8.4 Public Art PolicyCITY OF SALINA
REQUEST FOR CITY COMMISSION ACTION DATE TIME
7/17/00 4:00 P.M.
AGENDA SECTION: ORIGINATING DEPARTMENT: APPROVED FOR
NO. 8 AGENDA:
ARTS & HUMANITIES
ITEM
NO. 4 BY: Martha Rhea BY:
Item
Policy Resolution Number 00-5621 establishing Salina's Community Art and Design Program.
Background
Four years ago the Salina Arts and Humanities Commission appointed a 25th Initiative Task Force to plan
for the 25th Anniversary Celebration of the Smoky Hill River Festival, happening in 2001. Task Force
members — Jane Alsop, John Divine, Lou Ann Dunn, Randy Graham, and Paula Wright — quickly moved
from the bigger -headline -entertainment syndrome to the exploration of an initiative that carried the qualities
of the Festival — celebration, participation, variety, accessibility, excellence — and had the potential to
positively change the community over the next twenty-five years, just as the Festival had done these past
twenty-five years.
Public art became the initial focus of the Task Force, and through subsequent research and experience,
remained so. The work of the Task Force — to learn about public art and to involve the Salina Arts and
Humanities Commission, the City, and the community — has been impressive. (Highlights and timeline of
this process are attached.)
Eventually the phrase "community art and design" was chosen to express Salina's particular public art
process. Not only did community art and design mean traditional public art, such as statues and fountains,
but also included architecture and the design of public, shared space in the urban landscape, both built and
natural. This inclusive view invites community participation from both the public and private sectors,
supported by critical on-going education and involvement. Predicated on partnerships, the Community Art
and Design Program essentially changes the role of the artist in community through a dynamic process that
enhances the local environment and reinforces positive identity.
In November 1999 the Salina Arts and Humanities Commission, following a recommendation from the Task
Force, unanimously voted to develop and submit a public art policy to the City Commission through the
efforts of an expanded task force, named the Community Art and Design Steering Committee. (Committee
members are listed on a following sheet.) The recommendation also identified a demonstration project for
the 25th celebration — the South 9th Street Corridor.
The attached policy resolution is the result of the work of the policy sub -committee of the Steering
Committee, which was then passed unanimously by the entire group June 20. Upon recommendation of the
Steering Committee, the Arts and Humanities Commission unanimously approved the policy June 28, and
passed in on to the City Commission. That morning the board of the Salina Area Chamber of Commerce
had unanimously supported the Community Art and Design Program with a position statement, which is also
attached.
Recommended Action
Adopt Policy Resolution Number 00-5621.
PUBLIC ART INITIATIVES — Highlights, 1996 to Present
• Formation of Task Force for the 25th Initiative in celebration of the 25th anniversary of the Smoky Hill
River Festival (May 96)
• Public Art selected by Task Force for the focus of the 251h Initiative (fall 96)
• Jessica Cusick (Public Art Director, Houston, Texas) retreat with Arts Commissioners (Nov. 96)
• Buster Simpson (Seattle artist) visit — tour of Ninth Street Corridor and city gateways, presentation to the
City department heads (spring 97)
• Commissioned a slide documentation of Salina's public art with accompanying narrative (summer 97)
• Task Force trip to Seattle, Olympia and Kent, Washington — meetings and site visits with directors in
Kent and Olympia (July 98)
• Task Force trip to Wichita, Kansas — meeting and site visits with director John D'Angelo (Sept. 98)
• Presentation of research by the Task Force to City Commissioners in a "study session" (Nov. 98)
• Meeting with Darron Leiker, CIP Coordinator, to review proposed City projects (Dec. 98)
• Initiated public art processes for the Animal Shelter project (Dec. 98)
• Meeting with City department heads and John D'Angelo (City Arts Director) and Kent Williams
(Artist/Art Consultant), Wichita (Jan. 99)
• Presentation by John D'Angelo and Kent Williams to the Arts and Humanities Commission, Task Force
members and City staff (March 99)
• Were actively involved in reviewing and approving the final design proposal for the Animal Shelter
public art (spring 99)
• Worked with Jessica Cusick (now national public art consultant, Los Angeles) to outline a plan to
proceed with the 25th Festival Initiative and developing policy for community art and design in Salina
(Nov. 99)
• Selected the Ninth Street Corridor project as the public art focus for the 25th Festival Initiative (Nov. 99)
• Community art and design policy development and Ninth Street Corridor project recommendation
approved by Salina Arts and Humanities Commission (Nov. 99)
• Formation of Community Art & Design Steering Committee, expanding the Task Force to a broadly
representative group of the community (Jan. 2000)
• Worked with Gail Goldman, director of public art in San Diego, to explore nuts and bolts of policy
development and implementation (Feb. 2000)
• With USD 305, development of a Design Philosophy Statement of Intent for the 1998 facilities bond
projects, which was then passed by the board of education (Feb. 2000)
• Coordination of work of Animal Shelter artist, Connie Nutsch, in production and installation
(spring/summer 2000)
• Community art and design presence at Smoky Hill River Festival — information area and artist in action
with Connie Nutsch carving brick birdbath on site (June 2000)
• Community Art & Design Steering Committee unanimously adopted policy resolution for Community
Art & Design Program in Salina, and recommended it to the Salina Arts and Humanities Commission
(June 2000)
• Salina Area Chamber of Commerce unanimously endorsed Community Art & Design Program (June
2000)
• Salina Arts and Humanities Commission unanimously adopted the policy resolution and recommended to
the City Commission (June 2000)
SALINA ARTS & HUMANITIES COMMISSION
Jane Alsop
Randal Graham
Eleanor Seaton
Debora Cox
James Hall, IV
Sydney Soderberg
Lou Ann Dunn
Jeffrey Ingles
Steve Thompson
Tom Gates
Larry Mathews
Carmen Wilson
Murray Gorman
Bill Medina
Tim Rogers
COMMUNITY ART & DESIGN
STEERING COMMITTEE
Jane Alsop
Jeff Gillam
Peggy Piper
Brad Anderson
Randy Graham
Karla Prickett
Larry Britegam
Jerry Hinrikus
George Pyle
Ruth Cathcart -Rake
Alan Jilka
Martha Rhea
Mike Cloutier
Dennis Kuhlman
Tim Rogers
Fr. Frank Coady
Judy Lilly
Sydney Soderberg
Debbie Divine
Hamp McDowell
Mike Soetaert
John Divine
Wendy Moshier
Roger Steinbrock
Lou Ann Dunn
Anne Nettleton
Jim Trower
Warren Ediger
Joan Olsen
Don Weiser
Mary Exline
Tom Pestinger
Paul Wilke
Jason Gage
Kathleen Pierson
Paula Wright
AREA
SALINACHAMBER OF COMMERCE
120 West Ash / P.O. Box 586
Salina, Kansas 67402-0586
Telephone (785) 827-9901
Fax (785) 827-9758
Community Art and Design Program
Background
The City of Salina has long been committed to a healthy, vibrant community through the
support of the arts and humanities. A Community Art and Design Program would:
• Allow residents and visitors to experience the artistic, historic, and cultural aspects of
the Salina community in public spaces and facilities
• Enhance the functional design of the city's infrastructure
• Enhance community development
• Foster public/private partnership for artistic beautification and expression
• Increase community identity, pride and vitality
• Provide a meaningful way to involve citizens in the design of their environment
• Provide a tool that can best provide the benefits and desired outcomes of public art
in the Salina community.
Position Statement
The Salina Area Chamber of Commerce endorses and supports the
establishment of a Community Art and Design Program by the City of Salina, for
the creation and integration of art in the Salina community's public and private
spaces. The chamber recommends that the City of Salina incorporate a policy
into its Capital Improvement Program in a manner that can be implemented and
monitored without adding significant time or expense to the selection and
contract procedures. It should encourage, but not mandate, private enterprise
and other public agencies to include community art and design for property and
facility enhancements. The city should take an active role in providing resources
and education to address projects and the community in general. The chamber
will further encourage its member businesses and other private enterprises to
include community art and design for property and facility enhancements.
Salina
Odds!
ALL-AMEAU CITY
III I!1
J
To: City Commission
Date: July 14, 2000
Attached is information on the "public art"
component of the animal shelter project, which
you will see on the front exterior of the building
on our Monday tour.
Attachment
"Under A Canopy Of Hope',
Conception of the Idea
Symbolic language is used in art as a tool to express ideas. What is the
idea of the Salina Animal Shelter about? In simple terms, it's about animals.
Animals are a part of nature. It seems natural then to find an object from
nature as a symbol to represent the shelter itself. The fitting object is the
symbol of a tree. Trees are known to be natural shelters. They symbolize
the feminine principals of nourishing, sheltering, protecting and supporting.
These are all attributes that we use to describe the animal shelter.
Deciduous trees represent constant renewal and regeneration, as well
as reproduction - the life principal. Not only does the animals shelter see a
constant renewal of animals coming through it's doors, but the animals
themselves are constantly going through regeneration through the
reproduction of offspring. These are aspects of animal life in which the
shelter serves to educate. A tree brings nourishment to its roots just as the
shelter brings knowledge to the people who use it.
Entering a forest is the same symbolically as entering through a door or
passage. Both are threshold symbols. Forests shelter animals and therefore
endorse the traits of faith, hope and charity. These are also traits that the
animal shelter endorses. Thresholds are often shown with guardians. These
guardians are usually dogs that serve as gate keepers to the wisdom within.
Dogs as guardians prevent man from going too far or too fast and meeting or
seeing more than he is capable of bearing in knowledge. The dog also
symbolizes unswerving devotion and the attributes of the good shepherd..
Again, these are traits the coincide with the idea of the animal shelter itself.
The name "Under a Canopy of Hope" Speaks of the tree's canopy
protecting those who pass under it, just as the Salina Animal Shelter cares
for the animals that pass through it's doors.
Brick Sculpture
Art and Architecture
Brick sculpture adds more than a literal extra
dimension to architecture. It transforms the practical into
the fanciful, involving viewers at multiple levels of
experience. Brick sculptures integrate art into the building.
The sculpture is not something set apart, but part of the
building itself.
The process starts out with the architect, client and
sculptor working together toward an approved sketch.
After approval, the sculptor goes to work carving the
design sketch into green, unfired clay units. Each clay unit
is numbered for easy reassembly later. The brick
manufacturer them dries the clay units on special racks.
After the clay is dry, the brick manufacturer fires the clay
units into the hard, durable material that we are all
accustomed to as brick. These unassembled units of brick
are shipped to the building site. Masons reassemble and
install the brick sculpture by number. The sculptor and/or
architect may supervise or help coordinate installation.
Brick sculptures reflect the commitment of a team -
sculptor, architect, builder, brick maker and mason.
Together, from an ancient medium, they give an enduring
fresh vitality to the man-made environment we live in.
- Connie Ann Nutsch
As a young emerging artist, Connie Nutsch is wasting no time in
realizing her dreams to become a professional artist -sculptor. Before
graduating from the sculpture program at Wichita State University in Wichita,
Kansas, she had already begun to establish herself as a professional artist. In
addition to many private and public commissions, in 1994, she completed her
first major public bronze piece for the city of Wichita in Kansas. This work
consisted of three, 16 -inch bronze medallions depicting the state, city, and
county seals along with a bronze plaque which reads "Committed to Serving
Citizens." It is permanently installed at the William's street entrance to the
State Building in Wichita.
While still working on her bachelor's degree at WSU, her professional
skills did not go unnoticed. She worked on various projects with Wichita
artist, James Brewer. After working as a studio assistant for local artist,
Larry Armstrong, she left Wichita in 1995 to attend the graduate program at
the university of North Texas in Denton. She also began work for Texas
artist, David Iles at his bronze foundry and studio in Bolivar, Texas. She
played a major role in completing a large bronze project commissioned by the
city of Dallas in Texas. The Dallas sculptures included 48 bronzed animals
representative of native Texas wildlife. The larger -than -life sculptures are
installed at the Dallas Arboretum. Also, Nutsch has worked on a large set of
sculptures installed at the University of North Texas in Denton.
In 1997, Nutsch moved back to her hometown of Wichita, Kansas to
continue her education and to build a studio of her own. While attending
school, Nutsch continued to complete numerous private and public
commissions in both two and three-dimensional work. She completed a large
bronze sculpture for Kapaun Mt. Carmel High School in Wichita, Kansas.
Having done a variety of projects, Nutsch is skilled in countless materials and
styles of work. Nutsch is responsible for every aspect in creating her
sculptures. She creates them from inception - sketching, modeling in clay,
mold making, casting, cleanup, and installation. Nutsch is completing a
graduate degree in sculpture at WSU, and she also is in the process of
building a bronze foundry in Wichita, which she says will likely be complete
in about a year.