As owners of our own individual consulting firms, we each maintain a balanced workload to ensure we can devote the resources needed to successfully meet each client's needs, within budget and on time. Jill Stilwell and Kendall Peterson have been teaming together regularly since 2019 when we successfully partnered on Arts Vision 2030, a 10-year cultural pla he Pikes Peak Region, a two county region in Colorado with more than SjLX ion residents. As co -leads on half -a -dozen projects to -date, we work se s ly together and combine our expertise and skills to the benefit of our clients d Currently, we are prepared and able to carry ouLthe scop( current slate of projects that we are teamed t e er for) Cultural Plan for the Northglenn Arts and +Hmanitij��%tl Plan for the City of Aurora, and a new Prt Pla have smaller individual projects that &con ing on commitment or abilityto com let e cope, rk o P^ P � ►dt in this RFP. Our es: a Long -Term o ublic Art Master y 1 spen. Each of us Zne will affect our in your RFP. Our proposed appro �.\64s pr �an be completed in approximately11 months from the time of fi �.trac ' �� meet the June 2024 completion date. The final timeline will nfirm ii'fi the City. TJ INE Phase I: Confirm Work Plan & .■.����..■■ Communications Execute Contract Confirm Workplan Establish Project Advisory Group Initial Stakeholder List Communications Plan ■ 23 STILWELL CULTURAL CONSULTING LLC FAYETTEVI LLE ARTS & CULTURAL PLAN PROJECT #23-08 Phase I Deliverables: Confirmed Workplan, Signed Contract, Initial Stakeholder list, Comms Plan, Progress Report Phase Ill: Research & Discovery 4MEL—VDec Immersion Tour Jan Feb Mar Apr May june Kick-off Meeting with Project Advisory Group Staff/Leadership Interviews Data Research and Analysis Cultural Mapping (part 1) Public Art Collection Inventory/Assessment Need Assessment Peer City Benchmarking Phase II Deliverables: Arts & Culture Inventory, Public Art Assessment, Initial Cu ap, Initial Needs Assessment Findings, Peer/Aspirational Cities Report, Month Pro Reports •Stakeholder SeptEngagement Feb Apr May A Expanded Stakeholder List • One -on -One Stakeholder Interviews (up to 12) Develop/Activate Speakup.Fayettev;eQ gov Focus Groups (up to 6) On-line General Survey Targeted Surveys Artful Engagements (3) Public Art Program charrette Creative Sector Economi ev I men Project Advisory G up sessio Phase III DeliverNk. Cultural Map, Needs Assessment, Expanded Stakeholder List, Project page design/launch, Communi older Engagement Summary, Creative Sector Economic Development Session Summary, % Survey(s) Analysis ��� Theme and Framework Development Draft of Arts and Culture Plan Review, Revise, Refine Draft Plan Feedback Presentations Deliver Final Arts and Culture Plan Phase IV Deliverables: Themes & Plan Framework, Draft Plan, Presentation Deck, Final Arts and Culture Plan ■ 24 STILWELL CULTURAL CONSULTING LLC City of Fayetteville RFP 23-08, Arts and Culture Plan SECTION C: Signature Submittal 1. DISCLOSURE INFORMATION Proposer must disclose any possible conflict of interest with the City of Fayetteville, including, but not limited to, any relationship with any City of Fayetteville employee. Proposer response must disclose if a known relationship exists between any principal or employee of your firm and any City of Fayetteville employee or elected City of Fayetteville official. If, to your knowledge, no relationship exists, this should also be stated in your response. Failure to disclose such a relationship may result in cancellation of a purchase and/or contract as a result of your re onse. This form must be completed and returned in order for your bid/proposal to be eligible for considera PLEASE CHECK ONE OF THE FOLLOWING TWO OPTIONS, AS IT APPROPRIATELY APPL DOUR FIRM: X _1) NO KNOWN RELATIONSHIP EXISTS fZ 2) RELATIONSHIP EXISTS (Please expl n): o ._� r� -Raw Ni— I certify that; as an officer of this organization, or e attac e letter o orization, am duly authorized to certify the information provided herein is acc nd tru a my or n ion shall comply with all State and Federal Equal Opportunity and Non-Discri n n requii ents a o itions of employment. Pursuant Arkansas Code Annotated 3, t racto r es and certifies that they do not currently boycott Israel and will not boycott Israel duri im i ich the are entering into or while in contract Y Y � Y g with any public entity as defined in §25-1-503. f at ai during contract the contractor decides to boycott Israel, the contractor must nedphone c'%+ed putity in writing. 2. PRIMARY CONTACT INFO At the discretion of the City, ��Y be asked for more detailed information before final ranking of the firms, which may als "er iews. NOTE: Each Proposer shall submit to the City a primary contact name, e-mail a, n ber (preferably a cell phone number) where the City selection committee can call Nfication or interview via telephone. Corporate Nam' m: Stilwell Consulting LLC Primary Contact: _Jill Stilwell Title of Primary Contact: _Owner/Principal Phone#1 (cell preferred): 970-218-6542 Phone#2: E-Mail Address: jillstilweII07@comcast.net City of Fayetteville, AR RFP 23-08, Arts and Culture Plan 3. ACKNOWLEDGEMENT OF ADDENDA Acknowledge receipt of addenda for this invitation to bid, request for proposal, or request for qualification by signing and dating below. All addendums are hereby made a part of the bid or RFP documents to the same extent as though it were originally included therein. Proposers/Bidders should indicate their receipt of same in the appropriate blank listed herein. Failure to do so may subject Contractor to disqualification. ADDENDUM NO. SIGNATURE AND PRINTED NAME DATE ACKNOWLEDGED RFP 23-08, Addendum 1 Jill Stilwell 8-14-2023 4. DEBARMENT CERTIFICATION: 4Zification N As an interested party on this project, you are required to provide debarment/suspe indicating compliance with the below Federal Executive Order. Certification can be done by pleting and signing this form. e) Federal Executive Order (E.0.) 12549 "Debarment and S ension" r that all contractors receiving individual awards, using federal funds, and all sub-recil cc tify th rga&ization and its principals are not debarred, suspended, proposed for debarment, dec red inel volu excluded by any Federal department or agency from doing business with the l�Gover n t. W Signature certifies that neither you nor your princi resent ebarred, se�ded, proposed for debarment, declared ineligible, or voluntarily excluded fro ' i icipati is tr on by any federal department or agency. Questions regarding this form shout cted t ity 0 ville Purchasing Division. � y NAME OF COMPANY: Stilwell Consulting PHYSICAL ADDRESS: 2250 Bellwe o e�, For �31 `s, CO 80521 MAILING ADDRESS: 2250 Beier La �� ollins, CO 80521 TAX ID # PHONE E-MAIL: 521-37-75 �. SECRETARY OF STATE FILING #: _970-2 42 FAX: __jillstilweII07@comcast.net SIGNATURE: PRINTED NAME: fill Stilwell TITLE: Owner/Principal DATE: 8/ 14/2023 City of Fayetteville, AR RFP 23-08, Arts and Culture Plan Jill Gardner Stilwell has 25+ years of public sector arts and culture experience. She founded Stilwell Cultural Consulting in 2015 in Fort Collins, Colorado as a woman -owned consult- ing firm providing planning services for the arts and culture industry. Jill assists commu- nities and organizations in vision -oriented projects including cultural planning, strategic planning, mission development, museum ac- creditation, and operational and facility plan- ning efforts. Education Master of Arts Art History & Museum Studies University of Denver Bachelor of Fine Arts Minor in Art History Colorado StatV(!Iniversity Select Professional Experience Owner, Stilwell Cultural Consulting, LLC, 2resen Provide consulting services to clients in the a n cultur '61stry. Senior Instructor, Colorado State Unvi , 2017 1Pent Teach graduate -level Arts Managemen o S. �w J► Cultural Services Director, City o ort C i olorado 3 - 2016 Led the Departments core programs: the Lin n Ce he performing and visual arts, Fort Collins Museum gikDisco ery, A Public Places, Gar dens on Spring Creek, Community -Lent Fort Fund granting program. Managed $6+ million ann 1 udg ed national touring per- forming arts productions and ated $1 n annually in contracts. • Oversaw department's 1 g st pita and fundraising campaigns: $8.4 mi4pprivate ted e perforx g arts center (2011) $27 milFort Collins Museum of Discovery (2012) $4 buildens on Spring Creek (completed in 2019) Spearheadt Cultural Plan and Cultural Facilities Plan, 2008 Led Downollins Creative District certification (2016) • Nominated Fort Collins for Governor's Arts Award (received 2011) • Secured one of only 51 NEA "Our Town" grants (2011) to develop Com- munity Creative Center Museum Director, Fort Collins Museum, Colorado, 1998 - 2003 Managed all aspects of museum operations, fundraising, capital projects and community development. Museum Curator, Fort Collins Musuem, Colorado 1995-1998 Museum Curator, Hiwan Museum, Evergreen, Colorado 1993-1995 Personal Information Phone 970-218-6542 Email jillstilwe1107@comcast.net Address 2250 Bell v ter Lane Fort �!Iralconsulting.com CO 80521 stil l IG?".linkedin. com/in/j illstilwellcom/in/j illstilwell Areas of Expertise kN & culture industry ultural planning Strategic planning Master Planning Public Art Mission development Museum accreditation Operational & facility planning Certification Planning effective public participation (IAP2) ivlemberstups American Alliance of Museums Other Activities Conference presenter & panelist Grant reviewer Food Bank of Larimer County, volunteer Poudre Landmarks Foundation, Board president References provided on request KEN DALL L. PETERSON 7817 E 22nd Place, Denver, CO 80238 PROFESSIONAL EXPERIENCE Kendall Peterson has more than 24 years of arts, events & cultural program planning and project management including documentary, video and multi -media projects. Specialties include cultural and public art master planning, strategic planning, public art program implementation and policy development, site -selection & place -making consulting, community outreach & public process management, arts advocacy and education. CREATIVE PROJECT CONSULTING THERESQUARED LLC Denver, CO OWN ER 2017-Present ThereSquared LLC is a consulting company that connects and builds specialized teams to bring creativity, artistry, and authenticity to all projects. Whether it's a cultural plan, a public mural project, a community outreach even^formational video, ThereSquared has you covered. ThereSquared was begun as a means of bringing Kendall's 24+ e eative project management experience —including public art, print and branding campaigns, film, and vide c to a broader audience in Denver, CO and beyond. PROJECT & PROGRAM MANAGEMENT CIG LLC e) Denver, CO PUBLIC ART PROGRAM MANAGEMENT for DEN HOTEL AND TRANSIT CENTER 2012-2016 Contracted through CIG LLC to oversee selection process and im entation oL ' Al r�File public art projects (budgeted at over $6 million) for the Hotel and Transit Denver at Denver In rna onal AirpN). Developed a new arts & culture policy document to guide selection and approval process. CHIEF CREATIVE OFFICER ♦`� 2015-2017 Led creative campaigns for Colorado Department o ortatio er educatio ding The Heat Is On, Click It or Ticket, Distracted Driving and Child Passenger Saf t rk on th paigns i u brainstorming, pitching to clients, scripting, production/post-production of attenti a bing A d signed driver behavior. Other work as CCO included development and production of co t videos ants for �i c)ents as Denver Urban Renewal Authority, Downtown Denver Partnership, Children' al and do Acts f s Foundation. DENVER ARTS & VENUES Denver, CO P PUBLIC ART PROGRAM MANAGER � � � 2006-2012 Oversaw the Public Art program for the City & C my of 1►yer accordance with the Public Art Ordinance (D.R.M.C. 20 85 et seq). Managed all budgets (totali oli y pe or the Public Art Program & the Urban Art Fund for Graffiti Prevention. Developed & authored t�olicy Wing documents. Acted as the primary spokesperson and City Council liaison for the Public Art Pr ra .Sup rvv la staff of three full time employees & co managed the Public Art Program at Denver Internatio leort. Pers naged between 10 15 major Public Art projects each year, including art selection process, con f.n esign ent, installation & promotion for each project. FILM & VIDEO PR CT�dNv Nearly ten years erience (1995-2004) as a producer/director/writer of high -end documentary films for clients such as Nation g phic, Discovery Channel, History Channel & others. Predominantly worked for ARCWELDER FILMS in Lo g s. Hired creative teams & oversaw development and production (local and overseas) of award - winning fil ere on time, on budget & received high network ratings. Credit list available upon request. EDUCATION UNIVERSITY OF COLORADO DENVER, SCHOOL OF ARCHITECTURE & PLANNING Denver, CO Master of Arts — Urban and Regional Planning classes. (Suspended due to availability.) DOWNTOWN DENVER PARTNERSHIP Leadership Program --- 2010 Denver, CO NEW YORK UNIVERSITY, INSTITUTE OF FINE ARTS New York, NY Master of Arts --- January 1994 Concentration in Modern Art & Architectural History. WELLESLEY COLLEGE Wellesley, MA Bachelor of Arts ---June 1990 Art History Major. Magna Cum Laude & Phi Beta Kappa. Member of Varsity Crew team & recipient of Most Valuable Player & Scholar Athlete awards in 199o. JAM I E G I E LLI S President, Centro Inc. ■ PROFESSIONAL EXPERIENCE ,.....•• ......., ., . Ce nTro ;• •. ; ; ; peopleplaces • . ... Centro Inc. — Denver, CO Founder and President, December 2009 to Present Centro catalyzes collaborations and partnerships between the public and private sector to bolster districts, neighborhoods and communities, providing services to strengthen cities and neighborhoods, from research and strategy development to on -the -ground implementation. The firm is focused on empowering people and organizations to create great, sustainable places boosting culture and creativity in the process. Representative projects include: Establishing first -of -its -kind place management approaches, developing the country's first public/prit ership to manage Singapore River, and writing new national Business Improvement District legislatio n i ore Guiding the feasibility and development of Business Improvement Districts (BIDs) in more than 2 ations across the US and the UK, including support to the UK Labour Party to reimagine policy tools to support Hi tree s Developing the program to implement Colorado's Creative District legislation, and manag' program for six years, supporting dozens of individual districts across the state with strategic planning ankTVnizational support Developing the expanded organizational structure for RiNo Art Di tin Denver, ging expansion of the art district's efforts to support the creative community, including the exp Sion f the CR ral f&der l Supporting reinvestment in Colorado's cultural and historical f ciliti,e incI h orld's View Tower in Genoa, CO and the properties owned by the Central City Opera 'A City, C Supporting community -wide visioning and strategy dev is in ore 0 ne' s, districts and cities across Colorado, the U.S. and beyond ` Progressive Urban Management Associates, aDenver, C Associate May 2006 to January 2010 v �► Provided project management and lead s or the firm's Tonal do management and planning practices. Specialties included strategic planni— rket resear p facili�' on, iness improvement district formation, marketing and communication strat i d desig$�Zn ity eeconomic development strategies. N Cedar Rapids Downtown District — Cedar Rap I CO Executive Director, May 2003 — May 2 `` Managed all facets of a downtown b i s Oroveme tTict (BID) and a non-profit membership organization. Also provided oversight on tax incremen fin TIF ures. Acted as liaison between the private sector and local p g g( ) government, guiding overall p lic to er)j fixed -use development and other projects in downtown Cedar Rapids. Directly responsible f cacy eff ehalf of downtown interests, managing business development initiatives, marketing and to campaig . ing a diverse array of special events — and oversight of streetscape enhancement efforts' ludi n enhanc c aning and maintenance program. Marketing and �e nication Strategies, Inc. — Cedar Rapids, IA Director of Pu la ns, May 2001— May 2003 Managed ANtions strategies for local and national clients for full -service public relations and marketing firm specializing ec nology and communications industries. Developed strategic marketing plans and branding strategies for clients and co dinated implementation. Managed grass -roots public relations efforts and media outreach to create publicity and positive community image for companies and non-profit organizations. Key accounts included national clients Cellular One, Wells Diary and the Make -A -Wish Foundation, and local clients including the City of Cedar Rapids, Torus Technologies and multiple non -profits. KGAN-TV, CBS News 2 — Cedar Rapids, IA On -Air News Reporter and Producer, January 1999 — May 2001 Covered local community issues, responded to breaking news, and developed enterprising story ideas on a daily basis. Managed and produced news broadcasts, and provided live on -air reporting. ■ EDUCATION Masters of Public Administration, University of Colorado, Denver, Colorado Bachelor of Arts, Journalism/Public Relations, University of Iowa, Iowa City, Iowa i c ��� Q G � City of� Golden I to Darling Neighborhood Community Gardens AL CITY OF GOLDEN PUBLIC ART COLLECTION AUDIT AND ANALYSIS REPORT Presented by Kendall Peterson, ThereSquared LLC March 22, 2021 7a L- Introduction GREETINGS FRom From murals to monuments, fountains stained glass, public art is an impor men of cities and towns around the I t ha available and accessible to every e c n our main streets, our parks and of er are where the public gathers. Art mem Aalize im- portant historic areas and anch Olouri destinations. Public art enhanc t qu lit of life for all residents, incr 1, 1 acces experiences for all and e re, n an unlimited number topV fromry and nature to modern issues. Americans f is reports that public art can be a powe I economic tool, attracting new businesses to cities, drawing and engaging a new workforce and inspiring creativity leading to innovation (Americans for the Arts, "Why Public Art Matters," 2018). Public art has the possibility of offering one -of -a -kind experiences specific to that location. Art in public places gives our com- munities an opportunity to discover layers of meaning, enjoy the vibrancy of enhanced space: and witness the history and aspirations of the community. Public art is an essential compo- nent of a thriving community. ART MATTERS ublic spaces plays a distinguishing r in our country's history and culture. It ♦ reflects and reveals our society, enhanc- es meaning in our civic spaces and adds uniqueness to our communities. Public art humanizes the built environment. It provides an intersection between past, present and future between disciplines and ideas. Public art matters because our communities gain cultural, social and economic value through public art. ("Why Public Art Matters, 2018,' Americans for the Arts). Nearly half of people with college degrees and a majority of millennials say they would strongly consider whether a community is "rich in the arts" when deciding where to locate for a job. ("Speak Out Art", 2016, Americans for the Arts). CITY OF GOLDEN PUBLIC ART COLLECTION AUDIT AND ANALYSIS REPORT Overview of Public Art in Golden and the Case for Planning Public art comes into our communities in a vari- ety of different ways. In some cities and towns, the public art was acquired primarily through generous donations of existing artwork, pur- chase, or loaned works. Such is the case in Gold- en. That the City was able to secure prominent works of art through donations is a testament to the community's commitment to cultural vitality. In many cities, public art is commissioned and installed as part of a planned public art program (funded via public funding, non-profit founda- tions or public/private partnerships). A planned program, with an open and competitive commis* sioning process, can guide the public art collec�� ' tion over time according to goals and motivge� set out by the commissioning entity. Purpose and Methodology of Audit �w Analysis _✓ P This Public Art Audit and Analysis report the City of Golden is intended to ami the entire Golden public art crilboth donated and commissioned t r ) wit an eye toward a summarir analysis rt t of the entire collectiorta d.LUe ar relationship to the mrity anure of Golden. The purpose i udit is to assess the entire collection o hir y-seven works to ascertain the following: • Media/Methods contained in the collection, - Dates of artwork and manner of acquisition, - Subject matter/genres of works; • Artists (location, gender, race, age, etc.), - Locations of artwork (distribution/ accessibility/gaps/areas with no artwork); • Ownership/loans vs. permanent; • Gaps in collection and under -representation in the collection; and Additional analysis as needed/requested. he following Audit and Analysis of the collection began in December 2020 with in -person visits to gather data on each of the works of art over several weeks. Each work of art was noted for many different features, listed above. A spreadsheet of these findings is listed in Addendum A. he purpose of this repo �dit and assess the existing c n. It will not give recommends 'on or the future of the collection. How he report will conclude with some Da raphs and observations and q estion Public Art Commission to apple uringg��future public art planning or aeTulanni;N CITY OF GOLDEN PUBLIC ART COLLECTION AUDIT AND ANALYSIS REPORT Golden Public Art Program Collection Background and Guiding Documents Golden's public art collection is literally a "public museum" of art collected from1993 to the pres- ent, predominantly via donations. This collec- tion is viewable free -of -charge for the residents of Golden and all its visitors. However, art is a nonverbal form of communication. It is entirely appropriate to then inquire, "What does the pub- lic art collection communicate about the City of Golden?" If a visitor arrives in Golden and expe- riences its art, including the placement, subjects and materials of the art, what can be learned about Golden as a community? • Artists bring a unique perspective to design development. They provide an aesthetic balance to capital improvement projects and create memorable spaces for residents, busi- nesses and visitors. The answer to these questions must begin wit ``14it an analysis of the stated guiding principles be a hind the collection and guiding documents ` a Enhancing the characteryfvlur community trough public art directly sup cultural tour- ;m and economic devel i the next section of lic Art Handbook ?017), six goals forfr0oublic art collection are wed. They a e lows (emphasis is for the pur- oseaof estaa themes): `•/ nr' fithe vironment for residents nNithr incor oration of the visual rt` p have been used to create the collection. �G.J �c•� els he livability and artistic richness For many years, Golden's collection u- �w of t mmunity; lated through generous donatioe Cit _✓ without guidance from a Public IA?OiMast Enable the City to attain recognition on or strong guiding documents. During this eriod ete and national levels as a leader in the visual of collecting, there were no overar goals or arts,, criteria for the collection. O � In 2017) Golden's PublicVacommi missi - veloped a Public Art Hanhic ven the public art acquisi ning program more str and guidance. In the introduction to tub is Art Handbook (2017) the following s for the program were outlined (emph is is for the purpose of estab- lishing themes): • The City of Golden's Art in Public Places Program create[s] a healthy, vibrant atmosphere that contributes to the quality and cultural identity of our community. It is inspired by a variety of goals including encouraging cul- tural expression and inspiring a sense of civic pride. IV. Increase public access to artwork and to promote understanding and awareness of the visual arts in the public environment; V. Make the mundane interesting, fun, playful or inspiring; VI. Promote diversity and pluralism in public art and to reflect a wide range of multicultural expression; and VII. Contribute to the economic vitality, qual- ity of life, and civic pride of the Golden commu- nity. CITY OF GOLDEN PUBLIC ART COLLECTION AUDIT AND ANALYSIS REPORT Themes Emerge Based upon the guidance from this 2017 document, we can see some themes developing. Each of these themes served as ways to access, observe and analyze the collection further. For the City of Golden, the stated purpose of the public art collection can be simplified and assessed according to the following seven statements: 1. Quality of Life: Public art can enhance quality of life through creating vibrant, memorable spaces. Public art enriches public spaces and increases livability in the community. 2. Enhancing Public Space: Public art can make the mundane "interesting, fun, playful, 841inspiring" e) 3. Arts Access: The public art col 1`:, c n can increase access and awareness of Dart f residents. P 4. Economic Development: Public art an play a role in cultural tourism and help Ah economic development, tourismfand vi1ality within Golden. 5. Expression of Cu u �ubli p reveal aspects of th m nit 's idde and p r Y Y character; it can i r e civic pride. 6. City S ublic art can enable recognition of Iden on state and national levels. 7. Diversity and Inclusion: Public art can promote "diversity and pluralism ... and reflect a wide range of multicultural expression" 4 W CITY OF GOLDEN PUBLIC ART COLLECTION AUDIT AND ANALYSIS REPORT Theme 1: Quality of Life Public art can enhance the quality of life through creating vibrant, memorable spaces. Public art enriches public spaces and increases livability in the community. Key Observations: • Sculptures are a very visible feature of Golden's downtown and downtown -adjacent locations along Clear Creek. Artwork is everywhere you look and accessible to most. Artwork is well -sited and placed prominently on street corners, pathways and generally presented in areas frequented by tourists and downtown customers and pedestrians. • The themes of the artwork tend to complement Golden's "small western town" feel. The art contributes to a specific cultural sensibility, a lack of blight, visual dynamism and interactivity within the downtown area. • Artwork is mostly locat wntown (see Graphs); so, interaction w' rk in areas outside of downtown isn ssible without traveling •Z �a • The artwork is generally in good co giving visitors a sense that they are in a a nd �► blight -free community. �w • Artwork that is prominent) 'ted a .� Y Golden gives visitors and residents a sense at this artwork is a valued and cherish EAof Golden. �GJ O • People clearly enjoy in_ ting w the artwork: taking picture$ p icture$ f I t e murals, taking selfies, letiinge childrdr ouch and interact with th ork. Even passive interaction with t o curs as people walk or bike past. C� -- • The Creekside "art walk" is a memorable destination and attracts people for jogging, walking or as an outing with the kids. Art is integrated well in this location and heightens the enjoyment of these activities. • It is hard to assess how people are interacting with the artwork outside the downtown area, but artwork placed in medians and in parks signals that Golden believes artwork is integral to their community. Ca ,iere are many visual rk (signage, utilities, 3 ements). However, the n is a vibrant, safe, I ommunity. CITY OF GOLDEN PUBLIC ART COLLECTION AUDIT AND ANALYSIS REPORT Theme 2: Enhancing Public Space Public art can make the mundane "interesting, fun, playful, inspiring" Key Observations: • The artwork that is placed along the Clear Creek park/walkways turns what is a beautiful natural area into an art exhibition. People enjoying the park can run, walk or bike through the park, taking in the artwork if they care to. • Similarly, the visitor to the main commercial area of downtown can experience a "western history lesson" through the experience, of the artwork. • The collection in Golden can be, which could enable a sense of dynam. and constant change in the colle o heCo downtown area. ��'�,� • As mentioned earlier, the art c_ollectii�n is a group of "selfie-stations" where peopl-N can interact and take pictures with thwork. T increases the visibility of the IlW � n tl rNw social media. One sculptu e enZ u posing with a hand on the c oy's rr -it3re. 404, • The City h qtted to place several sculptures in tr ircles, which is certainly a "mundane" p onverted into a pedestal for artwork. It sig als Golden's positive attitude toward art when it is placed in places like this. However, placements like this can encourage dangerous pedestrian access. CITY OF GOLDEN PUBLIC ART COLLECTION AUDIT AND ANALYSIS REPORT Theme 3: Arts Access The public art collection can increase access and awareness of visual arts for its residents. Key Observations: • The City of Golden has some top-notch figural bronze sculptures. Visitors to the city experience a terrific Western art collection featuring some very large sculptures by accomplished artists. of the sculptures with festive decor. Several of the figural sculptures were wearing Santa hats or even bows or beaded necklaces. By not removing these items, the Public Art Commission tacitly condones this activity. Similarly, the sculptures are touched, rubbed and climbed on, and there are no barriers or signage to prevent this activity. None of this is unusual, but the is Art Commission should be a r this could cause higher costs for nce and repairs to the artwork. 1Z • Placemennitlf artwork in traffic circles Most of the collection is moveable, so nd parks o t� downtown has increased the city has the ability to re -arrange artwork on occasion and create more of a "rotating exhibition" for visitors, especially as the art collection gets larger. This is an advantage, a a► many collections in other cities are perman� located. • The collection is predomi a ate in the downtown area, which has aarkin ,.; and is highly visible. This makes t collelDNal accessible and available to all who frequer the downtown, includin numerous to its. nn.. However, the scarcity of artwork (o�-�t�si e of downtown makes it harder fir r&$ntsA4nX* r ✓ • The public mphlet/guide is terrific and encourag ple visit the entire collection. However, dur site visits, the pamphlet was not available ou ide of the Main Visitor's Center. As of the time of this audit, the pamphlet does not include artwork that is not owned by the City, which is artwork tourists and residents might be interested in knowing more about. • There is no audio tour or walking/guided tour of the collection as of the time of this audit. • It is evident from the site visits, that the community adores its public art collection. During the holidays, the public "dresses up" some bl Vaccertw rk outside the center of town.this t cause traffic slowing/ j7rash ing the artwork while dri&rrec rks of art also had a plaque e, as well) on the inside of the affic ci�c,Jr� ch might encourage pedestrians cross traffic to view the plaque. The Public Ar Ay�rission should consider the removal or mC� the plaque to a safer viewing area. IN t 0 1 o" Z rai'il' eac, `T-IP r ou:-] & Kit-=hei Roaster: CITY OF GOLDEN PUBLIC ART COLLECTION AUDIT AND ANALYSIS REPORT Theme 4: Economic Development Public art can play a role in cultural tourism and help with economic development, tourism and vitality within Golden. Key Observations: The majority of the collection is placed in downtown or near Clear Creek. This adjacency of the collection promotes exploration and walking around these areas. The sense that there is "art on every corner" promotes the city in a positive light: Golden is a safe, intimate, thriving small city where you can take a short walk and see numerous works of art. . J • The centralized location of the artwor is terrific for tourism and visitors. Howeve , lack of artwork in outlying areas might tourism is being directed to this are_ • The public art pamphlet isl(g're'at for the City. However, the Public Art Com on might consider including other mur , art ork, elements of the built environme &oric sites that people might be curioNa out. f� the artwork is connected m it e e e downtown site, it could b t edevelopment tool. Re rne;g urs wSoops at local restaurant stores to promote businesses clos h artwork should be considered a • Based on the overall makeup of the public art collection (See Data/Graphs), the collection contributes to visitors' understanding about the history of Golden and its predominant identity as a historic western town. This is great for tourism. If there are other focuses for Golden's current a� hat economic development, it is not evident from the public art collection. • Through planning, the Public Art Commission could consider other public art opportunities in developments outside of downtown, to contribute to the economic development and placemaking in these areas. • Selfies and pictures of ar i teractions might go viral and people mi e k out the City from social media posts. n. CITY OF GOLDEN PUBLIC ART COLLECTION AUDIT AND ANALYSIS REPORT Theme 5: Expression of Culture Public art can reveal aspects of the communities' identity and character; it can increase civic pride. Key Observations: • As mentioned earlier, it is evident that residents adore and enjoy their collection of public art. Overall, the collection is welcoming, hospitable and accessible. The collection is thoroughly family and kid friendly. • Based on the collective themes in the artwork (See Data/Graphs) one can conclude that Golden is a place that cherishes and promotes its western heritage, it's natural settir and local wildlife. It is a place that en cc' outdoor activity. Golden is proud of its her industries and leaders; history is impor re. • Looking at the placement r wo C Golden has great pride in its dow , t� settings and abundance of natural space r the town. 1% • Based on the overall mak the public art collection as figur rldn es Data/Graphs) focusing o e rn c d nature, the collection on ri es to it rs' understanding abo t s aspect of Go den and its identity a itional, historic western town. Alterna ' , e collection does not communicate ry uch about who lives in Golden now or w at Golden aspires to be in the future. • Based on the historic and allegorical themes of the collection of art, one might conclude that the City has fairly conservative, traditional or even "old-fashioned" taste in artwork. Could this also lead one to believe that the population of Golden is conservative and "old-fashioned?" This is something for the Public Art Commission to consider further and research. • Based on recent mural and sculpture commissions, it does seem that the Public Art Commission is striving to diversify its collection and art themes. • Golden is a chang !!;Sp g Y 10 in city. To make sure that the pu rt ollection reflects the current and future cu ral values, the Public Art Commission m evisit this goal/theme from the Public A andbook through a Public � ultural at are the current cultural that r the community? CITY OF GOLDEN PUBLIC ART COLLECTION AUDIT AND ANALYSIS REPORT Theme 6: City Stature Public art can enable recognition of Golden on state and national levels. Key Observations: • As mentioned earlier, the City owns a very good western bronze collection. If the City chooses to continue to build on this type of collection and make it something that could rival other collections around the state and nation, they should consider planning ahead for this. Golden might look to other cities who have made a name for themselves for superior collections . J of traditional bronze art. The nearby city of Loveland has focused on collecting major w by major international bronze and stone a In addition, they are known internation hosting the acclaimed "Sculpture in rk" event every summer. kco • Some pieces in the collection h identified as lesser -quality or mass- ( works. These pieces will not help Golden's collection. This type of . recommended if the City wants *cogs its collection across stat(mcobtioria 10 CITY OF GOLDEN PUBLIC ART COLLECTION AUDIT AND ANALYSIS REPORT Theme 7: Diversity and Inclusion Public art can promote "diversity and pluralism in public art and... reflect a wide range of multicultural expression" Key Observations: • Until most recent sculptures and murals were commissioned, it is clear that the collection was not particularly diverse nor does it "promote diversity and pluralism". The Public Art Commission must contend with this fact in future planning for the collection if this is a goal .� for the collection. Based on the collection analysis (See Datj� Graphs), Golden's public art collection • Predominantly Bronze • Predominantly Figural C • Predominantly White• P �' Predominantly Male • Predominantly Western • Sited nearly entirely Outd '+ • Located predominantly i town • Permanent (no tempworks;� were listed) • Not only sh reater diversity in medium and sub* tter be considered, but which artists' speak through the public art program and�F�iverse themes are presented is equally critical to being representative of an entire community. Again, this is something for the Public Art Commission to consider in future planning efforts. IF COLLECTION AUDIT AND ANALYSIS REPORT : DATA and GRAPHS *Acrylic on board ■ Poly resin • Ceram icTiles MEDIA ■Stainless Steel and Bronze ■ Pa i nted Sh eet M etal cCarved Stone 2% 3% 3% 3% 3% ■ Recycled steel • Painted Mural Bronze Painted Mur 4 3% 00 G Bronze 72% T/F1G[1RAL? low 13 COLLECTION AUDIT AND ANALYSIS REPORT : DATA and GRAPHS GENRE Fun/ Family Friendly i History/Allegory ■ Nature ■ Mythical Animal m Human Nature 27% Fun/Family 41% History/Allegory 3 o v J► UL RES a al `CO a Historic Sites Z l Aumau al ■ Mythical Aliens/Animals Human/Animal 19% Animal 28% 3% Human 44 14 COLLECTION AUDIT AND ANALYSIS REPORT : DATA and GRAPHS FUN / FAMILY ■ Fantasy/Myth t. "Slice of Life" s Humor/Fantasy g Sport Western US 27% Fantasy 13% Western US -�k ice of Life 40% V Sport 13 G � Humor 7% �G 8 •'�'�' OR LLE RY r "Slice of Life" 0 Ea ! Western US �� Slice of Life 9% o Eastern US 8/ Western US 83% 15 COLLECTION AUDIT AND ANALYSIS REPORT : DATA and GRAPHS FIGURAL SUBJECT MATTER: GENDER AND RACE • Alien �& White Male and Female White Male ■ White Females Unkown Gender/Race a Native American Male Native American Female Mixed Race Female �-, ..— 4% 5% White Male & Female 13% 4% o White Females 9/ �V White Mall�57% P P �Co Q 16 COLLECTION AUDIT AND ANALYSIS REPORT : DATA and GRAPHS Asian/White ARTIST GENDER •DUO NF rrM ■U -Ad'WDuo 3% Unknown 11% Female 19% Q� K;y G Male 67 ' v �� G ;yIN, *41 P9A RA ■ Latino kngitc White • White/Cherokee? W``, White 73% nknown 19% 17 CITY OF GOLDEN PUBLIC ART COLLECTION AUDIT AND ANALYSIS REPORT Questions and Key Issues Based upon the audit and assessment of the current collection, it is clear that there are some questions and key issues for the Public Art Commission to plan for in the future. Public Art Handbook Updates I, Revisit goals from Public Art Handbook. Are p these still accurate? Are there new goals that are more accurate for the Golden Community d of today? A more robust planning effort is recommended to get a better sense of the community's overall opinions about its public art collection and its future development. ` Accessibility Artwork is accessible in downtown and Creekside areas. Other areas are pred tly drive -by and not pedestrian accessi w caw the collection be spread into oth muni _✓ and areas where on le ather or ther f loved to a safer place for people to read it. Incorrect information: several of the titles o not match the title given by the sculptor, and r have incorrect attribution. "Copies" and Attribution: with the artwork iat has been identified as mass-produced or ;nock-offs;' the PAC could con r that the laque show the title only, or ributed, or Artist Unknown" This w to address ossible copyright issu One plaque a g eople to touch the erriere of the Coves Is that appropriate in the i Too" era? 'I p p g _J the City that are being developed? It is clear that the sculptures in the nter of the City are engaging people an g so social media interest. The PublicCom could consider moving arofoll�( ge of��� smaller sculptures on oc a new interest. Lighting A lighting pro ong the creek would add to accessibility at 'ght and during winter, and make the area feel safer. Plaques The Public Art Commission should consider a program to fix several issues: • Awkward placement: some plaques are places awkwardly, including in areas where you might sit to view the creek or the sculpture. • Dangerous placement: the plaque at Nighthorse on the Mesa is incorrect and placed in a traffic circle. It should be corrected and FMV 0 :r4d W iI 0 d�rrr�l�ur lJ�1 ►-:���'11� ll W '►1111 641 18 CITY OF GOLDEN PUBLIC ART nni I FnTInN Al 1nIT ANn ANAI YSI.q RFPnRT Questions and Key Issues (cont.) Removed Sculptures A formal deaccession process is needed to permanently remove sculptures from the collection or determine them irreparable. Wind on the Mesa The rocks placed on the sculpture are clearly meant to be a water feature. The Public Art Commission should consider removing the rocks, or the sculpture looks incomplete. Promotional Materials Tourists do not care who officially owns and maintains the artwork. The PAC should conside •, Inclusiveness for tourists visiting Downtown and develop guides and a tour to promote tfa collection as well as other items and are Q, interest. Triceratops Fossil C The Triceratops fossil should not �ecoh e a work of art in the collection. The PAC sh consider putting it under the purvie f the historical society or School of M' Vever including it in a tour of artwork isropr Lion in Lions Park � There is a bronze scu ure Lions thatis not included on th ent collection list. The PAC should con opting" this work, since it can be con:, c e bronze sculpture and needs care and main ance in the future. Short-term and Long-term Acquisition Goals Unsolicited proposals and donations can be cumbersome to manage. PAC should establish a process and set of criteria for reviewing potential donations or unsolicited proposals. Also establish program -wide goals that guide acquisitions to ensure any accepted donation is suitable and appropriate for the collection as a whole. Diversity Until recent murals were commissioned, it is clear that the collection was not particularly diverse, inclusive, nor does it "promote diversity and pluralism" The Public Art Commission must face this fact in future planning the collection if this is a continued goal for o lection/City. 19 J 11. a c3J 5� 1 J Golden Public Art Survey SURVEY RESPONSE RE 20 September 2017 - 11 Sept%n .., -r 202 ', PROJECT NAME: , Public Art Frame lA 0 SANG THE TABLE .�, engagementHO Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Page 1 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Q1 What are the first three things (words or phrases) that comes to mind when you think of Golden? kmatthews335 community, fun and beautiful 7/06/2022 01:06 PM jennmo Nature, community, and activity 7/06/2022 02:03 PM CindyJaye Home, an image of downtown Washington Street, outdoors 7/06/2022 uo: i o rivi mwisell Outside Walkable Commuo 7/07/2022 07:23 AM ` G Dave Shuey Friendly; unique; a t ntic. 7/07/2022 12:59 PM ` G Eskett Histori CSM 7/07/2022 01:55 PM krissmurphy Q Commkwoors, old 7/07/2022 02:44 PM ` PO judithgoeke QFrist t&wn Nded beautiful setting 7/08/2022 06:14 AM tony.shouse friendly active disjointed 7/08/2022 08:34 A JulieBartos beautiful views, Coors and western history ouo,Lu« ic.icrM Hschovanec Nature, community, walkable 7/08/2022 12:34 PM Imwink Foothills Outdoor [wxploring] Quaint downtown 7/09/2022 06:52 AM jproff448 tourists small town foothills Page 2 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 7/11/2022 02:49 PM mtrout Table Mountains, small town feel, recreation 7/12/2022 06:00 AM astangelo Outdoor Access Recreation Opportunities Vibrant Downtown 7/12/2022 01:00 PM fangacx Small-town feel Close to the outdoors White 7/12/2022 05:39 PM Climberbiker Home nature history 7/13/2022 01:02 PM Karen Oxman Clear Creek and trail, Home, viable downtow G jesse.eggers Outdoors, pro �9�chool Min s, beer �► 7/18/2022 11:04 AM v � ` v_ Sarah CS s & beer 7/18/2022 02:25 PM P � MRE friendly a y do 7/18/2022 03:13 PM � V donnaschow met g. At -risk. 7/20/2022 01:06 PM imkristie Q Historic, community, foothills 7/21 /2022 07:1 Jaycee Small town Clear Creek Self-contained 7/2� , cecragan Community, Creek, Mountains 7/26/2022 09:48 AM Tracy A Outdoors, history, fun 7/27/2022 05:14 PM Page 3 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Lilybosworth mountains education community 7/30/2022 05:58 PM Cmjdee Over -developed, crowded, historical 8/01/2022 12:44 PM mctebo Foothills, small town, biking 8/01/2022 01:21 PM HideawayArt Unique, good for families, perfect setting 8/01/2022 05:40 PM gmcstravock Cozy, foothills, small town 8/01/2022 11:00 PM whiplashsaxifrage Community, environme ul ure 8/02/2022 02:38 PM ♦ V Janashford Gathering Ha in s Fun ♦ �� 8/03/2022 08:30 AM ` V flintr a sceni 8/03/2022 09:22 AM P � P deb _in_golden met 8/03/2022 09:36 AM O ♦ '1� msquier 1 great restaurants/bars, community ,0..4 (V Jmtrudell outdoors, hiking, biking Iq2 lynnsvoboda community, outdoors, family 8/03/2022 02:30 PM hnewe112015 Quirky, friendly, beautiful 8/03/2022 02:39 PM shumaker Friendly community, Clear Creek/nature, not diverse 8/03/2022 03:25 PM Page 4 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Begonarulz West, changed, outdoors 8/03/2022 03:28 PM Chefinegurl Clear creek Howdy Folks Outdoors 8/03/2022 03:54 PM Libby Visually beautiful from most perspectives, like gazing down 8/03/2022 04:04 PM Washington, 12th, 11th and catching bird's eye views. A place near home for eating out with variety or utilizing basic services. A pretty place to walk, hike, bike, drive or people watch. Lhunt 8/03/2022 04:12 PM elliesv 8/03/2022 04:21 PM finally 8/03/2022 04:22 PM kmonaweck 8/03/2022 05:42 PM Donna Mattson 8/03/2022 05:46 PM camillejr 8/03/2022 09:59 PM Andy 8/04/2. I faustinecurry 8/08/2022 03:17 PM kaxelrod 8/09/2022 09:00 AM Francine Small foothill community Nature, small town, com ity �` �► Western, rusti n spa mollf?Cains. p ��. D' �V autiful, ep�w P � mall toVooNj�a tslive, good restaurants. V O ♦ '1� cl e�`c Mines, hills Unfortunately, booming crowded city. The place where I grew up. Bad city planning through the years, anything gos type of mentality, as long as you bring our businesses revenue. Community, Uniqueness, Western Historic The foothills Clear Creek home warm delightful Page 5 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Sgarrow 8/10/2022 05:08 PM SingingDove 8/10/2022 07:56 PM Anonymous Anonymous 8/11/2022 07:58 PM Anonymous 8/12/2022 07:15 PM Anonymous 8/12/2022 07:46 PM Anonymous 8/12/2022 08:08 PM Anonymous 8/13/2022 01:41 AM Anonymous 8/13/2022 07:40 PM Anonymous '�'q kschwaab87 8/15/2G_ Anonymous 8/15/2022 03:45 PM Anonymous 8/16/2022 10:45 AM Friendly, quiet, rustic Small-town feel 'Beautiful downtown "Full of art Character, history and picturesque. Good place to live, safe, scenic Small, friendly, a little quirky G Cute, small towns nity v G � Frie all town unity creek mbi FO *, �istoric n, community Good place to live. Well run city. Great neighbors. Expensive, beautiful, smaller mountain town Walkable, close to beautiful hiking trails, great location great city, beautiful outdoors, long history Page 6 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Anonymous Coors, Tourism, Trails 0, 1 /,CULL . - . ... Anonymous historic character, small-town feel, gateway to the mountains 8/17/2022 01:20 PM Anonymous The Welcome to Golden sign on Washington st. Walking along the 8/17/2022 02:13 PM creek. Where am I gong to park? Anonymous small town feel, sense of community, history _^ 8/17/2022 04:30 PM Anonymous The arch Q 8/17/2022 04:55 PM Anonymous Great police, fire, parks nd ublic wor �� Good neighbors 8/17/2022 09:51 PM Easy shopping �+(:33 �//��� • Anonymous Clear creeA�srll�all histor' ain cocoors 8/18/2022 01:28 PM e) V Anonymous f�9 ric, to!�� metowl4/) 8/21/2022 08:41 PM ✓✓✓✓ P �CO Anonymous e I�, safe coming 8/22/2022 03:21 PM O /1 Anonymous ;; Mou ntains. Outdoors. Anonymou Beer Gold History 8/24/2022 01:L Anonymous Quaint downtown, safe and family oriented 8/24/2022 09:44 PM Anonymous What a quaint little town. 8/25/2022 06:05 PM Anonymous Crowded, beautiful, friendly Page 7 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 8/25/2022 09:21 PM Anonymous 8/27/2022 09:51 AM Anonymous 8/27/2022 10:19 AM Anonymous 8/27/2022 06:10 PM Anonymous 8/27/2022 06:56 PM Anonymous 8/28/2022 12:41 PM Anonymous 8/30/2022 01:05 PM Anonymous 9/01 /2022 09:41 AM Anonymous 9/01 /2022 11:22 AM Matt Murphy 9/01/2022 05:38 PM Anonymous '�'q 4qQ Anonymous 9/04/2022 02:31 PM Anonymous 9/05/2022 02:27 PM Anonymous 9/07/2022 02:37 PM Unique, small, community Clear Creek Small Town Beautiful Butes, Gold & The West. Beer, mountains, golden grass small town home C) small town, greaiae to out ors, ificant Mou utdoor es, co Coors eek kroD F0 `` Olomej et Colorado Vibes Mountain Vistas Small Town Community, quaint, historical GREAT, SMALL TOWN, FUN community, collaborative, historic Page 8 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 kjacobs@fi rstaffi rmative.com 9/07/2022 02:53 PM Anonymous 9/07/2022 06:24 PM Anonymous 9/09/2022 03:13 PM Mandatory Question (96 response(s)) Question type: Essay Question the mesa, "Howdy Folks", clear creek Coors, CSM, clear creek small town, very clean, outdoor recreation Page 9 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Q2 What are the three most important things that make Golden unique and different from other cities in the region to visit? (Choose 3) 80 73 70 60 50 40 30 20 10 2 Question options Beautiful outdoor locations such as Clear Creek or hiking trails Views from mesas and Lariat Loop Recreational and sports opportunities (kayaking, hiking, biking) Parks and open spaces Historic sites in the area Coors brewery tour Cultural amenities like Golden History Museum, Foothills Arts Center, public art or Miner's Alley Playhouse Downtown cafes, shops and bars 0 Colorado School of Mines 0 Small-town feel 0 Other (please specify) 1 Mandatory Question (96 response(s)) Question type: Checkbox Question Page 10 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 84 Q3 When you have visitors, where do you take them/suggest they go? 90 80 70 63 60 50 40 30 20 9 Question options Hiking or biking in the area 0 On a tour of the Coors Brewery Visit cultural amenities like museums or galleries Community festivals and events 0 On a sightseeing drive around the area Walking/recreating along Clear Creek Someplace other than Golden (please specify) Mandatory Question (96 response(s)) Question type: Checkbox Question Pagel 1 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Q4 Broadly, the arts can be defined as all creative activities including painting, sculpture, performance, music, literature, and dance, etc. Based on this definition, how important is it to you and your family to experience the arts? 3 (3.1 %) V �V c) 20 (20.8%) . V Cj ,e) It O• 67 69.8% 4qQ Question options • Very Important Somewhat Important Not very important Unimportant Mandatory Question (96 response(s)) Question type: Radio Button Question Page 12 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Q5 How often do you seek out arts and culture in Golden? For example, attending art events, theater productions or musical performances, or visiting museums, public art, etc.? 32 (33.3%) 59 (61.5%) Question options _ Daily Weekly PO yJei\ Only occasionally Never Mandatory Question (96 response(s)) Question type: Radio Button Question Page 13 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Q6 Do you think public art adds value to your community? 3 (3.1 %) 4 (4.2%) Q 10�4.. S%4q 0 Question options Yes No Not Sure Mandatory Question (96 response(s)) Question type: Radio Button Question iA 89 (92.7%) Page 14 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Q7 Public Art is broadly defined as sculptures, murals and other works of art in the public realm that are free and open to the public. Have you viewed/noticed/enjoyed public art in Golden? 2 (2.1%) w V �V G P (question options Yes No Unsure Mandatory Question (96 response(s)) Question type: Radio Button Question Page 15 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Q8 What public art in Golden have you viewed/noticed/enjoyed? kmatthews335 I always love the statues along Washington Ave. Also, the sculptures 7/06/2022 01:06 HM along clear creek and the new painted recepticals in downtown. jennmo On Washington, a lot of brass sculptures that feel historic, but also a 7/06/20- number of modern art pieces painted around the heart. On the outskirts of downtown, the hummingbird and the triceratops and child/bird sculptures are also a tie into the art of Golden. CindyJaye The trout along clear creek, the bike rider on 19th str �nning 7/06/2022 05:16 PM kids that turn into birds, the fishing cowboy, greetiny�fro Golden mural mwlsell Road sculptures Sid alk culpt 7/07/2022 07:23 AM ` Dave Shuey Bronze 7/07/2022 12:59 PM Eskett Scu pt rQls, Foothill t Center, RM Quilt Museum 7/07/2022 01:55 PM CO krissmurphy l view 11!?fthe public art in Golden. I have enjoyed very little �U« ��.ww PO'f it. T� CA�i ring bird on South Golden Rd at Ulysses is nice as are s murals. Q tony.shouse washington &19th mural th hummingbird Washing Avemural north 7/08/2022 08: A of Hwy 58 bronze statues EVERYWHERE! Bronze is a ducking of creative duty to the community dressing up the cycling bronze statue by the bike path just above 6th ave Mt Zion the 'M' the 'G' the castle rock the canal trail bike path everywhere JulieBartos Murals, bronze sculptures and love the itty bitty art! 7/08/2022 12:12 PM Hschovanec Sculptures in roundabouts, sculptures along clear creek and main 7/08/2022 12:34 PM street, murals on previously ugly/bland retaining walls or electrical boxes Page 16 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Imwink Murals; painted electrical boxes 7/09/2022 06:52 AM jproff448 Sculptures around town and in roundabouts 7/1lizuzz uz:49 PM mtrout the fly fishing cowboy, the big hummingbird at the roundabout 7/12/2022 06:00 AM astangelo Murals & Statues Music Festivals/Live Music 7/12/2022 01:00 PM fangacx The many bronze statues, murals and painted trntrol boxes 7/12/2022 05:39 PM G �'� Climberbiker Statues, Jesse Croc paintings Y 7/13/2022 01:02 PM •` C Karen Oxman Every d mur I tybittyart den. 7/16/2022 11 :38 AM jesse.e ers I love t Is and th scu res around town! 1 gg 7/18/2022 11:04 AM V N Sarah \ the bronze:!POe murals 7/18/2022 02:25 PM ���•! • MRE � sc ures murals paintings 7/18/2022 03:13 P' along Clear Creek. Painted traffic structures. Murals. donnaschow Sculpture g /lLu/LULL u :uu rIvi Gardens. imkristie Murals, sculptures, Itty Bitty art, the art adjacent to Foothills Art 7/21/2022 07:18 PM Center, Miners Alley plays, Clear Creek Historic Park, the Golden History Museum, various festivals Jaycee Statues Murals Little art work around town 7/24/2022 08:59 PM Page 17 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 cecragan All of the sculptures around town. More than anything, I really enjoyed 7/26/2022 09:48 AM the addition of the hummingbird on South Golden. Tracy A Murals, sculptures 7/27/2022 05:14 PM Lilybosworth bronze statues around town (Western scenes & Lookout Mountain 7/30/2022 05:58 PM Biker) large murals along Washington Street small murals in the Clear Creek Corridor flower mural on 19th Street the hummingbird statue near King Soopers "Golden" mural on Clear Creek A n`� Cmjdee Murals on buildings and utility boxes, sculptures downfi�fi and along e` 8/01/2022 12:44 PM Clear Creek V HideawayArt Triceratops family and A &erulpture, ele trical boxes. 8/01/2022 05:40 PM / gmcstravock Some of f rite publ t i the elk ire on Heritage Rd and the cyc ptture p Loo ntain road. I also like the sc to s down by Creek i �. NC9 whiplashsaxif rage Lately ntoyAt Bitty Art project, we seek out new 8/02/2022 02:38 PM Uuilding urals, vvs enjoy seeing the hummingbird sculpture on holden 2�nd outdoor sculptures. 17!�4 Janashford �atues, Miners Alley for shows, beautiful murals, even the 8/03/2022 08:30 AM e e al boxes that are painted deb _in_g I generally find the sculptures in Golden to be a bit "over the top" and 8/03/2022 09:36 not very attractive. I enjoy the murals, but too many more will make the town feel like a bit garish. msquier Pop up art that are around the city. It's become a game to find them all. We need more. Jmtrudell The hummingbird statue and other artwork around downtown Golden 8/03/2022 12:48 PM Page 18 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 lynnsvoboda The new horse mural downtown. The many bronze sculptures 8/03/2022 02:30 PM downtown and on the over -designed 93 overpass. The hummingbird on Old Golden Road. The dinosaurs on 93. The art -covered signal boxes. The concrete wall murals on Washington Ave. hnewe112015 8/03/2022 02:39 PM shumaker 8/03/2022 03:25 PM Begonaruiz 8/03/2022 03:28 PM Chefinegurl 8/03/2022 03:54 PM Libby 8/03/2022 04:04 PM Lhunt 8/03/2022 04:12 PM elliesv 8/03/2022 04:21 PM finally Q 8/03/2022 04:2. kmonaweck 8/03/2022 05:42 PM Donna Mattson 8/03/2022 05:46 PM camillejr 8/03/2022 09:59 PM The hummingbird by King Soopers, all the statues downtown. Mural at east end of Washington and 19th. Hummingbird statue on S Golden Rd; various murals; recent mini -art installations The bird in the south golden road roundabout, the ne ptes on highway 93 the mural b the history museum g Y � Y Y A Murals. Sculptures. Lan sca 'ng.. The many s; muralower be ` i �t don't belong here. Bright ho mural. al boxes, the mural on Washington, the and along Clear Creek, sculptures in the The various bronze art works. The small art recently. Art in the various traffic circles. F-1111 snag Statues, murals on buildings. Mini art installations, murals, sculptures Page 19 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 faustinecurry Sculptures, murals, museum 8/08/2022 03:17 PM kaxelrod Statues near downtown and along Clear Creek, murals in various 8/09/2022 09:00 AM locations, the art fairs Francine murals and sculpture 8/10/2022 01:12 PM Sgarrow Sculptures in the round abouts, bronze statues, murals �/� 8/10/2022 05:08 PM _ `V SingingDove All bronze statues and some of the tiny new art (can't Rto find the 8/10/2022 07:56 PM rest) V Anonymous The statues and mural a in th uI to s under the 8/11/2022 05:54 PM bridge. Also the jr in the ' or y eum. `► vU Anonymous the bird g Super' It cks the f raffic around the traffic 8/11/2022 07:58 PM circ g thing affee. Anonymous Bridgetues on tAshington Welcome to golden arch 8/12/2022 07:15 PM Sculptur in ro ` oLAfon golden road F Anonymous �II the► s along clear creek and random paintings along the 8/12/2022 07:46 PM 0 c 4i�1 with there was more indigenous art! �wv Anon mous I love all the itt bitty art things and the hummingbird y /�`� Y Y 9 9 8/12/2022 08:Of/ l Anonymous Dragon sculpture in Parfet park, sculptures on Washington 8/13/2022 01:41 AM Anonymous The murals and sculptures! LOVE THEM! 8/13/2022 07:40 PM Anonymous The outdoor statues and items along highway 93. Also the mural on 8/14/2022 09:16 AM Washington Ave. Page 20 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 kschwaab87 I enjoy the sculpture that is one image driving one way and a different 8/15/2022 11:37 AM image when you drive the other. Anonymous Hummingbird, Cider 49 Mural, Dinosaur Trail Mural & the wrapped 8/15/2022 03:45 PM electrical boxes Anonymous murals and sculptures 8/16/2022 10:45 AM Anonymous Sculptures along the creek - we are particularly fond of the tro IKI�* 8/17/2022 01:20 PM hummingbird on south golden road; painted mural art d i hd also at 19th and Washington; e V Anonymous The hummingbird at Ulys & S. Golde a on't like that it was 8/17/2022 02:13 PM moved. I love the piece, ut i an't be v njoyed in it's present location. Maybe mov it to e s p�rlc ere For nd Jackson meet?) The ne � �n the c er ff 19th a �rington - really brightens up tic r er (an day). The statue is arin in etation it esent location. Want g to se tl casso , u hav a out where it is (I'm u riving). Guneed to ound downtown more! P Anonymous sculptu a ng c 2Qk downtown, weird sculptures on 93 8/17/2022 04:30 PM � V Anonymous culpiiki,�Ughout the city Anonymous Q The bronze sculptures everywhere, of course! Jesse Crock's murals. Anonymous All the murals, bronze sculptures, 8/18/2022 01:28 PM Anonymous statues, Itty Bitty Art, murals 8/21/2022 08:41 PM Anonymous statues (the Prospector is my favorite), the beautiful painted "banner" 8/22/2022 03:21 PM mural on the history museum building (old postcard style), of course the Foss building mural, the tiles on the walk by the library Page 21 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Anonymous Little paintings 8/24/2022 01:07 PM Anonymous Murals, sculptures 8/24/2022 09:44 PM Anonymous Pat Madison's Cutthroat 8/25/2022 06:05 PM Anonymous All the sculptures, all the he murals all over town, the transform 8/25/2022 09:21 PM covers, the Xmas lights Anonymous Murals, statues in the park, gardens. 8/27/2022 09:51 AM ` v Anonymous All the small art arou d Golden J► 8/27/2022 10:19 AM `G Anonymous Muralsej ptures e ut town. 8/27/2022 06:10 PM V Anonymous The c .nosaur ci38/27/2022 06:56 PM CO ous dcu?lptures An n m ee town o y,� 8/28/2022 12:41 PM �� •` Anonymous Ha g lived here for 30 years I think I've viewed/noticed/seen it all. R/30/2022 01:05 P- Anonymous Murals and the FAC ylUlILUc L Uy:41 AIVI Anonymous Murals, sculptures along Washington and in parks 9/01/2022 11:22 ANi Matt Murphy The elk sculpture at Heritage & Kimball, the Hummingbird and Native 9/01/2022 05:38 PM American sculptures on SGR, the sculptures along Washington Ave., the murals downtown, sculptures along 93 to the north. Page 22 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Anonymous Sculptures by Pad Madison 7/U4/LULL I - , ,... Anonymous Murals, sculptures 9/04/2022 02:31 PM Anonymous I LOVE, LOVE, LOVE all the wonderful statues around town. I LOVE 9/05/2022 02:27 PM the ones you've chosen like at 19th and 6th, all the ones on both sides up and down the creek, and the ones on Washington. SO nice! I like the murals also. Anonymous sculptures and murals scattered throughout Golden `�► 9/07/2022 02:37 PM kjacobs@firstaffirmative.com sculptures on creek and downtown, traffic ti cir art project, 9/07/2022 02:53 PM moaic on creek near lib r murals on 4n Ave Anonymous Street art, mur Ci ♦'�'�' 9/07/2022 06:24 PM V Anonymous T itty art show onderfu� 9/09/2022 03:13 PM C V P Mandatory Question (90 response(s)) P ` Question type: Essay Question Q9 Are there neighbVns or reasin Golden that would benefit from public art? (Describe location orinttion.) kmatthews► no suggestion 7/06/2022 01:0 jennmo Hmmm... gathering areas, maybe along south Golden Rd from Golden 7/06/2022 02:03 PM HS CindyJaye I don't have any suggestions. Sorry. 7/06/2022 05:16 PM mwisell North golden parks 7/07/2022 07:23 AM Page 23 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Dave Shuey No priority areas 7/07/2022 12:59 PM Eskett Washington and Hwy 93 north of Hwy 58 7/07/2022 01:55 PM krissmurphy We have so many trailheads that invite so many visitors, what a 7/07/2022 02:44 PM wonderful opportunity to enrich our arts community in an area that has thus far been neglected. 4 judithgoeke I feel there is already enough public art and would opp%r he 7/08/2022 06:14 AM city appears cluttered and some of the murals are beybusy and distracting. n- tony.shouse 24th & Illinois - tons oft r*fic speedi �V 7/08/2022 08:34 AM JulieBartos A environ� n art piece at New Ind Park and framing 7/08/2022 12:12 PM the spe ar view I n to h t est would be fun! V Hschovanec G01 ween the all and Johnson road 7/08/2022 12:34 PM CO Imwink here " n" - including off of Washington. Ford St. Walking ath al (especially if it extends east). South Golden Rd. ` yJ� ar ly needs help. Jp roff448 e The "neglected" areas of Golden, i.e. South Golden Rd, areas near 7/11/2022 02: 1 Colfax/170 (anywhere along Colfax really) qL: mtrout we seem to have plenty 7/12/2022 06:00 AM astangelo I would like to see more art at parks and open space outside of the 7/12/2022 01:00 PM downtown core. fangacx Not sure, imagine S Golden 7/12/2022 05:39 PM Page 24 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Climberbiker South Golden 7/13/2022 01:02 PM Karen Oxman Could do more to put art on the ugly green utility boxes around town ... esp east of Clear Creek Commons .... and others. The ones with art are really nice to view. It would be great to have a performance center (Parks and Rec has the plans!) for Parfet Park, southeast corner, for performances and other art like exhibits, music, theatre, dance. jesse.eggers I loved the addition of the elk sculpture to the roundabout nWe Road! I'd love to see more of this sort of thing - perhap^5 Washington or 19th in the areas outside of downtown Nere there currently isn't this sort of thing yet)? n. Sarah not to my knowledge G �V 7/18/2022 02:25 PM v MRE Washingto & th ` 7/18/2022 03:13 PM donnaschow nd do vuwGolden lear Creek. 7/20/2022 01:06 PM P ` imkristie % tit 2rsecti outh Golden Road and East Street (the triangle 7/21/2022 07:18 PM ®ark), 'o k, the numbered streets going east and west from Wasvenue Jaycee Nothing comes to mind at the moment 7/24/2022 08:5' cecragan South Golden is fairly devoid of public art other than the mural on 7/26/2022 09:48 AM 19th and Washington. Tracy A more in mesa Meadows and north Golden 7/27/2022 05:14 PM Lllybosworth the library and town hall entrances and buildings (may be part of 7/30/2022 05:58 PM Heart of Golden vision) Page 25 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Cmjdee I cannot think of a place. 8/01/2022 12:44 PM mctebo I actually think Golden spends too much money on statues. The 8/01/2022 01:21 PM recent additions on the east side of highway 93, just North of Washington (the cut-out looking figures in orange and blue) are not very attractive, invisible from the walking path, and hard to see from the highway. HideawayArt South Golden Rd beyond King Soopers 8/01/2022 05:40 PM gmCstravock n/a - someone else can answer this better! Q 8/01/2022 11:00 PM V whi lashsaxifra e I think some additional in r parks e nice. I recently 8/02/22022 02:38 PM g vacationed in Park C' y Uta an h eir bike s/tunnel murals were V vim" �'` &I Janashford Get r' ugly G th tab 8/03/2022 08:30 AM NCO flinty None P �CO 8/03/2022 09:22 AM � V deb_in_golden 5�ljot to re 8/03/2022 09:36 AM � msquier The round about on South Golden that leads to NREL. Keep 8/03/2022 10:35 A06P expecting a big sculpture. Jmtrudell I'm not sure I can think of one right now 8/03/2022 12:48 PM lynnsvoboda I am uncertain where, but areas that are lacking in public art. 8/03/2022 02:30 PM hnewe112015 More art in Pleasant view 8/03/2022 02:39 PM Page 26 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 shumaker Not sure 8/03/2022 03:25 PM Begonaruiz Near official buildings (sheriff, courts), near schools 8/03/2022 03:28 PM Chefinegurl South Golden Road near high school 8/03/2022 03:54 PM Libby I don't know of spot. 8/03/2022 04:04 PM _^ Lhunt No. The art is in the eye of the beholder. I find beauty tur . Not 8/03/2022 04:12 PM shiny metallic objects that do not resonate with me. -Put u a tree if you must do something. f (vJ• elliesv South Golden G 8/03/2022 04:21 PM •`+ finally along IF ckson a b igh Sch 8/03/2022 04:22 PM kmonaweck es, a u e traffic contr ox, or area that people's line of sight 8/03/2022 05:42 PM regularl o (ev Airing). FO Donna Mattson O9th St 8/03/2022 05:46 PM camillejr Can't think of one 8/03/2022 09:59 P Andy The public art is so grandma around this town I don't enjoy it. It's like 8/04/2022 06:36 AM going to your mothers house and looking at her collection of steel yard art faustinecurry Neighbors on both sides of Washington Ave north of Hwy 58 8/08/2022 03:17 PM kaxelrod I would love to see the tradition of the bronze sculptures continued as 8/09/2022 09:00 AM part of the Heart of Golden project to expand the green space and Page 27 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 park areas. The buffalo is always a big highlight and an attraction to kids. Sculptures in the parks that are interactive are appreciated by many. Francine parks 8/10/2022 01:12 PM Sgarrow Clear creek path downtown 8/10/2022 05:08 PM SingingDove can't think of any 8/10/2022 07:56 PM `� / ]► Q v Anonymous The downtown areas seems obvious and it sho_u♦l4v>-, 8/11/2022 05:54 PM ` Anonymous Public art is a waste f to yers R/11 /2022 07:58 PM Anonymous Unsure ) V Anonymous t ur 8/12/2022 07:46 PM CO Anonymous �§)sk park V Anonymous fin th how it is 8/13/2022 01:41 AP Anonymous YES!!! The Coors Brewery itself - no offense, but it's pretty ugly and 8/13/2022 07:4u intimidating. I think they could create a really amazing and mutually beneficial relationship with the community by commissioning works and creating scholarships and grant programs. Anonymous Any place art can be placed will benefit from it. I would especially like 8/14/2022 09:16 AM to see a mural on the retaining walls along Goldco Circle that face Ford Street. Page 28 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 kschwaab87 I think it should be all over downtown, then sporadically outside of 8/15/2022 11:37 AM downtown. Anonymous Maybe along the trail from Mines baseball stadium up to Jeffco 8/15/2022 03:45 PM building. Anonymous Colfax Ave 8/16/2022 10:45 AM Anonymous Downtown, along Clear Creek, maybe a new sculpture park. ^ r Anonymous not sure 8/17/2022 01:20 PM f V` Anonymous Less traditional locationc)k might w meo s attention like 8/17/2022 02:13 PM the mural at 19h,&& hington a ted the W Clear Creek sidewalk. ` v �> 6. N Anonymous alo eak to PI i it just p t avenue zsi i iizuzz u4au rive /' _ ` �► Anonymous P � CO 8/17/2022 04:55 PM � V Anonymous !�Q'alon .J oad - Anonymous Q By coors/ golden mill where parking is being expanded. 8/18/2022 01:' Anonymous Downtown and along the creek has the most visible space for public 8/21/2022 08:41 PM art, so that's probably most important. Also, anytime an area can be enhanced by public art is important -- such as the aspen trees with hidden words that were painted along Washington St across from the rental units. Anonymous any corner of 10th & Ford (Burgess park) 8/22/2022 03:21 PM Page 29 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Anonymous Downtown. Along trails. 8/24/2022 01:07 PM Anonymous Washington Ave, parks 8/24/2022 01:28 PM Anonymous Parks 8/24/2022 09:44 PM Anonymous Golden Gate Canyon 8/25/2022 06:05 PM _^ Anonymous NoGo = North Golden, North of HWY 58 on and arougton 8/25/2022 09:21 PM AVE Anonymous South golden, pleasant Qew) 8/27/2022 09:51 AM Anonymous NA y a► � V Anonymous u to P ore th 111Edowntown area where the action 8/27/2022 06:10 PM IS. � P �CO Anonymous 8/27/2022 06:56 PM 01 Anonymous �eet area east of ford 8/28/2022 12:41 N R AnonymouThe often overlooked, South Golden Rd corridor (with the exception 8/30/2022 01:(: of roundabouts) Anonymous Library 9/01 /2022 09:41 AM Anonymous The side of Coors on 58th so it's not just a giant gray concrete 9/01/2022 11:22 AM structure greeting visitors. Page 30 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Matt Murphy In public parks throughout town- lots of public space within 9/01/2022 05:38 PM neighborhoods that would benefit from sculpture (interactive?) or murals (if there are opportunities as such). Anonymous Golden Gate Canyon 9/04/2022 11:26 AM Anonymous South Golden 9/04/2022 02:31 PM Anonymous Not that I can think of �` 9/05/2022 02:27 PM `� Iq Anonymous Looking forward to Coors Redevelopment and ho raj more art is 9/07/2022 02:37 PM incorporated there. Also more art in old Coor 1C arters area. C) kjacobs@firstaffirmative.com NA 9/07/2022 02:53 PM `� G Anonymous Dow 9/07/2022 06:24 PM Anonymous N/A 9/09/2022 03:13 PMFO P ` Mandatory Question (96 response(p Question type: Essay Questioeb •` Page 31 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Q10 What types of art would you like to see more of in Golden? 60 55 51 50 44 A 44 45 40 36 35 28 30 — 27 25 20 56 14P 0 15 14 14 15 8 10 Q - - 5 _ r Question options Traditional sculpture Contemporary sculpture Painting Photography Kinetic -interactive artwork Murals 0 Earthworks/environmental art Functional art (benches, bike racks, etc.) 0 Temporary art exhibitions Light -based art 0 Sound -based art Memorials and fountains Performance -based Other (please specify) Mandatory Question (96 response(s)) Question type: Checkbox Question Page 32 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Q11 Currently, Golden has a Public Art Commission (PAC) appointed by City Council that is charged with selecting and maintaining the artwork for the City. If you could make a suggestion to the PAC for three things you hope they might focus on in the ne... 50 43 45 42 40 40 35 30 25 20 15 15 10 5 PO O 5 1 ✓ i 10 N Question RAdd art tlocations throughout Golden (inside City buildings, parks outside downtown, etc.) Add more varieties of artwork (kinetic, murals, abstract, etc.) Create a temporary (a/k/a "Art on the Streets") art program Continue the mural program Create a permanent sculpture park somewhere in the City Promote more art -related programs and events around the City Create more digital resources related to the Arts in Golden (maps, downloadable tours, etc.) Find ways to engage and educate kids through art 0 Host guided art & culture tours Pursue certification of Downtown as an "Art District' in Colorado Find ways to engage and educate kids through art Keep it exactly the way it is (no need to change anything) Other (please specify) Mandatory Question (96 response(s)) Question type: Checkbox Question 14 Page 33 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Q12 What other thoughts do you have about public art in Golden? kmatthews335 I really like the murals on the buildings, especially the current ones. 1 7/06/2022 01:06 PM am not a fan of the "oldies" are such as on Faith Tatoo. I don't see the point in going backwards when no one remembers this place - current artwork is more inviting. I do love alot of the murals I wish the one on CO Cidery did not look so tropical and more mtns like - as Golden is just that. But great job and I appreciate the efforts and it adds to the beauty of downtown. 4 jennmo Variety is best, less of the old brass sculptures. More m 7/06/2022 02:03 PM CindyJaye I love Golden and I love the public art collecti hanks for keeping 7/06/2022 05:16 PM art a part of the commu . Anything yto continue to inspire us is appreciate . v mwisell If you deci with a s ire park p clude Gardens and Y 7/07/2022 07:23 AM walkwa Arvada r s just to s ' e they threw pieces out in d. �%►� V Dave Shue Public fission ' bein used as a awn and slush fund for y � g p 7/07/2022 12:59 PM Foothills rt Cen ` PO Eskett Mo*e necessarily better. 2) Non-objective (abstract or c art is often more thought -provoking and engaging than t'✓e art (portraying a recognizable object). However, integrating Q abstract or conceptual works into a historic environment is tricky and sensibilities could be offended by such juxtaposition. It is suggested to introduce some contemporary/abstract/concept works into new building environments or park settings outside of the core downtown or historic areas. krissmurphy I find the narrow viewpoint of the excessive number of bronze 7/07/2022 02:44 PM sculptures throughout downtown extremely disappointing. It's 2022, why is the majority of the art reminiscent of 300+ years ago? Even art from 1922 would be more engaging and more aligned with our contemporary world. Art doesn't have to be literal or blatantly representational to be embraced by the community. While art appreciation is very subjective and I do not expect to love every piece in any collection, my personal preferences don't impact the Page 34 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 offensiveness of depictions of Native Americans executed by whites. I appreciate your efforts to engage the community with this survey, but if you have genuine interest in hearing an array of perspectives you could start by holding your monthly meeting at a more accessible time. judithgoeke Currently, public art lacks a cohesive plan. Many of the sculptures 7/08/2022 06:14 AM that were donated in the past and placed along Clear Creek are more akin to playground structures to climb on than art. Grounds for Sculpture, https://www.groundsforsculpture.org is a good example of true outdoor art. I feel Golden looks cluttered and un-serious when it comes to art, especially sculpture. Our natural surroundings ar beautiful on their own, without embellishment. §� Iq tony.shouse - remove the bronze that doesn't reflect the val history of 7/08/2022 08:34 AM Golden (e.g. Patriot on cl r creek bike p t color (love the murals and hummingbir as ey expre vity not manufacturing bronze crap a.k.a. C RT ort f �p integr arts and public V safety (creativ �ssfks, pai ed p�the fort �rng ebike ` ��/ boom,► V JulieBartos T u for solicitir ommuni ack! P � Hschovanec While Wals an `Ipbs are wonderful, I think it is more important there are r ents for local artists to teach the community ,)t art a eir art. This program should promote as many cal ar possible. Imwink No more animals, cowboys, or trite/stereotype "western" sculpture.: ) 7/09/2022 06:52 A jproff448 I do like seeing the sculptures around town, but I personally prefer 7/11/2022 02:49 PM things that are more colorful like murals and paintings mtrout limit art on crowded sidewalks 7/12/2022 06:00 AM astangelo Less bronze statues. More serendipitous installations like itty bitty art. 7/12/2022 01:00 PM More kinetic, murals, abstract, earthworks/environmental and light - based art. More installations outside of the immediate downtown area. More temporary art installations/events (ex. Page 35 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 https://waterloogreenway.org/creek-show/?tab=past-shows) fangacx More art that reflects a more complex view of the historic "western" 7/12/2022 05:39 PM town image that is more diverse (women, native Americans, African Americans, Hispanic Americans) etc and a look toward the future too Climberbiker Doing great, keep it up. 7/13/2022 01:02 PM Karen Oxman Please keep the art that is permanent in line with Golden's histor. there is an area for kinetic art, have it all in one area, acce�si�ixflti visible. jesse.eggers Public art is a wonderful addition to the culturie community - 7/18/2022 11:04 AM please keep it coming! G Sarah We have a ver rogra . I like o SM and Coors 7/18/2022 02:25 PM art incorpo o the ciN s rketing MRE o reatlY fits fro P7/18/2022 03:13 PM � P dOnnaSChOw Zase expand ar cts to the entire city, not only downtown. 7/20/2022 01:06 PM access Ziews before selection and installation. O • '1� 0 imkristie o public art that's currently in Golden and hope you see more! Jaycee 4qL: I see people taking photos next to sculptures on town a lot. cecragan Would love to see some diversity by moving the bronze statues to 7/26/2022 09:48 AM other locations, and replacing with more variety. Would like to see women memorialized equally as men are. Tracy A na 7/27/2022 05:14 PM Page 36 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Lilybosworth I'm grateful we have it! 7/30/2022 05:58 PM Cmjdee I would hope accepted works are not too abstract. Art should enhance 8/01/2022 12:44 PM the historical and western significance of the city. mctebo None. 8/01/2022 01:21 PM HideawayArt Golden is on a good track for enhancing the art scene. As an artist it 8/01/2022 05:40 PM is very welcoming. I hope the focus for future public art will sho preference to Golden artists first. Foothills has done a gr that ... I just want it to continue. ` V gmcstravock The art is something thaCally stands o t Nes Golden feel 8/01/2022 11:00 PM special. I think it'll conti e somet draws others into our town to visit and to s y! • � G3 whiplashsaxif rage I would to a oppor or mus' rforming arts to be 8/02/2022 02:38 PM public inGol r xam I phitheater where the �� i� J f Symphony Mid perforA�f�.9Fee. Basically, a small town n f theavitt tter concerts in Denver or the free c n e o ?'Ohawn" in Bu Vista.) ♦ CO Janashford e be QPon anent art, it would be nice to feature local 8/03/2022 08:30 AM �rtists a rotating basis. flintr Is idreally a government function? 8/03/2022 09:22 AP deb _in_gol 1 Too much more public art will be garish. Has the commission thought 8/03/2022 09:36 AM about landscaping as a form of art? That lends itself better to the natural beauty and can be very creative. msquier An outreach to Golden High School or graduates to 8/03/2022 10:35 AM encourage/support local artists. Please offer a free booth to their arts programs for the different art festivals. Jmtrudell I love art, anything we can add would be a bonus 8/03/2022 12:48 PM Page 37 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 lynnsvoboda Golden has done a terrific job with public art. 8/03/2022 02:30 PM hnewe112015 I love Golden for how artistic * quirky it is. There's no place like home. 8/03/2022 02:39 PM shumaker I would love to see more diversity of styles and perspectives in our 8/03/2022 03:25 PM public art; the multitude of bronze statues are homogeneous and dated, and contribute to a narrative of Golden as a city that values a rose -tinted and white -centric view of history and the "old west." Begonaruiz There is a significant number of bronze sculptures, ma)7i��adding 8/03/2022 03:28 PM some variety would be nice e) V Chefinegurl Make sure the sculpturet create locks;&robstacles for AOW 8/03/2022 03:54 PM traffic. There shqul be obst c in in theUf traffic circles/roatarie , abou �j ` Libby Im llt�tion to y pro�ec 8/03/2022 04:04 PM P Lhunt Pleasenat f% must add more stuff. 8/03/2022 04:12 PM ` `� FO V elliesv 8/03/2022 04:21 PIS finally Q Keep public art western rustic based/looking not like the 8/03/2022 04:2 running/moving silver and orange stuff on east side of 93 on way out of town. The bronze works mainly in downtown and on 19th street overpass are awesome and get fantastic responses from people. Triceratops trail's little building as recently painted looks just plain awful gaudy. kmonaweck Subtly is important, take the little dinosaur on the SE corner of 11 th 8/03/2022 05:42 PM and Washington (at the bottom of the handicap ramp) for example. Donna Mattson I enjoy all the forms of art that are currently in Golden. 8/03/2022 05:46 PM Page 38 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 camlllejr Continue to update the public art guide annually 8/03/2022 09:59 PM Andy If I were you, I would take a look at what the school of mines has 8/04/2022 06:36 AM done with there sculptures. They bought real art in most cases. Stop decorating and make purchases of quality real art from real artists. Make a curated collection. As a trained artist, I look at your past purchases and it's kinda of a joke in the art community, sorry. faustinecurry Golden has done a wonderful job building its public art portfolio, 8/08/2022 03:17 PM there is more can be done and more people that can be irp' Please keep thinking and moving forward! kaxelrod I appreciate the historic figures represented t 6 sculpture around 8/09/2022 09:00 AM Golden, however I woul i e o see a ive representation of historic figures such male foun rtrailbl ers. I would also like to thank the V6gh all that ey Co ntri &ur wonderful and unique to �,�ar 'n G ! c q � �'\. �J l ` Francine Do raid to tr things. 8/10/2022 01:12 PM NC9 P � Sgarrow I love n in ne d town. Especially the new small murals 8/10/2022 05:08 PM w i fhe fi Sin in Dove `e noticed when we moved here in 2009 were the g g ,�� 8/10/2022 07:56 PM ues. We feel in love with "Bucky" and were upset when he �ved for the cyclist for a spell of time. We were pleased when Q Bucky returned and then after the bridge was built they moved the cyclist to the base of our neighborhood. I love how one our neighbors respectfully and creatively decorates the cyclist for the holidays. Thank you for allowing them to do this as it brings me, and others, much joy. Anonymous I've heard of a group is seeking to add statues of Golden women. I agree. There are none. Please support this endeavor. Anonymous Golden should have better places to spend money. Replace the dying trees in the city is one area. Mow the tall weeds in the public areas some is another area. Page 39 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Anonymous None 8/12/2022 07:15 PM Anonymous Golden would really benefit from more indigenous perspectives on art 8/12/2022 07:46 PM and environmental art Anonymous No more bronze representational statues!!! 8/12/2022 08:08 PM Anonymous I wouldn't want anything that would detract from clear creek's 8/13/2u22 01:41 Hive accessibility/usability ` N Anonymous I would still also love to see guided art and cult e ' js and 8/13/2022 07:40 PM promoting more digital rrcesl Also 1' 1et involved if there is a need! mcsherrymel.com! T 1 Anonymous I love what t is doin eep it up. I t ' are very 8/14/2022 09:16 AM innovati d ill cont i g grea �egarding art.. V kschwaab87 P I Id ove 4;bNay m e ` and art around Golden 8/15/2022 11:37 AM P �CO Anonymous 'r-1,%other tPctures lln`Colorado, they seem to have more 8/15/2022 03:45 PM tem or in cities such as Grand Junction, Leadville, temp or Lon bviousl . Would love to see variety. 9 1 " Y) Y Anonymous art in parks and public buildings would be a great addition; support for 8/16/2022 10:45 A local artists and artisans as well ,�R 4QQ Anonymous n/a 8/17/2022 12:18 PM Anonymous not sure 8/17/2022 01:20 PM Anonymous Murals need to go on a wall that is easily visible from a number of 8/17/2022 02:13 PM viewpoints. Statues should be accessible to walking around them. It's hard to appreciate them when you're trying to drive. Traffic circles are Page 40 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 particularly inaccessible. I'm not thinking about a "sculpture park" , but individual locations which are walkable and have nearby parking if someone wants to get a better look. Anonymous The sculptures that were moved on 93 that are supposed to be 8/17/2022 04:30 PM different from different angles are very hard to see and comprehend when driving by. Anonymous The sculpture on Highway 93 near Washington is fascinating, but I've 8/17/2022 04:55 PM never been able to really see it driving past. Something this complex should be in a place where it can be viewed more carefully. Anonymous Thank you. 8/17/2022 09:51 PM V Anonymous I would love to find out Ct help out %i 4n co mittee as a 8/18/2022 01:28 PM designer and artj�sto has a p n�ublic a engaging the community thrrR. Vict ria�ign36 om 0 �� Anonymous The es that ently h outdated. There's not 8/21/2022 08:41 PM y wo or ople f oresented. It seems like it's ly whit d wild P ` Anonymous i tvee art cts the geographical location and its history 8/22/2022 03:21 PM O • '1� Anonymous 8/24/2022 01:07 PM r Anonymo There are way too many "bronze" realistic -but -smaller sculptures. 8/24/2022 0�qL: Anonymous Adds interest and enjoyment to Golden 8/24/2022 09:44 PM Anonymous Golden needs to learn from examples of other towns. Art can make a 8/25/2022 06:05 PM town unique and lasting memories for tourist. Anonymous Public art is and has been a fabulous addition to the community. It 8/25/2022 09:21 PM makes golden interesting, educational, and unique. The more the Page 41 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 better!! More contemporary additions, and less traditional murals and sculptures, would be welcome. Anonymous We need to promote more small artists and their work Anonymous Na Anonymous Would like more unique statement pieces that fit with the city and ive 8/27/2022 06:10 PM it energy, vs a lot of little pieces that are similar and don't stance I like r Anonymous e weird e d art 8/27/2022 06:56 PM f �V Anonymous Promote local artists Anonymous Please, no�ioi� cheesy of kid ` 1'hals 8/30/2022 01:05 PM Z v , V V Anonymous own o ��e of ae4pray paints in murals. VOC's can 9/01/2022 09:41 AM negati t the oe. Find an environmentally friendlier way to promote rt and `e. ✓ FO Anonymous 5&*�$ collab ve space for multiple artists would be interesting to see 9/01/2022 11:22 AM 0 N Matt Murphy Q Variety!! The world of art is diverse and we should reflect that 9/01/2022 05:38 throughout the City. Anonymous We have lived in Golden, Colorado, City and County for more than 35 years. Golden should promote local Artisans more. Anonymous Promote art related to environmental conservation!!! 9/04/2022 02:31 PM Anonymous I really like what you have done already in Golden. I especially like 9/05/2022 02:27 PM the statues that you already have that give such a nice Colorado feel in Golden. Page 42 of 43 Golden Public Art Survey : Survey Report for 20 September 2017 to 11 September 2022 Anonymous 9/07/2022 02:37 PM kjacobs@firstaffirmative.com 9/07/2022 02:53 PM Anonymous 9/07/2022 06:24 PM Anonymous 9/09/2022 03:13 PM Mandatory Question (96 response(s)) Question type: Essay Question Great to see this as a priority and thank you for asking for public comments. don't shy away from controversial topics, modern themes. Don't just aim for lowest common denominator. Thank you N/A �V G Page 43 of 43 ArrtNL WURED PUBLI PUBLIC ARTWORK FEATURED IN Page 11 THIS PLAN Top: Rotary Butterflies, Pat Madison Bottom: Nighthorse on the Mes�� kN All images courtesy of the City of Golden. Rudolph All artwork copyright of artists listed. Page 14 Iq It Takes a Village, Jud r ner Front Cover (L to R, Top to Bottom) papC Adolph Coors, Sarah Maloneyp •• Retur of Cu h"•et/ur of Cu h at Madison bNtotto Shoshone S irit, William Gee Son of Lib xames Muir Brother and Sister at the Rodeo, artist n' Be: Vict n ress Up, artist unknown V Winter Wind on the Mesa, M ara age Cowboy's Da Off Michael Haab y y y � �r�✓✓Through the Depths, Haley Knowles Day Dreamer, by Dan Ostermill �e20 HowdyFolks Jeff Rudolph p O � Rocky Mountain Hummer, Don Kennell Joy of Music, George n �� Page 21 The Cowboy, Buc 'CV The Kayak Ray r Richardella The Mon1q`ck McCain Two Deer, artist unknown Lending a Helping Hand, Cloyd Barnes Strength, Dedication, Discipline, Determination, Jeff Rudolph Return of the Cutthroat, Pat Madison Page 9 "Murgy" (the Lizard), Will Betke-Brunswick Splatter -paint art, Kids of Golden Page 22 Top: Cameron's Dragon, Mary Zimmerman Bottom: The Monarch, Buck McCain Page 23 Rocky Mountain Spring, Michelle Wolins i7N -A I City of �= -Golden kRT 1 P 8 L •A�N�JBOOK, UPDATED & RE ---------- n n AKE TO CO ME O'ka: CON TS 01 Introduction &Mission/Viso Goals ............ 2 02 AIPP Definitio ........ 0,0 6 03 Groups Involye�de IPP Program ... 10 04 Public quNtion: lines................15 05 PubrtA49Ito ethods...................19 07 Maint nalicy....................................33 08 ce Policy.....................................37 (V 1 11I Section 1: Introduction & Mission/Vision/Goals for the Golden AIPP Program 1.A. Introduction Golden is a scenic, bustling, former gold rush town, resting between two mesas at the base of the Rocky Mountain foothills. The City's Art in Public Places Program (AIPP Program) has helped to create a unique, vibrant and art -filled downtown and creek -side area, an is public art collection contributes to the quality and cultural identity of our comm V Golden s art collection began as several generous donations of traditions Q1\I.p e to the City. These sculptures reflect the early history of Golden's foundations andtage. In recent decades, the collection has grown, become more diverse and has be inkled throughout the community. It is beginning to tell a new, more contemporary st ut Golden, its communities and its bright future. As the City cont es to pro e AIPP Program will continue to evolve along with it, communicating it col ctive and shared vision for the future of this community.► 1.1113. AIPP Program Mission and Visio�►` • �� Mission: To enrich the public environd r nc f ents and visitors through the arts. Vision: To create and supp rse ar re ects aograms of and for the entire Golden community,through aders wards �Tid partnerships. 9 P, p P 1.C. Golden AIPP Progra oa�s Background: In 2013, an A ZZI c Plac ndbook was written, outlining the policies and procedures that guideIPP Pr . In 2022, these policies and procedures were updated and edited too r refle� als and purpose of the AIPP Program. The follo:2ate pro m go re identified for the future of the program: Goal A. forAdvancina Arts in Golden Art contrii�tes to our quality of life, civic pride and economic vitality. We will be the City's key advocates for including art in all City decisions, planning, and construction, where possible. We will embrace and elevate public art in Golden and will support City leadership as it considers establishing broader support for arts and culture. Goal B. Create a Diverse and Accessible Collection for Golden As stewards of the City's public art collection, we will create a collection of permanent and temporary artwork that: Features work of the highest level of artistic excellence; • Features work by a broad and diverse group of artists, working in a variety of methods and media; • Explores and reflects a diversity of themes, subjects and traditions; and • Enriches public spaces in all parts of our City and is accessible and available to everyone. Goal C. Maintain our Collection for Golden Golden's collection of artwork is an asset to our community. We will maintain, conserve and care for the collection for generations to come. Goal 4. Promote the Arts for Golden and Beyond Golden's public art collection will inspire, educate, and create conversation. ill romote and inform the public about Golden's public art and seek to increase public unc rst ding through education, media, and events. f� C) Ci eN Pci33 o.� Q 4 5 '\1:j'-M-11 a,+ Section 2: AIPP Definitions Public art is defined in City of Golden Municipal Code Chapter 2.60 (see appendix) but is further detailed in this handbook. 2.A. Public Art "Public art"as defined by this policy, is artwork that is: • Owned by the City of Golden and acquired (in whole or in part) with public funding and sited on public property; and/or • Donated or loaned specifically to the City's AIPP Program; and/or • Sited on private -property and owned by the City according to a legal ag nt ; and/or • Privately -sponsored artwork that is sited on publicly -owned land acp�ding to a legal agreement between City of Golden and private sponsor. A `` 2.B. Inclusions The Golden AIPP Program includes public art that s: • Temporary or permanent; • Located inside or outside of a publicb g; �%`► • Located in the public right-of-way; v py& ` • � • Located on private land accordin egal a ment � n City of Golden and a private landowner. V 2.C. Types of Public Art Public art may include, but i o ited folio i%�Vies of artwork: • Sculpture: in the roun a -r ie m bile, ki e4io!in any material of combination of materials; � • Painting: all media, incl ing p rtabl ermanently affixed works and murals; • Digital, projected an &ic art- • Graphic Arts: printm ki nd d� • Mosaics; • Photography ' m o vid • Light -based rt • Craft: c , ibe and textile , wood, metal, plastics, glass, and other materials; both funWykncl nonfunctional; • M edia & collage; • ns, memorials and decorative memorial plaques; • Ea works and environmental installations; • Conceptual and text -based artwork; • Sound -based artwork; • Functional artwork: pavers, benches and other functional items if designed by an artist; and • Performance -based artwork that produces a permanent leave -behind. 2.13. Not Considered Public Art The Golden AIPP Program does not consider the following to be public art: • Directional elements, signage, or way -finding elements except where those elements are an integral part of a work of art designed by an artist; • Educational plaques except where the plaque is an integral part of a work of art designed by an artist; • Objects which are mass-produced and not designed by artists, such as standard playground equipment, benches, drinking fountains, and light fixtures. • Decorative, ornamental, or functional architectural elements unless designed by an a rti st; • Landscape gardening, except where these elements are designed by an artist, are an integral part of a work of art, or in service to a work of art; • Signage, murals or artwork which serves as advertising for a business; and/ • Temporary or permanent artwork that is privately sponsored and loca e rivate land according to a legal agreement between the private entity an ,lull. IIitTIaI ''','J'ldnpq O1I Section 3: Groups Involved with the Golden AIPP Program The City of Golden's AIPP program is administered solely by the Public Art Commission (PAC) and involves other groups as outlined in the section below. Other departments, commissions and entities such as Public Works, Parks and Recreation, and the Downtown Development Authority shall have advisory roles in the Golden Public Art Program, but the PAC has final approval for the City's expenditures of public funding on artwork and makes decisions for the city -owned art collection, including acquisitions, maintenance, and planning. 3.A. Public Art Commission (PAC) The purpose of the PAC is to be stewards of the AIPP Program for the Cityolden. As such, they are charged with oversight of acquiring, managing, maintairoNthe public art collection as well as acting as program spokespeople and champio NNTnbers of the PAC are appointed by City Council to carry out the duti nd respo i i i i s of the AIPP Program for the City of Golden. The establishment and res ns ilities are defined in Golden Municipal Code (GMC) Chapter 2.64 (see appe dix ut # it r deta�'I�d in this handbook. ` �► t� � .� 3.A.1. A ointment & Members �+` \•/ • �� pp The City Council shall appoint I en Pu rt Co s n composed of seven members as follows: • The Executi e *r r o oothi nter or their designee (ex ofcio member); • A representa ive sel y t e r of directors of the Golden Civic Foundation (upon ap oval it ouncil); • Additional m shall b iduals who are artists, arts professionals or have d1emo0> inter expertise in architecture, art criticism, art education, istor is arts, interior design, landscape architecture, town a ng or r and design related fields, or who have de o st ed interest in the visual arts and civic improvement; •A PA embe all either be full-time residents of Golden or business ners in Golden; and :��her non-residents of Golden will be considered for board membership on a ase-by-case basis. lqz 3.A.2. PAC Duties & Responsibilities The duties and responsibilities of PAC are defined in GMC Chapter 2.64 (see appendix) but is further detailed in this handbook. The PAC shall: • Adopt rules of procedure governing its proceedings consistent with the Golden Charter and Municipal Code; • Select, acquire, and maintain the city's public art in fulfillment of the goals of the City's AIPP Program Goals (see Section 1); • Identify suitable locations within the city for public art; • Facilitate the maintenance, preservation and safety of the public art collection; 11 • Prescribe procedures for the competitive and transparent selection, acquisition, placement, display, rotation and deaccessioning of public art; • Oversee the public art budget as well as solicit grant funding for public art projects; • Prepare an annual report of the PAC's yearly activities, including expenditures and goals for the coming year; • Act as ambassadors for the AIPP program within in the community; and • Promote public art through a public education program and materials. 3.A.7 Meetings The PAC shall meet monthly at a regularly scheduled time and place as agrupon by its members, which shall be open and accessible to the public. A pu; ord of all meetings will be kept. •(�' 3.1113 Staff Liaison(s) The Golden City Manager shall appoint Staff Liaison(s) to provide ad Qative support and assistance to the PAC as necessary to accomplish the duties of the nd the purposes of this section. The City Manager may appoint additi nal taff to th the duties of the PAC as needed. 3.0 Consultant(s) •�� The PAC may hire consultants and/or sp s to a i with el of the program as needed. n V 3.113 City Council & City Ma The PAC has full approval a o for it QX)olici 04xpenditures. In some cases, in accordance with Golden's p sin WicTfs and Cit odes, the City Council or City Manager may request to app ove pr or con(ts on a case -by -case basis. 3.11D. Selection Jury The PAC may serve as the j !�)all art itions. However, the PAC may alternatively r i select a special jury to e5 bmif �n such cases, proposals shall be considered by the jury and a final c c will �nted to the PAC for acceptance. These types of selection juries can r V e ad community input, specialist input and other important perspectives fo p lic art sel ion process. The PAC, together with the Staff Liaison, shall decide er a jury is needed and confirm the use of a jury through a majority vote of the PAC. 3.D.1. r_Size & Membership p The size of the jury shall be determined by the PAC. Jurors are appointed by a majority vote of the PAC and serve at the discretion of the PAC. Jury members may be removed by a majority vote of the commissioners. The jury may include but is not limited to: • One professional artist; • One art professional which may include an additional artist, art historian, museum curator, or arts coordinator; One community lay person interested in the project; One person who either lives or works near the proposed site for the artwork; One PAC member; 12 • City of Golden Staff or leadership as needed for their knowledge of the project area, neighborhood, etc.; and • Additional jurors may be chosen for the jury as deemed appropriate. 3.D.2. Jury Voting rights Each juror has one vote, and no juror has the right of veto. If a consensus cannot be reached by the jury, then a majority vote carries the decision. The jury has the right to make no selection if there is no proposal judged to be of sufficient merit. The jury will forward its decision to the PAC for final vote and acceptance. 3.D.3. Non -Voting Jury Advisors and Consultants The Staff Liaison or their appointee shall serve as a nonvoting resource for e �e'ection and will keep records of the jury deliberations and decisions. The PAC appoint non -voting advisors and consultants to provide guidance and advice r c the project. For example: artwork appraisers, engineers, conservation and m *ntenance specialists and other arts professionals. Advisors do not vote. 3.E. Conflict of Interest It is expected that members of the PAC, AIPP Staff&iaison cti Juries, members of subcommittees, panels or any other ad hoc qr so in �workith the AIPP m program may be aware of the work of so1�and a�ani rho submit their work for consideration for public art prof ouch a eness alo s not constitute a conflict of interest, nor does owning a c of wor subm� i rtist. A conflict of interest is deemed to exist if a memb ist is r to n either through family, marriage or domestic partnership other re i ship c nomic interdependence, a business relationship such as r r tin work �st as a gallery owner, or if a member stands to gain dire fit, w finan otherwise, from the selection of an artist. If a member is related an a er con de ion in one of the ways mentioned above, they shall state that they have conflic Sfrest and shall recuse themself from voting or further discussion on e pro ect inl tion. � �GJ O � 13 14 J 11:1 A [Hr�1:i W,INI Section 4: Public Art Acquisition: Guidelines The mission of the PAC and the AIPP Program is to enrich the public environment and experience for residents and visitors through the arts. The PAC will continue to expand and add variety to the public art collection in alignment with the mission, vision and goals outlined in Section 1. The following section provides the policy for acquiring works of art through Golden's AIPP Program. 4.A. Acquisition Policies All Public Art shall be selected through a fair and transparent process. The PAC opt new policies and procedures at any time to guide their process. Artwork m quired by a variety of methods: direct commission via open competition, direct purc ( ith or without competition), permanent donation, community collaboration a/or m nporary loan. Each acquisition method is described in detail in Section 5: Public A isition: Methods. 4.B. Funding AIPP new acquisitions, projects and programs may(�undecl e fol wing sources: 4.B.1. One -Percent Funding `* G U According to the AIPP ordinance (sendix), percent(f the construction cost of each new City of Golden Ca a mprov Proj ) with an estimated construction cost of over fifty-tho doll 100 e deposited in the City's Art in Public Places Reserve A o nt (Resercounth guidance from the AIPP Staff Liaison, the City's CIP o�m n s andAw u ing staff will ensure the proper allotment of funds to be d for rk in tserve Account in each case. 4.13.2. Yearly Allotment P Ak (00 The City of Golden will an Ily allocate P to support general AIPP expenses to ensure consistency fort o r�m. C t uncil may elect to provide the AIPP program with a yearly budget all nt for its grams and collection maintenance. The Staff Liaison to the PAC NkAa e r t� ndations to the PAC, City Council and City Staff for yearly allotmVanrant ng KS olden's annual budget process. 4.B.3. Don e nds The PA ombine any of the funding sources listed above with donated/granted funds various outside sources for the acquisition of artwork. The combined donated fun e used according to donor or grantor designation or if undesignated at the discret n of the PAC. 4.C. Budget Assignment At the time of an acquisition approval, whether by donation, commission, loan or purchase, the proposed budget for an artwork shall be set aside in the AIPP Reserve Account and should cover all costs of design, fabrication, installation, and maintenance. Costs may include: • Pedestals, bases, lighting, landscaping or other display components; • Site development, rental equipment, site -safety, or other installation needs; iD, An identification plaque, photography and dedication ceremony; and Contingency. 4.111D. Site Selection To ensure public art is safe, properly sited as well as fairly and equitably distributed throughout the City of Golden, the PAC shall consider the criteria below to guide the placement of art projects. City Departments will provide support, professional expertise, and advisement as needed for installations selected by the PAC. Criteria shall include: • Relationship of scale of the artwork and the site's physical dimensions; • Whether or not there is other public art in the vicinity; • Compatibility of the design and location with the character of the site;` • Relationship of proposed artwork to existing artworks in the vicinity • Accessibility to the general public, with particular attention paid to ericans with Disabilities Act (ADA); • Visibility and access for the public at least during normal buil)Iqjlr park operating hours without cost or permission; • Vehicular, bicycle and pedestrian traffic pa er inclu ress/egress; • Public safety (see Section 6. Safety Policy , • Environmental impacts; • Impacts on adjacent property owne ` Cj • Sightline obstruction and traffic i s/distr t s; • Maintenance requirements cr by the ' s ation, �s landscaping, lighting, underground utilities and a ility f nten • Future development oft ; and zp • Any other criteria de y her the e important. 4.E. Contracts & License Agree s Following the final selection of artw rk or� regardless of funding source or acquisition method, a writte 'dt or li agreement shall be prepared by the PAC and the Staff Liaison and ap ro ed bKt��, Attorney. Each contract will be drafted on a 4 case -by -case basis, bu u� outlirrollowing items: • Project scop live • Description of r orkt�cquired; • Insuranquirements for all parties; • Co Rount and payment schedule; • PRIC711rights, �Viestones; • including copyright; • City of Golden's rights vis-6-vis the artwork, • Warranties and maintenance/restoration agreements; • Provisions for making changes to the contract or contract amount; • Provisions for cancellation of the contract by any party; and • Other legal requirements as requested by City Attorney. 17 18 J I I :1 A[ 10, \ 'A r' 164 1 1]1 Section 5: Public Art Acquisition: Methods As stated in Section 4, public art shall be selected in a fair and transparent selection process. At every phase of art selection, the public will have opportunities to be involved and kept apprised of the PAC's activities through the PAC's regular open and accessible meetings and minutes. Artwork may be acquired by the following methods: direct commission via open competition, direct purchase (with or without competition), permanent donation, community collaboration and/or temporary loan. Each acquisition method is outlined below. S.A. Project Initiation All acquisitions of artwork may be initiated by the PAC, Staff Liaison, or others in thqoiQolden community (Community Proposal). If the project is initiated internally --by the PA PP Staff Liaison --these acquisitions can occur at anytime. Unsolicited Communi sals will be proposed and reviewed twice a year every April and October (or at ti s announced to the public by the PAC). To move forward, Community Pro os must be approved to move forward by a majority vote of the PAC. This policy s pply to all acquisition methods stated below. S.B. Acquisition Policy for Direct Commissicd A direct commission allows the PAC to directly sl licit arti tate a ue proposal for a particular site. The resulting artwork is a di ti e origi I w rk of osed and specifically designed for a location in the &GoI d6. sually, mmissions are solicited and selected via an open comp ton. 5.A.1.Direct Commission P j Z'rinitiati� New commissions for a can b ' itia eclAC, Staff Liaison, or others in the Golden commu 5.A. for d 5.A.2. New Direct Commissio r pos h All new art commission ust before PAC and be accompanied by a New Commission Propos ?.briefly Nes the proposed project. New Commission Proposals shall inclu e follo Formation: • Brief projec %tr ctic, w the project will further the AIPP Program Goals; • Selection t _7C\ and materials; ice; ad from Public Art funds and/or from other funding Maintenance considerations; and Any other information pertinent to the project as needed/requested. 5.A.3. City Staff Review Before the PAC approves the Commission Proposal to move forward, the PAC may require review by City of Golden Staff for consideration of the following factors: public safety, pedestrian, and vehicular traffic patterns, impacts on operational functions of the City, environmental impacts and other planning issues. 20 5.A.4. PAC Review and Approval Following review and comments by City Staff, the PAC shall review the New Commission Proposal and approve or disapprove the project to move forward through a majority vote. They may also request additional information. The PAC will base their decision on the following criteria: • Whether the proposed project adheres to Golden's AIPP Goals (Section 1) and stated policies; • Whether the proposed project is in alignment with existing PAC master/strategic plans; • How the new artwork will contribute to the overall diversity of the collection and Golden community at large; • Whether the proposed site is appropriate and meets the standards o i in Section 4.D.; • Expected budget, available resources, and timing of the projee • Other criteria as noted by the Staff Liaison and PAC. 5.A.5. Approved Commission Proposals: Once a Commission Proposal has been ap ved by the e PAC and the Staff Liaison will create an outline of the next Ste s t and c �tion of the project. Items to include are: �► • Selection Jury appointment; '`� �► • Project orientation from City st 3` nee d, • �� • Method of selection (see Se i A.7. b to ); • Timing of selection proce • Project integration da • Budget; • Expected impa e nei hood r during installation; and • Other items pert n{ o rs ndin th proved project. 5.A.6. Budgeting Appro ed Co mis Once the PAC approv Ctinmiss* project to move forward, the Staff Liaison shall set aside appr r undi e AIPP Reserve Account to cover all costs of the project and o enc, . 5.A.7 Art Sel c o ethCommissioned Art Most oft ne commissis+ are selected using a competitive process open to artists accor o criteria set by the PAC or selection jury. The PAC can serve as the jury for ope m etitions, however, may alternately select a jury to review submissions (see c n D.above). In such cases, proposals shall be considered by the jury and a fin choice or choices will be presented to the PAC for acceptance. 5.A.8 Selection Methods Available to PAC for Direct Commissions Open Competition via Request for Qualification (RFQ): • Project is advertised to the public and all interested and qualified artists may submit qualifications (images of past work, biography, artist statement, etc.) for consideration. • One or more artists may be selected to move on to a proposal phase. Artists are paid an small honorarium/artist fee to cover the cost of their artwork proposal and/or travel to the site. 21 Artists will be selected for commission based upon their artwork proposal. If no proposal is deemed suitable, the project can be suspended, or re -called using any selection method. Records of the selection process are reviewed and certified in a public meeting of the PAC. Open Competition via RFQ & Interview • Project is advertised to the public and all interested and qualified artists may submit qualifications (images of past work, biography, artist statement, etc.) for consideration. • One or more artists may be selected to move on to an interview phaym.Artists are not paid for their interview and do not develop or present an r proposal. , V • Artists will be selected for commission based upon their int w, qualifications and other answers to questions as directed,,4y t selection jury or PAC. If no interviewee is deemed suitable, the proje be suspended, or re -called using any selection method. 5�9 • Records of the selection process ar rev ewed a1 ied in a public meeting of the PAC. Limited Competition/Invitational `� G • A select number of artists ited t bmit qual ns or proposals for a site. An appropriate fees e allo or th participation and/or proposals as determinO y the P • Artists will be selectr comm i bas n their proposal, interview, qualifications, a a s to q t as directed by the selection jury or PAC. If no is de uitab� project can be suspended, or re- called using a selec ethod. • Records of the selectiV roce �rviewed and certified in a public meeting of the PAC. F� 0 5.A.9. Selection Crit 'a When evaluatin i icati oposal or interview by a particular artist, the PAC or selection j �ralCOC dlil�ers: Th arti excelland experience with public art projects; • bility of the artist to work cooperatively and effectively with the PAC and ity of Golden; �ihe artist's presentation; he technical feasibility of a proposed project and the artist's technical ability; and • Other factors deemed by the PAC to be important. 5.B. Acquisition Policy for Direct Purchase Direct purchase results in acquisition of artwork that is already fabricated, and part of an artist's collection or part of a collection or from a gallery. The artwork can be acquired without competition or via an open call for artwork. The artwork is then purchased and modified to be installed in Golden. 22 5.13.1. Direct Purchase Project Initiation Proposals for Direct Purchases of artwork can be initiated by the PAC, Staff Liaison, or others in the community. The PAC may approach an artist directly, or vice -versa. If initiated by an artist or others outside the PAC, the acquisition must be proposed (see section below) and may move forward if approved by a majority vote of the PAC. 5.B.2. City Staff Review Before the PAC approves a Direct Purchase to move forward, the PAC may require review by City of Golden Staff for consideration of the following factors: public safety, pedestrian, and vehicular traffic patterns, impacts on operational functions of the City, environmental impacts and other planning issues. 5.13.3. PAC Review Following review and comments by City Staff, the PAC shall consider o wing prior to any direct purchase of artwork: • Whether the proposed project furthers Golden's AIPP Progra als (Section 1) and stated policies; • Whether the proposed artwork is in align twith exi master/strategic plans; • How the new artwork will contribute to e overal id r y of th N Ilection and Golden community at large; ` • Whether the artwork can be appro f� y sit an mee M andards outlined in Section 4.D.;► • Expected budget, available r ces an i ng oft oJect; and • Other criteria as noted by ff Liais�Tid PA V 5.13.4. Direct Purchase P o s �v Artists or others outside A h roach the►�AC to purchase an artwork should be prepared to submit th follow they • A cover letter explai ng w the I s ould be added to the City's public art collection and how thrchas urther the stated AIPP Program Goals; • A proposal over e h the name, title of the artwork, dimensions, medium, da V ced, er in the edition if applicable, restrictions on reproduc a d oth ation the artist deems pertinent; • Propose I ion f rk and installation requirements; • A re e a d refe re n • A a ette and/or images or the actual work to show scale and condition of ork; • nservation assessment describing the artwork's condition, along with a aintenance plan, authored by the artist or a qualified conservator; • A signed statement indicating that they have read and will comply with all aspects of the Art in Public Places Safety Policy and other relevant policies; • Proof of provenance; • A signed statement that the proposer has legal authority to sell the artwork; and/or • A release of image rights for the piece permitting publishing of photographs of the piece as the City of Golden sees fit. 5.13.5. Direct Purchase via Open Call for Artwork 23 In some cases, the PAC may solicit an "Open Call for Artwork" to purchase artwork that is for sale from different artists, galleries, or collectors. This type of open call will result in more choices for the PAC. 5.13.6. Selection Jury The PAC can serve as the jury for open competitions, however, may alternatively select a jury to review submissions (see section 3.D. above). In such cases, proposals shall be considered by the jury and a final choice or choices will be presented to the PAC for acceptance. 5.13.7. Selection Methods Available to PAC for Direct Purchases via Open C The PAC and the Staff Liaison shall be responsible for developing the sel n% process and public participation component for each direct purchas roject will consider the following selection methods: Open Call for Artwork: • A site, budget and criteria for artwork is advertised t 1� public and all interested and qualified artists may mit image e 'sting artwork for purchase. • A work of art is selected and app ve for rchaW im these submissions. If no work is de �+, itabI th proje e suspended, or re -called using any selection�od. •� • Records of the selection o ss are i ed an iied in a public meeting of the PAC. nn.. Limited Competitio tional• • A selected n f qua 'm ists vited to submit works of existing art for sale. • A work of art is selecte nd a for direct purchase from these submissions. If invite is de d suitable, the project can be suspended, or re -called usin pllbction od. • Records of th s ection p e s are reviewed and certified in a public meeting of the PP� �` S.C. Acquisitio "'�6 for tions Generous don i s from members of the community, arts organizations and private parties have been dation of the City of Golden's public art collection. The PAC encourages donation work that follow these policies and advance the goals of the AIPP Program. 5.C. . Limitations Golden's AIPP Program has limited project funds as well as municipal sites appropriate for the installation of artwork. To ensure the quality and diversity of the collection, the PAC uses the following guidelines to carefully consider whether a proposed donation is appropriate to add to the City's collection. The PAC accepts only those works that will, in its discretion, further the AIPP Program Goals. 5.C.2. Donation Initiation 24 Proposals for donated artwork can be initiated by the PAC, Staff Liaison, or others in the community. If initiated by others outside the PAC, a Donation Application must be submitted and approved to move forward by a majority vote of the PAC. 5.C.3. Donation Applications Any donation proposal to the PAC must be done so through a written Donation Application submitted to the PAC. To assure fairness and transparency, Donation Applications are reviewed only twice a year during the PAC's regular April and October meetings. The PAC may elect to review Donation Applications at other times under special circumstances. Each Donation Application should include: • A cover letter explaining that the artwork is offered to the City as a gift a) why the work should be added to the City's collection; • An explanation of whether the donation is for a permanent addit* c�i'e City's collection or if it is a temporary loan (see Section 5.D.); • A description of how the work of art contributes to the overall Al Program Goals; • Artist's resume or biography information and examples artist's past work; • Maquettes, images or the actual work t s qw the cry and proper scale of the work; ` • Proof of the artwork's provenance. ibition to r a let V authenticity from the artist, if appropriate; • A current estimate of value; V► ' �� • A site plan and landscapin for pr insta ti site; • A conservation assessmen ored art* t onservator describing the artwork's condition, ex c d life sp nd m ance requirements, including projected costs for i an e • Proposed donati nds ort o i g maintenance of the artwork; • An arlknn\A1IPr1nP nt thart\nrnrlkwmmn iPS Mrith all ggnPrtq of the Safety Policy (see Section 6); • A statement that th ooser h I authority to donate the artwork; and • Additional it s requ 5.C.4. MaintVaement onsWdd*s When accep inIlection, the PAC may require that the donor sign a maintena elish a maintenance endowment to ensure adequate care fojWartwork. The PAC is unlikely to consider donations that require immediate or e�i maintenance. g To a sure fairness and transparency, the PAC reviews Donation Applications by outside parties twice per year at their regular April and October meetings, unless otherwise published. Exceptions to this timing can be made if deemed appropriate by a majority of the PAC. After review, the PAC may choose to accept or decline a gift, or to table an offer. 5.C.6. Selection Jury The PAC can serve as the jury for donation applications, however, may alternately select a jury to review submissions (see Section 3.D. above). In such cases, 25 applications shall be considered by the jury and a final choice or choices will be presented to the PAC for acceptance. S.D. Acquisition Policy for Loans To increase the variety and artistic quality of public art for the community, the City of Golden will occasionally display art loaned to the City by artists, institutions or organizations. This allows for rotating exhibitions of artwork and assures that the art displayed within the City remains fresh. To ensure the quality of the works displayed, the City designates the PAC as the entity to review such loans. The PAC shall use the following guidelines to decide whether a proposed loan is appropriate, the duration of the loan, and where it should be located. 5.D.1. Loan Initiation *�k Proposals for loans of artwork can be initiated by the PAC, Staff Liai Wh e r s in the community. If initiated by others outside the PAC, in order to ward, the acquisition must be proposed and approved by a majority vote c�XhAC. 5.D.2. Solicitation of Loaned Artwork �6 In some cases, such as an exhibition of loc a 'sts in a wilding, the PAC may solicit an "Open Call for Artwork" to reques o s from ent rtists, galleries, or collectors. This type of open call will ;e t in mor for t C. The selection �S t� process will follow similar guideline ion 5. . f Dir c ase above. In the solicitation to the artists, the loan to Uocatio f isplay! mpensation to the artist shall be clearly stated. �' 5.D.3. Process for Conside of Uns d Loa d rtwork The PAC requests that i als or titles i s in loaning artwork follow the steps to the Donatio Pure ' ion 5. ove. In addition to the items listed on the Donation Prop sal, th er must ' di e that the loan is offered on a temporary basis, the duration t e lany other terms for the loan. Other items may be requeste ' clud g: • Precise terms of I ' (term Tation, etc.); • Details on install�io and de a ation; • Terms for wired Mnce during the term of the loan; d g • Terms of Va gre artwork is damaged during the loan term; and Insurancerireme Co 5.D. Agreement F g the final selection of an artwork or artist, a Loan Agreement shall be p d by the PAC and the Staff Liaison and approved by the City Attorney. The loa agreement may include the following stipulations: • Terms of installation and de -installation of the artwork, including details of transportation of the artwork to the site. Installation and removal must take place with the assistance of the appropriate City staff. • Terms of insurance for the artwork during transport and the loan period as well as liability insurance to cover the City and the artist(s) and/or owner. • Agreement that the City is not responsible for normal wear and tear, damage resulting from the exposure to the elements, gradual deterioration, vandalism or damage due to force majeure. KV, • Permission forth e City to photograph artwork forth e AIPP program's promotional use. 5.D.5. Exemptions These guidelines shall not apply to: • Artwork loaned to City staff or officials for display in their personal offices; • Gifts of State presented to the City by other governmental entities (municipal, state, national or foreign); and • Artwork loaned to nonprofit organizations that manage City entities or properties or to City of Golden museum(s). 5.E. Special Temporary Artwork, Exhibitions & Murals "Temporary artwork" is defined separately from loaned artwork above (Sec Temporary artwork is proposed for a site as a semi -permanent work that wi e destroyed, weathered away or removed after a period of time. Examples of tempora ork include environmental works of art, installations, event -based artwork or mura� 5.E.1. Temporary Art Agreement Acquiring Temporary Art shall follow the apriate asition ethod outlined in Section 5.A, B, and C. In addition, a Tip rary Ar ment ing the terms of the temporary exhibition, installatio ural sha omp I required application/proposal. Informatio t ust b cluded: ` • Expected short term main n e cost roce�, • Expected term or lifesp rt inst m • Value of artwork (for nce purp s); • Proposed site; a d CJ' • Proposed dispo e art ` if apple) or deaccession procedure and disposition. � o `mow 5.E.2. PAC and Staff A v All temporary works dill be r ed by the PAC in consultation with appropriate City dep�ent s Public Works, Fire, Community and Economic Development, ation, olice. Their recommendations will be considered prior to appr�v I the election committee. 5.E.3. 1 nce & Maintenance Gol II maintain appropriate insurance for the work of art for the duration of the ( oo ry display period. Golden shall maintain and conserve the loaned artwork n its term of installation or according to the Temporary Art Agreement. 27 28 29 Section 6: Safety Policy Maintaining a safe environment for our community and visitors is of key importance for the AIPP Program. All art accepted into Golden's public art collection is evaluated regularly to make sure artwork is not damaged or does not become a safety hazard. The City of Golden through the PAC should endeavor to follow safety precautions provided by the City's risk management agency when considering art for purchase and placement. This safety policy should be provided to any artist or donor as part of the acquisition process. 6.A Design for Safety All artwork on display in the collection should following points: be constructed with consideration 4OQr to the • No sharp points, corners or edges that could cut or puncture; Q • No protrusions or projections that could entangle clothing; • No pinch, crush or shearing points that could entrap a body Sipclothing; • No trip or slip hazards that may cause a fall cause in en upon; • No suspended hazards; and • The art should be securely anchored 4q oid top \A, 6.1113. PAC and Staff Review A review process shall take place to e �each ce be �01 isacquired for the collection. PAC members and Cit e res ves a ,'should ask the following ( Y p � g questions: • Is it suitable content • Does it pose any phy • Has the artwork (and i f u�li dis acco NNith community standards? �I►P1�zard as th ated above? supp eene^-.yved and approved by a licensed )uch, or should such access be prohibited? r that people, especially children, would especially if it is an unmonitored location? 6.C. Locati iew The PACs Nonder proposed locations for the following safety issues: • uating pieces near playgrounds, which may invite children to play on the art *pinless the art piece was designed for that purpose or could safely withstand this type of interaction; • If climbing is permitted, create a soft fall area under the sculpture; • Consider the proximity to roadways so that the art piece does not obstruct traffic line of sight or risk being struck by traffic; • Consider signage that warns of climbing or touching the art; and • Discourage activities that put the public or artwork in danger. 6.113. Removal & Repair of Art 30 Once the art is on display, it will be reviewed regularly for damage or deterioration. If a piece is damaged and/or declared a safety hazard, it will be repaired or removed immediately. 31 32 33 Section 7: Maintenance Policy The works of art in the collection are assets of the City of Golden. As such, it is the responsibility of the City and the PAC to maintain the collection of publicly -owned artwork to ensure the long-term value of these assets and that the collection can be enjoyed for generations to come. The following policy outlines the documentation, preservation, and maintenance processes that will support this goal. The policy will be implemented on a piece -by -piece basis that recognizes the value of each work of art in the collection. The AIPP program shall not maintain artwork outside of its acknowledged collection without prior legal agreement between the City and the owner of the artwork. 7.A. Documentation Each work of art in the collection shall be properly and regularly docume wi the following: 9 • Complete inventory of the collection including current locatioch work; • Periodic condition reports; • Records of actual maintenance performed n asse t��f those efforts; • Photographs and maintenance documental • Artist's maintenance recommendatiop, thods rials i �ation, potential problems with the work, finishes inf ton (e.g., a' ter 's hen, where, what, and how the piece was finished), li of m ials used,'• ation information, warranties, professional and/or 1 know ble o regarding preservation and maintenance; and • Artist's resume, artwork hi r , estimatclue, w he work has been exhibited, and any transcriptions ° rfdin erso hews with the artist. 7.B. Pre -Acquisition Main enan u e tion Before a piece is accepted into the Ci 's col oe PAC and Staff Liaison will review the artwork and provide an expec intena essment. The PAC will engage appropriate City staff and outside contr/or s as needed to assess the work. If available, the artist will also be consult or re ndations on maintenance. This information will become part of the pe ent do tion of the specific piece and reside in the records of the Staff Liaison. n ✓ 7.E. IV 7.E.lej1pNtion and Condition Report At regNar intervals determined by the PAC, the collection will be surveyed for maintenance and repair reporting. Paid professional condition appraisers/conservators and/or knowledgeable volunteers, craftspeople or industry experts will perform the inspection for each piece. An inspection and condition report for each piece will become part of the permanent documentation of the specific piece and will reside with the Staff Liaison. Each medium will require that personnel with the appropriate expertise be consulted to develop maintenance criteria. 7.E.2. Maintenance Plan 34 Based on the inspection and condition report, artist maintenance recommendations and pre -acquisition maintenance assessment, a maintenance plan will be developed and updated annually to schedule and perform cleaning, repair, and other required maintenance to preserve each piece in the public collection. This plan is initiated by the PAC and coordinated by the Staff Liaison. 7.E.3. Performing Routine Maintenance Paid professionals and/or trained and supervised volunteers will perform routine maintenance according to the maintenance schedule and condition report for each specific piece. The Staff Liaison will initiate and coordinate routine maintenance activities. 7.E.4. Artist Involvement Some works of art will be accompanied by a set of maintenance recomnaNJXns provided by the artist and/or owner. In these cases, all efforts will be f the maintenance or repair to be undertaken by the artist or their design 7.E.5. Special & Emergency Maintenance e) Paid professionals/craftspeople or knowledge�volunteerform maintenance that requires specialized tools, equipment, or Ijov edge as eeded" basis. The PAC will use the condition report and/or sit visits to �e neea work of art has been deemed unsafe to the public, its � �emov fr m its s stored until repairs can be made or considered for��cessi (Section 7.E.6. Funding �j Funds for maintenance will be wished it �h a b g t developed by the PAC and the Staff Liaison. Funds will rom t AIPP R v count. In cases of donated artwork, potential dono ere s to c e to the future maintenance fund. In some cases, additions upp e �ndin m e requested for larger repairs at the annual AIPP budget review. O � 35 W I 7I 11►`■: a 5� • • 37 Section 8: Deaccession Policy Occasionally, public art needs to be refreshed and/or deteriorating artwork must be removed from the collection. Deaccessioning is a procedure for withdrawing a work of art from the City of Golden's public art collection. All artwork in the collection will be considered permanent parts of the collection unless these artworks were created as temporary, semi -permanent art or the art is on loan. Artworks may be considered for removal from the collection (deaccessioned) with a majority vote of the PAC. 8.A. Criteria for Deaccession The PAC may deaccession artwork for any of the following reasons: A • The artwork endangers public safety; `�► • The artwork has been severely damaged or is determined to be inti actory condition and continued maintenance or repair is not feasible; • The artwork lacks a suitable display site or the artwork is site s in an area/building that is slated for re -development, remodeling, estruction; • The condition or security of the artwork ca t be reas r� uaranteed where located; • The artwork is incompatible with the rest f the co r is n igned with the current Public Art Goals; * ► • The City or PAC wishes to replace t e work th iece► e significance; • The artwork requires excessive i nance s fault sign or workmanship, causing an undue maintenan den foity of �n; • The artwork is fraudulent o uthent' • The artist requests the r from e c lec 'o • The artwork is a ma r othe tfor w re is no longer storage; • The City cannot prop y car ore the a ork; p • The artwork is a memorial or me %Ibs out-of-date or has lost significance to the community; • Significant adverse p action t s artwork has continued unabated over a five-year period; or • For any other sisyr�ifi� reaso lated by the PAC, at its discretion. 8.B. Disposition/ i sal o wo\Ac rk While deacces is b in consi red the disposal or disposition of the artwork must be 9 P P considered'e.0W. The PAC may consider the following options for disposition of a deaccessi rtwork, listed in order of preference: a • the artist; • ReNrn to the donor; • Donation or trade to another tax-exempt public institution; • Sale or auctioned, with preference given for sale at an advertised public auction or public marketplace that will best protect the interest, objectives and legal status of the collection (with proceeds returned to the AIPP Program or maintenance fund); • Destruction/disposal; or • Any other option deemed appropriate by the PAC. 8.C. Artist involvement 38 The PAC and staff will make every effort to involve the artist (or artist's estate) in the decision to deaccession a work of art and in some cases, the PAC may require formal permission of the artist before considering removal from the collection. Before deaccessioning any artwork, the PAC shall comply with all terms and conditions relating to deaccession which are found in the acquisition contract or any other agreement which may exist between the artist and the City of Golden. 8.D.Process The PAC will regularly review the pieces in the City's Public Art collection to determine whether any piece(s) should be recommended for deaccession. In addition, the PAC reserves the right to deaccession any artwork at anytime deemed appropriate by the PAC. Deaccessioning process must take place during a regularly scheduled PAC mee r a special meeting (see Section 3.A.8). 8.E. Deaccession Report Iq The Staff Liaison will present the PAC with a written deaccession rep q�t the following information: ` • Data and information about the artwork th is ropose accession; • Narrative on the history of the work of art a i acquisi; • Value of work to be deaccessioned; • Correspondence with the artist (if a �� G • Detailed account for the reason(s r i remo from the on; • Time frame and budget for rem�f the • Review by the City attorney of ng any ssu s t d to the request (as needed);' • Means of disposal or di o itiipn f rtwor • If artwork is to be so ction ere from the sale will be laced. p�� p 8.F. City Staff Input P �% (00 The Staff Liaison shall also sub ' the report t appropriate City of Golden departments so that they may provide an Ak on t accession. No public artwork shall be removed, re -sited or altere ny othe 'ty department or public or private entity or individual without the view roval of the PAC. 8.G. Public Notice This deaccessi po will be m e public as part of the Public Art Commission agenda materials p e rior to the official meeting and vote to deaccession. The public shall be encoura attend and comment on the deaccession. 8.1-1. PAC provals A majority of PAC commissioners in a quorum must approve a deaccession of artwork from the City collection. The final decision will be documented and made public through the PAC minutes. 39 40 p 41 APPENDIX Golden Municipal Code Chapter 2.60 Art in Public Places 2.60.010 The purpose of this chapter is to provide a means to fund the acquisition of artwork by the City for display in public places, to establish guidelines for selection of artwork for the City's public art collection, to provide for the display of the City's collection and to proviQr the management, maintenance and repair of artwork in the City's public art colle t� i` _ Lr 2.60.020: Definitions As used in this chapter, unless the context otherwise requires, the follov=* a ords or phrases shall have the meanings ascribed below: f(& Artwork includes, but is not limited to, a sculpture Do ument, rfresco, relief, painting, arvinfountain, banner, mosaic, ceramic, weaving, cstain SS, t would not normally include landscaping, paving, architpral orna n or s'�unless such elements are an essential component of th �k itseI ,4 •'`'�. Commission means the Public Art Com i ion cr hand e ed in section 2.64.010 of this Code. n'� V Construction Cost means the host oiskcons o project, including any contingency reserve but ex land ition engineering and administrative 9 Y g g costs, costs of fees and perm s, and ct costs uc as interest during construction, advertising and legal fees. Construction Project mean c Atruc bstantial renovation or addition to any public building, facility, par er u improvement by the City or its agents, including, without limitation, all I s(Aping, areas and similar areas and facilities associated with such improvem wi h an d total construction cost of $50,000.00 or more. "Construction 4pro*e V ludes ose projects designed to create a permanent improvementoe not inclu projects that are primarily for the purpose of ordinary maintenOiesras t or replacement. The term "construction project" does not include any improveade by any special improvement district, and any other improvements exempte City Manager from the requirements of section 2.60.040 of this chapter. If a questioto whether a construction project is subject to the provisions of this chapter, the City Manager shall make the final determination. Public Art means any artwork displayed for two weeks or more in or on City owned property in an area open to or viewable by the public, on the exterior of any City -owned facility, or on non -City property open to or viewable by the public, if the artwork is installed or financed, in whole or in part, with City funds or grants procured by the City, or if the artwork is owned by, donated to, or on loan to the City. Reserve Account means the art in public places reserve account established by this chapter. 42 2.60.030: Account Established There is hereby established a reserve account within the sales and use tax capital fund, to be known as the "Art in Public Places Reserve Account." The funds set aside from construction projects pursuant to section 2.60.040 of the Code, and all funds received by the City for public art, whether donated, earned, or secured through grants or otherwise obtained by the City, shall be deposited in this account. City Council may also fund the account in its discretion and subject to appropriation. The funds in this account shall be expended only for acquisition, installation, maintenance, repair or removal of public art and for expenses incurred by the City in the administration of this chapter and chapter 2.64 of this Code. 2.60.040: Funds for Public Art *�k a) The City shall cause an amount equal to one -percent (1 %) of the c0on cost of each construction project for which the total estimated construc c t is fifty - thousand dollars ($50,000) or more to be deposited in the City's Art Public Places Reserve Account, and that amount shall be included by the Cit P)priations 11 estimates of necessary expenditures and all requests for authorizations o " for such construction projects. If any project is parti funded fr n source that precludes art as an object of expenditure of funds, th Yse s secti ap ly only to the amount of funds not so restricted. All fun si rwork 11 be paid into the reserve account. Alternately, the Cit ' aclude u is art f the overall design of a City construction proje uant se on 2 of the code. b) As an alternative to determini fundin6 bas � n the construction costs as provided in subsectio Bove, n an eff r create a more predictable and consistent g leve� ity i may, in conjunction with the annual adoption of the pital I roll�men am, adopt a resolution to establish a policy pe to a f ou ds to be deposited in the Art in Public Places Reserve cco S h esolutio I consider the average or typical level of funding that w uld of se bNcc psited based upon the construction cost calculation in subsection (a) ab ve. ` ✓✓ c) Funds in the Art in P Faces lie Account shall be expended as directed by the Public Art Com s consi ith the terms of this chapter and chapter 2.64 of this code, the/ itIici ing Art in Public Places, and the City's purchasing p 'ty ` 2.60.050: Site gr ed Public.4Ft Artistic elem corporated into the original designs of buildings and public spaces create opportuniti 6 e hance the aesthetic character of public spaces through site -integrated public a I i of the one percent deposit in the art in public places reserve account provide r in section 2.60.040 of the Code, the City may choose to include site -integrated public art as a part of the overall design and installation of a City construction project. The value of the public art provided must be equal to or greater than one percent of the total estimated construction cost of the project. Artwork included as part of a City construction project design must comply with all applicable ordinances, rules, and regulations, and with the City's policies regarding art in public places. All proposals for site -integrated public art shall be subject to review and approval by the Public Art Commission . 2.60.060: Public Art Selection Criteria 43 The Public Art Commission shall review all artwork proposed for the AIPP Program for conformance with the following criteria and the purposes of this chapter. a) Conceptual compatibility of the design with the immediate environment of the site; b) Appropriateness of the design to the function of the site; c) Compatibility of the design and location with the architectural or historical character of the site; d) Creation of an internal sense of order and desirable environment for the community by the design and location of the artwork; e) Preservation and integration of natural features for the project; f) Appropriateness of the materials, textures, colors and design to the express' of the design concept; Q g) Representation of a broad variety of tastes within the community an vision of a balanced inventory of art in public places to ensure a variety of styl s do and media throughout the community; h) Anticipated costs and labor to install, maintain, or repair the a k, i) Compliance with all aspects of the City's art in public places t policy; and j) Whether the proposed artwork will further f llowing s the City's AIPP Program: i. Enrich the public environment f nts ar visitors t �he incorporation ` V of the visual arts; • ��� ii. Increase the livability and ar ' chness fCie Gol mmunity iii. Enable the City to attain r ition otLs�te and t nal levels as a leader in the visual arts; iv. Increase p ccess t ork a romote understanding and awareness of the visual the bli nviro v. Make the round i restin playf i piring; vi. Promote diversit nd I a(,�Fpublic'nd to reflect a wide range of multicultural express on; an vii. Contribute to the e onom vitalu ity of life, and civic pride of the Golden community. � n- 2.60.070: Approval an Di of rt and Site Selection All public art installe r ocated City after the effective date of this chapter shall first be reviewed and ap r v by t is Art Commission prior to installation or relocation. a) Art elected by the Public Art Commission for inclusion in the City's public art colle * n ursuant to the provisions of this chapter may be placed in, on or about any y erty, or on private property by agreement with the owner thereof if the a ork will be visible and exposed to the public on the private property. Placement of public art shall comply with the City's policies applicable to art in public places, and the name of the artist shall be identified on or near all public art. b) Public art owned by the City may also be loaned for exhibition elsewhere, upon such terms and conditions recommended by the Public Art Commission and subject to approval by the City Manager. c) City officials responsible for the design or construction of construction projects in the City shall make appropriate space available for the placement of public art, in consultation with the Public Art Commission . The Public Art Commission shall advise the department responsible for the particular construction project of the commission's 44 decision regarding the design, implementation and placement of public art in connection with such project. d) Public art may be installed on privately owned property with a written agreement between the City and the property owner specifying the proprietary interests in the artwork. Any such agreement shall be subject to review and approval as to form by the City attorney before execution by the City, and shall ensure that: i. The installation of the public art will be done in a manner that will protect the artwork and the public; and ii. The public art will be maintained in accordance with the City's policies concerning art in public places; and iii. The property owner shall indemnify the City and provide adequat�roperty insurance for the artwork. �` e) Installation, maintenance, alteration, refinishing and relocation of shall be done in consultation with the artist whenever feasible. f) No public art shall permanently be removed, altered or changed out the review and approval of the Public Art Commission ; except that revie 0 approval of the Public Art Commission shall not be required for temporary r 1 o al of public art by City personnel for maintenance or repair, o r tempor >ermanent removal of public art that, in the sole discretion of the NLYYanag es a public health or safety hazard. g) The staff liaison to the Public Art ' Amsion Qag aintai tailed record of all public art including site drawings, ra s of artists and names P 9 g, g P of architects whenever feasible, ive ap o iate re of to the artists, and shall appropriately publicize a omote ity's pu i rt and AIPP Program. h) All other provisions of th' ter no tandi placement of public art shall be subject to the ci ager' ut rity to s and adopt rules, orders, and regulations as are re y neck, forte nistration, protection and maintenance of build gs a re cy belong to the City of Golden and any other public buildings and p opert r thcol, management or supervision of the city manager, as provided in se tion 1 of this Code. 2.60.080: Ownership F0 * v All artwork donated to nd al k purchased or acquired by the city at the direction of the Publi ommisnd using city funds shall be titled in the name of, and owned by, the t 2.60.090: Exe ons The followi ork is exempt from the provisions of this chapter: a) All ar o collections of, or on display at, or under the auspices of, the Golden History eums; and b) All artwork on display in private city offices or other areas of city -owned facilities that are not generally accessible to or frequented by the public. 2.08.010: Authority of City Council Generally The corporate authority of the City of Golden being by law vested in the city council, the council shall be the body of final responsibility in all matters affecting the city, and shall have all powers, and be subject to responsibilities and limitations, which may now or hereafter be granted or imposed by law. 45 Golden Municipal Code Chapter 2.64 Public Art Commission 2.64.010: Creation and Appointment a) There is hereby created a Public Art Commission for the City, which shall be comprised of seven voting members, as follows: b) Five of the members shall be residents of the City and appointed by the mayor, with approval by a majority of the City council; i. One member shall be the executive director of the Foothills Art Center or their designee, with approval by a majority of City council. ii. One member shall be selected by the board of directors of the Golden Civic Foundation, with approval by a majority of City council. iii. All members shall serve without compensation. c) Members of the Public Art Commission shall not hold any other mun* 'Wice or position on a standing municipal board, commission or authority, exc h members of the commission may serve on other temporary committees, task forc , or similar ad hoc groups. d) The City Manager shall appoint a Staff Liaison to provide ad 1's ative support and assistance to the commission as necessary to omplish r t s of the commission and the purposes of this chapter. 2.64.020: Terms ' The five resident members and the one m sele ed the Civic Foundation shall serve terms of four years, and shal gible f r ppoin for no more than two consecutive terms. Upon initial appoi t, threc, ese m ers shall be randomly selected to serve initial terms of t s. The of the ive director of the Foothills Art Center or their designee sh x office, s ject t a oval by City council. 2.64.030: Authority to Ado roe u V' The Public Art Commission s all ha v author adopt rules of procedure governing its proceedings consistent with ap Icabl requ e s and provisions of the Golden Charter and Municipal Code, and shal ct all roceedings in accordance with such rules. The rules of procedure shal b sted ilable to the public. 2.64.040: Meetings The rules of proced r s I inc t time and place of regularly scheduled meetings, which shall be to e public record of all meetings will be kept at City Hall. The commiss ay call special meetings, as it deems necessary, subject to public notice within reaso le ime before the meetings. Such meetings shall be open to the public. In the eve t is no business pending before the commission, the regular monthly meeting may be c celled. 2.64.050: Officers The Public Art Commission shall choose one of its members to act as chair and one member to serve as vice -chair. The chair shall preside at all meetings of the board, except that in his/her absence, the vice -chair shall preside. The City shall provide a secretary to the board. 2.64.060: Duties of the Commission a) The primary purposes of the Public Art Commission shall be to promote, select, acquire, and maintain public art in fulfillment of the goals of the City's AIPP Program, to administer the provisions of this chapter and chapter 2.60 of this Code pertaining to the City's AIPP Program, and to adopt policies and guidelines necessary for such administration. b) The commission shall prepare and submit, not later than March of each year, a report to City council of its activities and expenditures for the prior year. c) The commission shall prepare and submit an annual plan to City council describing its goals and plans for the City's AIPP Program for the coming year, and amend such plan as necessary. 2.64.070: Adoption of Policies and Guidelines a) The Public Art Commission shall adopt policies and guidelines: i. To identify suitable art objects for City buildings or property; ii. To facilitate the preservation of art objects and artifacts that may (S yed in public places; iii. To prescribe a method or methods for competitive selection of a objects for display; iv. To prescribe procedures for the selection, acquisition, pl nt, display, rotation and Deaccessioning of public art; �► v. To address safety and other precaution it respee selection, location and maintenance of public art; and /►, vi. To address any other matter ne ' ai 'For the {�dr�jinistra �i�►chapters 2.60 and 2.64 of this Code and the City's Al�gra b) All policies adopted by the Art Co sion a y amendments thereto, are subject to review and a by Ci ncil, aII be effective upon City council's adoption of sarr esolui!*Qn. P o.� Q 47 City of w Golden w ' to Darling Neighborhood Community Gardens � AL City of "10'' ST GOLDEN. CO 804O1 TEL 303 W-8000 _ — AX 303-384-8001 Golden FWWWC TVOFGOLDEN NET NOW GOLDEN PUBLI MISSION December 13, 2022 To the City of Golden, The arts are an essential comp of Gc of Golden, the Public Art Co sion responsible for the ong war Art Framework Plan wasvelo oc ThereSquared LLC and MIG, an rr ula11 Golden's elected officials stz Golden City Council, th work and collection oli fort and strategies for r' ing thEN Thank you fo ur ontinued�G our publi ogram. SincereQ2 4— ;an t Fri WN's- pa ent and future. In the City , ap of y the Golden City Council, is f th public art collection. This Public perati with expert consultants, Pith valuable input from the PAC Board, �Community at large. Adopted by the vork Plan, is intended to guide the board's .tAt several years by articulating the vision, goals, is art experience for our residents and visitors. pport and enthusiasm for arts in Golden, particularly Kristie Brice Chair, City of Golden Public Art Commission ACKNOWLEDGME TS A special thank you to the Golden Art in Public P Q Public Art Commission and the City staff and communit m ers who thoughtfully engaged in th blic Art Fr Planning process and helped to shape this d( Cj PUBLIC AR MIS 164ERS ` PAc NEW Cind Jaye y Rick So Has ar Katali Wisha e C'Vic Julie B os `` Lisa �irice •` ' CITY OF GOLDEN STAFF LIAISONS den Steve Glueck Robin Fleischmann ® CONSULTANTS Kendall Peterson, Theresquared, LLC Jay Renkens, MIG Mark De LaTorre, MIG Finley Sutton, MIG C 0 � rr wilen SHE WE. U' _Cj Alt Text: Welcome to Golden arch gateway leading into town. CONTE S 01 Project & Process ..................... 7 Introduction & AIPP Histor(Z,........................8 The Public Art Commis` ........................... 9 Origina AI Goal s ............................... 9 Gold n'sbl' Ilecti ..................... 10 rt KuFra ee ork 0 IQ in ion, ale .................15 Qj Goal I... . �....................................... 20 C.......................................................... 22 Q. oa�...................................................... 23 .,03 I entation ............................. 25 pendix .........under a separate cover Alt Text: B+ack.dog lays in4he sw-t in front of the Welcome to Goldeq ,. _- arch -gateway a,+ I, a raGJ�`�a 5� 0 CHAPTER 1: INTRODUCTION Introduction AIPP History Golden is a scenic, bustling, former gold rush town, resting between two mesas at the base of the Rocky Mountain foothills. The City's Art in Public Places Program (AIPP Program) was established in 2013 to help the City of Golden continue to build and maintain their collection of city -owned artwork. The Public Art Commission (PAC) is the board appointed to guide the prograrry��► The AIPP program has helped to create unique, vibrant, and art -filled downt a and beyond, and the public art co contributes to the quality an V identity of our community.�` This Public Art Framework Plan (PAFP) h the purpose of guiding and alig PAC's goals for the next five r AIPP Program. However,�s working or living doc from year to year, as � different opport es lq2 nt the olden'M Fine Arts Festival The Public Art Commission (PAC) The purpose of the Public Art Commission (PAC) is to act as stewards of the AIPP Program for the City of Golden. As such, they are charged with oversight of acquiring, managing, and maintaining the public art collection. Furthermore, the PAC serves as program spokespeople and. J champions of importance for visual arts in the entire community. Members of t PAC are appointed by City Council ry out the duties and responsibiliti e AIPP Program for the City of . The establishment and respo * i s f P were first defined in Gold u id a o e Chapter 2.64 and are further detail he � 2022 Public Art Handbook. `` Each calendar year, the P revie P1� recommendations a str, ies � d in this Framework ing it a nce for the creation o a r y wc��to Original AIPP Goals *�k The original oals forth ro ram g � g were outlined in City of GGNen Municipal Code Chapter 2.60.,Pje goals shifted slightly in the on 13 Public Art Owndbook an een completely reviled for t� icationPublicArt de led later in this i(Wals were: Nenvironment for visitors through the of the visual arts; 6Ae the livability and artistic ness of the Golden community; Enable Golden to attain recognition on state and national levels as a leader in the visual arts; • Increase public access to works of art and to promote understanding and awareness of the visual arts in the public environment; • To make the mundane interesting, fun, playful or inspiring; • To promote diversity and pluralism in public art and to reflect a wide range of multi -cultural expression; and • To contribute to the economic vitality, quality of life, and civic pride of the Golden community. PUBLIC ART FRAMEWORK PLAN • 9 CHAPTER 1: INTRODUCTION Golden's Public Golden is a community that values public art and sites artwork in prominent locations for residents and visitor Art Collection the community, mostly in the o n area. BACKGROUND Much of the collection is r�resented Golden's public art collection began in the by traditional bronzemral artwork 1990's with many generous donations of depicting historic �Ap gorical figures traditional bronze sculpture to the City. At western ,ial�`� the time, there was no group overseeing • commu nd vi 'tors truly enjoy that donation process, and there were no the co ect** and e with it over -arching goals or criteria to guide the ` re ula program. These initial sculptures tended V" to reflect the early history of Golden"s • c Ilectio t very diverse, foundations and heritage. Q' �ther in I on, siting, or materials, v �or arti e ers, genders depicted Since the establishment of the P 13 Vor s. wever, this is improving the collection has grown and e w ddition of murals and more more diverse. Furthermore it h s bee co porary pieces. integrated throughout the larger Golde ♦� community. It is beginning tooteelk, more contemporary story aben, itscommunity and its bright futthe continues to grow andpel p, the Program will continu e ait, communicati ce hist and shared vision e future. COLLE `AUDIT & ANALYSIS REPOR 2 21 ) The PAC commissioned an Audit and Analysis of the collection in 2021 with a focus on summarizing the collection's strengths and weaknesses, themes, and gaps. The report (see Appendix) provided with PAC with some key observations: 10 ;o - Public Art Framework P (PAFP) Q PURPOSE & large butterfly cillysis ing fro i e dings of the Audit and w i cuse n the collection tself, ' lat 21, th�� began work on PArt \;b6rk Plan to better u tand th�NrNnt program's strengths, nesse pportunities. For this n, cc% 11� is reviewed the audit of the existig ection, conducted interviews, SICthe community, and held several stu essions with the PAC to understand ♦ Cow the AIPP program can diversify its strategies, expand partnerships, identify funding, and clarify its mission moving forward. The plan was finalized in fall of 2022. The result will be a collection of short, longer -term, and ongoing strategies to enhance and improve both the collection and the Art in Public Places program and Golden's creative community. ORDINANCE & HANDBOOK REVIEW In January 2022, the PAC met with consultants to review and discuss the existing public art ordinances and existing Public Art Handbook. Both of the public art ordinances that guide the PAC and the AIPP program are straightforward, however they could benefit from some additional language to better support the PAC's new goals to include language to allow for arts education programming in the future after consultation and approval by Council. PUBLIC ART FRAMEWORK PLAN - 11 CHAPTER 1: INTRODUCTION The Public Art Handbook outlines the AIPP program policies. It was originally drafted in 2013 and edited again in 2016 and 2017. The document was missing some key components (mural policy, conflict of interest) and some sections were underdeveloped and needed editing. It was determined that the Handbook needed to be re -written and updated as a part of the consultant's scope of work. The final document was presented and approved in fall of 2022. PAC and announcing future engagement opportunities. Activities at this event were framed more in a "did you kno format, with different boards and uts highlighting the current stat n Golden. During the winter of 2022, the consultants conductSTNpe-on-one or sm g up int � ith over fifteen sta ders idAql by�e staff and PAC t �. ` P `\ PAC ENGAGEMENT PP og its views on how the pr m coul proved. Interviews Throughout the process, the PAC functi w confi t1 I, and the consultants as a steering committee, vetting initi I d th ents into themes which products, guiding community enga ent, armed in ito the PAFP. and reviewing final deliverables. h C met several times throughout cess ✓Later gement deployed both in -person with some meetings functionin as ge nline opportunities to solicit input from PP P updates and project report -outs, and o ers e rger community. During Golden Civic focused on more detailed discu ns such undation's Summer Jam hosted in June of as in the crafting of the plan a d� V2022, local Golden residents were provided review of the engagement firs. with a variety of crafts and art activities, I COMMUNITIY & EH aimed at both creating art with a paint - ENGAGEMENT balloon splash wall and tissue paper flowers and encouraging conversations around art. Beyond the P e PAFP process engaged During these art -based activities, a dot - the broad munity to establish a better preference board provided the opportunity underst f resident priorities as it to indicate which types of art were most relates to t role of art and types of art appropriate for Golden moving forward. most appropriate for Golden. The types of events and activities varied by time of day, Online engagement was hosted through time of year, and method of input. Guiding Golden (www.guidinggolden. Early engagement, such as during the Autumn Fest in fall of 2021, focused on introducing the public to the project and the com) An arts -focused online survey was open from June -August 2022, inquiring about various aspects of art in Golden, from personal priorities to the role of commissions and committees. 12 PAFP: NEW AIPP PROGRAM, MISSION, & GOALS The AIPP program has long operated under the goals and vision from the original ordinances. Through the planning process, the recommended Mission, Vision, and Goals for the AIPP program have been redefined, updated, and broadened. An overwhelming majority (nearly 70%) believe it is very important to experience the arts. -�k G � • `69.8% N" (:;, � r 90% `ded that Public Art adds value olden community. ' � V [4 92.7% When asked what types of artwork they would like to see more of in and around the community, they majority stated they would like more functional artwork (benches, bike racks, etc.) as well as more murals. Kinetic/interactive artwork as well as environmental artwork also scored high. All of these suggestions from the community will be taken into account as the PAC develops their criteria for acquiring artwork in the next five years. PUBLIC ART FRAMEWORK PLAN • j •r � � S - rt � ,IP ` v . la �t r � • J� Ib AOP 40 3 1 .._ 1 IK - 10 AO Alt Text: Publi to ." f a small village_bu I 1 the side of ' 111 !11 1 CHAPTER 2: MISSION, VISION, & GOALS New AIPP Mission GOAL B: CREATE A DIVERSE & ACCESSIBLE COLLECTION FOR To enrich the public environment and GOLDEN experience for residents and visitors through As stewards of the City's public the arts. collection, we will create a c of permanent and temporary a ork that: New AI PP Vision Features work of thPiest level of artistic excellenc To create and support diverse arts projects . aeares wo �/road and diverse and programs of and for the entire p of art���!►worki in a variety of Golden community, through leadership, meth a edia stewardship, and partnerships. � Ex ore nd raf diversity of 8\1 th ms, subjei traditions; and Updated AI PP Go riche spaces in all parts of our ity an cessible and available to GOAL A: ADVOCATE F e V ADVANCING THE ARTS GOLDEN G L C: MAINTAIN OUR L�ECTION FOR GOLDEN Art contributes to our quality of civic pride and economic vitality. I e the n(��.olden's collection of artwork is an asset to V City's key advocates for inclu art in a our community. We will maintain, conserve City decisions, planning a constr and care for the collection for generations to City decisions, plan n ingfawhere possible. We i u ort( come. leadership as it c side establis GOAL D• PROMOTE THE ARTS broader supp arts and culture and we FOR GOLDEN & BEYOND will embrac atl vate all arts in Golden. Golden's public art collection will inspire, educate, and create conversation. We will promote and inform the public about Golden's public art and seek to increase public understanding through education, media, and events. 16 Based on the these goals set forth, the following recommendations and strategies have been organized in a phase approach. These account for a five-year planning window; revisit every year and re -work strategies after year five. NEAR TERM activities are expected to be activated within a one- to two-year window. LONG-TERM activities are expected to be activated sometime in the later part of the five-year planning window. ONGOING activities J should be happening year-round and simultaneous to all near- and long-term activities. Yda�'+i9i� 1_ PUBLIC ART FRAMEWORK PLAN • 17 CHAPTER 2: MISSION, VISION, & GOALS Goal A: Advocate for Advancing the Arts in Golden. A.1. NEAR -TERM TASKS AND STRATEGIES A.1.a. AIPP Ordinance Changes A.1.d. Create an Advocacy Document/ White Paper for Public Art The white paper could evolve o he Frequently Asked Questi ment (written in Summer 202 c de an outline of goals, futur�pr cts, and advocacy. `Q/' • Review current ordinance with an eye to updating it to new goals, the makeup of • the PAC, and other clarifications. ` • Include option for Arts Education i f new ordinance wording in case would like to add programme his area. A.1.b. Support Golden's Arts Cultu Master Plan Assist Council as needeF0 V Encourage and adv t incl of public art in al ty ns forward. 4 A.1.c. Advoc e1<Proper Placement of the Public ogram • Advo e or further research into which department can best support the PAC and its activities into the future. 18 A.2. LONG-TERM TASKS AND STRATEGIES A.2.a. Investigate refining the PAC recruitment and appointment process. Create questions for potential PAC/Arts Commission members to be asked in recruitment interviews. • Investigate adjusting the eligibility requirements for a new, redefined . Encc PAC/Arts Commission to make it more# inclus' n )a)l balanced and diverse. m vin 61 A.2.b. Investigate partnerships for cpmtag g Ensu more arts education programminh ity pr 'e the AIPP program. • a A.2.c. Advocate for the t390n of =✓ wee A.3. ONGOING TASKS AND STRATEGIES A.3.a. Advocate for 1 % funding qualified Capital Improve rrr ects (CIP). • Assign a PAC me er o accompany staff to meetin&t re these projects arp rlicrii ned. e an advocate for e arts yA� ew City plans ard�� =a a a consideration for all regular communications n the PAC and Public Works and funded arts programming nd ev rks to make sure new projects include options for public art. V Advocate for arts inclusion in the Heart of Golden project. Advocate for public/private collaborations and cross -promotion of Golden's industries. PUBLIC ART FRAMEWORK PLAN • 19 CHAPTER 2: MISSION, VISION, & GOALS Goal B: Create a Diverse & Accessible Collection for Golden B.1. NEAR -TERM TASKS AND STRATEGIES B.1.a. Create a yearly report and work plan. (�� • Using this document, add, review, an �+ re -prioritize yearly strategies. n. • Using this document, review accomplishments and ac ' it • Create a forward -looking Y arl w , plan to guide and track yearly activ ies Is and give presentations. � w A` An annual report can beQe I i tracking yearly activ i 4ccordi the work plan an ing Council 400 113.1.1b. Upda ublic Art Handbook for adopt d alignment with the new goals, m� and vision and policies. B.1.c. Review all legal documents, application forms and templates for alignment with new policies in the Public Art Handbook. B.2.d. Reinforce the PAC's role for funding/ selecting/approving public art projects in the City of Golden (DDA, Parks, P Works); continue to educate co; y about this role. 20 B.2. LONG-TERM TASKS AND STRATEGIES 113.2.a. Create a 5-year collection plan to establish new parameters, locations, and budgets for Golden's Public Art collectio • Refer to the 2021 Audit Report and B.2.b. Investigate establishing a sculpture park to combine the outdoors and sculpture. Incorporate art into th�rks and natural landscapes n B.2.c. Operate the Dow qtN��eksicle parea as a Public Arts Disa lace/ 2022 Community Survey results from destination and a gym with outreach to(in Appendix) to guide the PAC on the visitors and tom creation of the collection plan and art selection criteria. B!!g.<.tn G KS AND TR S• Identify specific catalytic art k.,S a► B.egra l'deration of public art opportunities, y pr and funding decisions. • Consider establishing a collet�� philosophy (criteria of what o`V y •3.b. I e public art into projects n m notconsider fo h Ile ti acr s tty, particularly projects outside and may o for the next five years o wn. • Establish primary and seconda ar ♦3.c. Always work to enact a fair and locations. ansparent public selection process with *, • Focus on diversity ofP(Cts. , med;`V scale, location, �s*` • Consider art fVil cont d themyoati ust "We rn:' • Cata e otential and preferred t e o culpture and artwork for the co ction. • Locate art intentionally and contextually. • Encourage artwork that educates and engages all ages. clear criteria for selection. PUBLIC ART FRAMEWORK PLAN • 21 CHAPTER 2: MISSION, VISION, & GOALS Goal C: Maintain Our Collection for Golden C.1. NEAR -TERM TASKS AND STRATEGIES C.1.a. Establish a dedicated maintenance fund in addition to public art capital and programming funding; assure that it rolls over each year. C.1.b. Formalize a maintenance program v Establish regular maintenance nee • for all City -owned art. • Prioritize yearly maintena eds. G✓ (/1� C.1.c. Establish a new policy o reque maintenance funding for donat artw k . - C.1.d. Clarify ownership of en V public art pieces, includ' ' or a� murals etc. `` • Include new or n the regD maintena an. CA.e. Es i a policy recommendation for the re ra ion/maintenance of historic murals in Golden. 22 Goal D: Promote the Public Art Collection for Golden & Beyond D.1. NEAR -TERM TASKS AND STRATEGIES D.2.d. Establish areas where the arts can be in service of established local events, city initiatives, etc. D.3. ONGOING TAS STRATEGIES D.3.a. Continue to to Golden as an art district/destin Dili rough coordinated rketingolden and City D.1.a Formalize recurring public art events oar munica ' (e.g. the Itty Bitty Art Program.) • .3.b d cateAf4��sm websites D.2. LONG-TERM TASKSAND a► ou de oldertand market the STRATEGIES d Artst. D.2.a. Update and improve pu TC� collateral. (0 • Create a public art tou n i cle�► artwork that is not own d by th `` • Revise public art map. F0 � (�`� �/ V • Consider a smaller D�n own r� map including n ,y artw r� • Prioritize websit prov s and user-frie l formatting (a si e off of City site? • e ownloadable "Arts Walks" for visi rs. 113.2.116. Investigate applying for the Downtown as a Certified Creative District for Colorado. D.2.c. Establish community events to feature the arts and the public art collection. PUBLIC ART FRAMEWORK PLAN • 23 till. rall ►c ;..,. w ` -�. .� � . �'[ fir• iv r � All dh i Alt Text: The creek in the foreground with the Coors factory featured in the background. -ram' , -�, -""•` ' � _ s� ,� _ mr-.I� CHAPTER 3: IMPLEMENTATION Implementation YEARLY WORK PLANS From this Framework Plan, review yearly activities at the end of the year, and implement yearly work plans for the next year's activities. ANNUAL REPORTS SUPPORT CITY LEADERSHIP IN ITS ARTS & CULTURE MASTER PLAN As mentioned in AIPP Goal A, t will follow and support City lea s i it considers establishing broa; support for arts and culture. S(j C QiTTJ N U E AGE THE CUNIT From this Framework Plan, review yearly ugh tH w oft e rocess, the activities at the end of the year and develop t n w kr un,�Il s sits role in the an annual report for City Council, other C comn(ny and t for the community staff, and the community. D' to ace an ort the program. The v resen mmunity events helped ORDINANCE CHANGE elgvate t s status and importance At a time to be determined, 19the :land o educate the community new public art ordinance that etter r a4but activities. This outreach to the the AIPP program goals (in this PAFP unity should continue, particularly as 4 document). � PAC implements the PAR strategies over the next several years. ART IN PUBLIC PLACE �`� HANDBOOK UPD'` If the ordinance chang r othe s and regulation nge that affect e AIPP progra changes to the AIPP Handboo q dingly. 26 10- Al I • Nl' I Who �, �•.1��1, �,•:�. �,\` �� .ems► �' `rI id M�iiA0 1IG 1� �`\\•�� f.' MWI� ij1�j��a `� /, 1 � ,�,��� i��l6a •a��r. � I lkyj I %I I r 1 �Q THE TIME IS NOW CO Ocb �e�C6 Now is the time to be bold! Surrender fear to the exploration of new creative endeavors. Now is the time to be courageous! Advocate for each other loudly and without hesitation. Now is the time to be collaborative! We are at our strongest when we connect, share, and champion each other. Now is the time to be innova l Reimagine art with access' l nd equity across the region. fa Now is the time to 1 i change! Art is a catalyst for re lution, liberation, and progression. Now is the a� A perm create art in the image of our region! n can say, "I am reflected in the art I see in my community." are working towards. ,neighborhood, family, identity, heritage, passions, pain, and joys. fabric of the region seamlessly. ms, institutions, and structures of power. FroNe7vbrs, teachers, artists, and community members, your voice matters. F OC Q D' bl d W d th 1' d tt r , ueer, isa e omen, an o er margma ize groups, your voi: ice ma ers. oice and the voices of our diverse community are integral to this vision. uplifting and collective support of each other is the only way through. It will take all of us to implement this work. We cannot do this without you. We need you to champion art in the ways only you can. See yourself reflected in these declarations. Make your home in the words and be held by their support. Feel the way your body is called to a specific action. Find the ways you add to the vibrance of art and creativity in this vision and join us. Fight alongside us to be better tomorrow than we are today. We see our future for art as life-saving. We see the future of art in you. Let art become Aspen grove. An interconnected network of roots that supply and nourish each other. Despite size or range, let us come together for the good of the people. Stand in solidarity and community with those similar and different from yourself. Bound by creativity and possibilities. As we grow the legacy of art in the Pikes Peak region. BY ASHLEY CORNELIUS PIKES PEAK POET LAUREATE (2021-2023) AND ARTS VISION 2030 STEERING COMMITTEE MEMBER 3 1F AN INV19r ION From the Arts Vision 2030 Leadership Team n the fall of 2018, we started the process to create a new 10-year cultural plan by discussing who else to invite into this important work. While the Cultural Office and Bee Vradenburg Foundation � have been honored to steward the effort, and will continue to support the plan well into the future, we knew that crafting a meaningful, relevant, and successful plan would require many voices and perspectives. And, we knew that the scale of creative transformation in these pages would require the ownership, investment, and inspiration of many partners inside and outside of our creative community. So, we began inviting. We invited Arts Vision 2030's Steering Committee with great intention and they continue to guide and shape the plan. We thank each of them for volunteering to help organize, analyze, and imagine together over a longer and more difficult period of time than any of us expected. STEERING COMMITTEE r �1 Chris Alvarez Alvarez Art School, Painter, Board of Directors for the Cultural Office of the Pikes Peak Region & A ley Co We invited key donors to join the Cultural Office and Bee Vradenburg 7I9,Arts7h oer Foundation in investing in this work. We are appreciative of their trust and backing. Thanks to their generous financial support, we have undertaken (� an ambitious and comprehensive process to explore the creative growth, f�V" opportunities, and complexities ahead for the Pikes Peak region. n` _ We invited Kendall Peterson and Jill Stilwell, from ThereSquared LLC� to be our lead consultants, supported by Rachel Cain. Their experti 1 �✓ and camaraderie has far exceeded our hopes, and they have inf f 1 ht d' t A t V' ' 2030 I pro essiona rigor, msig , an Soy m o r s is ion Now, we invite you to engage this new cultural plan and complete it with your own ideas, time, and investment, for the incredible benefits it� *, n` ready for the decade ahead! I �N '% Angela Seals Lead Project Coordinator for Arts Vision 2030 & Deputy Director, Cultural Office of the Pikes Peak Region Andy Vick Q Co -Chair of Arts Visi & Executive Directoe al Office of the Pikes Pea egion David Siegel Co -Chair of Arts Vision 2030 & CEO, Bee Vradenburg Foundation COPP�ICULTURAL OFFICE BEEVRADENBURG E[PASO®CoorvTv •�TIEMENS OF THE PIKES PEAK REGION FOUNDATION �� FOUNDATION COLORADO ��� Nalloncd CEDUCA OLORADO CULTURALNAL 8 KlftKl'ATRICK FAMILY FUND FACILITIES SPRING$yyQp�,Avv f0r11BArtsM .� AUTHORITY Special thanks to in -kind partners Onebody Ent & KLand Community Cares, Manitou Arts Center, Poetry719, Colorado Springs Fine Arts Center at Colorado College, Lulu's Downstairs, and There Squared LLC. Ryan Banagale Colorado College Disual & Performing Arts, ep Lisa Cross D49Art Teacher & Pikes Peak Arts Council 40 Natalie Johnson DI4 School Board, Manitou Art Center 'IF' 'IF' JL- J� I �I J� J� JL- � Marc Benning Jodie Bliss Cynthia Chung Aki Lulu's Downstairs, Bliss Studio & Gallery, Golden Lotus Foundation Blank Tape Records, Artist, Town of Monument Musician 40 40 Jasmine Dillavou Ryan Flores Ralph Holloway Artist, Activist Musician, Photographer Woodland Park Arts Alliance, Artist 41 Cheerish Martin Matt Mayberry Daisy McGowan Singer, Actor Colorado Springs UCCS Galleries Contemporary Art, Cultural Services/ Artist Pioneers Museum 40 40 f�4 I __ 11 Jordan McHenry Susan Pattee Michelle Rozell Sarah Sheppard Shaver Becca Sickbert Dance Alliance of the Arts Advocate, Cripple Creek Heritage PPCC Drama Department, Manitou Springs Creative District Pikes Peak Region, Bee Vradenburg Foundation Museum Springs Ensemble Theatre, Actor Dancer, instructor Trustee 40 40 40 40 Abby Simpson Claire Swinford Herman Tiemens Sergei Vassiliev Pikes Peak Library District Downtown Partnership, Arts Advocate, Colorado Springs Philharmonic Sand Creek Library Downtown COS Tiemens Foundation principal clarinet, EPIC Concerts Director Creative District, Artist Pikes Peak Region Special thanks to the following individuals for part-time service: Sky Hall (Tri-Lakes Views, Town of Monument) and Lynne Hastings (Actor, Director). 5 a booming region spanning mountains, 2C WE cities, towns, and plains. a collaborative and increasingly diverse CD WE community. Creativity and self-expression are intrinsic to our history and identity. he Pikes Peak region includes Colorado's El Paso and Teller counties, surrounding the majestic "fourteener" Pikes Peak. The urban center of Colorado Springs spreads out at the foot of Pikes Peak, radiating out into mountain towns, panoramic natural vistas, and rural communities. As the second largest population center in Colorado, the Pikes Peak region is home to more than 750,000 people and rapidly growing in number and diversity. Along with the population, remarkable growth is anticipated for the local economy, jobs, and tourism. THE STORY OF (� ci Creativity and self-expression are intrinsic to the history of this area from the time V► of its earliest human inhabitants. Indigenous cultures have lived in this region a► for 5,000 years, leaving behind petroglyphs, Ute prayer trees, and other signs of historic creativity. The first permanent settlement was established in what is now Old Colorado City in 1859. Colorado Springs was established in 1871 to tak advantage of the extraordinary scenic beauty of its surroundings to develop "Little London" in the American West, and the mountain towns of Teller Cour�y followed in the 1890s. This remarkable setting continues to attract travelers, artists Co LAND ACKNOWLEDGEMENT and entrepreneurs. `` V For much of the region's history, artistic practice hummed in pockets of vib supported by volunteer -led organizations. Now, more than 400 arts and cult groups and organizations enliven the Pikes Peak region. The 2017 Arts nomic Prosperity Study with Americans for the Arts defined the annual ecctic mp of the local nonprofit creative sector at $153.3 million. �� The creative sector's regional, collective identity began galvayt over the past 20 years. In 2001, the Bee Vradenburg Foundation became thpaVlocal foundation dedicated to investing in regional arts. The Cultural Offi Pikes Peak region (Cultural Office) was founded in 2006 as our first professi ally -staffed local arts agency. Efforts by these organizations and so many others ushered in a new era of cooperation, collaboration, and vision that resulted in the community's first A R .'afti— Our arts, culture and creative community is also growing and flourishing. ` Cultural Plan in 2010. The regional 2010 Cultural Plan sunset in 2020. Now, after years of planning and months of public input, research and reflection, we, the creative community of the Pike Peak region, are proud to announce the publication of our new 2020-2030 cultural plan —Arts Vision 2030. 6 The Pikes Peak region is situated on the ancestral homeland of the Ute Peoples, who are the Southern Ute, Ute Mountain Ute, and Northern Ute. Other tribes who lived and hunted on this land include the Cheyenne, Arapaho, Comanche, and Apache. Even through forced relocation and land dispossession, we recognize that the land still holds Ute traditions, language, stories, and history. Today, Indigenous people from many Native nations reside here and continue to make significant contributions to our community. VISION orking together, the Cultural Office of the Pikes Peak Region and the Bee Vradenburg Foundation convened a diverse steering committee of local creative leaders in 2018, and initiated the process to develop Arts Vision 2030 as the next cultural plan for the Pikes Peak region from 2020-2030. Arts Vision 2030 builds upon the regional 2010 Cultural Plan starting with an evaluation of our progress and cultural growth over the past decade. To create a vision for the next decade of arts and culture development, key stakeholders were engaged and input gathered directly from our broad community. The result is this living document to galvanize, guide and inspire the arts and creative community towards common goals. Arts Vision 2030 received funding from El Paso County, the Bee Vradenburg Foundation, Cultural Office of the Pikes Peak region, National Endowment for the Arts, Kirkpatrick Family Fund, Tiemens Foundation, and Colorado Educational and Cultural Facilities Authority. The Cultural Office and Bee Vradenburg Foundation guided the process, amplifying the leadership of the 24-member Steering Committee of local creatives. The Arts Vision 2030 Steering Committee established values for the Arts Vision 2030 process for a plan that would be of, for, and by the community. PLANNING VALUES In 2018, the Arts Vision 2030 Steering Committee set forth the following values to guide the cultural planning process: Inclusion of the full creative community, across boundaries of discipline, geography, and demographics Ambition to seize the opportunities of a coming decade of population growth -iJ. Belief in local artistic quality, with support for its further enrichment ,� Professionalism based on national best practices, with distinctly regional voice and relevance Boldness about the creative sector's contribution to our region's vitality across sector JL_ JL_ Irl— _Y__ CULTURAL EQUITY STATEMENT /L JL_ lr� 'Ir JL_ lr� l� JL 1r JL 1r JL_ Ir JL Ir JLJL �r �r PQ� O Adapted with permission from Americans for the Arts (AFTA) "To support a full creative life for all, our arts eative community commits to championing policie practices of cultural equity that empower a just, inclusive, equitable nation." DEFINITION OF CULTURAL EQUITY Cultural equity embodies the values, policies, and practices that ensure that all people — including but not limited to those who have been historically underrepresented based on race/ ethnicity, age, disability, sexual orientation, gender, gender identity, socioeconomic status, geography, citizenship status, or religion —are represented in the development of arts policy; the support of artists; the nurturing of accessible, thriving venues for expression; and the fair distribution of programmatic, financial, and informational resources. IMPACT OF THE PANDEMIC n March 2020, the world was disrupted by the COVID-19 pandemic. Quarantines and social distancing requirements have had an enormous impact on this region, and in particular our creative community. While we still struggle to see the end of the pandemic, the lasting outcomes and consequences for the creative sector are still coming into focus. The pandemic shuttered much of the creative sector for varying lengths of time, and portions of the sector may never fully recover. Nationally, we know that creative employment is beginning to pick up, but there is increasing evidence that the ative sector is coming back more slow Paa t other sectors of the nation's 0 v. AA The arts have endured and continue to serve community needs. An earlier 2020 survey* stated that 6596 of the over 19,000 organizations participating said that they have been "delivering artistic content to raise community spirits and morale:' Anecdotal evidence suggests the Pikes Peak region was impacted less severely than other parts of the country. Tourism has continued to flourish despite the pandemic, as many of our tourist destinations are outdoors. Many arts organizations pivoted to online and outdoor arts delivery. During the summer of 2021, many arts and culture activities and events returned, with the Meadowgrass Music Festival and Colorado Springs duneteenth Festival kicking off the season. While more data and time is needed to better understand the permanent and lasting effects of the pandemic, especially on smaller businesses, organizations and individual artists, our regional arts and creative community seem poised to rebound and continue to thrive and grow. 91 IMPACT OF RACIAL RECKONING ollowing the murder of George Floyd in Minneapolis, MN on May 25, 2020, protests against police brutality erupted nationwide, and the Pikes Peak region was no exception. Starting May 30, Black Lives Matter protesters demonstrated in downtown Colorado Springs every day for more than two weeks. Music, theater, poetry and visual arts were incorporated, and a "Black Lives Create Fest" was held to support local BIPOC artists. Equity, inclusion and racial justice grounded the first conversations of the Arts Vision 2030 Steering Committee and the plan's strategic design throughout. George Floyd's murder elevated critical conversations about race in the Pikes Peak region, and Arts Vision 2030 is a stronger and more equitable plan as a result of this historic context. Tr- JL Ir- l� J� Tr- Tr- JLJL- Ir— JL J� lr� 5P 1r� Jr- -I� �� \� Ir J� J\ JL- Ir— JL- Ir- J� J� JL Ir- JL Ir- J� IL a� PLANNING IN CONTEXT nee �,' n early 2020, ThereSquared LLC, a consulting team from Denver, was selected to facilitate the Art Vision 2030 process and began working with the Steering Committee and planning for public engagement. When the pandemic began, all project activity was put on hold. The leadership team decided to relaunch cultural planning one year into the pandemic with the belief that the project would support the creative sector's recovery and resilience and lay groundwork for post -pandemic success. Arts Vision 2030 restarted in early 2021 with CO a redesign of community engagement to be completely virtual. Stakeholder interview's focus groups were conducted over Zoom V interactive website with engagemen o.1s a surveys, mapping, forums, and id a s w launched at ArtsVision203O.com, ocial accounts engaged the publicZac ook, Twitter, and Instagram. The plan proceeded to five phases: Insight and ideas from the community were critical to the planning process. This work uncovered the community's needs, interests, and opportunities and guided Arts Vision 2039s vision, declarations and commitments, and implementation ideas. Most importantly, Art Vision 2030 is the community's plan. It was developed through an open, inclusive process and will be implemented in the same spirit. Our pent-up creative comm 1 responded with thousands of people e a ver five months. In fact, 4,500 people w ed by the process and 664 made direct conutions to the plan. The redesigned virtual process reached more residents throughout the region than the original in -person process would have. The planning process engaged hundreds of people throughout the community. Many were asked to share three words they felt represented their vision of the future. Here's what they said: CRE MOALITIONMUSICQUALITYBOLDAMA,NERS LEVANT COMPELLING WE -TAKIN sric IMPORTANT ENCOMPASSING HEADLINERSFORWARD-LOOKING PERMANENT COOPERATIVE PHENOMENALAPPROACHABLE ECT- REAUTIFULELECTRIFYINGPOWERFULFREECOMMUNITY-ORIENTED FRI DL E ;SOLID GREAT INTEGRATED REAL PLENTY OF VENUES MULTI -FACETED PRIDE ,WILD EXPANSIVE IF TEI� REFRESHINGINVOLVED HOLDING SPACE INFECTIOUSSOUL.r NTE RYEXEMPLARY"°"°°°COLORFUL YYYVISIONTESSENTIALINTERGENERATIONAL`}�'¢��ALTERNATIVEACTIVE BEST THERE IS UNEXPECTED ODDWELL-ACCEPTING -01 FUNDED RESILIENTCITYWIDEALIVEPARTNERSHIPS IDENTITYTRUST NAT FOR ALL OPEN SPONSORED OPPORTUNITIES NUMEROUS ' ATTENDANCELOCAL ESSIONALIMMERSED FRESH GROWING ORLD-CLASS y SPECTACULAR .DESTINATION J INTERDISCIPLINARYCONFIDENT NWETWTHOUGHT-PROVOKING z SURPRISING PREMIER ENTERTAINING CELEBRATION — FANTASTIC LOVED G BRAVE BUSTLING FESTIVALS FUNTHRIVIN CONCERTS :>;>;>;L;L;L STIMULATING PQPQ°� EMPLOYMENT MAGICAL BROADWAY-LIKE KNOWN VALUABLE' GREAT LIVELYIMPACTFULCOMMUNALAUSTIN-LIKE INTERNATIONAL VIBRANTLEGENDARY INTENTION ALINTERACTIVEECCENTRIC I NSPI RED FOR US, BY US COLLECTIVEVISIBILITYRESPECTED ;`11. ' WEIRD TALENTED „�I` ,,,,.,,r r ' MOVING HISTORIC DELICIOUS COOL CULTURAL SHARED VISIONEVERYWHERE ,r .r,,r WOW INTERDISCIPLINARY EVERYWHERE „CUTTING EDGETELLOUROWNSTORY WORTHYABUNDANT �;AWESOMEINTTHOUGHTENTERTAINING ENGAGING11PRISENTATIVEoa>e>aaeoe>NARIEDDYNAMICaae> SUPPORTIVE UNIFIED SOMETHING FOR EVERYONEMENTOR PROGRESSIVEMARVELOUS PLENTIFUL ECLECTIC LIVING WAGES RICH EXPRESSIVE ��°°°°�<>°°°a. EDUAL OPPORTUNITY DIVERSIFIED FAMILY -FRIENDLY MESMERIZING WELCOM I NO HEART OPENING MEANINGFUL ADVOCACYTREND-SETTING EQUITABLE EPIC ELEVATED CONVENE MELODIC KINETIC J AVAILABLE e>e>aoe> DEMOCRAT ICRECOGNIZED NATIONALLY INVITING VOCAL ,>=">,>;-:; FUNDED�.COLLABORATIVEHOT CARING EDUCATIONAL LEADING IMPRESSIVE ROBUSTART MECCAMORE;r- INNOVATIVEENTERTAININGPROTECTEDORIGINAL 10 11 The original 2010 HIGHLIGHTS FROM THE Cultural Plan sunset in 2020 and much has changed in the region since its inception. The 2010 CULTURAL PLAN original plan and other planning efforts brought a shared vision to our region and resulted in many successes for our arts and creative community. o °o°o Founding two state -certified creative districts in Downtown Colorado Springs and 00 e ° oo e Manitou Springs, alongside growing arts districts and art walks in Old Colorado City, o °o°o e Monument, Ivywild and the Knob Hill Urban Arts District. Passage of the Manitou Arts, Culture, and Heritage tax (MACH) and increased support $ for the arts through the Lodging and Auto Rental Tax (LART) in Colorado Springs. 903 12 Expansion of arts marketing programs to a much wider scale, including Peak Radar, Arts Month, and efforts of Visit Colorado Springs. A formal partnership between the Colorado Springs Fine Arts Center and Colorado College. BY THE NUMBERS ince the 2010 cultural plan, the population of both Teller and El Paso counties has grown and continued the trend of becoming more racially and ethnically diverse. By 2030, projections show the region topping 800,000 and reaching more than a million residents by 2045. Teller county could reach 125,000 by 2050. POPULATION BY RACE AND ETHNICITY: 2020 EL PASO COUNTY 2020 Total Population: 730,395 TELLER COUNTY 2020 Total Population: 2 5.5°6 hite / African American Indian Asian / Hispanic / Two or auc American & Alaska Native Pacific Islander Latino More Races El Paso: Tell®& 21 it El Paso: 40,759 Teller. 132 El Paso: 3,816 Teller..122 El Paso: 24,379 Teller: 213 El Paso:129,984 Teller:1,716 El Paso: 46,374 Teller..1,362 � �� ?BY ULATION Expanding events and programs such as First Friday, What If. Festival, Patty ewett� � GJITY: Porchfest, 3uneteenth, Green Box Arts Festival, Pridefest, and a variety of concerts, `` I festivals, and celebrations. l Increasing access to the arts was achieved through programs like Milirts Connection, free admission programs and youth passports at cultuVE#t[les, e P g Y P P concerts, Free -For -All Shakespeare, City as a Venue series, andiWVrb Cultur Regular participation in Arts and Economic Prosperity to quantify the economic impact of the nonprofit arts sector. Sources: U.S. Census Bureau 2020 Redistricting Data (Public Law 94-171) Summary File Compiled by he Colorado State Demography Office. Establishing a spectrum of new arts venues, including the Ent Center for the Arts. Date ro0d2u1ced: Greater presence of public art through a variety of programs like the Art on the Streets in Downtown Colorado Springs, Southeast Street Art Project, University Village Colorado shopping center and Tri-Lakes Views in Monument, and the adoption of a Public Art Master Plan for the City of Colorado Springs. See the appendix for a full summary and assessment of the 2010 Cultural Plan. Palmer Cripple Creek —� Lake Ramah Calhan Victor Green Mountain Falls 2020 POPULATION BY CITY Colorado Springs MILITARY POPULATION 40,364 active duty Manitou Springs Monument Woodland Park unincorporated (Teller County) Fountain Unincorporated (El Paso County) 132,994 civilian employees, retirees, and family members Other El Paso: 4,599 Teller:148 City Total Population Ramah 146 Victor 426 Green Mountain Falls 563 Calhan 704 Cripple Creek 1,258 Palmer Lake 2,887 Manitou Springs 5,283 Monument 7,398 Woodland Park 7,885 Unincorporated (Teller County) 15,819 Fountain 29,784 Unincorporated (El Paso County) 195,423 Colorado Springs 478,215 1,993 reservists 13 5% POPULATION BY RACE AND ETHNICITY: 2010 vs. 2020 EL PASO COUNTY TELLER COUNTY C Y ❑ r o�; U \U O U. Y U L N U p .L' V V C •� "6 'C .y O U .� 7" 0 bz ¢ as a O �E .14 O 3 Zel F a. AGE DISTRIBUTION UNDER �� 20 20 THRU AND OVER 34 CREATIVE JOBS i nge 0 = a., 2010 2020 Change Total Population 23,350 24,710 5.896 White 21,148 21,017 -0.696 African American 104 132 26.996 Am. Indian & Alaska Native 167 122 -26.996 Asian/Pacific Islander 175 213 21.7% Hispanic/Latino 1,294 1,716 32.696 Two or More Races 447 1,362 204.796 Other 151 148 886.796 sources; U.S. Census Bureau 2010 Decennial Census Summary File / U.S. Census Bureau 2020 Redistricting Data (Public Law 94-171) Summary File Compiled by the Colorado State Demography Office. Date Produced: 08/13/2021. Differences between 2010 and 2020 reflect both population change and questionnaire changes. c. O ECONOMIC IMPACT OF THE NONPROFIT ARTS AND CULTURE ORGANIZATIONS 01� a C C oz N ;9 z 4 \ ti rn w \ O co m a� x a)m a o a d~y M F a Over the last decade, the population's age distribution has shifted from younger to older, with the under-20 age group declining and the 65 and older group growing. Projections expect the senior group to continue to grow annually as in older residents move to the region along with aging o e ti residents. Although the 20-34 age group representati young professionals also grew, this group 1s expected t experience the smallest growth moving forward. The region is expected to gain jobs, by as TOTAL JOBS EXPECTED much as 41°o by 2050. This includes creative TO GAIN AS MUCH AS jobs which make up approximately 590 of total employment in the region. The Western States 41% Arts Federation (WESTAF) Creative Vitality Index (CVI) collects data on 57 different creative occupations by county; the Pikes Peak region BY 2050 saw creative job growth from 2010 to 2019. El Paso County Teller County TOTAL G �a a O � NIN CREATIVE JOBS A C MAKOUPA 057 OF CREATIVE IN THE REGION OCCUPATIONS 2010 Creative Jobs 2019 Creative Jobs /o change 11,011 246 11,257 11,671 249 11,920 AL >1 % 663 or 6% :\,�the Pikes Peak region, the economic impact of the arts not only enhances quality of life, but also supports economic well-being. 1 BILLION DOLLAR INDUSTRY The nation's arts and culture sector — nonprofit, commercial, education —is a $919.7 billion industry that supports 5.2 million jobs. That is 4.3% of the nation's economy —a larger share of GDP than sectors like agriculture, transportation, and construction. 197�4*3% HET ECONOMY 5 ZMILLIONJOBS • xnnoxwme TOURISM Tourism is on the rise. Colorado Springs and the Pikes Peak region attracts 23 million visitors per year (2017), and tourism is expected to increase by 2590 by 2028 (Colorado Springs and Pikes Peak region Destination Master Plan). Teller County's largest industry is and will continue to be tourism. V O � CCTOURISM EX INCRE0Oo Z L61 BY 2028 a JL JL J� JL J� JL JL JI JL JL_ JL JL its Vision 2030 is aligned with other regional t planning efforts. These include El Paso County Master Plan, Teller County Strategic Plan update, Plan Colorado Springs (P1anCOS), Colorado Springs and the Pikes Peak Regional Destination Master Plan, Plan Manitou, Woodland Park Market Analysis and Opportunity Assessment, Colorado Springs Public Art Master Plan, and several others. These regional planning efforts each identified bolstering the arts and creative sector as a key component of the plan's goals. For example, an entire section in P1anCOS is titled "Renowned Culture" with a focus on "promot[ing] and embrac[ing] arts, culture, and education as essential parts of our lives and our identity." In the Destination Master Plan, one of the "5 Big Ideas" is to "make the region the place for four -season arts, culture and festivals in Colorado." The El Paso County Master Plan also addressed the importance of the arts and creative sector to the County. With County support, regional arts can "draw residents and visitors to new places across the County with mural or sculpture walks, festivals, and other programming' (See appendix for a table that shows plan alignment.) As these regional plans are implemented, Arts Vision 2030 should be considered a resource to support their arts and creative sector goals. 16 ALL FIGURES FROM THE ARTS & ECONOMIC PROSPERITY STUDY 5120171 FOR THE PIKES PEAK REGION 17 Throughout the Arts Vision 2030 planning process, hundreds of people shared their experiences, thoughts, concerns, ideas, and dreams for arts and creativity in the FINDINGSregion. Here's what we found: Connect and Nurture Creative Talent: Regional artists and creatives share a collaborative spirit. However, they can also feel disconnected and somewhat isolated from one another in this dispersed region. There is a lack of awareness of resources and opportunities to come together D �J as a sector. Creatives often feel that they need to leave the region to gain �� experience or make a living as artists or entrepreneurs. The region's 0 �Q!�J collaborative spirit can be harnessed and amplified to establish an even stronger arts and creative community, increase local opportunities, and build the network for bringing these voices together more frequently. Sustainability: Artists, creatives, and arts organizations in the region continue to battle for subsistence, let alone vitality. They often struggle to earn a living wage, find affordable work spaces, housing, and secure high -quality venues. Arts organizations continue to seek sustainable funding from a limited group of supporters. Without consistent (� and diversified funding and access to resources, artists and arts f�V' organizations cannot plan for the future, or grow and take risks with their programming and work. G Spaces, Places, and Venues: There are many facilities that sup t the arts in the region, but there are still gaps in the arts infrastruct C. More spaces are needed to support small to midsize organizations, grassroots groups, and emerging artists in different pockets ofPr n region. These facilities can serve as stepping -stones for smalleto build capacity. There is a clear desire for a large outdoor pi r♦space to accommodate growth in the region and showcase natural beauty. Equity, Diversity, and Inclusion: The Pikes P r ion is becoming more diverse in so many ways, ho r rogramming and support has historically favored the tradit a and Eurocentric. There is a strong desire to celebrate, promote, share and grow the arts throughout the region, while honoring each area's unique identity. Strategies should support and amplify the needs of our diverse audiences, artists, and creatives. lr Arts Leadership: There are a growing number of diverse and emerging leaders who are passionate about the arts throughout the region. They care deeply about elevating the community's culture and increasing inclusion in the arts. They are seeking support and are ready to contribute. Quite a few local arts organizations are facing leadership transitions in the coming decade, as their founders prepare to retire. �r �r �r JL JL JL jo JL_ 'Ir— Creativity in the Military: The region has a large military population, with five installations. It is a diverse and transient population that is often difficult to engage in the arts. Some personnel feel disconnected from pursuing creative outlets, and many military families want rich educational opportunities for _�ki heir children. The arts are proving to be an antidote to mental `�► health issues, but can also be a resource and outlet for the broader military community. Arts Education for All: Arts education is inconsistent across the 17 different K-12 school districts in the region. Some districts are emphasizing and funding the arts, while others are reducing offerings, sharing art teachers across schools or cutting programs altogether. The decentralized structure makes it challenging for the arts and creative community to interact with K-12 schools effectively or efficiently. Other barriers that hinder access to arts education include lack of awareness of available opportunities, funding and costs, transportation and language. There are strong arts leaders within the school system who could be leading a larger movement or having greater impact with more support. Higher education institutions do not currently offer a Bachelor's of Fine Arts or a Master's of Fine Arts degree. While some of their cultural facilities are state -of -the art, others are in need of improvements. Visibility and Economic Vitality: Performance venues and art galleries are fairly well known locally, but not fully promoted as part of the region's draw. Local talent and the creative industry suffer economically from this lack of visibility. The arts and cultural sector contributes to the local economy. Growing and leveraging this impact should be a focus for advocacy and economic development work. Marketing the arts should be emphasized as a driver for the region's tourism. Advocacy: A common theme in the region is the need for greater advocacy to ensure that artists and creatives are influencing a D decisions that affect the creative industry and the region. In the past decade, the arts community has taken a large step in getting "into the room" with local leadership; the next stage is to embolden a unified voice and wield its influence to advance change. From local governments to developers to tourism and business, the arts r1 need to be integrated and valued, and take on a more influential role in the region. _JL Ir- is 19 l� �1L.—r _&r� �I �I JL— J� �I �I J� JL- lr� JL- J� J� -r Art Vision 2030 is the regional community's cultural plan. It was developed by, of, and for the community. The following Declarations and Opportunities present a living framework to guide collaboration, strategy, investment, vision, and more. No one organization or person alone can fulfill this plan. Instead, it will take the entire regional arts and cultural community, along with cross -sector partners and local leaders, to make it happen. Equity, diversity, inclusion, and justice is at the CD heart of each and every one of our Declarations and the cornerstone of Arts Vision 2030. Ma In the past, we have not collectively made these values a priority. As the foundation of this new plan, we DECLARE that: -4 QN We muso�npower a JUST, INCLUSIVE, AM N `,�1TABLE Pikes Peak region. e�orit to holding doors open r Roanother, including all Oes, and advancing historically *5 underrepresented artists, creatives, � and audiences in our communities. We open the Declarations of Arts Vision 2030 by also affirming our Cultural Equity Statement adapted from Americans for the Arts: To support a full creative life for all, our arts and creative community commits to championing policies and practices of cultural equity that empower ajust, inclusive, equitable nation. We will honor these commitments as we begin our work to realize Arts Vision 2030. 20 We, the arts and creative community of the Pikes Peak region, JL- Ir- JL- Ir- Ir- JL- Ir- zz JL Ir- JL- Ir- J� Ir- JL JL J� JL- J� Ir- J� J� J� th44 �Q r We must empower a JUST, INCLUSIVE, AND EQUITABLE Pikes Peak region. We commit to holding doors open for one another, including all voices, and advancing historically underrepresented artists, creatives, and audiences in our communities. We are strongest when we COLLABORATE. We commit to connecting across our communities, sharing resources, and amplifying one another's creativity. Artists, creative XTrts entities deserve the opportunity to thrive and prosper here. c mmit to developing diversified FUNDING AND RESOURCE strategies ortify and embolden our creative lives. a+ r Ca>,K' 6 com a %al to our region's identity and authenticity. promoting our region as an ARTS DESTINATION ,xperiencing art and making art. are powerful together and our voices matter. We commit to speaking CO up and wielding our influence to CHAMPION CREATIVE INTERESTS in I local and regional decisions. Leadership within our creative community is vital to our survival and growth. We commit to developing and advancing DIVERSE AND EMERGING ARTS LEADERS. SPACES AND VENUES are critical for sharing our creative gifts. Ir We commit to building, expanding, and maintaining accessible, thriving spaces for artistic expression. The arts foster creativity, innovation, and life skills and are essential to being human. We commit to supporting HIGH -QUALITY ARTS EDUCATION and access to arts experiences for every student across the region. IMPLEMENTATION OUITY, DIVERSITY, ANDKEY: TACTIC0PPORTUNITIES WITHIN REACH: INCLUSION FOCUS 1. Use Arts Vision 2030 as a living framework to guide collaboration, strategy, investment, vision and more. 2. Create and regularly convene creative groups to foster collaboration, encourage networking, share resources, and accelerate change. a. Groups could be formed around geography, discipline, military partners, cultural or ethnic backgrounds, arts educators, etc. 3. Develop a creative industry -specific online "bulletin board," clearinghouse or centralized mechanism for artists to find regional venues, events, jobs, opportunities and resources. Make it easier to seek out gigs and find venues, similar to a Craigslist for creatives. 4. Create more and diverse programs for local creatives, to provide new opportunities for unexpected collisions, cross-pollination, and stronger relationships. OPPORTUNITIES TO REACH FOR: G 1. Establish an annual summit for cross -regional collaboration and partnering. This is an opportunity for the creative groups to share accomplishments and discuss where there are still gaps. Focus on sharing and advancing Arts Vision 2030 as a community. 2. Forge greater cross -sector relationships between the arts and other regional sectors, like healthcare, business, development, government and military, to ensure that the creative sector is relevant, and leveraged as an asset to advance regional goals. WIN ;� C mental health services offer enormous t ring with the arts for healing, aging, suicide emotional wellbeing. sses, government entities, and developers building se and complexes should consider artists as partners ative placemaking. se the arts to promote environmental stewardship, as the OS. toward renewable energy sources, responsible nOS, and more. Americans for the Arts "Arts + Social Impact Explorer" to generate ideas on cross -sector partnerships: AmericansForTheArts.org/SocialImpact 24 OPPORTUNITIES WITHIN REACH, CONTINUED: EOUITY IMPLEMENTATION ANDKE• TACTIC0PPORTUNITIES WITHIN REACH: -NCLUSION FOCUS 1. Expand and centralize services and resources to help artists and creatives grow in their professions. The solution should be comprehensive, regional and sustainable. The need is urgent and greatly exceeds the current offerings. a. Consolidate and expand professional development workshops and classes for artists and creatives. Some suggested class topics include: budgeting and financial management, pricing, seeking grant/sponsorships/fellowships, contracting, how to become a public artist finding buyers promoting your work scoring gigs public speaking branding selling 4. Advocate for Lodging and Automobile Rental Tax (LART) increase with a dedicated percentage for the creative sector in Colorado Springs. a. Create a framework for a publicly funded granting program to distribute this LART percentage strategically and equitably to artists and arts organizations. 5. Convene (annually) regional arts funders to foster greater philanthropic giving and support of the arts and creative community. Focus on advancing equity goals in the sector. 6. Leverage shared giving models to create more meaningful investment in local arts. a. Strengthen ting programs like Fund for the Arts at the Pikes Peak Communityi�i ation and emphasize equity in its design. 7. Advocate for t�f g of the top priorities of the Colorado Springs Public Art Master Plan. This 11 unlock more opportunities for local artists, more support for businesses th ant to do public art projects, more equity in where public art is located, and�reative potential of art in public spaces overall. 8. Be ggrate arts and cultural information into orientation and recreational G F �ing r military audiences. 0 yourself, photographing/filming your work, social media marketing, how and where to "I N04 exhibit your work, business planning, etc. V" �PPO ITIES TO REACH FOR. b. Offer trainingin technical theatre to support the performing arts. n. PP P g c. Connect performers and artists to professional level classes to stay on top of their g I;y arch and identify opportunities for other regional taxation models, similar e Manitou Arts, Culture, and Heritage tax (MACH) passed in 2019, that take and expand their skills. dvantage of existing political boundaries, like school districts or fire protection d. Offer informal o ortunities for artists and creatives to network share knowled ►and districts, for areas that aren't incorporated as a city. PP g learn from one another. e. Increase opportunities for art exhibition and sales. Consider expanding existing 'ta or developing a new juried festival that connects artists and buyers. i. Produce regional "hiring showcases" for performing artists of all kinds a producers, directors, and agents to connect with talent. g. Help create interdisciplinary cross-pollination opportunities, suc oet s performing at visual arts exhibit openings, or art displayed during opening night h atre production. h. Strengthen existing small business programs for creative bu's and artist entrepreneurs. i. Explore business and legal services through existing state and national program networks (similar to Colorado Attorneys for the Arts). j. Continue to assess the specific needs of local artists to determine which programs are most needed and effective. 2. Track and share quantitative data on the breadth and depth of funding for the creative community. Use this data to identify opportunities for growth. 3. Invest in a multi -year advocacy and public relations campaign to build the case for public funding for the arts. a. Advocate for the passage of a lodging/tourism tax with a designated percentage supporting the arts in local municipalities beyond Colorado Springs, and unincorporated El Paso County, and Teller County. 2. Cultivate an engaged business and corporate community in support of arts and culture. a. Increase corporate financial support for the arts. b. Explore effective national models of business engagement in the arts to build on existing local programs. c. Continue partnerships with leadership programs like Leadership Pikes Peak and Colorado Springs Leadership Institute. d. Encourage business volunteerism and Board service within the creative sector. . _:; 3. Invest in artists and emerging creative entrepreneurs, especially ,;IN underrepresented community members, through micro loans and other tools. 4. Cultivate broader development of cultural districts, particularly ones that qualify for the State Certified Creative District program, to tap into state monies and marketing support. C Z v Z C7 26 5. Explore options for group health care for the arts and creative community. OPPORTUNITIES WITHIN REACH: KEY: Vk�) TACTICENTATIDN EOUITY, INCLUSION FOCUS AND 1. Expand collaborative efforts with tourism partners, like Visit Colorado Springs, Pikes Peak Region Attractions, Pikes Peak Lodging Association, and others, to elevate the promotion of cultural tourism. a. Support increased membership by creative organizations in Visit Colorado Springs. b. Attract more regional/national arts conferences and symposiums. c. Expand and attract large scale cultural tourism events, and leverage existing successful local events and festivals to be a bigger regional draw. 2. Learn from the success of Arts Month to develop a broader year-round tourism and branding campaign for arts and culture in the region. 3. Develop an annual arts event to attract and cater to a military audience, helping to consistently connect the military and arts communities through an annual tradition. 4. Develop and market locally-curated art trails or day trip itineraries that lead visitors to `` arts and culture destinations. These itineraries can be prepackaged and distributed to local �'► V and state tourism agencies and posted on social and digital media. a. Create specialized itineraries to include creative businesses that are led b primarily serve, BIPOC or LGBTQ communities. b. Broaden scope to cross -promote culinary, brewery, distillery desti t' s and non-traditional creative experiences, especially outside of Colorad r gs. 5. Produce collaborative or combined promotional materials, promoting ike galleries or existing local events or festivals together to showcase the critica ass of the arts as a tourism draw. 6. Elevate new and existing opportunities for national or international artists to travel to the Pikes Peak region to develop new work and interact with the regional arts community. 7. Explore ongoing enhancements to Peak Radar's tourist and local resident engagement efforts. 8. Promote and build the region's public art collection as part of creative placemaking and regional draw. OPPORTUNITIES TO REACH FOR: G 1. Strengthen and expand partnerships with local media for consistent arts coverage, and explore the possibility of recurring editorial or critical review 2. Develop an arts brand that is more inclusive and regional, beyond specific city brands like City Above the Clouds, Olympic City USA, etc. 3. Collect more inclusive, annual data on cultural tourism to better understand and articulate the economic impact of the creative sector and provide more effective and persuasive tools for arts advocacy. a y 28 OUITY, DIVERSITY, OPPORTUNITIES WITHIN REACH: KEY: � TACTICENTATIDN INCLUSION FOCUS AND 1. Develop a multi -year advocacy and public relations plan to incrementally build the case for public funding for the arts. 2. Support statewide and national arts advocacy efforts. 3. Develop specialized rosters of qualified artists to encourage contractors, developers, business/building owners and event planners to hire more local artists and creatives. a. Conduct a biennial "request for qualifications" to verify quality and accuracy of information in the listings. b. Promote the roster to potential consumers of artistic works and programs. 4. Position artists and arts leaders to be informed and sought-after contributors in development decisions about the region's growth and future. OPPORTUNITIES TO REACH FOR: 1. Hire an arts and development advocate to engage with the development community to encourage and facilitate art in public places, creative placemaking, and employment of local artists, designers, and vendors. 2. Hire a dedicated arts political advocate for the region to support a robust advocacy program. a. Designate and facilitate inclusive coalitions of arts advocates to address the many issues that affect artists, creatives, and arts entities, with emphasis on diversity, equity, and inclusion. Important iss<'I include equitable distribution of public art throughout t ion, affordable/attainable housing, living wage, transpor t ccess, workforce development, displacement, etc. b. Dev p white papers and political platforms to distribute to city an4-Vwn councils and political leadership about the importance of &40s in the area. G evelop "talking points" during election time and make these avai�able to all politicians, board members and general public re ess of affiliation. (� V lect data that captures the economic activity of creative V" ustries and distribute the information regularly. e. Centralize access to current research and reports on creative �Rsector topics. G P P �0 b. Formalize creative sector representation on boards and committees across the nn``. region so the arts don't miss out on opportunities, funding, and decision making. QF)10 � a. Promote and support diverse arts leaders as policy makers, political leaders and board members. 0 z am 30 OPPORTUNITIES WITHIN REACH: KEY: TACTICENTATION INCLUSION FOCUS AND 1. Create an Emerging Arts Leaders (EAL) Council that participates in Americans for the Arts EAL network and has a defined advisory role for local leadership with the Cultural Office, Bee Vradenburg Foundation, arts funder consortium, etc. 2. Prioritize hiring diverse and emerging candidates for positions in arts administration. ?;:J�- 3. Support and empower diverse and emerging arts leaders to take their place in leadership on the Boards of Directors of local arts organizations. 32 Ai' a. Explore setting a percentage goal for racial and ethnic diversity for individual arts and culture boards. c�;:'' b. In selection, cultivate board members based on their expertise, experience, j � %;i%� P P and diverse perspectives, not only their access to financial resources. ,�1 :;i,. c. Grow diversity training to boards to ensure new voices are validated and supported equitably. OPPORTUNITIES TO REACH FOR: CG V GG �✓ P P �con 4. Actively and intentionally create a leadership program to reach and train diverse and ^ `` emerging creatives as leaders. 5. Fund scholarships to increase access for creative leaders to become members in regional leadership and professional networking programs, like Leadership Pikes Peak Colorado Springs Leadership Institute, Rotary, chambers of commerce, etc. 6. Nominate diverse creative leaders for awards, scholarships, and recognition throughout the region. 7. Ensure that established leadership programs in the region include arts ure as a featured sector in their curriculum and program conversations. 8. Hire a Public Art Expert in accordance with the Colorado Springs Public Art Master plan. This position would serve as a leader and a resource to build and guide public art for the region. 1. Partner with higher education to offer arts administration and nonprofit training - including Masters of Arts Administration, internship and career pipeline programs - to serve the region's arts organizations. 2.Offer more mentorship and/or apprenticeship programs to connect student - artists and emerging artists to creatives with more established careers. n 0 rn 3 r+� Z G7 a y rMM rn rn v ti OPPORTUNITIES TO REACH FOR: 1. Develop a strategic plan, based on the venue assessment above, that prioritizes a way forward for the region's development of new spaces as well as supporting or growing the capacities of existing spaces. 2. Promote ownership of artist -owned venues and spaces through small business loans and other assistance programs to protect artists from being priced out of their spaces as the region grows. 3. Support dedicated spaces for expression b and for underrepresented PP P P Y P communities, particularly BIPOC, LGBTQ- populations. EOUITY, DIVERSITY, OPPORTUNITIES WITHIN REACH: KEY: TACTICENTATION - NCLUSION FOCUS AND p 4. Creates aces for shar ministration/business resources for arts organizations strat i laced throughout the region. 1. Expand access for the local arts community to existing small and mid -size performance 5. Stud the neerVeative incubator space in the region and determine what Y P g venues by better defining facilities' uses, access policies, and pricing structures. services are ne de Consider whether a physical or virtual incubator is a more 2. Conduct an inventory and assessment of all existing venues and spaces in the region; effective sol10 survey local groups about these spaces and assess the gaps. (Include parks, mobile stages, �� and other flexible/temporary space options.)c) 3. Support the creation and presentation of art in informal, outdoor, or mobile settings. • V" ��- ci 4. Advocate for investment in low-cost, DIY, and nontraditional cooperative spaces to • �� �r support creation, production and performances by creatives and arts organizations. a► �� 5. Work with developers, governmental agencies, and community advocates to create more P ,g g � Y v affordable housing for artists. a. Support the existing ArtSpace project and see it through to fruition. 6. Work with planning and zoning administration to create more flexible zoning for live/ ♦ J� work spaces and amend sign code to open more possibilities for murals. 7. Support and guide the development of an outdoor amphitheater that suits the needs of a variety of artistic genres and will serve a wide range of audiences. O • ,`� �r�r �r �r S. Expand the presence of public art and creative infrastructure within future develop P P P P �r �r and parks projects, both private and public. _JL_ Ir- 34 _JL Ir- _JL_ Ir- _JL _JL_ -JL--JL- Ir Ir- Ir- _JL_ Ir- _JL_ Ir- Ir- y Ma :00 cmaj rn y C r+'1 Z C r+'1 y _.�L_ Ir- _JL Ir- _JL OPPORTUNITIES WITHIN REACH: KEY: TACTIC ENTATION INCLUSION FOCUS AND 1. Support programs to increase access to the arts for local educators and students, like arts passports, family engagement initiatives, and more. 2. Improve student and teacher awareness of traditional and nontraditional arts opportunities available in the community. OPPORTUNITIES TO REACH FOR: 1. Hire an arts education expert to oversee regional research, coordination, information -sharing and program development. 2. Research the access, variety, and quality of arts education offerings across school districts. Use this information to direct advocacy, funding, partnerships and programmatic opportunities to those students with the least access to arts education. 3. Building on the success of the existing regional student art exhibition for Congressional District 5, create additional opportunities for students across the region to showcase their cr.Vativity. a. Create ds program that recognizes students working in nontr � art forms (like digital media, spoken word, music produNn, video, etc.) 4. Benchma�-e s``hare how schools can use the arts in service of teaching non - art subjecath and science), and how the arts can advance DEI work with stud a. Develop and distribute information through school networks about arts learning G opportunities for K-12 students offered outside of school by the arts community. c rage ng creatives to stay in the region after graduation (both high Include information that reduces barriers, such as transportation, fees and ch o an by introducing them to available networks of support and scholarships, translation, etc. er on ities. 3. Create a pre -approved roster of teaching artists that work in schools to augment arts education inside the classroom. ^� a. Explore collaboration with Think360 Arts for statewide connections and trainin v �� 4 f 1-f 1-1 1-1 d' ' 1--1 . Convene arts representatives rom eac o t e 7 sc oo istricts wrt artists an creatives who work in arts education to share successes and challenges and to continue to work towards greater access to arts education for all K-12 students in the region. F0 5. Expand scholarships, sliding fee scales, and free offerings for students to participate in arts v P P g g p p educational programs. a. Establish a regional arts scholarship fund. �C 36 �o 75. Expose K-12 students to arts and creative career opportunities, and ensure arts are included in career education and represented at career fairs. b. Expand opportunities for students interested in the arts to connect with creative careers and working artists in the region. c. Develop more mentorship or apprenticeship programs connecting secondary students to working artists and creatives. d. Expand artists in residence programs and ensure the visiting artists connect with students across the region. 6. Support the creation of BFA or MFA degree programs and continued improvement and expansion of higher education arts facilities. Ir- a ti 0 z Ir- /L /L /L IMPS r.MF"TATION Arts Vision 2030: A Living Framework he creation of Arts Vision 2030 is just the beginning. The opportunities laid out above are a living framework to guide collaboration, strategy, investment, and vision, all in service of advancing the arts, culture and creative communities. Arts Vision 2030 is a catalyst for more detailed action steps to determine how, when, and who will collaborate to achieve these opportunities. TIMING The opportunities under each declaration fall into one of two categories: "Within Reach" or "To Reach For." "Within Reach" are those opportunities that could be accomplished earlier in the plan. These opportunities tend to require lower levels of resources (time and money), may have already been started but require additional support, or may be a high priority within an organization's existing strategic plan. For these reasons, these opportunities are considered more achievable. Opportunities under the "To Reach For" heading are longer -term. These opportunities may require more resources (time and money), take longer to plan and develop, or require significant changes in perceptions or infrastructure. Regardless of labels, flexibility is key to this plan. The community will prioritize and take advantage of opportunities as they arise. As we have all experienced during the pandemic, adaptability is essential to progress. JLr `/ JL_ `r- JL- Ir- JL- Ir- JL -JL- Ir- Ir- -JL- �I -JL- Ir- Ir lr _JL Ir- LOOKING FORWARD Sharing Arts Vision 2030 with the communities that helped develop it is the first step to implementation. A public discussion guide and series of discussion sessions will follow this plan's release to help groups across the region explore their roles and potential connections. The Cultural Office and the Bee Vradenburg Foundation will periodically convene local arts leaders to champion Arts Vision 2030. Together they will set forth simple and specific measures for tracking the success of thooklan and report back to the community. T,� easures should be within the followir ation areas: .l a a CO Ocb �Q'� Collection of data could be done through an online crowdsourcing evaluation tool in which the community helps provide the data, or through in -person sharing, perhaps at an annual summit. Through the Arts Vision 2030 process, despite the pandemic, we witnessed unprecedented engagement from the arts and creative community and beyond. The process brought together stakeholders, community partners, grassroots innovators, activists, military, developers, business, and regional leaders, together with the arts and creative community. To implement Arts Vision 2030, the collaborative spirit and strong initiative of the region's people demonstrated during the planning process must continue. Through these boldly stated declarations, our arts and creative community affirms its commitment to the collective force of our combined voices. We believe all these declarations and opportunities are possible - by working together. ARTS VISION 2030 ppp� �r J� APPENDIX (ONLINE) �r • Special Thanks • Assessment of 2010 Cultural Plan JL Online Engagement Report • Table of Regional Plan Comparison �r �r • Creative Vitality Index Dashboard • Colorado Demographers 2021 Report for Teller and El Paso Counties �r �r • Examples of Programs for Inspiration • Arts Organization Inventory Find Arts Vision 2030 online, as well as the Appendix and the most up to date information over time, at J� J� CulturalOffice.org/Resources �r �r 39 J� n �:til: _L, 2Sa. = a •:A is w�!_�.' _ _�aa. _�� /� �/�. i\ a a a a a a 0 vii a 0 0 9 n 0 a 0 a 0 4r I lid, Vrril'I MI %, I or % LVI Cultural Services Department 2022 Master Plan After more than a year of community outreach via individual interviews, group T meetings, open houses and surveys, the _ Cultural Master Plan was "finalized" before publication in January 2020. Then COVID arrived and the world changed. An unfamiliar lexicon appeared: Masking, Social Distancing, Contact Tracing, PCR Tests and Quarantining. And we "pivoted;' the newly popular verb for 2020/2021. As cultural facilities with high public contact, we were challenged to not only protect staff to the best of our abilities, but to protect the public who visited us as well in our facilities. The Museum and Rialto schedules, of course, were tossed in the air like confetti. It led us to reconsider some of the ways we operated and led, especially, to much more online content. We started live streaming shows from the Rialto, made possible by a quick -response donation from Backstage Rialto for needed equipment; live streaming programs from the Museum; and online education activities for adults and children on the Museum's website Table of is It was also a juggling act to rebook The Art in Public Places program performances at the Rialto and was the anomaly during this exhibits and programming at the time. Art projects grew during the Museum, especially when we pandemic as construction projects weren't sure when we'd be open. stayed on pace and the Visual Arts When the time came to reopen, Commission voted to add a granting there were many adjustments that program to assist local artists, which had to be made, such as social created more projects than usual. distancing markers, the removal I could not be prouder of the work of touchpoints in the Museum to the entire staff did to keep the avoid infection spread, contact department operating in one form tracing lists, and new seating or another, open and closed, during plans to maintain adequate social 2020 and 2021. As we move into 2022 distancing, a special challenge we hope the end is in sight, but only witwh fixed seating in the Rialto. time will tell. The Museum closed once for several months before reopening. he Cultural Master Plan was put The Rialto closed twice during side as everyone directed their 2020. Both were at the direction of�kw nergies into responding to COVID. the Larimer County Department 1 Now that we are, hopefully, on the of Health. 2021 brought changing Cher side of it, we have spent the restrictions throughout the year. past few months reviewing and updating this Cultural Master Plan. "Some The Beet Education Cente of the information is pre - was open for about two wee COVID, as it best represents our usual when it had to shutter. However, operations, and some of it has been it was fortuitous that the much updated to reflect recent changes. larger facility allowed us to open for socially distanced classes I truly appreciate everyone who much sooner than we could has participated in some way have in the previous space. I'm in shaping this document. We pleased to share that the facility look forward to getting back to continues to be active and use business as usual and moving for classes and programming is ahead with the many ideas for constantly growing. future growth of Cultural Services and the community of Loveland. Introductio...............................................3 Thrive..................................................................24 A Little Histor......................................................9 Cultural Assets ................................................... 27 Key Themes and Processes 12 Loveland Creative District..............................36 Connect............................................................15 Appendix..........................................................39 Participate........................................................18 Acknowledgments......................................... 50 Create Identity.................................................21 Cultural Services enriches lives and connects our community through diverse arts and history experience. COVER IMAGES: (top to bottom) Loveland Museum, The Beet Education Center, Rialto 41 2 Theater, Art in Public Places (AIPP)-Shelter �❑■ Cove by Mary Regat, and the Pulliam Community Building INTRODUCTION AOL=. f• f - • r , ~' ? LOVELAND MUSEUM CULTURAL SERVICES RIALTO THEATER I I ART IN PUBLIC PLACES This Cultural Master Plan addresses 4 of the 8 focus areas of the Loveland City Council Strategic Plan: Outreach, Collaboration & Engagement; Economic Vitality; Innov tion & Organization Excellence; and Inclusion/Livab' The City of Loveland, through the Cultural Services Department, has been in art and historyexperiences to the community since the 1930s. Lovelanders hi hl val�7l�. their existing p Y g g arts and history programs. More than 35,000 people visit the Museum year and 29,000 attend more than 200 performances and events at the Rialto. The a Ns led through the Art in Public Places program has become synony s with Lov identity. These well -loved programs and well -used facilit'e�ee' t 77esur f rowth. The p g ��g Department is keenly aware of requests fr ns for on rvic s, ams, events, exhibits, and experiences. Meeting these req 'res nggg t munity and careful planning. For over a year, the community the future. Key themes have led to expand the Museum with t (now The Beet Education a newly designated CreaTcnti Now is the time to plan fo Providinj n va,Nin'ide ti Their desires and needs for t of g d strategies. The potential Qse oft dl ent Reporter -Herald building dtion Iliam Community Building, and opportu ' es, part of our inevitable growth. 4 �_','o ieving a High Quality of Life and Our Community L � oo . Pause eflection by Laurel Gregory Peters �. ,�k11 201 15 -, SmartAsset.com ~gamed Loveland the TOP 100 #1 BOOMTOWN Best Places to Live in the US by Livabilitcom y in 2020 gxx . EME - � ,tNE►i ...ur. ��Rs � gyros �.i • EOYES �OS t / Population has I increased Population Population is projected 21.34/o to grow another SINCE 2012 287 by 2028 toA NImm L Museum Visitors 6 We surveyed 5,402 visitors between the m f Jaeemafic 201 ■ 45% of visitors came to the Muse the intention of seeing the Main I ibi Inte ■ 20% were just in the area ` fro ■ 11%visited for an outing forth childrN>;' `q�roun tr 6% came to learn more about Lovelan js h_isto ■ 8% visited because of Night on POT, wn or onadmission days ■ 6% came for a variety of oth r�cg sons ■ 4% came to attend a cl o' ram COUNTRIES ANO STATES WITH VISITOR flEPRESEMATION COONR WITHOUT VISITOR RE REPRESENTATION n3 t December 31, 2019. nd National Visitor Representation e Loveland Museum brought visitors :ites, 1 US territory, and 22 countries e world, as far away as Korea! 5 Art In Public Plac!Pi What a year! 2020 was unique ony le t, ab �else, it illustrated the joy of Art in Public Places. Artwork within the ublic avail b�Loveland residents and visitors alike throw h p��1�a g our sculpture gardens, the downtown out o scu Uoisplay and City parks and right-of-ways. 511.6 Estimated value of the collection 375 Sculptures receiving maintenance in 2019 2020 TAAP 311): Seven on -loan sculptures were installed within the planting beds along Fourth Street between Jefferson and Garfield Avenues in mid -June. The Ambiguous Family by Joe Norman, Deconstructed Apple by Jorge Leyva, Mc The Rusted Spire by Christopher Knight, IL The March Hare by Jacob Novinger, ID Angelica by John Benedict, AZ Germination by Gregory Fields, CO Bubble Bench by Matt Burney, OR Every sculpture installation has a story to tell and 2020 was no exception. Rialto Theater Patrons •� The Rialto continues to be the hub of a and live performance in downtown Lov XCO TICKETS EVENTS RED .... 0 oY-0-0 27,092 tickets 265 ePd ' ed sold in 2019 were from t Thet sales ng 2019 and rental fees was $487,002 in 2019 PARTNER SERIES 00 We continue 16 "Rialto to build on our Presents" strong rental shows proved partnership successful and hosted 42 with several different rental sold out shows groups in 2019 /' v' AN 2019 RIALTO ATTENDANCE ■ Loveland(52%).....................................13,878 ■ Berthoud (4%)........................................1,042 ■ Fort Collins(18%).....................................4,706 Greeley (2%)..............................................557 Johnstown (2%).........................................420 ■ Longmont 4% 1,026 Windsor (3%)..............................................822 ■ Other Colorado (15%) ...........................4,048 0 Other States(1%).......................................251 18% 2% 2% 7 w 0�1 I A LITTL E HISTORY Originally, a silent movie theater opened in the Rialto is Loveland's premier performing venue welcoming national and internatioq touring acts. The Rialto also serves asA10, to local performing arts groups. v Rialto Marquee, Loveland Museum Historic Photo collection a�rr�s ru W owl NvUseum presents 70,?Kbits and local history Dries, provides engaging he arts and history for all ages, vial events in art and history for y Harold Rialto Theater Loveland Loveland Bronze First Sculpture Art in Public Dunning opened its Museum Museum Foundry Art in the Park Places Begins doors opened its erected at 5th Castings of Show ordinance Collection doors and Lincoln Colorado was adopted, Local History opened establishing Objects a public art program BIG sHow CHRiST'MAS PARTY ELKS RIALTO TODAY 1 P M Ca mac = The first Colorado city to pass a l % Art In Public►"Built iL9367the R4L ommunity Foundation Places (AIPP) ordinance in 1985, Loveland Bui erved ` ommunity center. After boasts more than 542 works that express f n out of s e, the building is finding a new community's profound commitment t anks rtnership between the Pulliam arts and creates a unique sense of . In funda 'o d the City. After renovation, the addition to four sculpture park e ark, Pulli munity Foundation Building will return Chapungu Park, Civic Center a hin� as a v no asset for a variety of uses. Hahn Sculpture Park) art can be and `CO throughout Loveland. � V O � Q v ✓ 1996 2012 2019 2U 19 2020 Museum Museum accredited by expansion the American (doubled its Association of size) Museums Rialto Theater Rialto Theater is revitalized 3-story and addition adds reopened Green Room and event spaces Renovation City purchases Covid-19 to the Pulliam the former Pandemic Community Loveland Building begin Reporter - Herald building (now The Beet Education Center) for Museum expansion KEY THEMES AND PROCESS Architectural rendering of proposed new Art Museum expansion The Cultural Services Departmen i Herald building (The Beet Edu e the growing public art collecti and i; designated Creative District. With these popularity of current cultural acti r Through widespread meeti and arts and history advo opportunities for growr Services Department i4is W •`vim e 1 4, 0dtth nd wj?�'� ti??urchase of the former Reporter- itvitall�Pus n of the Pulliam Community Building, e d on downtown and a newly poe inevitable growth of the region, and the is e to plan for continued success. kembers, boards and commissions, City staff, ed that Loveland's cultural assets are abundant; Nexist; and there are challenges that the Cultural to fulfill with the appropriate support and resources. v ✓ The Cultural M r Ian serves as a ten-year road map for the Department to ensure that it can continue to st e the public, meet the changing, growing demands and expectations of the communit contribute to the vibrancy of Loveland. W$ THE CULTURAL SERVICII&AS LkN IS BUILT AROUND F!�PR K E P""""""' CONNEC ` PARTI �► `�� C EI',p' v � THRIVE Each of the themes are considered of equ or y*and rany of the creative and resourceful ideas received from stakeholders and community members. T p n incorp eTgoals, strategies, and initiatives for each theme, which will help guide the Cultural Services Departme in utur% r vide a proposed action item list that will help meet the goals of the plan. Q HE PROCESS. In late 2018, the Cultu^e 'ces Department launched an arts and culture master planning process. The process focused on a needs assessment, FM of existing programs, exhibits, and performances offered by the Department, the critical value of the arts and history to th Loveland community and the important role the Department plays in providing these services to the community. The planning process included three important phases: Research and Discovery - assessed the current standing of the Cultural Services Department, developed an asset inventory of arts and history programs and facilities in Loveland, analyzed existing planning documents, and economic and demographic data. © Community Engagement - Helped inform the themes and strategies of the plan through stakeholder interviews, focus groups, a community forum, and City Boards and Commissions meetings. © Setting the Strategy - synthesized the findings from research and extensive community engagement. Monument In Right Feet, Major Kurtzman H U W Z 1 ram• • • � �yi '►'t✓T GOAL: Connect our community members to one another through arts, culture, and history experiences. As Loveland grows, change is inevitable, but disconnecting from neighbors and losing the feeling of community does not have to be a result. Through the arts and connecting with history, Loveland's residents, neighbors and visitors can feel connected to one another where they live, work, and play. STRATEGY 1: Continue to Engage New Audiences and Deepen Cultural Experiences Purpose: To identify and reach under served communities such as teens, the growing senior population, culturally diverse communities, young professionals, and those who cannot afford to participgrl�through expanded programming �� • Continue the high -caliber exhibitions at the Loveland Museum and touring perform c sZ*t e Rialto Theater • Increase historical changing exhibits at the Museum and variety of performances at they "Ito for wider appeal • Continue offering high quality cinema and outdoor concerts • Create pop-up exhibits, self -guided art and history tours, Art in Public Pla events, business networking events and other various programs to re new audi e&Z'Wcational • Increase after-hours opportunities for adults and to s • Provide new and creative opportunities for volunt en an ips • Enhance collaborative programming with of of Lo la ep rc�t • Further develop an Artists in Residency progr TE Elevate and Expand C ervic Re ionsh' Diverse Communities Purpose: To serve the entire com and opp n ies for more voices to be part of the Cultural Services Department by ilding urrent lati ships with diverse communities. .N 4 • Identify diversity gaps in progra ing Ind cr &&grams with diverse appeal • Encourage diverse representati Voardstin ommissions • Increase opportunities to en a iverseQ ideation/program/exhibit development • Build upon existing relati sh* ith atinx community • Grow stewardship of sing in Ijfe t languages Q STRATEGY 3: elop Cultural Experiences, Public Art and History -Based Place Making Strategies to Connect Neighbors to One Another Purpose: To cre to visual, physical elements in the public environment that connects people to the stories of the community and to each other • Partner with Parks and Recreation/Library mobile van programs to bring exhibits, hands-on activities, performances to neighborhoods and parks • Identify needs and funding options for public art projects such as murals, sculpture, and new technology • Use oral history projects to honor voices of Loveland's neighborhoods • Create a downtown artful stroll highlighting unique stops and environments • Beautify bus stops with public art • Install sidewalk pavers celebrating the stories of Loveland • Incorporate history along trails and on streets through interpretive panels • Normalize at home learning through online lectures, workshops and classes as a free/affordable method to connect people despite quarantine restrictions and other public health guidelines STRATEGY 4: Bring Community Together Through Arts and History Experiences and Informal Learning In Welcoming, Comfortable, Right -Sized, and Well -Equipped Cultural Facilities Purpose: To expand and improve current cultural facilities in order to serve the growing needs of the community to access art and history experiences and to provide informal gathering spaces that serve the community's needs. • Expand the Loveland Museum • Continue improvements to Rialto Theater • Continue investing in the Pulliam Community Building • Renovate the former Reporter -Herald Building (currently The Beet Education Center) eet ADA compliance, and modify the facility as needed for education services, to allow fuller f the facility and expand education offerings at the site STRATEGY 5: Continue investment in the Pulliam Community Buildi�Zja a Dow Community Cultural Center Purpose: To re -activate this community resource cos Q ccessi e, le, m, and affordable space for the community to gather for all types 3,its and ti ties. • Support all types of events and activities ` Provide larger downtown event spac • Host Cultural Services programs an e nts • Allow some performances, recit re Is to r Pro', the Rialto • Combine rental oversight wit S RA 6: Create Ne S ces or �ulture, and History Experiences Purpose: To provide spaces re han nd informal learning can take place so that the needs of the community to make r or a am about the history of Loveland are met. • Develop a Ce or American Sculpture focusing on significant role of Loveland in sculpture history • Create a bl theatre in Devereaux Room for amateur and experimental theater • Comple f a ility study for potential larger performing arts venue • Create a e/low cost Community Studio as a drop -in space for all residents to use • Support the development of additional studio space for local artists • Create a plan and timeline to vacate the alley, between the Museum and the Beet and provide additional outside space for programs as well as conceptually unify both buildings sift- rL� rI vnvei/,� lishere /79mw - 1 JA z ' - k c_ I e• r r. f�jll /Ifr�l/���j�flliil � r ll 1 f. 1. 114- I .I W�•a. w. ZZIN YV w,'lly, o nrym..nu.wN•�,� RC CCI� wl `me„I��I�i `^,I�� Ia •4 I� Goal: Encourage and inspire Loveland's spirit of art making and expressions of cultural heritage. Loveland's creative advantage stems from the people who live here. The community craves participation in "making" activities. The benefits of creating are many, including mental health benefits, such as relieving stress and increasing brain plasticity, encouraging problem solving, creative thinking, and collaboration. Encouraging participation and offering a variety of art making and cultural and heritage -sharing opportunities at all levels will enhance Loveland's unique community. STRATEGY 1: Expand Visual Art -Making Opportunities for the Public Purpose: To encourage the making of art by expanding Cultural Services' cla s �acl workshops, offering opportunities for many different interests, ages, and abilities. • Expand classes and workshops to what is already of to cre plete complement of classes C) • Continue to offer classes from novice to profeSsi alai levels V" • Provide opportunities for the public to showc \14 it workG • Expansion of accessibility options, includin r cost virtual o groups �{� • Collaboration with service and e to re it in s eeds • Create more classes to cover a vari opics ediu nd what's already offered P EG� Increase Creative Activities fo eople�iNE ess and Share in Cultural Heritage Purpose: To expand Cultural Se is gra gs so that the community is able to build relationships and understanding gh Lion and learning about one another's stories. • Expand program off i oun I heritage and history • Offer opportuniti or t public owcase their own heritage or stories • Build upon an ate new partnerships to expand reach and opportunities • Continue to ec stories and objects that illustrate the cultural history of Loveland. lq-z STRATEGY 3: Expand Opportunities for Participation in the Performing Arts Purpose: To encourage creative expression through the art of performance and provide accessible opportunities for participation. • Continue to offer programs like the Open Mic series for the community to be on stage • Expand summer theater programs at the Rialto and/or Pulliam • Increase master classes/outreach offered by touring performers for the community • Create a Children's Theater opportunity that focuses on both performance and technology for children of all ages 0 Offer lecture -based events in a variety of disciplines STRATEGY 4: Develop Spaces for Community Participation in Creating and Learning Purpose: To develop dedicated Cultural Services spaces for community participation that are appropriately equipped to meet the creative needs of the community. • Expand and create new classrooms at the Loveland Museum and Beet Education Center • Develop a black box theatre space in Devereaux Hach Room • Identify places for the community to showcase their work • Develop a lecture space with AV setup at the Loveland Museum STRATEGY 5: Continue to Build Robust Educational Programming Purpose: To broaden the reach and programming geared towards Northern I&rado students, engaging them more deeply in arts and history. _ is: • Evaluate the best practices to expand school -base prcipram curriculum and history, by possibly developing comp n prc other grades •, • Increase capacity for large tours and schoo • Increase the number of outreach reside c • Formalize teen engagement (volunte , urator • Continue to build teacher awarf�s ing a • Continue working with local higni r supplemental learning for ar Expand virtual programmingsContinue to work with and ex tivi more diverse programming around soc I, rac current art exhibits or local histc w • Offer theater internship prog ` f cirea (performance, production achn to • Expand offering of histo�cAses an& -n ems T Tn� ms ro 'd Pram, to social studies similaHistory Days for 'Rialto Ito and the Museum mess tlVyal resources OW and o unity colleges to provide tours and virtual res and exhibits, webinars, etc r onships with community groups to provide fie} c and economic topics as they relate to students interested in the performing arts laced programming Q STRATEGY 6. Engage the Community Through Volunteering Purpose: Main in volunteer program that matches volunteers to interest area(s) and allows them to learn what we do, while also providing Cultural Services with needed support. • Develop a companion program to History Days for middle school curriculum • Maintain the popular Rialto theater volunteer program • Match Museum volunteers to their interest area whether that be art, history, archives, education, administration, special events • Maintain working relationships with local colleges and universities to match students to work study positions or internships • Formalize a teen engagement program with internships and/or a junior curator program 0 • 440"be —e • 4 ft� Am"IWv�� �� •� �• , ��Aa - �� -=•.3� =� �► �►- �` �'' {'fir Saw00. I f ♦� ,j4A ♦• : , P r s 6 '�►�� �I'1•I j I`e Ij�1401 I I �f_� �� >� �111 p111� ! y✓ .�►04 TITY ,, -4. 21 O Goal: Promote Loveland's identity locally and to the world as a destination for arts, culture, and history experiences. The community takes great pride in its art reputation and historic characteristics and sees these as the jewels in their crown. Despite its long history, Loveland's identity as an art town and a historic place still requires branding, support, and promotion. Cultural Services is in a position to help further the brand and identity of Loveland as a place to experience visual arts, performing arts, historic places, and community heritage through the promotion of its venues, programs, and special events. • The Cultural Services Department is a major driver in the arts community providing exhibits, performances and programming unique to our venues. • In a recent citizen survey, the Museum was one of the top three cultural activities t^r yy in the Community /� `�► • The Cultural Services Department will work to strengthen our own brand to ciue to promote Loveland as a destination for the arts, culture and history experiences A `` Strate 1: Increase the visibility of C tural Ser ' grams • Purpose: To support the brand of Loveland rea au nc and4 e attendance at Cultural p pp - �� Services programs through marketing and pr n. %J • Continue strong collaboration with elan 1►Lovell A, CD and others • Increase marketing investment a age nt" • Cultural Services presence a s ' eve • Audit wayfinding road signag upgr mprove RiierKo Theater signage • Improve the AIPP app to `loca e art n u' • Continue to develop crossover prpmoti n withr City departments Pro9Qhe Downtown Creative District designated by the State of Colorado Purpose: To 404WN the visibility of and collaboration within downtown Loveland and with other enti- ties, such as CNorado Creative Industries, the Downtown Partnership, Downtown Development Author- ity, Visit Loveland, arts organizations, etc., through Creative District programming targeted at growth and tourism. • Complete the DIY "Call Yourself Creative" process • Bring together a diverse group of stakeholders to be engaged in the district • Create a signature Creative District event to celebrate all the district offers Strategy 3: -�k NIV Strategically Employ Public Art to Further Loveland's Brand and Iitity Purpose: To influence Loveland's brand as an Art Town and support comm l ride by intentional AIPP placement and programs. • Partner with DDA on artist improved alleys and pede exp ri des • Identify and pursue key gateway and high pro� ation or �151ic rt • Stretch AIPP Temporary Art Program beyond . eet p rY g y ( • • Expand the mural program throughout t munity • Continue to encourage private invest lain art for is plac G P t 4: Promote a kin ies to Encourage Tourism Purpose: To identify key acti e ura can pursue to help create a unique environment and sense of place through a istoryyel r is that attract visitors and create pride for the community. • Encourage DD ' re ng a sense.6f place through art and history elements • Assist in cha i g the Loveland Creative District to build tourism • Encourag la d Economic Development to recruit and support creative businesses as part of their Str an to expand retail development • Review Cit egulations that may prevent more venues from hosting live music and similar restraints to opportunities of creative expression Amor6 by Kim Kori kit 0 oop* Ak f i lk Goal: Be a dynamic part of an ecosystem that helps artists and the creative industry thrive in Loveland. Although Larimer County boasts more than 6,000 creatives living in its borders, a thriving ecosystem is needed to support and connect them. Professional networks heighten communication and we know when artists and creatives interact, it spurs innovation and collaboration. Adding resources to the Cultural Services Department will enable the Department to continue focusing outwardly on supporting and growing the creative industry in Loveland spurring on collaboration and cultural tourism. Strategy 1: Support Creative District Designation from the State of Color Purpose: To bolster the creative economy in Loveland by employing the Crea e trict program to bring networking, visibility, economic growth, and tourism to downtown Lov • Attract more people to Loveland and create an en n ent foe entrepreneurs to sell, make a living and contribute to the local economy �` • Create infrastructure to bring collaboration, njptwjrkViing, m Me and 14`ty to arts and history S g �► Identify Creative Path l6 Help 've Entr r urs Be Successful Purpose: To help creatives easily ilabl rces t ort their success and allow them to connect with other creatives. • Continue to build and broaden esou e list reTtives • Collaborate with the Lovelan d9s Dev ent Center, Aims Community College, etc. to build creative business ac m �rategy 3: QBuild and Support Existing Networks in Loveland Purpose: TRor-ing h communication, grow partnerships, and encourage collaboration making way for increased to occur. • Host regular formal and informal networking events to create opportunities for greater collaboration • Continue to connect performing arts presenters and producers to share schedules, shows, and promotion • Build upon the connections within the history community to increase opportunities to share and promote the community's heritage • Create a platform for special interest groups (like artists or the historical society) to engage with Cultural Services staff • The Museum provides opportunities for professional development through exhibitions in gallery spaces. Artists gain experience and knowledge working with Curators to create exhibits and educational programming for presentation in an accredited museum setting Strategy 4: Extend Cultural Services Beyond Managing Cultural Facilities Purpose: To grow Cultural Services staffing capacity to support the growth and Neivity of art, history, and the creative industry in Loveland. • Grow the "outward facing" side of Cultural Services with dedicated st pport these strategies V C) ♦'� Str y Assist and Encourage Fu evelo o Sup and History Purpose: To encourage public or priv velop enlri(� sup e arts and to serve in an advocacyrole in promoting the re n om istoric sites and in developing future p g p g artist spaces. • Advocate for preservation of commun 's hist n developing future artistic space O � To f the goals of this plan and begin to meet the growing nee a d expectations of the community, the Cultural Services Department will need to expand its potential in terms of staff resources, finances, and facilities. TURAL ASSET IN@ W ALM U IN' The following is an overview of cultural facilities in and around Loveland, including several proposed facilities. IMWOO'r The Railto Theater Center shines bright for the Star Wars premiere 27 u j LOVELAND MUSEUM Opened 1937 503 N. Lincoln Avenue, Lov�nd, CO Capacity:446 Overview: The Mus r�is planning a significant e Verris ion that larger, up-to-date museum 1 ence anmunity gathering space where Vca r i to Iota;istory and enjoy the ?''�: ♦ rming nflu e of rt.� FOOTE LAGOON/LOVELAND SUMMER CONCERTS Concert series estabished in 1992 500 E. 3rd Street, Loveland, CO Capacity:2,000+ e� Overview: Located at the City's municipal headquarters, the Foote Lagoon offers a magical setting to experience live performance under the stars. Loveland Summer Concerts continues to be a beloved summer experience for Lovelanders of all ages. u s Wrw{1 r ®: THE BEET EDUCATION CENTER Purchased 2019 `� 201 E. 5th Street, Loveland, Capacity: 251 Overview: The former L qjd Reporter -Herald Building, which occup' Ne corner of 5th Street and Cie nd Aven �urchased by the City of Lov Ian in 2019 uilding is part of the Loveland use ex ioo Ian an s currently being used ducat na�rpos sill eventually house Mu eur rintin p .�' PANDA Purchased 2017 710 14th Street SW, Loveland, CO Capacity: 59 Overview: The Museum houses the collection at an off -site storage facility nicknamed, PANDA. The collection move was completed in 2017 with 2/3rds of the collection now safely stored at the facility. Plans to move additional archival materials, photographs, rolled textiles and fragile Native American collections are in the fundraising stage. In addition, the Museum is the repository for the Loveland Daily Reporter -Herald historic and ongoing archive through an Enduring Records Contract with Prairie Mountain Publishing. HAMMOND AMPHITHEATER: This City -owned amphitheater at North Lake Park has a seating capacity of 1,000, in the grassy "bowl" area. It provides the setting for a wide variety of activities L ;, = including various City events, concerts, plays, e public gatherings, and weddings. --. `-A �r Li '1r w THE FOUNDRY: The Foundry project is revitalizing Loveland's historic downtown by transforming three underutilized city blocks into a destination `'"��'_ for locals and visitors. This new development fir fi 4: offers convenient parking, luxury apartments, restaurants, a seven -screen movie theater, hotel, and a central plaza for year-round community ' entertainment such as live music, outdoor movie screenings, and festivals. 1 L l Arts lam: the�,iding 1Se 3its of r e F ed & Grawilding I ARTWORKS LOVELAND: Artworks offers thirty studios, LT plus two galleries for exhibits and programs. Artists enjoy 24/7 access, communal areas, secured entry, WiFi, and a host of other amenities. 30 AID, • �.' •" 'C'07^lP c 4MPHLTH�_R,+=; ROBERTA PRICE AUDITORIUM (Thompson Valley HS): This school -district -owned 1,100-seat auditorium, with a recently upgraded orchestra pit, is available for rent by the community. SUE E WALL AUDITORIUM (Mountain View HS): This school district owned auditorium is available for rent by the community. THUNDER MOUNTAIN AMPHITHEATRE: Located in the backyard of Thunder Mountain Harley- Davidson and Clear Channel Communications, Inc., Thunder Mountain Amphitheatre seats 4,464 and hosts a concert series each summer. 31 LA 1V�auntain Man ...- - History Days at the Lovoeland Museum a } — :7 = C) Co n t�� Cu A s 4th Street Gallery � 1�e�Dance Emporium Art Castings of Colorado Fame Lagoon Amphitheatre P • Art in Public Places ♦ 4 •lammond Amphitheatre • Artisan You Creative Works S io ` `♦� Harrington Arts Alliance • ArtSpace Hart Gallery • Artsy Stamps and Paper Hatfield Chilson Recreation Center • Artworks Loveland ` 1 Heart Radio • Benson Sculpture Independence Art Gallery • Broadway Bou DaPcAcad®rrfy JoAnn Fabrics and Crafts • Bronze Ser '' s f Loveland • Juiced on Imagination • Budweis nts Center • Keptone Music • Chapu ulpture Park at Centerra • Lighthouse Dance • City of Lov land Parks and Recreation • Lincoln Gallery • ClothRoads Film Festival (Thompson Valley Art League) • Colorado DJ Entertainment • LISA Program, Bill Reed • Columbine Gallery and the • Live Loveland National Sculptors Guild • Loveland Art Studio Tour • Contemporary Dance Arts LLC • Loveland Chamber of Commerce • Creatorspace • Loveland Choral Society • Danni Dance Corp • Loveland Concert Band • Downtown Development Authority 0 Loveland and Conservatory Dance �' ��) - -V NJ • Loveland Dance Acade ? ✓ • ountain Bronze Shop • Loveland Downtown Partn ship` '( • qy Mountain Cheer and • Loveland High Plains Arts Council ♦ �aCompany • Loveland Loves to Read ` Rocky Mountain Golden Girls • Loveland Museum Baton Academy • Loveland Music Academ yO • Sculpture Depot • Loveland Opera The d ri r Slapstep Studios • Loveland Orchestr4 Studio K Music • Loveland PerfVIngvs Studio West Dance Center • Loveland P li ibrary Sue E Wall Auditorium, • Luminou Gallery Mountain View High School • Lundee Lure Gallery • The Ranch - Larimer County Fairgrounds • MacKinno Royal Dance Institute and Events Complex • Metrolux Theaters • The Studio - Dance and Music • Moon Theatre Company • Thunder Mountain Amphitheatre • Okay Dance • Town Square Media • Paint Your Frame Art School • Visit Loveland • Pulliam Community Building • Walbye Art Studio • Rialto Theater Center • Roberta Price Auditorium, Thompson Valley High School American S r t r� The proposed Center for iZ'an Sc woul o�ht the significant role that Lov I its fou and �e played within the greater hist modern rican ,�ture. It would become a magne g unitcultury6e*4ences centered on the intriguin ses o e, rot xhibitions, visiting and resident artists, I Lures, s�nd worksh�s,, interpretive tours, and various programs for es ssionals, youth to seniors, all securing Loveland's lace 'n Am Zfnculptural history. "ren s Museum �p7oposed Children's Museum of Northern Colorado seeks to bring 2 uch-needed amenity to Northern Colorado. Children's museums utilize the process of play to set the foundation of lifelong learning. They are intended exclusively for children and their caregivers. All Exhibits will be experiential, open ended, and will encourage social interactions for children ages 2-10. The current vision calls for a museum venue with 12,000 sq. ft. of indoor exhibit space, and land to have additional outdoor exhibits. The tentative site for this museum would be around 1-25 and Hwy 34, making it easily accessible to all northern Colorado families and visitors. Loveland Perforin*� Loveland, Colorado is widely known as an arty Wh community. Spend any amount of time in community, and you cannot help but no i in a variety of forms. There are sculptur foundries, and murals spread out ac s Facilities like the Loveland Muse h Rialto Theater serve as the backb e o th cultural arts in the area. The question we are now facing is - present cultural performance fa i serve the needs of our communi Rialto Theater is currently h t o\ events per year includin r t , fil stage performances,;e n for c performance venu s ecoming rr At present, th Xo operates near capacity. It is important `, the Rialto was created to accommoda the needs of Loveland in 1920. With a population of 5,065, Mr. Vorrieter envisioned a theater that would support the arts for years to come, and as such added over 1,000 bench seats. Presently, the capacity of the Rialto Theater is 446, due to a renovation that prioritized patron comfort over maximizing capacity. Since 2010, Loveland's population increased by 15.8%. Conservative estimates show Loveland and its neighboring communities growing by 107% by 2050. yVNIland negpNAPerforming Arts Center (PAC): 4lQWefits oIAV include enhanced quality impk9wQX1Jtonomic development; tourism wth; i ed revenue from the arts, and the comes from connecting people to r s. Historically, PAC's act as the center of a a community. In Loveland, the Pulliam Ymunity Building, built in 1938, fulfilled this role :i time by hosting everything from community are dances to gala events. What kind of Performing Arts Center would serve Loveland best? Determining the size and seating capacity of a PAC is accomplished through a needs assessment and feasibility study. By comprehensively researching things like current and future demographics, community support, consideration of future population growth, and revenue projections, the logistical needs are determined. In conclusion, Loveland is a community that has proven its willingness to support the arts in a variety of forms. Projections show that Loveland's population will double in the next 30 years. With our current facilities near capacity, it is time to begin the steps to determine the kind of venue that will allow Loveland to continue being a leader in the arts into the future. I - �ti J, \ ix .dI1S3. � y Aid 106 �`fll`Jl li ). 111 1 r � r'. i �• -� �., LL YV rJ ` �• - , .► x - leas ,l;�.f� f'� ;/'• c\ f� •_I�, r� rJ� + '� " c ♦• '1 1 �8 1g�� _` +rti Aw • ,,,. _ -'-air. •1 - - ` � .` .. .� � �,+c, •�Y1----�I� 'i �i '� Loveland Crea& Di The Loveland Creative District val is d el c s in 'vb/community engagement, which inspires inn n, el e es qualm a and delivers meaningful ex en s for I nd vi alike. In 2019, recognizing that Loveland p s ZTddr s a issues, such as the Creative District unique and abundant cultural r bo community values, district goals and Cultural Services and the Lovelan n a list Itural assets. In subsequent meetings, Partnership (LDP) joined efforts to tablis of these key elements were refined. state certified Loveland Creative District th ugh the Colorado Creative Industries. Pel lfe `Zllowing a rigorous application process, the onset, resident support for a cretrict w Loveland Creative District was awarded state viewed as paramount. Embraci la certification, joining 25 other creative Colorado partnership, public meetinVue" communities located throughout the state. throughout the winter mau, interest. The response w el positive Cultural Services welcomes the continued and considered "lo^,vey m collaboration with The Loveland Downtown Within months, Mid0fint Working Group was established Ne the guiding principles and infrastructure r the district. The entire Working Group engaged in collaborative activities to Partnership as the creative district evolves. Oversight of the Loveland Creative District will be provided by a governing board to be comprised of creatives, business owners, residents and stakeholders living or working within the designated boundaries. Steering Committee Members Sean Hawkins, Executive Director, Loveland Downtown Partnership Susan Ison, City of Loveland Cultural Services Director Suzanne Janssen, City of Loveland Public Art Manager, Project Lead Jess Killingsworth, Cultural Services Marketing Coordinator (former) Steve Lemmon, Rialto Theater Manager Jill Stilwell, Arts Management Consultant 17 F-am 1. -- � �i C) Short Term Goals J► • Build a sense of excitement and vitality in t unity, • Support collaborative educational activiti eop o ages, disciplines, and experience levels • Provide a centralized inventory of Lov s crea sourcT�*** Long Term Goals • Increase the economic ac ' it hi th t, be he entire community. • Activate under-utilized dow own b s an`►bllc spaces for cultural, creative experiences. • Create a sustainable model f up o ting o ions and programming for the Lovel `I ive Di Committees *takeholder ings ers Presentations Vote 000 O o =91=91 IE _: j -1,ft- Governance, 9 Working 21 active 2 City Unanimous Marketing/ Stakeholder Group members Council approval Branding, Meetings Meetings comprised presentations by City Cultural the Working in 2019 Council for Assets, Group the Loveland Programming Creative & Events, District Educational, Restaurant & Retailer Outreach APPENDIX Chilldren enjoying the Loveland Museum 39 r ` STAFF RESCGCE Cultural Services staffing has re*ed s ti or than 10 ears g�f Y The community has shared how u th love a joy what Cultural Services has to offer, but r is nd ct more. To fulfill the needs of the commu nd the egies of this plan, the professional C I Se s s f� need to grow. Cultural Services Directorship: Cur ntl t for of Itural Services also serves as the Director of Y the Museum. These two areas of responsib ' y shoutparated into two positions. With the addition of the Pulliam building and growin man for m upport of the arts and creative ecosystem, it is critical that the department hav acin ors of each of its programs, the Rialto/Pulliam, Museum, and AIPP, and a Depa m Direct oversees the entire department, who is able to be outward facing to serve astr� dv arts and culture in the community. Cultural Services Board: e ieva d define the role of the Cultural Services Board to ensure its effectiveness. Development Te -e department's fundraising activity is poised to grow in order to support a more diversified rev picture. Grant writing, annual campaigns, fundraising events, sponsorships, fee - based prog d donor cultivation require consistent oversight and coordination. Starting with a Development oordinator and adding additional development staff as the program gains momentum will provide a stable environment for revenue growth. Marketing Team: Marketing needs to increase across the department and requires additional staff. The marketing team can either reside under the Cultural Services Director to serve the entire department, or have imbedded marketing assistants, one covering the Rialto/Pulliam and a second for the Museum/ AIPP, with a shared coordinator and graphic designer. Primary responsibilities include marketing and promotion of events, exhibits, performances, installations, and programs across the Cultural Services department as well as promoting rental spaces at the Rialto, Pulliam and Museum. Professional Theater, Museum, and Public Art staff: The Rialto, Museum, and AIPP are currently understaffed. The opening of the Pulliam to the public will require its own team of professional staff and crew, in addition to taking advantage of the marketing, event management, and rental expertise that already exists in the Department. r. Rabbit Run, Walter Matia Current Department Staff: C • Susan Ison, Director of Cultural Services (full-time) rre %ts Cultural • Whitney Day, Business Services Specialist (part-time) $xyiV Staff • Kristi Woolsey, Executive Assistant (full-time)Cj • Tegan Hollen, Business Services Technician (full-tJ'j . • Clarissa Gucwa, Business Services Specialist ( 1� 9�1 • Caitlin Powley, Clerk/Cashier (part-time) • Mikayla Adair, Marketing Coordinator (f ) • Jason Lewis, Graphic Designer/Web s ull-time► • Suzanne Janssen, Public Art Mana rt-timey. • Maureen Corey, Curator of Ar II- • Jennifer Cousino, Curator of His -time `rJ • enni Dobson Curator of Educao/n (full C ( • Ashley Yager. Registrar (full-time) • Eric Franklin, Exhibits Preparator 0-time) e) • Steve Lemmon, Theater Ma nai e) V • Roberta Cox, Theater Coordin v • Phil Baugh, Technical Cin Audio e) • Dan Fitch, Technical C Fdtor Light time) • Scout Carlson, Assista t chnical o for (part-time) • Heather Rubald, PA'stan heater r nator (full-time) New Departm 8er Positions needed (in addition to the above): • Museu (full-time) • Develop nt Coordinator (full-time) • Curatorial Assistant (full-time) • Curatorial Assistant (part-time) • Graphic Designer/Webmaster (full-time) • Exhibits Preparator (full-time) • • • Education Coordinator (full-time) • Visitor Services Coordinator (full-time) • Pulliam Community Building Coordinator (full-time) • Ticketing Coordinator (full-time) • Volunteer Coordinator (full-time) Current Part -Time Staff Current Full -Time Staff Future Part -Time ■ Staff Future Full -Time ■ Staff Future Cultural Services Staff .� Rialto jheater Summdr Concert Series, Hazel Miller Band ro ♦ R' A, t I o AL 7 L' n� 40 rI 1 �' '• 1� jF ., Director of Cultural �crvic(-s J 11 _ Development Theater 1 Coordinator Manager J Theater Coo rdirat,) r it-.hnical i rdina.or Assistant Technical Coordinator Front House Coordinator Pulliam Building Coordinator Ticketing Coordinator CIPAM7 Executive Assistant ` C.hnician usiness ervices Business Services Specialist Visitor Services Coordinator Volunteer Coordinator ^^,irketing Coordinator Graphic Designer Graphic Web Designer Art in Public Places Manager Public Art :)rdina r �f 42 Curator of Education Exhibits Preparator Education Coordinator Curator of Art Exhibits Preparator Assistant Curator of History Collections �' Manager 11 ` \� CuWo, ial Assi Cant AN Museum ` Manager J 43 , �d1TiNAS Arts an 's cj ' 2� public ent irisk, a ��ot a profit- makus' � However, the Ala ices Department $rfinc e its revenue through diversifying its funding sources. In addition to the support currently provided, the City of Loveland can also help support the department in expanding its revenue and therefore its services to the community. 1< l REVENUE RETENTION: • Structure Rialto budget to allow for the retention of net profits to invest in future) programming and increase annual appropriations to allow for picking up mid - season shows. • Structure secured ' fundraising dollars as PJ � increase to the Mu or Rialto budgets, as opposed to r urse City funding, th ouraging greater f ising efforts. BACKST E RIALTO: • Utilize our non-profit partner, Backstage Rialto, as a revenue source via their targeted fundraising activities. Using their fundraising dollars on specific improvement projects or as a co - producing partner provides an alternative to using internal city budgets for these projects or events. ew'tanomic nt and City to develop an ration campaign nd the opportunity. �IVERSIFY REVENUE SOURCES: Create a development plan to expand fundraising efforts for Cultural Services Department. • Recreate the Museum's membership program with clear benefits (including free admission) and a marketing campaign to promote it. • Niche between Denver and • No parking in downtown • New promotional videos • Lack of support from some rural areas local communities • No bus parking/access • Instagram, social media • Destination venues • City Council (dis)approval • Not obvious what Cultural • Resources to invigorate of expansion of museum • Provide variety of cultural Services does in the Pulliam Building programs community • Community dis(approval) • Instant messaging of museum expansion • Creative ideas • Need to appeal to a platform for enhanced broader demographic communication • Staff leav order to • Serve as gathering places pursu pportunities for the community • Limitations of space and • Better IT Support amenities in facilities i b get cuts • Desire to look for new • Artist residencies (literary, ways of reaching and • Lack of consistent support performance, 2&3-D Ne movie theater educating the public and understanding of what artists) we do from City Council • Technology • Showcase internationally and the City money recognized artists • City Council support of • City perception that arts tall � AIPP • Opportunities for local/ are extras or not viewed regional artists as necessary in budget oss-d rt ntal Aging facilities process �Cc-olla ratio • Collaborations with art orgs and artists Legal and acco c d visib in challenges fo organizes • Small, but highly �!�) productive, talented team Division or sta?* Eco g th creates havdk%cjeVci in m year • Change is slo�frustratin munici ' 'es — for s Cad ac ppor� ted tech a d Ii nt m�ssagin10 � * These are comments made during public open houses. ne fLmq*n sources �wt Loveland causes ges in demographics Nand new audience potential _r ART IN PUBLIC PLACES r" STRENGTHS WEAKNESSES - SWOT ANALYSIS OPPORTUNITIES • Strong community • Non -City owned • Exhibit highlighting AIPP • Lack of support from engagement and collections can reflect some local communities support poorly on AIPP • Increase programming for community to • City council (dis) • Highly visible (throughout • Program is confusing to engage with AIPP approval of expansion community, gardens, public and staff content, collection and of museum and shows) new additions • Need more conceptual • Community • Diversity of artists and culturally diverse art • Public AIPP Tours dis(approval) of museum represented expansi�i'� • Large and varied • Involve more diverse perspectives on jury • Tourist Information distribution • S I g for new collection committees o nities • More murals • Part of Loveland's • Internal challenges with Ci budget cuts identity/image budget department • Improved marketing, f • Provides opportunities • Lack of updated in with City • New movie theater for local artists education materials • 1 pr e proces • Technology fo fists thrQ� • City supported program (l% for art) • Laborious process for 4 artists6INSAIPP echnol y ity Council support of • Cost of maintena • Imp e A we and a� Aging facilities ' e t edu minars kills for artis P • Entry ' ce on west side P• (� ation for AIPP /1 "Foundations" Sculpture O � �O • Economic impact on downtown • Viewed as central part of Loveland experience • People still don't know Museum exists - surprised to find • Homeless issue in park • Provides arts and culture • Could develop for community interpretation for both history and art exhibits to • Strong community better visitor experience events and connectivity • Exceptional quality, blockbuster changing art exhibits - unexpected for this size of town • Outstanding, in-depth history exhibits • Unique focus on art and history • Diversity of well attended programs and classes, including history days • Main repository for Loveland history collections • Resource for schools in art and history education • Strong volunteer sup • No or low admissia prices • Staff and f service • New off -site collection facility • Affordable rental space • Need updated ways to gather feedback/ evaluate programs and exhibits • Need more space for lobby, circulation, more history exhibits, auditorium, events, classrooms, gift shop, coatroom, growth. • Facility needs up technology, c heights, HV environmeM a ontrols, front de c� paid C exh' X • Lack coun ri and action by ultural Servicrd c • Ne eve ig1 rr petyy'' �n �ther vents, AtYs., etc. • Limited resources: money and staff • Too many ideas/ opportunities, not enough time and staff • More hands-on interactive learning • Improve technology and AV equipment • Bigger, better, more blockbuster exhibits • Additional or new interpretation for history and art exhibits • Add staff, including full-time Development position and volunteer♦ coordinator • 1prd� e welco �s arm More pr ra s or S to c nec with gro s, 0-40 ye IQ ns Vtonger rships with gencies to tail 11r a ences •&te the Museum's ection more accessible through exhibits, programs, tours, and online research • Cross -departmental collaborations and Chemed activities • Increased partnerships/ collaboration with City, community groups and local universities • Increase income from classes with more classroom space • Advertising sponsorship packages • Larger gift shop, expanded budget for more diverse merchandise • Outdoor sculpture park and venue for events • Lack of support from some local communities • City Council (dis) approval of expansion of museum • Community dis(approval) of museum expansi�i'� • SIX11'Wg for new o nities Ci budget cuts • Technology • Aging facilities • Downtown business • Lack of awareness, • Feature history of Rialto • Lack of support from anchor -economic identity unclear within the theater and some local communities impact on tours for the public • Limitations on patron • Staff leaving for new • Only performing arts parking • Larger performance venue opportunities venue • Competition with other • Additional staff • City budget cuts • Historic building is venues (movies, Lincoln memorable and Center) • More diversity in theater • New movie theater beloved performances and • Facility limitations (wing concerts • Techr • Intimate, personal venue space, seating capacity, (450 seats) acoustics, sound bleed, • Creation of season ticket no coatroom) package(s) • Diversity and variety of programs reach broad • Uneven quality of • Creation of concert serf audiences programming geared towards your Qacka ces • Provides venue for local •Missing programming Is performing arts groups that appeals to younger ' i demographic (18-35) ownto u s (dinne • State of the art facility and a sh ) • Capacity limits • • Connection to programming Larg rr k dget for s expansion next door • Rental part can run o oncerts • Strong volunteer support reflect ne iv ly on �f'Foote nmond Rialto (staf • Staff and customer Lilig service • Som ser ro s e Add ng to increase stretc ing limi ce nue • Liquor license • Lack oget Sound proofing between for sLQ cane" theater and Bridge per marke ' �Improved sponsorship/ q�days f "1`� ark advertising relationships J with community the cro r otion O with area inesses • Updated/more 110 pronounced marquee •Increased radio advertising • Expand membership program • Cross -departmental collaboration on events AL Ai tKNOWLEDGM 1� J'• • Al 50 Rialto Theater Presents, Exile City of Lo�Qnd � Cultural Serv�t�sDe�� Arts and Cultdi�'11Aas%er PlZZ CITY OF LOVELAND CULTURAL SERVICES BOARD Dr. Dierdre Cook, Chair Karen Cobb e PBACK 'NGE RIALTO Q. oherty, Chair ` `K'(N n Cobb, Co -Chair John Fogle, City Council Liason Z ail Luna, Treasurer Teri Johnson, Vice -Chair Lynne Niemeyer, Secretary Kris Ortmann O Susan Ruff Susan Sharp �� �` Dan Engelhardt Cornelia Winters Leah Johnson CITY OF LOVELAND TE OFFICIALS` Jacki Marsh, Ma Don Overcash or ro Tem Richard Ball Imember Patrick McFa , ouncilmember John H. Fogle, ouncilmember Dana Foley, Councilmember Steven D. Olson, Councilmember Andrea Samson, Councilmember Jon Mallo, Councilmember CONSULTANT TEAM Stilwell Cultural Consulting, LLC VISUAL ARTS COMMISSION Jade Windell, Chair Susan Atwater Angela Brill Blas Estrada Bruce Gueswel Greg Hoff Maryjo Morgan Abbie Powers Margaret Rosborough Curtis Rowland, Alternate ARTS Akio" .. • iUL o rm �s City of Loveland Cultural Services Department City of Loveland 2022 Master Plan CITY OF FAYETTEVILLE ARKANSAS MEETING OF JUNE 6, 2023 TO: Mayor Jordan and City Council THRU: FROM: Kit Williams, City Attorney DATE: SUBJECT: Funding for Arts and Culture Master Plan CITY COUNCIL MEMO 2023-789 RECOMMENDATION: Council Member Harvey is sponsoring a resolution to approve funding in the amount of $200,000.00 to develop an Arts and Culture Master Plan, and to approve a budget adjustment. BACKGROUND: DISCUSSION: BUDGET/STAFF IMPACT: Budget Adjustment in the amount of $200,000.00 attached. ATTACHMENTS: Agenda Request - Council Member Harvey - Arts & Culture Master Plan, Staff Memo -Arts and Culture Plan Funding, BA Arts and Culture Master Plan Mailing address: 113 W. Mountain Street www.fayetteville-ar.gov Fayetteville, AR 72701 == City of Fayetteville, Arkansas y 113 West Mountain Street Fayetteville, AR 72701 (479)575-8323 - Legislation Text File #: 2023-789 Funding for Arts and Culture Master Plan A RESOLUTION TO APPROVE FUNDING OF $200,000.00 TO DEVELOP AN ARTS AND CULTURE MASTER PLAN AND TO APPROVE A BUDGET ADJUSTMENT WHEREAS, the City of Fayetteville has long supported local production of cultural arts including funding the multimillion dollar construction of the Walton Arts Center in cooperation with the University in 1992 and its recent multimillion dollar enlargement and enhancement; and WHEREAS, the citizens of Fayetteville approved a bond issue of over thirty million dollars to fund the Cultural Arts Corridor improvements in 2019; and WHEREAS, the need for the creation of an Arts and Culture Master Plan was identified by the City Administration as a priority in 2020 and specifically recommended by the Parks System Master Plan adopted by the City Council in February of 2023. NOW, THEREFORE, BE IT RESOLVED BY THE CITY COUNCIL OF THE CITY OF FAYETTEVILLE, ARKANSAS: Section 1: That the City Council of the City of Fayetteville, Arkansas hereby recognizes the need and benefit to our citizens to create an Arts and Culture Master Plan, authorizes Mayor Jordan to engage a qualified consultant to create this Plan, and approves a budget adjustment in the amount of $200,000.00 to fund the creation of the Arts and Culture Master Plan. Page 1 _CITY OF FAYETTEVILLE ARKANSAS TO: Mayor Lioneld Jordan STAFF MEMO THRU: Susan Norton, Chief of Staff Alison Jumper, Director Parks, Natural Resources and Cultural Affairs FROM: Joanna Sheehan Bell, Arts and Culture Director DATE: May 17, 2023 SUBJECT: Funding Request for an Arts and Culture Master Plan RECOMMENDATION: The arts and culture sector in Fayetteville plays a vital role in our local economy and community's vibrancy. Funding of $200,000 to develop an Arts and Culture Master Plan that will strategically enhance and support this sector. BACKGROUND: Fayetteville has a strong history of supporting the arts, including the collaboration for the Walton Arts Center in 1992. As early as 2004, the Downtown Master Plan cited municipal action to foster the arts and culture ecosystem. This commitment was further reinforced in 2007 with the establishment of the Fayetteville Arts Council through an ordinance, which has since been updated and affirmed in 2010 and 2019. Arts and Culture have consistently featured prominently in various city planning documents, including those focused on economic development and the Welcoming Plan. This is in addition to the creation of the Cultural Arts District and The Ramble project to create connectivity in the sector. While the city's 2040 plan acknowledges cultural resources, it lacks a specific discussion of a strategy for the arts and culture sector. This gap emphasizes the pressing need to invest in a comprehensive plan to guide and advance this crucial sector. As such, the creation of the Arts and Culture Plan is directly recommended by the Parks System Master Plan adopted in February 2023. The creation of an Arts and Culture Division and an Arts and Culture Plan was identified as an administration priority in early 2020, and the city created the full-time position of the Arts and Culture director in 2022. Leading the development and implementation of a Cultural Arts Master Plan for the City was the first priority of the job description developed for the position. DISCUSSION: A dedicated plan will provide clear direction for investing in the arts, promoting creativity, and nurturing cultural diversity in our city. It will guide resource allocation, identify new opportunities, and strengthen Fayetteville's cultural landscape. To develop this plan, we will engage a qualified consultant to conduct research, facilitate public meetings, and collaborate with city staff and stakeholders to develop strategies tailored directly to our city. The consultant will deliver a comprehensive plan aligning with our vision and priorities. Mailing Address: 113 W. Mountain Street www.fayetteville-ar.gov Fayetteville, AR 72701 With an Arts and Culture Master Plan, we will position Fayetteville as a leader in arts and culture in the region (only Rogers has a plan in place as of this date), and thanks to our Municipal Arts Alliance partnership with CACHE we know that plans will also be created for Bentonville and Springdale in the next two years. It will be of great value to have a robust Arts and Culture plan in place when the Upper Ramble opens in Fall 2024, so timing is a factor. BUDGET/STAFF IMPACT: This request will require the appropriation of $200,000 from general reserves. Regarding the budget rationale, Rogers spent approximately $100,000 on their plan in 2019, and our aspiratio naI/peer city of Charlotte, North Carolina contracted in 2022 for an extremely broad plan scope at $480,000. We have intentionally scoped our plan proposal to be slightly more intensive, community driven, and collaborative than Rogers, and less broad than Charlotte's. Attachments: