City of Palmdale

PUBLIC ART MASTER PLAN

Gail M. Goldman Associates

Elwood & Associates

June 2020

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 PALMDALE CITY COUNCIL

STeven D. Hofbauer, Mayor

Richard J. Loa, Mayor Pro Tem/Councilmember District 2

Austin Bishop, Councilmember District 1

Laura Bettencourt, Councilmember District 3

Juan Carrillo, Councilmember District 4

PUBLIC ART COMMITTEE

Annie Pagliaro, Recreation Supervisor

Armin Gomez, Media Production Specialist

Ben Lucha, Environmental and Technology Manager

Bruce Roadhouse, Maintenance Services Manager Carlene Saxton, Senior Planner

Cheryl Hughes, Former Management Analyst

George Davis, Public Art Coordinator

Jennifer Tallakson, Recreation Supervisor

Jim Purtee, Former City Manager

JJ Murphy, City Manager

Kathleen Whiteside, Recreation Coordinator

Keri Smith, Parks and Recreation Director

Marie Ricci, Assistant City Manager

Nardy Lopez, Management Analyst I

Stella Devine-Knight, Sponsorship & Marketing Specialist

Trish Jones, Community Programs Manager

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TABLE OF CONTENTS PAGE

I. Executive Summary 5

A. Public Art Matters to Palmdale 5

B. Defining Public Art 6
C. The Arts as An Economic Driver 7
D. How the Public Art Master Plan Came About 9
E. Public Art Master Plan Community Outreach 11

II. Vision 14

A. Guiding Principles 15
B. Summary of Recommendations 15
C. Ten Year Action Plan 16
D. California Cities: Selected Public Art Program Comparisons 20

III. Establishing a Public Art Program 22

A. Public Art in New Capital Construction 22

B. Public Art in Private Development 24
C. Public Art Commission 25
D. Public Art Fund 26
E. Artist Engagement at the Inception of the CIP Design Process 27
F. Urban Design Framework for Public Art 27
G. Other Potential Funding Sources 28
H. Visual Artists Rights Act (VERA) 29

IV. Building a Collection: Program Administration 30

A. Organizational Structure 30
B. Public Art Program Staff 31
C. Role of the Planning Commission 33
D. Administrative Guidelines 33
E. Public Art Workplan 34
F. Media and Promotion 35

V. Collection Management 36

A. Maintenance, Conservation, and Safety 36

B. Collection Management Policies and Procedures 40

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VI. Community Empowerment 43

A. Locating Public Art Throughout Palmdale 43

B. Community Engagement 45
C. Municipal Arts Center 46
D. Public Education 46
E. Partnerships 47
F. Social Media 48

VII. Opportunities for Local Artists 50

VIII. Demonstration Projects 53

A. Permanent Art 53
B. Temporary and Participatory Art 53

IX. National Public Art Resources 54

APPENDICES

A. List of Participants 59

B. Artist-led Community Outreach Report and Survey Results 64

C. Online Public Art Survey Results 70

D. Proposed City of Palmdale, County of Los Angeles, 77

California Ordinance No. 1534

E. Proposed Artist and Artwork Selection Guidelines 92

F. Methods and Materials Form 98

G. Proposed Deaccession of Artwork Policy 99

H. Proposed Donations and Loans of Artwork Policy 106

I. Proposed Memorials Policy and Guidelines 113

J. Proposed Mural Policy and Guidelines 120

K. Proposed Temporary Artwork Policy 125

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I. EXECUTIVE SUMMARY
A. PUBLIC ART MATTERS TO PALMDALE
Thanks to the leadership of a forward-thinking Mayor, City Councilmembers, City
Manager, and a notable creative community, Palmdale is reinventing itself as a
center of innovation. In fact, the City has initiated and implemented several notable
projects to demonstrate the important contributions that public art makes to the
economy and general welfare of the people living, working, and visiting Palmdale.
The enthusiasm and support for public art prompted the City to develop a strategic
approach to how it will fund, manage, and review public art projects going forward.

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One of the key goals of the City is to attract and retain artists, the working class,
innovative technology companies, and new residents. Cultural and artistic resources
foster economic development and tourism, revitalize urban areas, and improve the
overall business climate by creating a more desirable community within which to
live and work. It also helps to attract and anchor a large and diverse creative sector,
enriching Palmdale’s cultural identity which is a key component of economic vitality.

Here’s what was said by the numerous citizens who participated in the planning
process. Public art in Palmdale should:

•  e distributed throughout all neighborhoods of the city, focusing on areas

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where people gather and in unexpected places that encourage exploration.

• Represent a broad variety of arts media and forms of expression.

• Strive for artistic excellence.

•  rovide meaningful arts opportunities for youth and families, including

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activities and events that engage parents and their children.

•  ecognize cultural diversity, language, and access as integral features of all

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programs and activities to broaden participation in the arts.

• Include both permanent and temporary artwork.

•  upport and build the local and regional artist community by offering
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affordable space to work, display art, and spend time together.

•  ngage partners to build support for the arts by collaborating with community
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organizations, businesses, and corporations.

B. DEFINING PUBLIC ART

What distinguishes public art is the unique association of how it is made, where
it is, and what it means. Public art can express community values, enhance our
environment, transform a landscape, heighten our awareness, or question our
assumptions. Placed in public sites, this art is there for everyone, a form of collective
community expression.

The process, guided by professional expertise and public involvement, should seek
out the most imaginative and productive affinity between artist and community.
Likewise, artists must bring to the work their artistic integrity, creativity, and skill.

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All art cannot appeal to all people, nor should it be expected to. Varied popular
opinion is inevitable, and it is a healthy sign that the public environment is
acknowledged rather than ignored. Public art is a part of our public history, part of
our evolving culture and our collective memory. It reflects and reveals our society and
adds meaning to our cities.

C. THE ARTS AS AN ECONOMIC DRIVER

CALIFORNIA STATISTICS
The importance of the arts and culture to economic development is well established.
Creative businesses — arts, design, digital media, and other fields that utilize a
creative workforce — play a huge part in the California economy. According to How
the Arts and Cultural Tourism Spur Economic Development by Craig Watson, more
than 134,000 creative businesses employ 500,000 Californians with another 100,000
freelance or part-time creative workers in the mix. In addition, California’s 4,553 arts
organizations contribute $3.56 billion annually to its economy.

Watson’s 2013 article published by the League of California Cities further states:

•  he primary reasons cited by residents for loving their cities were

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entertainment and social offerings, how welcoming the city is, and its
aesthetics; in other words, the arts and culture.

•  ommunities’ investment in arts and culture is described today as “creative

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placemaking,” which is using the arts and culture to develop an area where
people want to live, work, and congregate. The key is to treat the arts as an
essential part of the city’s identity.

•  uccessful creative placemaking supports local arts and culture, builds the
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economy at the local level, enhances surrounding non-arts businesses, and
provides job opportunities and ways for individuals to participate in activities
associated with the arts and cultural events. The results bring people together,
spark community pride, and create a more vibrant place.

HOW PUBLIC ART CONTRIBUTES TO THE ECONOMY

Public art can have a tremendous impact on the economic well-being of a
community. When a city offers an exciting and unique destination to residents
and visitors, it results in increased spending at restaurants, hotels, shops, and other
cultural attractions.

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Cities like Palmdale have to create new opportunities to compete in today’s global
economy. Retaining and enhancing the existing population and businesses,
maintaining a healthy tax base, attracting new business, and expanding tourism visits
are among the critical economic elements that a city must have to be successful.

The following examples document the economic impact of a park inclusive of public
art, a public artwork that was in place for a temporary period of time, and a unique
pedestrian bridge. All statistics are attributable to published economic impact studies.

Millennium Park
Millennium Park was initiated as a cultural precinct in 1998,
and now spans 24.5 acres adjacent to Chicago’s business
district. It includes two large scale interactive artworks
which have become the park’s identifiers – the Anish Kapoor
Cloud Gate (2006, image on left) and Jaume Plensa’s Crown
Fountain (2004). These two art pieces within Millennium Park
have received extraordinary public acceptance because they
provide a community experience that is highly interactive.

• The first six months after Millennium Park opened over 2 million people visited.

• Yearly visitation is in excess of 3 million.

•  he average expenditure for international visitors is $300 per day and overnight
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domestic visitorsis $150 per day.

•  otal visitor spending over from 2005 to 2015 ranges between$1.9 billion and
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$2.6 billion.

The New York City Waterfalls

The New York City Waterfalls, a major work of public art by

artist Olafur Eliasson, featured four man-made waterfalls
rising from New York Harbor from 90 to 120 feet high. The
installation was open from June 26 through October 12,
2008.

Mayor Michael Bloomberg stated, “People didn’t buy tickets or pass through a
turnstile to experience the Waterfalls, but this exhibition brought people to areas
of the City they might not otherwise ever have visited. We’ve always understood
that we have to encourage big, bold projects that set our city apart, and this will be
increasingly important while areas of our economy are struggling from the turmoil
on Wall Street.”

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The artificial waterfalls were installed at a cost of $15 million with an estimated $69
million return to the city on this investment including:

• 1.4 million visitors between June 26 and October 13, 2008.

• $26.3 million in incremental visitor spending.

• $26.8 million in indirect spending from these expenditures.

The Sundial Bridge

The Sundial Bridge at Turtle Bay is a unique pedestrian bridge that crosses the
Sacramento River in Redding, California. Designed by world-renowned architect
Santiago Calatrava, the bridge generated an additional 12,000 hotel room stays during
the first two months after it opened in 2004. Hotels report that the bridge continues
to be the #1 attraction for guests.

D. HOW THE PUBLIC ART MASTER PLAN CAME ABOUT

The City’s Public Art Committee was established in February 2013 and is comprised of
City staff from nearly all departments. The Public Art Committee has been working to
build the foundation for a thriving public art program in Palmdale with the purpose
of enriching the community by integrating a wide range of art into public spaces and
recognizing that public art is vital to a livable community and signifies community
identity. Public art can take many forms as a means of expressing community values
and local traditions, and it is a valuable tool for place making, economic development,
and revitalization and branding, to name a few key civic benefits.

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In 2013, the Public Art Committee hosted a community meeting and invited local
artists, business owners, and local trades’ people. Approximately 50 community
members attended and were asked their viewpoints on public art and its potential
value to Palmdale.

In 2014, the Public Art Committee produced an online

survey to broaden the reach of community feedback
on the topic of public art. There were 224 responses
and the data collected provided valuable insight
into the perspectives of community members. Also
in 2014, the Public Art Committee met with Zachary
Smith, Regents’ Professor of Politics and International
Affairs at Northern Arizona University. Professor
Smith urged steering away from common public art
pitfalls, such as lack of community involvement and
outreach. He also spoke to the value of establishing a

public art plan at the forefront. An adopted public art plan is key to the sustainability
and acceptance of local art, stating that without a proper roadmap, discord is the
likely result.

With community insight and research, the Public Art Committee began initiating
public art programs and events including the Walk on Words poetry contest,
ArtTown Fusion featuring the works of local artists, Inkwell: Palmdale’s Book and
Art Festival, Kaleidoscope Art & Music Festival, recycled art installations at the Yucca
Neighborhood House and Palmdale Transportation Center, Generations Juried Art
Competition and Exhibit, and multiple art receptions and exhibits held throughout
the year at Palmdale Playhouse and Legacy Commons.

In addition, the Public Art Committee commissioned the following public

artworks:
•  life-sized bronze statue of Palmdale’s first mayor, Larry Chimbole, was
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unveiled in 2015 in Poncitlán Square by a grassroots group of Antelope Valley
residents called the Local Legends Committee, after an 18-month long
campaign of raising funds and engaging local craftsmen for the project. In
2017, the statue was relocated to the lobby of the Chimbole Cultural Center.

•  sked to assist with the replacement of the Civic Center fountain, the
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Public Art Committee commissioned Facing the Sun, it’s most significant
accomplishment to date. Located in the courtyard near Development Services,
the sculpture by Lazzari and Evans Public Art was dedicated by the City in the
spring of 2018.

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 •  uartz Hill resident Nuri Amanatullah’s artwork — the winning entry of the
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City’s mural competition — was unveiled at the Marie Kerr Park Community
Building in the fall of 2018.

In 2011, the Wright Brothers Court Apartment and Infrastructure project was approved
through Site Plan Review (SPR) 11-001. The project is located within the Palmdale
Transit Village Specific Plan (PTVSP) which requires that one percent of the total
building cost be used for public art for all new development. In-lieu of commissioning
public art as part of the project, the applicant worked with the Planning division to
provide funds for public art use in the future, which included funding for this Public
Art Master Plan.

E. PUBLIC ART MASTER PLAN

COMMUNITY OUTREACH
The Public Art Master Planning Process
(Appendix A)
Consultants Gail Goldman and Lesley Elwood
developed this Public Art Master Plan for the
City of Palmdale from October 2017 through May
2018. To gain a comprehensive understanding of
the state of public art in Palmdale and to solicit
broad-based input into the planning process,
the master planning team conducted extensive
research using several approaches.

In developing the Public Art Master Plan

for the City of Palmdale, one of the primary
planning objectives was to hear from as many
voices as possible to create a plan that truly reflects the wide-ranging points of
view of Palmdale’s diverse population. A grand total of 1,354 individuals participated
in community outreach activities. The collective experience and insights of the
community were invaluable in defining the future of public art in Palmdale.

The research methods included one-on-one interviews with stakeholders in person

or by phone, targeted focus group sessions, and open community forums. Multiple
meetings took place with City of Palmdale officials and staff. Overall, meetings
were held with 42 City Department staff, 22 individual interviews were conducted,
two artist focus group sessions were held with 25 in total attending, and two public
meetings were convened that included 27 total participants. In addition, input was
solicited during the professional development meeting of the Antelope Valley Union
High School District art teachers and of the regularly-scheduled Hospitality & Tourism
meeting. A workshop with the Palmdale City Council was conducted for input as well.

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Additional outreach was conducted after the City Council Workshop. The Draft Public
Art Master Plan was made available online. It was viewed by 117 residents and six
(6) responses were received. A survey was emailed to 1,771 business owners and 72
submitted responses. In addition, the Building Industry Association, Los Angeles/
Ventura Chapter (BIA-LAV) was provided a copy of the proposed Ordinance and
Public Art Master Plan on November 26, 2019.

Artist-led Community Outreach (Appendix B)

An artist-led community outreach initiative was conducted by Nick Rodrigues in
partnership with the Knight High School Digital Design Academy. The artist worked
with senior students to creatively engage Palmdale residents in envisioning the
role of public art in their community and identifying potential artwork locations.
Nick and the students created a mobile platform, called the Mobile Perception
Unit, a temporary tent structure that engaged residents in a collaborative process
that helped to guide the recommendations for public art throughout Palmdale
communities. Traveling to four different sites and engaging a total of 412 participants,
the activities at the Mobile Perception Unit were interactive and thought-provoking.

Online Survey (Appendix C)

An online survey to solicit feedback from community stakeholders was available on
the City’s website in English and Spanish. The survey was available to the general
public from October 2017 through May 2018. A total of 826 people responded to the
survey.

Recurring Themes
Over the course of the public input process, several recurring themes arose in our
individual interviews, focus groups, and community forums. Palmdale residents spoke
loud and clear — they want more art in more places. They want Palmdale to be known
as a thriving arts center. Residents described public art as empowering, as a reminder
of their humanity, and as a conduit for dialogue. The Palmdale community repeatedly
expressed the fundamental belief that public art promotes experiential learning,
brings people together, and celebrates the spirit of creativity. Those interviewed
encouraged the use of public art to welcome and orient people to neighborhoods,
create destinations and gathering places, enliven the pedestrian and bicyclist
experience, and reinforce a sense of community pride, identity and connection to
local history and culture.

This plan responds to the different perspectives that were heard from residents and
business owners in Palmdale about what constitutes public art, its purpose, and
the growing demand for public art to address specific community concerns. The
following vision, guiding principles, key objectives, and recommendations arose from
our research and time spent listening to Palmdale residents and business owners.

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How the People of Palmdale Describe Their City
Throughout our meetings with residents and business owners, we heard similar
comments regarding why Palmdale is a special place. Most people commented on
the landscape and how open vistas and views of the mountains and surrounding
desert are a primary attribute and attraction of the area. Palmdale has a sense of calm
and of not having the congestion associated with Los Angeles. Palmdale is a place of
quiet, big sky views, open space, and stunning geological formations.

In addition to the clear love of the open space and relative tranquility, many residents
commented on the light and wind. There is a great adoration of the outdoors, hiking,
and being in nature. People favor the Joshua trees that are located throughout
the region and truly appreciate the rarity of this specific ecological system in their
community.

In addition to the natural landscape, many commented on the people who live here
and the small-town friendliness that is part of being in a community where many
people know their neighbors. Many residents have lived in the area for generations,
sometimes in the same neighborhood. They value the fact that Palmdale is
family-oriented and support the concept that art can provide families with more
opportunities for shared experiences.

Sports leagues are a popular activity for families with children of varying ages. Parks
are often the destination for many families, where younger children are brought along
to play in local parks while siblings are engaged in team sports. During the artist-led
engagement activity, many families experienced the Mobile Perception Unit together,
which reinforced the fact that Palmdale families like to participate in shared activities.
The priority is public art that is interactive and enjoyed by people of all ages and that
can become a special destination for residents and visitors alike.

Many residents commented on the affordability of the area. During survey collection
and the artist-led engagement project, several families told us they were relative
newcomers to Palmdale because of the affordability of housing. We met many artists
who had returned or relocated to Palmdale for this specific reason. It became obvious
that young artists who had grown up near or around Palmdale are particularly
motivated to become part of a larger creative community in the Antelope Valley.

There is a strong desire for public art to express community values, amplify voices,
and tell stories. Local artists want to become more involved through commissioning,
training, neighborhood engagement, and new places to display their work. As
Palmdale grows, there is a consensus that the focus of public art needs to be on
placemaking, neighborhood empowerment, and history.

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II. VISION
Arts and culture in Palmdale inspire openness and change, reflecting its people,
diverse population, history, innovation, and the beauty of its natural environment.

•  he City of Palmdale will adopt the Public Art Master Plan as the guiding
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document for all artwork proposed for City property and the public realm in
general.

•  he Public Art Commission will be the steward of this vision, serving as a

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resource and leading the City’s efforts to use public and private funds to
improve the public realm.

•  he City’s Public Art Program will oversee the collection of artworks that are
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placed on City property and manage public art projects commissioned for City
buildings and infrastructure.

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A. GUIDING PRINCIPLES
Public art in Palmdale has the power to:

• Express Palmdale’s identity through the built environment.

•  levate the role the artist and the creative process plays in connecting people
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and place.

• Provide equitable access to a diversity of artists and artistic experiences.

•  ncourage multidisciplinary collaboration in the public and private sectors to

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create vibrant public spaces.

•  elebrate our community’s cultural assets, highlighting the unique character of

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our neighborhoods, honoring their histories, and preserving quality of place.

B. SUMMARY OF RECOMMENDATIONS
These recommendations form the foundation of the Public Art Master Plan for
the City of Palmdale. Each key recommendation is summarized below, discussed
in greater detail within this document, and supported with proposed policies,
guidelines, and studies in the appendices.

1.  dopt an ordinance requiring the City of Palmdale to allot 1% of the

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construction budget of Capital Improvement Program projects of $250,000 or
more for art.
2. A
 s of July 1, 2021, adopt an ordinance requiring private developers of new
construction to allot .5% of building permit valuation of $250,000 or more to on-
site art or contribute in-lieu of .5% to the Public Art Fund.
3. L
 egislatively establish the City of Palmdale Public Art Commission and
develop and adopt bylaws consistent with other City of Palmdale boards and
commissions.
4. C
 reate an interest-bearing Public Art Fund whose purpose is to receive gifts,
grants, and donations for public art that are made to the City of Palmdale. The
fund would include in-lieu contributions, grant awards, and donations.
5. A
 dopt public art procedures that employ best practices for artist procurement
and stakeholder involvement.
6. E
 nsure centralized support and staffing for successful administration of the
Public Art Program.

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 7. I nitiate a five-year workplan strategy to be updated annually that includes
City-funded projects, public/private partnerships, maintenance, and a
conservation plan.
8. C
 reate a comprehensive database and interactive map of public art on public
property.
9. E
 nsure that artwork maintenance, conservation, and collection review occur
with regularity.
10. A
 dopt policies and procedures for the deaccession of artwork, donations
and loans of artwork, memorials, murals, and temporary art to meet industry
standards for effective public art collection management.
11. U
 se public art as a tool for community empowerment to enhance
neighborhood character and for equitable geographic distribution of artwork
to increase access to public art citywide.
12. A
 ttract and retain artists in Palmdale by providing support and opportunities to
emerging, mid-career, and established local artists.

C. TEN YEAR ACTION PLAN

The following chart outlines the recommended actions to be taken by the Public Art
Program staff, Public Art Commission, Mayor, and City Council over the next 10 years.
The color blocks represent the time period in which the action is initiated with the
knowledge that it will continue in subsequent years.

Note: The adoption of the legislative ordinances and policies that constitute
Recommendations #1-5 and #10 will coincide with the acceptance of this Public Art
Master Plan by the City Council.

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 SHORT- LONG
MID-TERM
Page FY TERM TERM
# Recommendation FY
Ref. 2020-2021 FY FY
2022-2025
2021-2022 2025-2029
Adopt an ordinance requiring the City of
Palmdale to allot 1% of the construction budget
1
of Capital Improvement Program projects
$250,000 or more for public art.
As of July 1, 2021, adopt an ordinance requiring
private developers of new construction to allot
2 .5% of building permit valuation of $250,000 or
more to on-site art or contribute in-lieu of .5%
to the Public Art Fund.
Legislatively establish the City of Palmdale
Public Art Commission and develop and adopt
3
bylaws consistent with other City of Palmdale
boards and commissions.
Create an interest-bearing Public Art Fund
whose purpose is to receive gifts, grants, and
4 donations for public art that are made to the
City of Palmdale. The fund would include in-
lieu contributions, grant awards, and donations.
Adopt public art procedures that employ
5 best practices for artist procurement and
stakeholder involvement.
Ensure centralized support and staffing for
6 successful administration of the Public Art
Program.

• Hire a part-time Public Art Coordinator.

• Hire a full-time Public Art Coordinator
position.

• Hire a part-time Collection Manager.

• Develop a schedule for preparing and
submitting applications for grant and
foundation funding.
Initiate a five-year workplan strategy to
be updated annually that includes City-
7
funded projects, public/private partnerships,
maintenance, and a conservation plan.
Create a comprehensive database and
8 interactive map of public art on public
property.

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 SHORT- LONG
MID-TERM
Page FY TERM TERM
# Recommendation FY
Ref. 2020-2021 FY FY
2022-2025
2021-2022 2025-2029

• Develop a smart phone application specific

to the public art collection.

• In partnership with the Palmdale Chamber

of Commerce, develop a series of pedestrian,
bike, and vehicular itineraries that include
public art.
Ensure that artwork maintenance,
9 conservation, and collection review occur with
regularity.

• Contract with a professional art conservator

to inventory and assess existing artwork in the
City’s collection.

• Create artwork project files for existing

artwork in the City’s collection.
Adopt policies and procedures for the
deaccession of artwork, donations and loans of
10 artwork, memorials, murals, and temporary art
to meet industry standards for effective public
art collection management.
Use public art as a tool for community
empowerment to enhance neighborhood
11 character and for equitable geographic
distribution of artwork to increase access to
public art citywide.

• Incorporate a set of prioritized public art

goals and opportunities into the General Plan.

• Include a presentation on the City’s Public

Art Program as part of the Palmdale Partners
Academy.

• Partner with local business owners to display

and/or commission temporary artwork in
vacant downtown storefronts.

• Commission an interactive temporary

artwork to coincide with a community
celebration or special event at a neighborhood
park or series of parks or trail sites.

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 SHORT- LONG
MID-TERM
Page FY TERM TERM
# Recommendation FY
Ref. 2020-2021 FY FY
2022-2025
2021-2022 2025-2029

• Designate a highly-visible median for the

display of sculpture for a 12-month period.

• Commission a public art gateway project

to welcome visitors and draw them to the
business centers.
Attract and retain artists in Palmdale by
providing support and opportunities to
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emerging, mid-career, and established local
artists.

• Add an Information for Artists page to the

Public Art Program website.

• Co-host an artist workshop on public art with

the Lancaster Museum.

• Place an Artist in Residence in a City

Recreation Center.

• Partner with Antelope Valley Transit

Authority for artist-designed bus wraps and
streetscape improvements to Palmdale
Boulevard.

• Commission a temporary artwork to be

featured during Kaleidoscope Art & Music
Festival.

• Commission a temporary artwork to be

featured during Inkwell: Palmdale’s Book & Art
Festival.

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 D. CALIFORNIA CITIES:
SELECTED PUBLIC ART PROGRAM COMPARISONS
Capital Improvement Program Private Development
Municipality Year % First Established
(CIP) BP=Building Permit
Alameda 2006 1% for projects over $250,000; 1% for projects over $250,000;
maximum of $150,000 for art maximum of $150,000 for
public art
Albany 2007 1.75% for projects over $300,000 1.75% ffor projects over
$300,000
Brea 1975 1% 1% for projects over $1.5M
Berkeley 1985/Muni 1.5% 1.75% for art or in-lieu fee of
2016/Priv 0.80%
Beverly Hills 1983 1% 1% for projects between
$500,000 and $1M; 1.5% over
$1M; option of in-lieu fee of
0.90%
Burbank 1992 1% 1% for projects over $500,000
Claremont 2005 1% for projects over $100,000 .05% for residential projects
over $200,000 and single-
family track of five or more
lots
Culver City 1994 NA 1% for projects over $500,000
for industrial and $250,000
for commercial
Davis 1973 1% NA
Emeryville 1990 1.5% 1% for projects over $300,000
Escondido 1988 NA $0.15 per square foot of all
new development over 2,000
square feet
Lancaster 2019 1% Voluntary; requires City
review and approval
Santa Clarita 2017 1% of design and construction NA
for projects over $500,000;
maximum of $1M for projects over
$100M
Lodi 2001 2% for projects over $50,000 1% for projects over $250,000
Long Beach 1989 NA 1% of BP over $250,000
Los Angeles 1985 1% $1.57 per gross square foot
(1% max) over $500,000
Oakland 1989/Muni 1.5% .5% for residential and 1% for
2018/Priv non-residential

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 Capital Improvement Program Private Development
Municipality Year % First Established
(CIP) BP=Building Permit
Palm Desert 1986 1% .25% of 1% of residential
projects over $100,000;
.5% of 1% for commercial
developments
Palo Alto 2015/Muni 1% 1% for projects exceeding
10,000 square feet and over
2013/Priv $200,000
Pasadena 1988/Muni 1% 1% for projects over $500,000
1992/Priv and located in Downtown
Old Pasadena and Northwest
Community Plan Area; 1% all
others over 25,000 square
feet
Petaluma 2005 1% of construction over $500,000 1% for projects over $500,000
Pomona 2011 NA 1% commercial/residential
over $750,000
Richmond 1997 1.5% for projects over $300,000 1.5% for projects over
$300,000
Sacramento 1977 2% 2% of Redevelopment
Agency private development
San Diego 1991 2% for projects exceeding 1% of BP of non-residential
$250,000 development exceeding $5M
San Francisco 1969 2% 1% of Redevelopment Agency
private development
San Jose 1985 2% 1%
Santa Cruz 1999 2% NA
Santa Barbara 1979 1% NA
Santa Monica 1984 1% 2% for art or 1% in-lieu
Santa Rosa 2006 NA 1% for projects over $500,000
San Luis Obispo 1990 1% 5% for non-residential
projects over $100,000
Stockton 2000 2% NA
Sunnyvale 1983 1% NA
Ventura 1992 2% NA
Walnut Creek 2000 1% 1% for 25,000 SF; 5% for
15,000-24,999 for Pedestrian
Retail District and Core Area
Dev Zone
West Hollywood 1987 Voluntary 1% for projects over $200,000

21
III. ESTABLISHING A PUBLIC ART
PROGRAM
A. PUBLIC ART IN NEW CAPITAL CONSTRUCTION
Background
The City of Palmdale is eager to expand its commitment to public art and take a
leadership role in providing sustainable funding to support the arts as an element
of City development and revitalization. The most predictable way of funding art on
City property is through the City’s Capital Improvement Program (CIP) budget. The
purpose of the percent for art calculation is to establish a consistent source of funding
that is tied to the City’s growth. Public art funded by this method becomes integral to
the City’s placemaking and economic development goals.

RECOMMENDATION 1
Adopt an ordinance requiring the City of Palmdale to allot 1% of the
construction budget of Capital Improvement Program projects of $250,000 or
more for art.

22
Recommendation (Appendix D)
Adopt a 1% for art ordinance requiring the City of Palmdale to allot 1% of the building
development costs for new construction of $250,000 or more to on-site artwork or
to make a contribution in-lieu of 1% of the building development costs to a newly-
established Public Art Fund to be used to support the furtherance of public art
in Palmdale. Implementation of this Ordinance will be the responsibility of the
Public Art Coordinator (described on page 30), who will manage the artist selection
processes and oversee the design, fabrication, and installation of the public art.
Review and approval of artists and artwork for municipal construction projects will be
the responsibility of the Public Art Commission.

For each eligible project, an amount equal to 10% (ten percent) of the minimum
percent for art allocation will be deposited into the Public Art Fund. For example, if
the percent for art allocation is $50,000, 10% or $5,000 would be deposited into the
Public Art Fund and $45,000 would be designated for on-site public art.

Exemptions
•  osts of non-construction related activities such as studies, reports, leases,
C
and easements including, without limitation, activities in the City’s capital
improvement budget that are designated as non-construction.

•  he cost of environmental review, whether or not the environmental review is

T
related to a construction project.

• Sewer and drainage projects and other below-ground construction.

•  apital Improvement Program projects that are designated as maintenance

C
or as non-construction projects in the Capital Improvement Program budget,
retrofits (e.g., seismic or those required to meet legal requirements such as the
Americans with Disabilities Act); site remediation; acquisition or installation of
furniture, fixtures, and equipment; and affordable housing projects.

•  othing is intended to prohibit the City Manager, in conjunction with the

N
submission of the annual capital budgets of the City and subject to the
approval of the City Council, from designating additional funds subject to
applicable restrictions, to be utilized for public art.

• I f the source of funding or other applicable law or regulation with respect to

any particular project prohibits or restricts the use of funds for Public Art, the
amount of prohibited or restricted funds will be excluded in determining the
1%.

23
B. PUBLIC ART IN PRIVATE DEVELOPMENT
Background
The City of Palmdale recognizes that it is essential to balance the development
and revitalization of private property with the development of cultural and artistic
resources. It is recommended that the private sector be encouraged to embrace
public art as a defining characteristic of Palmdale’s built environment and a valuable
component of new building projects. Broadening the contribution requirements will
favorably impact the ability to sustain a Public Art Fund, which in turn increases the
availability, accessibility, and growth of public art throughout Palmdale.

RECOMMENDATION 2
As of July 1, 2021, adopt an ordinance requiring private developers of new
construction to allot .5% of building permit valuation costs of $250,000 or more
to on-site art or contribute in-lieu of .5% to the Public Art Fund.

Recommendation (Appendix D)
As of July 1, 2021, adopt a .5% for art ordinance requiring private developers of new
construction to allot .5% of the building permit valuation of $250,000 or more to
on-site art or to make a contribution in-lieu of .5% to a newly-established Public Art
Fund to be used to support public art in Palmdale. Implementation of this ordinance
will be the responsibility of the Public Art Coordinator.

A Developer’s Guide to the City’s public art ordinance requirements should be

prepared by the Public Art Coordinator and approved by the Public Art Commission.
From artist selection through the installation of the artwork, the developer should
proactively communicate with the Public Art Coordinator to ensure that the on-
site artwork meets the requirements of the ordinance. The private developer will be
strongly encouraged to retain the services of a professional consultant to manage
the artist selection process and oversee the design, fabrication, and installation of the
public art.

Because the developer owns the artwork and is accountable for financing and
maintaining it, the City’s interest is specific to compliance with the public art
ordinance. Therefore, review of the conceptual and final design of the artwork is the
responsibility of the Public Art Coordinator. The project may be presented to the
Public Art Commission as an information item.

For each project, an amount equal to 10% (ten percent) of the minimum percent for
art allocation will be deposited into the Public Art Fund. For example, if the percent
for art allocation is $50,000, 10% or $5,000 would be deposited into the Public Art
Fund and $45,000 would be designated for on-site public art.

24
The contribution requirement applies to commercial, industrial and residential
projects that create five (5) or more residential units.

Exemptions
• Non-profit and affordable housing developments and structures.

•  ommercial, industrial and residential projects that create four (4) or less
C
residential units.

Terms
Before the issuance of a Certificate of Occupancy for any development project, the
developer will have commissioned and installed an on-site public artwork or paid
an in-lieu Public Art Fund contribution equal to .5% of the building permit valuation
with approval from the Public Art Coordinator. Administrative guidelines detailing
the process for private development percent-for-art projects will be published by the
Public Art Program.

C. PUBLIC ART COMMISSION

RECOMMENDATION 3
Legislatively establish the City of Palmdale Public Art Commission and
develop and adopt bylaws consistent with other City of Palmdale boards and
commissions.

Responsibilities
•  stablish and approve the Public Art Program mission and curatorial and
E
programmatic goals, policies, and guidelines.

•  evelop an annual Public Art Work Plan that charts current and future public
D
art projects and determines resources and funding priorities.

•  eview and approve the commission and acquisition of public art on City
R
property with a value of $50,000 or less.

•  eview and forward recommendations to the City Council for commission

R
and acquisition of public art on City property with a value of $50,000 or more,
deaccession of artwork, acceptance of artwork gifts and loans, and proposals
for memorials and murals on City-owned property, in accordance with each
respective policy.

•  erve as the key advocacy body for the Public Art Program and participate in
S
community outreach activities and events.

25
Composition
The Public Art Commission will be comprised of nine (9) voting members appointed
by the City Council, each of whom has considerable knowledge and experience in the
visual arts. Consistent with national standards, the term of each member will be three
(3) years, renewable for a second term, or until a successor takes office.

Public Art Commission members should have professional credentials and work
experience as exhibiting artists in the visual arts, contemporary museum and gallery
art curators, arts management professionals, arts educators, and design professionals
such as architects, landscape architects, and urban planners. At least three (3) of
the nine voting members must be professional visual artists, at least two (2) must
be design professionals, and at least one (1) must be a member of the Planning
Commission. Oversight of the Public Art Commission is the responsibility of the Public
Art Coordinator.

Bylaws
Bylaws need to be developed and adopted to provide a framework for Public Art
Commission governance including how the Public Art Commission will function, roles
and duties of officers, and rules and procedures for holding meetings. Creating the
bylaws, which are available to the public, increases accountability and transparency.
The bylaws should be reviewed regularly by the Public Art Commission and amended
in accordance with the evolution of the Public Art Program.

D. PUBLIC ART FUND

RECOMMENDATION 4
Create an interest-bearing Public Art Fund whose purpose is to receive gifts, grants,
and donations for public art that are made to the City of Palmdale. The fund would
include in-lieu contributions, grant awards, and donations.

Overview
The Public Art Fund provides resources to support the perpetuation of public art in
Palmdale without relying solely on General Fund allocations. Revenues in the Public
Art Fund may be used as follows:

•  he acquisition, commission, design, fabrication, installation, presentation, and

T
insurance of public artwork.

•  rogram administration; artist selection processes, including artist fees

P
for proposal development, materials, and travel; community outreach and
publicity; and project documentation.

26
 •  ervices of a professional conservator to conduct condition surveys and provide
S
professional art conservation services and repairs of City-owned artwork.

•  p to 20 % of the annual Public Art Fund for in-lieu contributions may be used
U
for all necessary and reasonable program administrative costs incurred in
connection with the Public Art Coordinator and support staff supervision of the
Public Art Program and the expenditure of all funds appropriated for public art.

•  he balance of the Public Art Fund may be used to support public art
T
throughout Palmdale that may take the form of site-specific public art
commissions, purchase of artwork, artists in residence, local, regional, and
national artist projects, public art mapping and interactive tours, and other
special public art initiatives as determined by the Public Art Commission.

E. ARTIST ENGAGEMENT AT THE INCEPTION OF THE CIP

DESIGN PROCESS
Department Project Managers will receive administrative guidelines approved by
the Public Art Commission on the steps for inclusion of public art in the Capital
Improvement Program. It is critical that this takes place at the time the Capital
Improvement Program is identified for inclusion of public art so the project artist can
be selected as early as possible in the design process.

The artist’s ideas can help shape aspects of the site and the building, thereby creating
a relationship of maximum impact between the art and the building project. This
ensures that the project artist has access to the broadest possible opportunities.

F. URBAN DESIGN FRAMEWORK FOR PUBLIC ART

Incorporating public art into the fundamental aspects of planning elevates the
quality of the urban environment and promotes a cohesive vision for the character of
public places and neighborhoods. Including public art considerations in general plan
updates, strategic plans, and master plans redefines the relationship of art to urban
space as an integral part of the urban infrastructure and the natural environment.

Including the General Plan that is currently underway, all appropriate planning
documents should contain a set of prioritized public art goals and opportunities
including but not limited to the following:

• I dentify and define public art goals, guidelines, and opportunities that include
the examination of character, connections, history, and land uses.

27
 •  utline criteria for placement of public art, including appropriate material and
O
scale.

• Classify high-visibility placement opportunities.

• Describe programming ideas for temporary public art installations.

G. OTHER POTENTIAL FUNDING SOURCES

City General Fund
The City Manager will recommend for approval an annual line item allocation of
$100,000 in FY20-21 from the General Fund earmarked to support specific public
art project initiatives when City General Fund reserve meets adopted City policy
standards. This amount is based on past funding and anticipated new public art
projects. Additional funding could be allocated over the years from the newly
implemented tax measures NN, OO, and PP as revenue is received.

Friend of Palmdale Arts

Establish a non-profit organization as an arm of the Public Art Commission for raising
funds for public art in Palmdale. This provides a mechanism to apply for grant funds
and for receipt of individual and business contributions in support of the arts.

Grants
There are literally hundreds of grant opportunities available from foundations and
government agencies throughout the United States that support public art projects
and special initiatives.

A prerequisite for many major funders is collaboration among municipal government,

the arts community, and the business sector. Significant grant opportunities relevant
to public art project recommendations within this Public Art Master Plan include
the following:

•  ational Endowment for the Arts (Our Town)

N
www.arts.gov/national/our-town

•  ational Endowment for the Arts (ART WORKS)

N
www.arts.gov/grants-organizations/art-works/grant-program-description

•  alifornia Arts Council (Creating Places of Vitality)

C
www.arts.ca.gov/programs/

•  rtPlace (Creative Placemaking)

A
www.artplaceamerica.org/

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Comprehensive resource listings are readily available online through websites including:

• Fundsnet Services.com
www.fundsnetservices.com/searchresult/1/Arts-&-Culture-Grants.html

• California GrantWatch
www.California.grantwatch.com

• Foundation Center
www.foundationcenter.org

H. VISUAL ARTISTS RIGHTS ACT (VARA)

The City needs to be aware that conducting a Public Art Program comes with specific
legal responsibilities as outlined in the Visual Artists Rights Act (VARA). Passed by the
United States Congress in 1990, VARA grants artists the rights to prevent intentional
modification to their art and the destruction of a work of “recognized stature.” This is
regardless of any subsequent physical ownership of the work itself, or regardless of
who holds the copyright to the work. VARA covers only limited, fine art categories of
works of visual art, which are defined as paintings, sculptures, drawings, prints, and still
photographs produced for exhibition.

It is important that all contractual agreements between commissioned artists and the
City of Palmdale retain these rights. The most common right invoked under VARA is the
right of the artist to prevent destruction or mutilation of their work. VARA also allows
artists to remove their name from works that they authored but were subsequently
changed against the artist’s wishes. VARA allows up to $20,000 in damages or up to
$100,000 in damages if the work was copied or destroyed intentionally.

29
IV. B
 UILDING A COLLECTION:
PROGRAM ADMINISTRATION
A. ORGANIZATIONAL STRUCTURE
RECOMMENDATION 5
Ensure centralized support and staffing for successful administration of the
Public Art Program.

To ensure centralized and consistent administration of the Public Art Program, the
following are recommended:

•  stablish a Public Art Program and place it directly under the City Manager’s
E
Office to maximize interaction with other departments and policy makers who
are key to effective management of public art projects and programming.

•  esignate a Public Art Coordinator to cover the assigned work of the Public Art
D
Program.

30
Overview
Centralized and consistent public art administration with professional staff is
crucial to the long-term successful management, continuity, transparency, and
accountability of a public art program. Administering public art projects inclusive of
community outreach and education is complex, time-consuming, and staff intensive.

A hallmark of the City of Palmdale is operating with minimal staff. With that in mind,
the City may choose to retain independent consultants or short-term employees to
assist with large-budget projects, local artist initiatives, oversight of curatorial work,
conservation, marketing, education and outreach, and other areas where consultants
are appropriate.

B. PUBLIC ART PROGRAM STAFF

The following positions would provide the support needed to manage the existing
workload and anticipated growth of the Public Art Program:

Public Art Coordinator

Most cities throughout the country have a designated Public Art Coordinator and
assistant staff positions. It is the responsibility of the Public Art Coordinator to assume
the pivotal role of guiding the public art process and coordinating the efforts of a
multitude of participants. To ensure that each project’s full potential can be realized,
the Public Art Coordinator must adopt the following responsibilities:

•  versee the percent for art budget, including regular meetings with the
O
Finance division to assess project eligibility for current and projected Capital
Improvement Program projects.

•  anage the interests and needs of a varied range of stakeholders, including

M
the City of Palmdale’s departmental staffs, City Council, Public Art Commission,
and various panels, private developers, peer professionals, community
members, and others.

•  oordinate public information and community outreach, including the Public

C
Art Program website.

•  e knowledgeable about the range of artistic possibilities and familiar with

B
local and national resources in the field.

• Facilitate the artist and artwork selection and approval processes.

31
 •  epresent and defend the interests of the artist and the intended artwork from
R
the beginning to the end of a project, while at the same time understanding
and balancing the competing interests and needs of all the other participants
in the public art process.

•  repare for public art controversy. In the event that it occurs, develop proactive
P
systems for distributing information, responding to the media, and activating
supporters.

• Manage the design, fabrication, and installation of public artwork.

•  nticipate, plan for, and implement the complex layers of competing

A
schedules, information requirements, budgets, and programmatic needs.

•  egotiate contract agreements and develop consensus around highly complex

N
issues and situations.

•  versee the documentation, care, and maintenance of the City of Palmdale’s

O
public art collection.

•  dminister the donation of artwork gifts and memorials to the City of Palmdale
A
from private individuals, collectors, artists, foreign cities, or countries.

Collection Specialist (Part Time)

• Manage public art collection inventory and data.

• Schedule and track collection maintenance and repairs.

• Records management.

• Maintain artwork insurance policies.

• Collection and art history knowledge.

• Produce content for educational materials, collateral, signage, maps, and tours.

As-Needed Contract Project Manager

For major special projects, the City contracts with an outside project manager or
partners with an outside organization for project management services.

32
C. ROLE OF THE PLANNING COMMISSION
The sole responsibility of the Planning
Commission is to review and approve the
proposed artwork site and scale for public
art in municipal and private development
projects in conjunction with the standard
design review process. Review and approval
of all other specifics of a proposed artwork
for municipal and private development
projects — including artist, art concept,
style, materials, and colors — is the
responsibility of the Public Art Commission
for municipal development projects and
the Public Art Coordinator for private
development projects.

D. ADMINISTRATIVE GUIDELINES
RECOMMENDATION 6
Adopt public art procedures that employ best practices for artist procurement
and stakeholder involvement.

It is important to develop policies and procedures to reinforce professional practice

and consistency. This will result in a better understanding of the benefits of public
art and acknowledgment that the process is unique from other administrative
procedures (Appendix E).

Establishing administrative guidelines will serve to orient City of Palmdale staff,

facilitate operations, explain legal requirements, and reflect best practices in the
public art field. Defining the review and approval processes and the roles and
responsibilities the Public Art Coordinator, the Public Art Commission, City Manager,
and City Council will make the public art process easier to navigate. In addition to
guiding City of Palmdale department staff, the guidelines serve to inform the general
public in understanding the goals, policies, and procedures of the Public Art Program.

To help department Directors/Managers or designated staff understand the positive

impact of public art, it is recommended that the Public Art Coordinator make an
annual presentation during regularly scheduled departmental staff meetings. This
will further reinforce the role of the Public Art Program as the first point of contact
for all of the City of Palmdale’s public art projects. Conversely, it is important that
the Public Art Coordinator have access to information related to activities of other
departments as they relate to projects eligible for the Percent for Art Ordinance.

33
E. PUBLIC ART WORK PLAN
RECOMMENDATION 7
Initiate a five-year work plan strategy to be updated annually that includes City-
funded projects, public/private partnerships, maintenance, and conservation
plan.

Overview
An annual Public Art Work Plan is an important tool for charting current and future
public art projects and determining resources and funding priorities. It serves to
inform Palmdale’s policymakers, its staff, and the public about public art activities and
opportunities available.

Public Art Program staff, with input from

the community and from the Public Art
Commission, must determine which projects
are the most important ones to undertake
each year. It is essential that those making
decisions about public art are aware of
what is happening in the community, what
issues and needs are emerging, and what is
required to respond to them.

Planning for long-range and near-term

projects should be balanced. To ensure
operational consistency and accountability,
the Public Art Commission needs to annually
identify new projects to be initiated within
that fiscal year and provide a status report on
current and completed projects. The Public
Art Workplan should be updated each fiscal
year and include the following components:

• Public art projects to be initiated within the following one-year period.

• Budget and funding sources for each project.

• Location of each project and identification of community partners.

• Estimated timeline for project initiation and completion.

•  rojects currently funded and in progress, noting selected artist(s) and

P
estimated project completion dates.

34
F. MEDIA AND PROMOTION
RECOMMENDATION 8
Create a comprehensive database and interactive map of public art on public
property.

There are several media outlets and outreach options that can be utilized to promote
the City’s public art collection and keep the community engaged and informed.
By building a regular program of educational and promotional activities, a sense of
community ownership can be instilled and cultivated.

Specific recommendations include:

•  evelop and promote guided and self-guided tours of public art through apps
D
and other online resources.

•  evelop a smartphone application specific to the public art collection, placing

D
a portal on each artwork that links to the Public Art Program website, artist’s
website, and other resources.

•  ollaborate with local educational institutions, arts organizations, and

C
museums to cohost educational programs, workshops, and lectures by sharing
venues, professional resources, and funding.

•  ake presentations on the City’s public art to neighborhood organizations,

M
civic groups, businesses, and City staff.

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V. COLLECTION MANAGEMENT
A. MAINTENANCE, CONSERVATION, AND SAFETY
RECOMMENDATION 9
Ensure that artwork maintenance, conservation, and collection review occur
with regularity.

Overview
The image and value of the City’s public art collection depends on the artwork
being in good condition, which requires careful documentation, monitoring, and
maintenance. Artworks in the collection need to be inventoried, documented, and
assessed on a regular basis. It is important that the City contract the services of a
professional arts conservator on an as-needed basis to conduct the work.

36
Public At Commission staff is responsible to oversee the following recommended
practices:

•  onduct a condition survey of all City-owned public art every three years.
C
Include a condition report on each artwork and prioritize recommendations for
restoration, repair, or maintenance, as needed.

•  nsure that routine maintenance of the artwork is accomplished by Public

E
Works or a contracted provider, and occurs with regularity.

•  nsure that all repair and restoration of the artwork is completed with the
E
established standards of professional conservation practice.

•  ffer periodic workshops on routine maintenance practices to Public Works or

O
contracted provider.

Review of Proposed Artwork

Proactively addressing maintenance and conservation needs of permanently-sited
artwork is key to the long-term viability of the City’s collection. In addition to soliciting
input from the department of Public Works, it is standard practice in the field of
public art to have proposals for public art examined by a qualified conservator with
expertise specific to the medium prior to approving the fabrication phase of the work.
Artists who create public art rely on fabricators and product information to decide on
the process and materials they will use. Oftentimes the materials proposed for such
works have not been vetted properly in advance or have not been used before in a
specific environment or climate.

Lifespan of Artwork
Commissioned or purchased artwork may not have been designed or intended to
be maintained in perpetuity. Determining the “lifespan” of an artwork has become a
reasonable and necessary consideration as public art programs evolve to meet the
reality of budgets, staff allocation, and other resources.

Not all commissioned works are intended to be permanent. Public art programs
across the country have adopted the practice of designating the lifespan of an
artwork when the artwork is commissioned. The City of Minneapolis includes the
following categories in its Public Art Policies and Procedures:

• Temporary, up to 5 years

• Mid-span, up to 15 years

• Long term, up to 50 years

• Permanent or site integrated, part of site/structure and cannot be removed

37
Methods and Materials
The Methods and Materials review process is administered by the Public Art
Coordinator. This outline provides guidance in working with other key City staff
and outside experts to assess the proposed fabrication and installation methods
recommended by the artist. The intent of this process is to identify areas of the
proposed fabrication or installation that might become problematic over time.

Palmdale is a city of vast weather extremes and windy conditions. Exterior permanent
artworks will be subject to great heat and cold, and therefore the selection of
materials and their ability to sustain these conditions is critical to creating a collection
that does not require constant and costly maintenance. It is reasonable to expect that
artworks will require some routine maintenance.

Often this work can be performed by City maintenance staff. It is recommended

that the City contract the services of a certified art conservation firm to assist the
Public Art Coordinator in periodic collection assessment, the methods and materials
review process, and art maintenance as needed. It is best to have the conservator be
contracted directly by the City to be clear that their role in the process is to provide
professional and non-biased information to the City. Conservation firms can vary with
experience. The City should ensure that it selects a conservator with a minimum of
Professional Associate Status of the American Institute for Conservation (AIC) and
graduate M.A. in Conservation or Fellow status in AIC.

The process for the use of the Methods and Materials Form (Appendix F) is as follows:

• Public Art Coordinator to provide artist with form for completion.

•  rtist to fill out form and include all information specific to materials, fabricator,
A
supplies, and any special products. The artist is encouraged to provide a
rendering showing dimensions of the artwork and relevant MSDS (material
safety data sheet) with completed form.

• Public Art Coordinator reviews form and attachment for questions.

•  ublic Art Coordinator sets meeting with the artist, contracted art conservator,
P
and appropriate City staff including Engineering, Public Works, and Building
and Safety.

Based on review, the contracted art conservator, in consultation with the artist,
develops a report that includes the following:

• General description of the artwork.

• General narrative of the proposed materials for the artwork.

38
 •  ssessment of art placement; its proximity to water, trees and other
A
environmental conditions that may cause damage or wear over time.

• Assessment of potential public abuse or interaction.

• Assessment of proposed methods of fabrication and installation.

•  ecommendations for fabrication and installation materials, hardware or

R
process.

•  ny specific routine protocols for long-term cleaning, care or periodic

A
inspection of the artwork.

•  hat work can realistically be performed by City maintenance crews and what
W
will require the services of a professional art conservator or technician.

•  ny specific cleaning tool or supplies that can be used during maintenance.

A
Provide information on where these can be obtained.

•  ow often a full review of the artwork should be performed for the creation of a
H
condition report (estimated to occur every 3-5 years).

An excellent resource is the Materials and Fabrication Handbook available online

through the Washington States Arts Commission at https://www.arts.wa.gov/wp-
content/uploads/2019/05/Materials-and-Fabrication-Handbook_2014-04-01.pdf

Maintenance vs. Conservation

Maintenance refers to all activities required to conserve, repair, or preserve
the integrity of an artwork and site in which the artwork is located. This is the
responsibility of the Public Art Coordinator. Routine maintenance is limited to the
basic day-to-day care of the artwork conducted by the City, such as mowing the
lawn around an outdoor sculpture and removing the daily accumulation of dust,
dirt, and fingerprints. Removal of graffiti needs to be accomplished by a qualified art
conservator to prevent damage to artwork by abrasives that generally are used by City
maintenance staff.

Conservation refers to the activities required to repair, restore, and conserve a

damaged or malfunctioning artwork, including treatment that returns the artwork
to its original condition. The Public Art Coordinator is responsible to oversee the
conservation of artwork and conduct an annual survey of the condition of the artwork
in the City’s collection.

39
Artwork Project File
Commissioned artworks generally have the following information contained within
the project file.

• Summary of artist selection process

• Artist contract

• Relevant insurance documents

• Proposal documentation

• Artist statement

• Line item budget

• Artist résumé

• Progress and final design concepts

• Methods and materials review form

• Engineering and attachment details

• Pre-fabrication conservation report

• Dedication information/program

• Progress and final installation images

• Documented maintenance during lifetime of artwork

B. COLLECTION MANAGEMENT POLICIES

AND PROCEDURES
RECOMMENDATION 10
Adopt policies and procedures for the deaccession of artwork, donations
and loans of artwork, memorials, murals, and temporary art to meet industry
standards for effective public art collection management.

Deaccession Policy (Appendix G)

It is important for the City of Palmdale to retain the right to remove any artwork
on City-owned land and in City-owned facilities that, among other considerations,
requires excessive maintenance, poses public safety risks, is damaged beyond
repair, or is adversely affected by changes in the site. Considerations of removal and
relocation of an artwork must be governed by careful, standardized procedures that

40
represent best professional practices in the field of public art, and serve to insulate
the deaccessioning process from fluctuations in personal taste.

Gifts and Loans of Artwork Policy (Appendix H)

When gifts and loans of visual artwork are proposed for placement on City of
Palmdale property and in buildings owned by the City, it is critical that the proposals
are reviewed using the same criteria applied to the commissioning and exhibition of
artworks undertaken by the Public Art Program.

The primary objectives of a Gifts and Loans of Artwork Policy are to:

•  rovide deliberate, uniform procedures for the review and acceptance of gifts
P
and loans of public artwork to the City.

• Maintain high artistic standards in all artwork displayed by the City.

•  acilitate more cohesive planning for the placement of artwork throughout the
F
City.

• Include evaluation of the cost to the City when considering a donation.

Memorials Policy (Appendix I)

The City of Palmdale may occasionally decide to install permanent memorials on City
property to commemorate persons or events of note, or to otherwise convey the City’s
position on various topics. A Memorials Policy will establish a standard measure for
review of prospective donated memorials by the appropriate Palmdale commissions
and the City Council to ensure that only objects of the highest standard of excellence
are accepted.

The policy for the acceptance of memorials defines the types of donations that the
City of Palmdale will accept and establishes criteria for review and acceptance of
these objects. The following types of projects are considered in this policy:

•  he gift of a newly commissioned memorial to be permanently located on

T
public rights of way or property owned by the City.

•  he offer by a donor to organize a public competition that will result in the gift
T
or loan of a memorial to be located permanently or temporarily on property
owned by the City.

Murals Policy (Appendix J)

Murals have risen in popularity over the past decade. Traditionally, murals have been

41
used to promote local talent, enhance the neighborhood, engage the public, and
reflect community culture and pride. As Palmdale builds a legacy of murals, it is
important that policies and procedures are adopted that meet best practices in the
field of public art.

Temporary Art Policy (Appendix K)

The overwhelming consensus among citizens who participated in discussions about
public art is an interest and need for temporary art. Temporary artworks become
destinations for citizens and visitors and impact the way a given environment is
experienced. Typically, temporary public art is commissioned and placed in the public
for up to a year, though sometimes it remains longer.

Artwork can be commissioned as a single, short-term occurrence or as part of

an ongoing, revolving program. The optimal approach commissions site-specific
artworks responsive to a particular issue, topic, and/or idea. Artists should be
selected whose work is appropriate for specific sites with regard to scale, durability,
accessibility, and safety.

Temporary public art is appropriate when the project budget is limited,

experimentation is desired, for short-term events or festivals, or a pressing issue
warrants a response on behalf of or in tandem with the broader community. It is also
a way to create opportunities for emerging artists new to public art.

A Temporary Artwork Policy is intended to activate City-owned spaces in parks, plazas,

streetscapes, and other property. The policy and procedures are intended to ensure a
consistent approach to placing temporary art in the public realm.

42
VI. COMMUNITY EMPOWERMENT
RECOMMENDATION 11
Use public art as a tool for community empowerment to enhance neighborhood
character and for equitable geographic distribution of artwork to increase
access to the public citywide.

A. LOCATING PUBLIC ART THROUGHOUT PALMDALE

Multiple possible locations for future public art were identified by the community.
Below are areas that were acknowledged during the interviews, focus groups, and
public input sessions. As part of the Annual Public Art Work Plan, the Public Art
Commission will select locations for projects. The locations identified below were
suggested by the community throughout the planning process and were prioritized
based on visibility and access, from highest to lowest.

43
High Priority
•  rime 14 freeway exits: Pearblossom, Avenues S & N, Palmdale Boulevard,
P
Rancho Vista Boulevard/Avenue. P

• Palmdale Boulevard

•  ntelope Valley Mall, northwest corner of Rancho Vista Boulevard and 10th
A
Street West

• Avenue S

• Avenue M & 10th Street West

• CalTrans roundabouts

• Sierra Highway between Avenue M and Palmdale Boulevard

• Avenue Q (in conjunction with the Downtown Specific Plan)

• Palmdale Amphitheater

• Palmdale City Library

• Palmdale Civic Center

• Palmdale Transportation Center

• Palmdale Regional Medical Center

• Lamont Odett Vista Point

• Future Palmdale Conference Center

• Future Transit Center at Avenue Q and 5th St. West

Medium Priority
• Avenue R

• Palmdale Kaiser Permanente site

• Community Parks (20 acres or larger)

• City Recreation Centers

• Best of the West Softball Complex

• Palmdale Playhouse

• Legacy Commons for Active Seniors

• Joe Davies Heritage Airpark

44
Low Priority
• Rancho Vista Golf Club

• Antelope Valley Country Club

• Park & Ride commuter lots

• Corner of Avenue N & Sierra Highway

•  ommercial building on 9th Street East & Palmdale Boulevard; 30th Street East
C
& Avenue Q

• Barrel Springs Trailhead

• Neighborhood parks (under 20 acres)

B. COMMUNITY ENGAGEMENT
The community engagement process in public art can help in developing criteria
for artist selection, the artwork character and location, and provide background
information on the project that informs the artist’s scope of work. Proactively
involving community members in visioning and preliminary planning of a public art
project is a responsible and productive way of collaborating with the community.

Community engagement should be a managed process. The role of community

members should be well defined so it is understood in advance where and when their
input will be sought. It also is important for City staff to make progress reports to key
community groups at specified points in the process, using all available channels of
communications, including social media, to keep diverse segments of the community
up-to-date on the project. In addition, all Public Art Commission meetings are open
to the public and are a valuable resource for information and discussions about public
art projects.

A strong and open relationship between City staff, the artist, and the community
will result in a project that is embraced and cared for by the public it serves. The
community at large can be involved at these key junctures:

• Visioning of the project prior to the artist selection.

• Representation on artist selection panels.

• Interaction with the artist finalists prior to development of an artwork proposal.

• Initial introduction of the selected artist to the community, through

presentations at schools, community group meetings, libraries and other venues.

45
 • Guided tours and visits to the project site.

•  roviding public comments on artist proposals at Public Art Commission

P
meetings.

C. MUNICIPAL ARTS CENTER

There is a strong desire for a dedicated civic art space where members of the arts
community could meet, create, exhibit, and perform. The venue could include a
gallery with space to exhibit large-scale artwork, more intimate galleries for smaller-
scale artwork, low-rent studios, classroom space, and a performance stage. Artists
could use resources they may not otherwise be able to access and share communal
equipment and supplies. In addition, a not-for-profit shop selling the work of
Palmdale-based artists could be located on the premises. The adaptive reuse of the
former Aerospace Institute is currently underway and often cited as a venue worthy of
consideration.

D. PUBLIC EDUCATION
There are several public education and outreach options available to keep the
community engaged and informed. These initiatives help foster ownership in what
is being created and build a better understanding of the value of public art. The
following actions will assist that effort:

•  evelop and promote guided and self-guided tours of public art through apps
D
and other online resources.

•  evelop a smart phone application specific to the public art collection, placing
D
a portal on each artwork that links to the Public Art Program website, artist’s
website, and other resources.

•  rovide information about the Public Art Program as a component of the

P
Palmdale Partners Academy.

•  ake presentations on Palmdale’s public art to neighborhood organizations,

M
civic groups, businesses, and City staff.

•  ollaborate with local educational institutions, arts organizations, and

C
museums to co-host educational programs, workshops, and lectures by
sharing venues, professional resources, and funding.

46
E. PARTNERSHIPS
Palmdale’s brand declares that the City is “All About Partnerships.” Collaborating with
Palmdale’s community organizations, citizen groups, and the private sector on public
art projects and other special initiatives will leverage financial and staff resources
to deliver greater quality, value, and a broader range of arts experiences than would
otherwise be possible. Partnerships engender cooperation while increasing public
awareness, understanding, and appreciation for public art. This is key to Palmdale’s
evolution and success as an arts and culture community.

Cultural Tourism
Cultural tourism is consistently ranked as one of the top three travel activities in the
United States. Culture and creative industries are increasingly being used to promote
destinations and enhance their competitiveness and attractiveness. Many locations
are now actively highlighting their tangible and intangible cultural assets as a means
of developing comparative advantages in an increasingly competitive tourism
marketplace, and to create local distinctiveness in the face of globalization.

The arts and business communities could partner to create a series of pedestrian,
bike, and vehicular itineraries and an interactive map that includes arts and culture
events, public artwork, artist studios and performance spaces, and other attractions
and activities. These itineraries could be promoted on the Palmdale Chamber of
Commerce and City of Palmdale websites.

Aerospace Industry
Palmdale is home to a high-profile aerospace industry. Companies including
Northrop Grumman, Lockheed Martin, NASA, and The Boeing Company could partner
with the City and the local arts community by providing professional expertise,
materials donation, fiscal sponsorship, and venues for the exhibition and presentation
of art.

47
Antelope Valley Organizations and Businesses
Artists who participated in focus groups, individual interviews, and community
forums consistently asserted that they identify as Antelope Valley artists, stating that
if anything can bring communities together, it’s the arts. To that end, the following
ideas emerged:

•  tilize the Antelope Valley Indian Museum as a site for rotating temporary
U
installations by artists who live and work in Antelope Valley.

•  oordinate artwork exhibitions, installations, and artist salons that could

C
occur simultaneously at the proposed Municipal Art Center and the Lancaster
Museum.

•  artner with the Antelope Valley Transit Authority for artist-designed bus wraps
P
and streetscape improvements to Palmdale Boulevard.

F. SOCIAL MEDIA
As technology continues to advance, it is important for the Pubic Art Program to
retain a healthy online presence. The Public Art Program can establish itself as a
valuable resource by participating in a variety of social media platforms to raise
awareness of upcoming artist opportunities, exhibitions, and special public art events
and activities.

Facebook, Instagram, Twitter

Announcements, events and links can be shared through social media platforms
like Facebook fan page, Instagram, and Twitter. These platforms allow a page
owner to trace metrics around posted content tracking growth and demographics,
consumption of content and creation of content. Hosting these accounts is free.
However, minimal funds are required to use Facebook as a marketing tool.

Editorial Calendar
Organized by date, an editorial calendar could include interviews with artists,
developers, designers, and others championing public art in Palmdale, images of
public art in progress, artwork dedication dates, and other events. Members of the
community could submit photos of art that inspire them from places in and outside
Palmdale. Potential partners include Palmdale High SLAM and Advanced Placement
art classes as well as arts ambassadors in the community who can help maintain the
calendar.

48
Video
The City’s art collection, temporary and permanent installations, and special events
can be brought to life through video sharing channels like YouTube and Vimeo,
allowing the public to discover and share original videos. A Public Art Program
channel can be established on these networks to allow a page owner to track
demographics and consumption of content. Content can be searched through a
database; viewers can ‘like’ and comment on favorite videos, share videos, embed
videos on their own personal social media networks and blogs, and subscribe to the
Public Art Program channel for a one source video feed.

Smart Phone
According to Pew Research, over 60% of the U.S. population uses smart phones. The
Public Art Program could develop a smart phone application specific to the City’s
art collection with links to information on the artists. A portal could be placed on
each artwork that links to the Public Art Program website, artist’s website, and other
resources utilizing Quick Response l or GPS coordinates. These same resources could
link important cultural sites and cultural assets like museums, galleries, theaters, and
performance venues.

•  sing Palmdale-based Owlized, a location-based virtual reality kiosk, people

U
could envision artwork and art experiences taking place in vacant lots,
storefronts, streetscapes, and more.

•  trip planner and travel guide, Time Out allows its users to discover and
A
explore new places though an enhanced location-based search. Visual and
performing arts events in Palmdale could be added to help travelers plan their
visits.

Photographs
Photographs of the artwork fabrication and installation processes, artist studios, the
City’s artwork collection, special exhibitions, and other activities can be posted on
image sharing sites like Flickr, Pinterest, and Snapchat for the public to view. These
social media platforms allow users to keep up with their friends from Facebook and
Twitter, discover new places and hotspots, share photos and trip recommendations
with friends, and pick-up rewards from places where they check-in.

49
VII. OPPORTUNITIES FOR LOCAL
ARTISTS
RECOMMENDATION 12
Attract and retain artists in Palmdale by providing support and opportunities
to emerging, mid-career, and established local artists.

The City recognizes the value added to the social and economic quality of life when
artists live and work in the community. Building a strong local arts community is key
to creating meaningful, authentic, and culturally appropriate artworks in the public
realm. To that end, the recently developed Courson Arts Colony residential units offer
maker and exhibition spaces for local artists.

Palmdale has a diverse and robust community of local artists who are well positioned
to contribute to public art integrated into placemaking efforts and as a tool for
community empowerment. As the Public Art Program develops scopes of work for
new projects, it can reach out to local artists from diverse disciplines to create work
and pair experienced public artists as mentors to artists who previously have not
worked in the public realm. It also can create an artist training program to build a
roster of artists who have skills in applied art and leading community engagement.
Local artists also can be tapped for the following projects:

50
Neighborhood Engagement Projects

Creating public art that is inclusive and

relevant to underserved neighborhoods should
begin with hands-on artist-led community
engagement projects, focused on identifying
history, culture, and spaces that neighborhoods
value, and locations for public art. These projects
should follow two-steps: (1) a process that
engages community members in identifying a
scope of work for an artist and (2) selection of
an artist or artist team to create a project that
responds to that scope of work.

Streetscape Improvement Projects

Local artists can be tasked with creating sidewalk improvements, street furniture,
and banners that help reinforce neighborhood identity. Other ideas generated by
residents and business owners include artist-designed utility boxes, cell towers,
crosswalks, bus stops, playgrounds, and bike trails.

Vacant Storef ront Projects

Local artists have cited a lack of places to show their work. The Public Art Program
can partner with the private sector to launch a project to display art installations and
exhibits in empty downtown storefronts.

Artist in Residencies
An Artist in Residence (AIR) program provides the opportunity for an artist to work
in a specified environment for an extended period. AIR encourages artists to explore
new working methods, create arts-rich learning environments, and develop socially
engaging, interactive art experiences in community settings including neighborhood
schools, recreation centers, and libraries.

Mentorships
Emerging artists have few professional development opportunities in the field
of public art. A value expressed repeatedly by those interviewed is the creation
of opportunities to nurture artists who live or maintain studios in Palmdale. A
Mentorship Program offers a resource to local artists by educating them about the
public art process through direct hands-on experience. Emerging artists are given
the opportunity to work with established public artists on a Capital Improvement
Program project from inception to completion and earn a stipend. Emerging artists
shadow the project artist in studio, meetings, and presentations.

51
Traditional Arts Apprenticeship
Offer an apprenticeship program focused on traditional forms of expression that have
been an important part of Palmdale for many years. Non-profit arts organizations
and artist groups working to sustain, develop, and perpetuate community-
based traditional art forms can be important developers of these programs. An
apprenticeship program enables master traditional artists to pass along their unique
knowledge and skills to promising novice artists. The master artist would work with
the apprentice on a one-on-one basis over an agreed upon period of time to teach
specific aspects of the tradition.

Professional Development
Workshops and lectures can be offered to artists to support, launch, and sustain
successful careers. Through workshops and lectures, artists can learn best practices in
the business of being an artist including how-to sessions on responding to Requests
for Qualification, Requests for Proposals, understanding application processes and
contract issues, forming collaborations, and other relevant issues. This also is an
opportunity for established artists and leaders in the arts to be brought to Palmdale
to conduct workshops and make presentations.

An Information for Artists page could be added to the Public Art Program website
that identifies current public art project opportunities, explains how to apply for
public art projects, and provides information on public art resources for artists.
An excellent model is the public art website for the City of San Francisco at www.
sfartscommission.org/pubartcollection/public-art-resources-forartists

52
VIII. DEMONSTRATION PROJECTS
Options for City-initiated public art projects are listed below and categorized as
Permanent Art and Temporary and Participatory Art. The decision to implement any
of these projects rests with the Public Art Program, Public Art Commission, Mayor,
and City Council.

A. PERMANENT ART
Gateways
Artwork strategically located at entrances into Palmdale emphasize a sense of arrival
and become landmarks that serve as way-finding elements to welcome visitors and
draw them to business centers. This also addresses commuters, one of the defining
demographics in Palmdale. Primary gateway sites have been identified on SR 14 at
Pearblossom Highway, Avenue S, Palmdale Boulevard, and Rancho Vista Boulevard.

B. TEMPORARY AND PARTICIPATORY ART

Art in the Parks
Work with groups interested in commissioning an artist to develop an interactive
temporary artwork to coincide with a community celebration or special event at
a neighborhood park or series of parks or trail sites. Designed to encourage active
participation, the event would engage local residents, institutions, and community
groups in the planning, construction, and design of installations and performances.
Identify three neighborhood and/or community parks to participate in this
demonstration project.

Rotating Art in Selected Roundabouts

Designate a highly visible median for the display of sculpture for a 12-month period.
The roundabout at Auto Center Drive was cited by the community as an opportunity
to partner with the surrounding business owners. For the demonstration project,
retain the services of a qualified consultant or curator to create a short list of potential
artists for the Public Art Commission to consider.

Special Events
Commission temporary interactive artwork to help mitigate construction zones, street
and sidewalk closures, add to the festivities at a ribbon cutting, or to attract people to
other special events. Opportunities include events such as Kaleidoscope Art & Music
Festival; Inkwell: Palmdale’s Book & Art Festival; and various performance series.

53
IX. NATIONAL PUBLIC ART
RESOURCES
Notable resources for publications, readings, and materials relevant to the public art
field include the following:

Americans for the Arts Public Art Network

www.americansforthearts.org/by-program/networks-and-councils/public-art-network

54
Americans for the Arts’ Public Art Network develops professional services for the
broad array of individuals and organizations engaged in expanding the field of public
art. It is the only professional network in the United States dedicated to advancing
public art programs and projects through advocacy, policy, and information
resources. The Public Art Network connects the field by stimulating dialogue,
discussing critical issues, developing public art products and services, and providing
information through the website and the Public Art Network Listserv.

Public Art Review

forecastpublicart.org/

Public Art Review is the only national journal focused on exploring the many
dimensions of public art. Each issue provides opinion, analysis, criticism, and
discussion about the nature and trends in public art. Published semiannually since
1989, its readership includes artists, architects, curators, city planners, educators,
design professionals, program administrators, community leaders, writers, and
students.

Public Art Dialogue

publicartdialogue.org/journal

Public Art Dialogue is a scholarly journal that serves as a forum for critical discourse
and commentary about the practice of public art. Most issues are theme-based and
each features both peer-reviewed articles and artists’ projects.

Public Art Archive

www.publicartarchive.org/browse-by/location

The Public Art Archive is a nationwide database administered by the Western States
Arts Foundation (WESTAF) that features public art collections throughout the United
States. This is a paid service in which agencies track data and often link their City web
content to this site for images and details of the collection. Public Art Archive offers
services that include web-based RFP and RFQ artist calls, and an extensive collection
management system.

55
CultureNOW
culturenow.org/

This not-for-profit organization was founded in 2002 and is powered by a network

of professionals — scholars, artists, architects, urban planners, educators, curators,
historians — who generously volunteer their time and expertise to advance its
mission. Currently, over 75 public art collections across the United States are
collaborating with cultureNOW to create a digital National Gallery of art and
architecture in the public realm, in other words a “Museum Without Walls.” Already
one of the largest and most comprehensive compendiums in the country, the online
collection encompasses more than 11,000 sites and 21,000 images supplemented
by over 1,050 podcasts by artists, architects, historians, and curators. In addition,
cultureNOW has adopted GPS technology to develop a sophisticated iPhone app that
serves as a guidebook to the Museum Without Walls.

CaFÉ / Call for Entry and Application Management for the Arts
www.callforentry.org/

CaFÉ is a web-based call for entry solution and is accessible online 24 hours a day,
7 days a week. It is designed to connect artists to arts organizations. No software
installation is required. If someone is traveling or reviewers are located across the
country, users can access their application and jury administration account from any
location using their admin credentials.

56
APPENDICES

57
APPENDICES
TABLE OF CONTENTS PAGE

A. List of Participants 59

B. Artist-led Community Outreach Report and Survey Results 64

C. Online Public Art Survey Results 70

D.  roposed Percent for Art in Municipal

P 77
and Private Development Ordinance

E. Proposed Artist and Artwork Selection Guidelines 92

F. Methods and Materials Form 98

G. Proposed Deaccession of Artwork Policy 99

H. Proposed Donations and Loans of Artwork Policy 106

I. Proposed Memorials Policy and Guidelines 113

J. Proposed Mural Policy and Guidelines 120

K. Proposed Temporary Artwork Policy 125

58
APPENDIX A
LIST OF PARTICIPANTS
OUTREACH ACTIVITIES

Kaleidoscope Art & Music Festival October 14, 2017

Mobile Perception Lab

Children’s Springfest & Egg Hunt March 24, 2018 (Council District 2)

Legacy Commons for Active Seniors March 28, 2018 (Council District 1)

Domenic Massari Park March 31, 2018 (Council District 4)

Oasis Recreation Center April 21, 2018 (Council District 3)

Online Survey October 2017-February 2018

City Council Workshop May 15, 2018

Building Industry Association November 26, 2019

Los Angeles/Ventura Chapter

COMMUNITY FORUMS

February 6, 2018 Legacy Commons for Active Seniors

April 21, 2018 Chimbole Cultural Center

FOCUS GROUPS

October 10, 2017 Artist Focus Group

Chronic Tacos

January 9, 2018 Hospitality & Tourism Meeting

Palmdale City Hall

59
February 7, 2018 Antelope Valley Union High School District Art Teachers Teachers
Professional Development Conference
Antelope Valley Adult Education, Lancaster

May 12, 2018 Artist Focus Group

Antelope Valley College

CITY STAFF PARTICIPANTS

A series of departmental focus groups as well as individual interviews were conducted

with the following:

• Amil Naef, Public Works

• Anne Ambrose, Administration

• Austin Bishop, City Council

• Becky Smith, City Clerk

• Ben Lucha, Public Works

• Cheryl Hughes, Public Works

• Chris Cleaves, Maintenance

• Dave Reader, Maintenance

• Elvira DeJesus, Payroll

• Eric Dombrowski, Parks and Recreation

• Garrett Rickert, Human Resources

• Hamed Jones, Finance

• James C. Ledford, City Council

• Jennifer Tallakson, Parks and Recreation

• Jim Cooksey, Maintenance

• Jim Purtee, Administration

• Joel Kefuss, Maintenance

• John Mlynar, Communications

• Keri Smith, Parks and Recreation

60
 • Lee Swain, Public Works

• Lynn Glidden, Public Works

• Mark Oyler, Economic and Community Development

• Megan Taggart, Planning

• Mica Schuler, Public Works

• Mike Miller, Neighborhood Services

• Monica Luna, Neighborhood Services

• Patricia Nevarez, Human Resources

• Paula Leszkiewicz, Parks and Recreation

• Randy Autry, Parks and Recreation

• Rob Bruce, Planning

• Ronald Schaffer, LA County Sheriff’s Department

• Ruth Oschmann, Neighborhood Services

• Ryan Herman, Parks and Recreation

• Saynne Redifer, Administration

• Sarah Scott, Neighborhood Services

• Sophia Reyes, Neighborhood Services

• Stephanie Autry, Maintenance

• Stuart Thompson, Information Technology

• Terri-Lei Wheeler, Neighborhood Services

• Trish Jones, Community Programs

• Willy Gallindo, Finance

• Wm. Matthew Ditzhazy, Administration

INTERVIEWS

• Mayen Alcantara, Los Angeles County Arts Commission

• Robert Benitez, Lancaster Museum of Art and History

61
 • Andi Campognone, Lancaster Museum of Art and History

• Margo Carunida, Antelope Valley Art

• Sandy Corrales, Antelope Valley Hispanic Chamber of Commerce

• Michelle Espinosa Coulter, Meta Housing Corporation

•  ernita Scott-Flanton, Antelope Valley African American Chamber of

V
Commerce

• Roland Genick, Parsons

• Don Hoperich, Chamber of Commerce of the Greater Antelope Valley

• Bridget Howitt, Knight High School

• Jennifer Ingram, Meta Housing Corporation

• Gregg Johnson, Los Angeles County Arts Commission

• Pauline Kanako Kamiyama, Los Angeles County Arts Commission

• Yoab Martinez, La Prensa

• Larissa Nickel, Artist

• Sarah Conley Odenkirk, ArtConverge

• Grace Ramirez-Gaston, Los Angeles County Arts Commission

• Jean Rhyne, Antelope Valley Indian Museum

• Peggy Ronning, Antelope Valley Indian Museum

• Carol and Michael Ross

• James Stockdale, Knight High School

• Darrel Walters, Friends of the Antelope Valley Indian Museum

ARTIST FOCUS GROUP PARTICIPANTS

• Adrian Abrego

• Nat Acosta

• Trisha Aguirre

• Miguel Ayak

• Selina Barraza

62
• Ty Brownlee

• Paul Campos

• Margo Carunida

• Haley Crow

• John Zender Estrada

• David Gutierrez

• Jentina Guy

• Tina Hadden

• Bill Hawley

• Danny Hernandez

• Jennifer Ing-aram

• Noelle Martin

• Marcelles Murdock

• Michelle Murdock

• Larissa Nickel

• Stephen Rivas

• Andre Sandsness

• Maggie SanFilippo

• Juan Solis

• Darrel Walters

63
APPENDIX B
ARTIST-LED COMMUNITY ENGAGEMENT REPORT
NICK RODRIGUES, ARTIST
INTRO

The purpose of this report is to provide a firsthand account

of the types of interactions that took place in our “Mobile
Perception Unit,” as well as to detail the data that the
project gathered from the community. I am excited to
share accounts of the open-minded, enthusiastic citizens of
Palmdale, who love the city for all its unique and incredible
features, but also craved a discourse about some of the
challenges their city faces. Using art as a vehicle to discuss
their city, we delved into deep critical discussion with an
overwhelmingly positive tone, often in under a minute.
I feel strongly these interactions foreshadow the type of
productive dialogue that will take place when we introduce

public art to the city. I enjoyed meeting all these folks and I am grateful for this
opportunity to contribute to the future of public art in Palmdale.

“Would you like to help shape the future of public art in Palmdale?”

This was our basic pitch to people passing by. Those who responded where asked
to approach a table and sign up to receive their special badge granting “Top-Secret
Clearance“ to enter the tent. This was our way of gathering initial data points like name,
age and district. The participants then entered our “Mobile Perception Unit“ and were
greeted by one of our team members.

Next, we informed the citizens that the city of Palmdale will be starting several large
construction projects and a portion of the budgets will be allocated to public art. Then,
the artist or one of the students would walk them through our 17 categories of public
art, describing specific examples for each. At the end of our brief presentation they
would be asked to choose 2 categories to recommend for the city of Palmdale’s next
public art.

I take pride in saying that every single person who entered the “Mobile Perception
Unit” learned something new about public art — and that after our interactions
many of them chose categories that they had just heard about for the first time!

64
Simultaneously, we were learning about the interests and concerns of the everyday
people of Palmdale, which I will now share with you.

OUR MISSION

1. Expand people’s definition of Public Art.

2. D
 etermine the top two categories of Public Art the people of Palmdale want
to see.

MOBILE PERCEPTION UNIT: DAY 1

March 24, 2018

Location: Springfest & Egg Hunt held at the Palmdale Amphitheater

As we arrived, families were lined up at the door eager to

enter the annual Springfest and Easter Egg Hunt at the
Palmdale Amphitheater.

Several people mentioned a desire to have more events for

the children. I think most people were thinking that public
art needs to be permanent, so when they realized that
performances or events could also be considered public
art, they were quite excited.

Many kids and adults used the chalk markers provided to sketch ideas for artworks.
The little ones couldn’t seem to contain their excitement about the large-scale
projects. One even interrupted my speech to shout, “It’s King Kong!” referring to the
big blue bear we superimposed onto a hillside. When kids are that excited about art,
you don’t even mind starting over from the top.

One participant was excited about James Turrell’s 40-year effort to build Roden Crater
into a dormant cinder cone. She mentioned the location of the Devils Punch bowl as a
potential site for a work of similar magnitude.

Another participant observed that the windows of the courthouse actually frame the
landscape surrounding it quite nicely so sculptural items could be strategically placed
in the view from those windows.

Another person mentioned The Musical Road which was actually a TV ad for Honda
where part of a road, which when driven over causes a tactile vibration and audible
rumbling transmitted through the wheels into the car body in the form of a melody.

65
The road was left for the public to use and, despite being a commercial venture, still
contained many of the elements needed to make good, interactive public art.

We had participants entering the tent nonstop from beginning till end. It was mostly
families coming in groups of three or four. In total we had 299 participants that day!
Hands down the general feeling was that the unique landscape of Palmdale needs to
be showcased in whatever project is chosen. The leading Categories where Land Art
and Sky Art.

MOBILE PERCEPTION UNIT: DAY 2

March 28, 2018

Location: Easter Parade held at Legacy Commons Home
for Active Seniors

We set up the “Mobile Perception Unit” right in the

main lobby in front of the desk. Before we even finished
setting it up, we had people asking us questions
and wanting to enter. I absolutely adore the folks at
Legacy Commons. They were having a talent show
which included several impressive displays of multi-cultural fabulousness, such as a
Michael Jackson impersonator (who also did Elvis) and traditional Japanese dance
in authentic costume. Many of the seniors at Legacy we’re artist themselves, which
I could have guessed by observing their amazing outfits. I had many conversations
about their creative practices.
Many of the seniors actually experienced Christo
and Jeanne-Claude’s “The Umbrellas” in person.
How cool is that? Several seniors actually
remember it and even called it out before I
mentioned it.

Somebody also mentioned the musical road.

In general, after learning about the vast range
of categories of public art, the top two leading
The Umbrellas
categories were once again Land Art and Sky Art.
Japan-USA
Nearly everyone who entered the tent learned
1984-91
something new about public art! I also learned
alot from these great folks.
The Umbrellas, a temporary work of art
realized in two countries at the same time,
reflected the similarities and differences in
the ways of life and the use of the land in two
inland valleys in Japan and the USA.

66
MOBILE PERCEPTION UNIT: DAY 3

March 31, 2018

Location: Domenic Massari Park

We pulled the truck up next to the skatepark and began to set up. By now the
students from Knight High School are veteran hands when it comes to setting up the
“Mobile Perception Unit.”

I was excited to be positioned next to the skatepark. As a young skateboarder myself

growing up I developed a different way to see public space. Instead of seeing a
pothole in a parking lot, you see a “gap” that you can ollie over. Instead of seeing a
fractured section of sidewalk pushed up by a tree root, you see a launch ramp. This
keen eye that skateboarders develop is exactly what we want to cultivate in our
budding public art specialists. It comes as no surprise that in my adult life many of
the architects and artists I work with professionally were previously skateboarders
themselves. I notice the same type of spatial development in rock climbers and other
sports that involve the creative negotiation of space.

I sensed most of the folks at this park were families

and groups picnicking or attending birthday parties
as well as sporting events. A few big groups of kids
came through and were very engaged with the
creative process. This one particular young man came
back several times. He was fascinated with Projection
Art and Fountains!

George Davis, a local artist, stopped by and

mentioned that he was very interested and would
love to be involved. We talked about the challenges of getting people in Palmdale to
come out to art events. People again mentioned The Musical Road.

MOBILE PERCEPTION UNIT: DAY 4

April 21, 2018

Location: Oasis Recreation Center/ DryTown Water Park

We set up outside while several sporting events were taking place. Both the staff and
many sports fans entered the tent. By now the students knew the drill. They were
experts at describing the categories of public art.

Again, many folks remembered Christos and Jeanne-Claude umbrellas. By now i

was really beginning to enjoy observing the shift that was taking place in people’s

67
perception of what public art needs to be. Most people entering the tent were not aware
of the category “Social Practice” however as soon as i explained it they would say “We
need more of that!”

I would explain that social practice is “when an artist works with community members
and the interactions that they have is the work. Often there is no tangible object
produced.” The example that I showed was Mierle Laderman Ukeles project called Touch
Sanitation. In the work, the artist spent a year visiting each of the New York Department
of Sanitation’s districts to shake the hand of every one of the 8,500 workers who would
accept the gesture.

There was some downtime in between

games, so I asked the students for their
opinions.

We had a visit from a particularly

passionate young artist, who had recently
relocated here from Los Angeles. He had
just attended a community meeting
in Palmdale and was looking to get
involved. He was very enthused about
sound art and had an interesting idea
to derive music from native plants. We
talked a about David Burns’ project
Mierle Laderman Ukeles in her “Touch Sanitation
where he set up a piano so that each key
Performance,” from 1979-80.Credit Robin
would sonically activate a different part of
Holland/Courtesy Ronald Feldman Fine Arts
a building.

After our last outreach event, we went out for a wrap up lunch to reflect on our
project. I asked again what they would like to see in Palmdale and ultimately
the response was more things to do. We talked about plans for college and work
programs.

CONCLUSION

After four events, our main takeaway was that the people of Palmdale are very open
to the idea of Public Art. They love their city and would love to attract more visitors to
see what makes it so uniquely beautiful. Land Art and Sky Art seem to have won the
day but based on people’s fond memories of The Musical Road and The Umbrellas,
it seems that they’ll be thrilled with anything that engages their creative sides. My
recommendation is to make the elements that are unique to Palmdale the focus of
this project. You really can’t go wrong in a city full of wonderful, open-minded folks
like these.

68
 Sky art 77 19%
Sky art 77 19% Earthworks 48 11.5
Earthworks 48 11.5 Fountains 39 9.5
Fountains 39 9.5
Sculpture 38 9
Sculpture 38 9
Installations 28 7 Installations 28 7
Technology 24 6 Technology 24 6
Interactive 24 6 Interactive 24 6
Kinetic 21 5
Kinetic 21 5
Monuments 17 4
Performance 16 4 Monuments 17 4
Murals 16 4 Performance 16 4
Projections 14 3 Murals 16 4
Street art 13 3
Projections 14 3
Social practice 12 3
Sound 12 3 Street art 13 3
Happenings 7 1.5 Social practice 12 3
Infrastructure 6 1.5 Sound 12 3
Happenings 7 1.5
TOTAL 412
Infrastructure 6 1.5

TOTAL 412

69
 APPENDIX C
ONLINE PUBLIC ART SURVEY RESULTS

PUBLIC ART SURVEY RESULTS

What is the first thing that comes to mind when you think about
Palmdale?
Landscape (Desert, Joshua Trees, Yucca Trees, Poppies, Lake) 270

Sense of Home/Pride (Close Family, Friends, Hometown) 67

Weather (Summer nights, cool breeze, wind, heat, snow, seasons) 57

Aerospace (History, Military, Northrop, Lockheed) 56

Diversity (Cultures, Friendly People, Community, Multi-Cultural) 52

Ammenities (Restaurants, Shopping, Diverse Businesses - Small & Large) 45

Views (Mountains, Sunsets, Sunrises, Stars, Foothills, Blue Skies) 43

Family Friendly 27

Nature (Wildlife, beauty, clean air) 19

Room for Growth/Development 17

Recreation (Parks, Events, Waterpark, Ampitheater, Entertainment,… 17

Growing Population 17

Peaceful /Quiet/Open 17

Small Town Feel 15

Affordable (low cost of living, housing) 14

Location 12

City of Palmdale Facilities ( Cultural Center, City Hall, Chimbole Statue,… 6

Community Leaders 2

0 50 100 150 200 250 300

DATA DATE RANGE: October 1, 2017 to April 30, 2018

70
PUBLIC ART SURVEY RESULTS

What Makes Palmdale Unique

What Makes Palmdale Unique
Diversity (Cultures, Friendly People, Community, Multi-Cultural) 126

Landscape (Desert, Joshua Trees, Yucca Trees, Poppies, Lake) 124

Diversity (Cultures, Friendly People, Community, Multi-Cultural) 126

Aerospace (History, Military, Northrop, Lockheed) 101

Landscape (Desert, Joshua Trees, Yucca Trees, Poppies, Lake) 124

Views (Mountains, Sunsets, Sunrises, Stars, Foothills, Blue Skies) 68

Aerospace (History, Military, Northrop, Lockheed) 101

Weather (Summer nights, cool breeze, wind, heat, snow, seasons) 61

Views (Mountains, Sunsets, Sunrises, Stars, Foothills, Blue Skies) 68
Recreation (Parks, Events, Waterpark, Ampitheater, Entertainment, Hiking,
Weather (Summer nights, cool breeze, wind, heat, snow, seasons) 59
Programs) 61

Recreation (Parks, Events, Waterpark, Ampitheater, Entertainment,

OpenHiking,
Space 54
59
Programs)
Ammenities (Restaurants, Shopping, Diverse Businesses - Small & Large) 51
Open Space 54

Location 45
Ammenities (Restaurants, Shopping, Diverse Businesses - Small & Large) 51

Affordable (low cost of living, housing) 45

Location 45

Nature (Wildlife, beauty, clean air) 39

Affordable (low cost of living, housing) 45

Small Town Feel 36

Nature (Wildlife, beauty, clean air) 39

Peaceful/Quiet 26
Small Town Feel 36

0 20 40 60 80 100 120 140

Peaceful/Quiet 26
PUBLIC ART SURVEY RESULTS
0 20 40 60 80 100 120 140
PUBLIC ART SURVEY RESULTS

DATA DATE RANGE: October 1, 2017 to April 30, 2018

When you have visitors, where do you take them to show them
When you have visitors, where do
what Palmdale you
is all take them
about? to show
DATA DATE them
RANGE: October 1, 2017 to April 30, 2018

what Palmdale is all about?

Antelope Valley Mall 200
Antelope Valley Mall 200
Restaurants and Breweries 172
Restaurants and Breweries 172
Airparks (Joe Davis, Plant 42) 141
Airparks (Joe Davis, Plant 42) 141
Recreation Facilities, (Best of the West, Parks, POP, MKPRC, Etc.) 97
Recreation Facilities, (Best of the West, Parks, POP, MKPRC, Etc.) 97
View Landscape (Desert, Joshua Trees, Yucca Trees, Lake, Poppy Reserve) 82
View Landscape (Desert, Joshua Trees, Yucca Trees, Lake, Poppy Reserve) 82
Nature Viewing (Mountains, Sunsets, Sunrises, Stars, Foothills, Blue Skies) 75
Nature Viewing
Hiking, (Mountains, Sunsets,
Walking, Biking, Sunrises,
and Horse trailsStars, Foothills,
(Barrel Springs,Blue Skies)
Devil's 75
69
Punchbowl,etc)
Hiking, Walking, Biking, and Horse trails (Barrel Springs, Devil's
Community Events (Spring Fest, Music in the Parks, Concert Series, Movies 69
Punchbowl,etc) 67
in the Parks, Movie Night, etc.)
Community Events (Spring Fest, Music in the Parks, Concert Series, Movies
67
in the Parks, Movie Night, Palmdale
etc.) Amphitheater 36
Palmdale Amphitheater 36
Dry Town Water Park 20
Dry Town Water Park 20
Palmdale Playhouse 19
City of Palmdale Facilities ( Cultural Center, City Hall, Palmdale
ChimbolePlayhouse
Statue, 19
18
Library, Poncitlan Square etc.)
City of Palmdale Facilities ( Cultural Center, City Hall, Chimbole Statue,
18
Library, Poncitlan Square etc.) Aqueduct 12
Aqueduct 12
Antelope Valley Indian Museum 6
Antelope Valley Indian Museum 6
Movie Theater 4
Movie Theater 4
0 50 100 150 200 250
0 50 100 150 200 250

DATA DATE RANGE: October 1, 2017 to April 30, 2018

DATA DATE RANGE: October 1, 2017 to April 30, 2018

71
 PUBLIC ART SURVEY RESULTS

619
Are you aware that the City of Palmdale has a Public Art
Are you aware thatProgram?
the City of Palmdale has a Public Art
Yes Program?
No

Yes No
619

619

207

207

Yes No
207

Yes No

PUBLIC ART SURVEY RESULTS DATA DATE RANGE: October 1, 2017 to April 30, 2018

Yes No

What do you think is the role of public art in Palmdale? DATA DATE RANGE: October 1, 2017 to April 30, 2018

Nurture art in our youth 461

Promote pride in Palmdale 443

DATA DATE RANGE: October 1, 2017 to April 30, 2018

Support the growth of the local arts community 439

Provide opportunities for people to experience art that enriches their lives 432

Bring a sense of whimsy and delight to everyday spaces 346

Help build and reinforce the City of Palmdale's identity 341

Draw attention to the natural environment and environmental issues… 265

Create community interaction and strengthen social networks and… 253

Encourage economic development 243

Welcome people to Palmdale and let them know they have arrived 226

Anchor community gathering places 210

Position Palmdale as an arts destination 208

Support tourism 190

Explore and provide information about facets of Palmdale's history 185

Help build and reinforce distinct neighborhood identities 142

Enhance the idenity of community institutions and civic buildings 139

Open up conversations about issues facing the community 125

0 50 100 150 200 250 300 350 400 450 500

DATA DATE RANGE: October 1, 2017 to April 30, 2018

72
 What are priority sites or opportunities for the Public Art Program
PUBLIC ART SURVEY RESULTS

to consider for Palmdale?

What are priority sites or opportunities for the Public Art Program
Park and open spaces 517
to consider for Palmdale?
Opportunities for local artists, makers, and entrepreneurs 444
Park and open spaces 517

Murals 390
Opportunities for local artists, makers, and entrepreneurs 444

Gateways into the City of Palmdale 344

Murals 390

Hands-on community art-making experiences 327

Gateways into the City of Palmdale 344

Art in private developments 196

Hands-on community art-making experiences 327

Art -related lectures, presentations, and other educational activities 189

Art in private developments 196

Temporary art projects 156

Art -related lectures, presentations, and other educational activities 189

0 100 200 300 400 500 600

Temporary art projects 156

PUBLIC ART SURVEY RESULTS 0 100 200 300 400 500 600

PUBLIC ART SURVEY RESULTS DATA DATE RANGE: October 1, 2017 to April 30, 2018

What locations throughout the City of Palmdale (downtown,

neighborhoods, etc.)
What locations interest you
throughout the most
City offor locating
Palmdale
DATAnew public
DATE RANGE:
(downtown, art
October 1, 2017 to April 30, 2018

neighborhoods, etc.) interestprojects?

you most for locating new public art
Recreation Facilities, (BOTW, DryTown, Amphitheater, Parks, POP, MKPRC), projects? 230
Downtown 114
Recreation Facilities, (BOTW, DryTown, Amphitheater, Parks, POP, MKPRC), 230
Local Businesses (Restaurants, Mall, Store Fronts, Hotels) 114
Downtown 114
City of Palmdale Facilities (Cultural Center, City Hall, Chimbole Statue,… 86
Local Businesses (Restaurants, Mall, Store Fronts, Hotels) 114
Traffic areas (Freeways, On/off Ramps, Sierra Highway, Round-Abouts,) 60
City of Palmdale Facilities (Cultural Center, City Hall, Chimbole Statue,… 86
Along Palmdale Bvld. 55
Traffic areas (Freeways, On/off Ramps, Sierra Highway, Round-Abouts,) 60
Neighborhoods 39
Along Palmdale Bvld. 55
Local Schools 33
Neighborhoods 39
East Palmdale 33
Local Schools 33
Populated/Busy intersection (25th St., 47th St., Ave. P) 31
East Palmdale 33
Anywhere 29
Populated/Busy intersection (25th St., 47th St., Ave. P) 31
Entrance/Exits Points to Palmdale 26
Anywhere 29
Within Natural Environment 19
Entrance/Exits Points to Palmdale 26
Public Transportation areas (Train Station, Metro Link, Bus Stops) 16
Within Natural Environment 19
West Palmdale 15
Public Transportation areas (Train Station, Metro Link, Bus Stops) 16
Aerospace Areas (Airpark, Plant 42) 10
West Palmdale 15
0 50 100 150 200 250
Aerospace Areas (Airpark, Plant 42) 10

0 50 100 150 200 250

DATA DATE RANGE: October 1, 2017 to April 30, 2018

DATA DATE RANGE: October 1, 2017 to April 30, 2018

73
PUBLIC ART SURVEY RESULTS

Do you live in Palmdale?

3%
If so, for how long?
20% 12%

Less than 1 year

1 to 5 years
3% 12%
6 to 10 years
20% 12%
More than 10 years
I do not live in Palmdale
Less than 1 year
1 to 5 years
12%
6 to 10 years
More than 10 years
53% I do not live in Palmdale

53%

PUBLIC ART SURVEY RESULTS

DATA DATE RANGE: October 1, 2017 to April 30, 2018

PUBLIC ART SURVEY RESULTS

What area do you live in?

Leona
Littlerock
Valley
1%
What area do you
Lake
Elizabeth
1% live in?Techachapi
Rosamond
Leona
0% Littlerock Acton 0% 0%
Valley
Lake Los Angeles Lake DATA DATE RANGE: October 1, 2017 to April 30, 2018
1% 0%
1% 1% Elizabeth Rosamond Techachapi
Quartzhill 0% Acton 0% 0%
Doesn't Live in Palmdale Lake Los Angeles 2% 0%
3% 1%
Central Palmdale Quartzhill
Doesn't Live in Palmdale
3% 2%
3% Anaverde
Central Palmdale
2%
3%
Anaverde
2%
Lancaster
6%
Lancaster West Palmdale
6% 38%
West Palmdale
38%

East Palmdale
43%
East Palmdale
43%

DATA DATE RANGE: October 1, 2017 to April 30, 2018

DATA DATE RANGE: October 1, 2017 to April 30, 2018

74
PUBLIC ART SURVEY RESULTS Do you commute out of Palmdale for work?
Yes No

Do you commute out of Palmdale for work?

552
Yes No

552

245

245

Yes No

PUBLIC ART SURVEY RESULTS

Yes No
PUBLIC ART SURVEY RESULTS
DATA DATE RANGE: October 1, 2017 to April 30, 2018

If you commute, please list the city that you commute to:
DATA DATE RANGE: October 1, 2017 to April 30, 2018
Sylmar Van Nuys
If you commute,Valley
please
Simi
Burbank list
2% the
2% city that you commute to:
West Los Angeles 3% 2% Sylmar Van Nuys
3% Simi
Valley Burbank 2% 2%
NorthWest
Hollywood
Los Angeles 3% 2%
3% Glendale
3%
3% Los Angeles
North Hollywood
22%
3% Glendale
San Fernando3% Los Angeles
4% 22%
San Fernando
Woodland Hills
4%4%
Woodland Hills Northridge
4% 4%
Northridge
4% Lancaster
Edwards Air Force Base 20%
4% Pasadena
5% Lancaster
Edwards Air Force Base 20%
4% Pasadena
Palmdale
5% 5%

Palmdale Santa Clarita/Valencia

5% 18%
Santa Clarita/Valencia
18%

*Less than 1% not depicted in graph

*Less than 1% not depicted in graph

DATA DATE RANGE: October 1, 2017 to April 30, 2018

DATA DATE RANGE: October 1, 2017 to April 30, 2018

75
 Are you involved with art? How?
PUBLIC ART SURVEY RESULTS

Are you involved

2%1%
with art? How?
5%
Not Involved with art
7% 24% Music
Visual Artists/2D
7% 2%1% Writing
5%
Not Involved with art
Student
7% 24% Music
Visual Artists/New Media
7%
Visual
TeacherArtists/2D
7% Writing
Theatre
13% Student
Dance
7%
Visual
Visual Artists/New
Artists/3D Media
7%
Teacher
Arts Administration
8% Theatre
Curator
10%
9% 13% Dance
7%
Visual Artists/3D
Arts Administration
8%
Curator
10%
9%
PUBLIC ART SURVEY RESULTS

What is your age group?

DATA DATE RANGE: October 1, 2017 to April 30, 2018
300 SURVEY RESULTS
PUBLIC ART

250 What is your age group? DATA DATE RANGE: October 1, 2017 to April 30, 2018
300

200

250

150

200

100

150

50

100

0
Younger than 18 18 to 24 25 to 34 35 to 49 50 to 64 65 or older
50

0
Younger than 18 18 to 24 25 to 34 35 to 49 50 to 64 65 or older

DATA DATE RANGE: October 1, 2017 to April 30, 2018

76
DATA DATE RANGE: October 1, 2017 to April 30, 2018
APPENDIX D
PROPOSED CITY OF PALMDALE COUNTY
OF LOS ANGELES, CALIFORNIA ORDINANCE NO. 1534
AN ORDINANCE OF THE CITY COUNCIL OF THE CITY OF PALMDALE
CALIFORNIA , AMENDING THE MUNICIPAL CODE TO INCLUDE ADOPTING
THE CITY OF PALMDALE PUBLIC ART MASTER PLAN, TO INCLUDE PUBLIC
ART COMMISSION, AND PUBLIC ART IN PRIVATE AND MUNICIPAL
DEVELOPMENT
WHEREAS, The development of cultural and artistic resources preserves and improves
the quality of the urban environment and increases real property values;

WHEREAS, Cultural and artistic resources foster economic development and tourism,
revitalize urban areas, and improve the overall business climate by creating a more
desirable community within which to live and work;

WHEREAS, Public art helps to attract and anchor a large and diverse creative sector,
enriching the City of Palmdale’s cultural identity which is a key component of the City
of Palmdale’s economic vitality;

WHEREAS, The incorporation of public art into private and public development
creates a unique sense of community and enhances the quality of such
developments; and,

WHEREAS, The incorporation of public art in private and municipal development

is in the public interest. Public art makes a lasting contribution to the community
and enhances the general welfare of those persons living and working in the City of
Palmdale.

THE CITY COUNCIL OF THE CITY OF PALMDALE DOES ORDAIN AS

FOLLOWS:

SECTION 1

The City Council hereby finds the following terms shall have the following meanings:

A. “ Artist” shall mean an individual generally recognized by critics and peers as

a professional practitioner of the visual arts as judged by the quality of that
professional practitioner’s body of work, educational background, experience,
past public art commissions, sale of works, exhibition record, publications,

77
 and production of artwork. The members of the architectural, engineering,
design, or landscaping firms retained for the design and construction of a
development project covered shall not be considered artists for the purposes of
this ordinance.
B. “ Building Permit Valuation” shall mean those construction costs as declared
on all building permit applications for new construction, but shall not apply to
costs solely attributable to tenant improvements. Building permit applications
shall include, but not be limited to, all building, plumbing, mechanical and
electrical permit applications for the project.
C. “ Capital Improvement Program” or “CIP” shall mean any construction project
of any new City building or facility, renovation of any existing City building or
facility, transportation improvement projects, new parks, and other above-
ground structures, such as bridges, that are financed wholly or in part by
funds appropriated by the City Council. For the purposes of this section, below-
ground sewer and drainage projects are not applicable.
D. “ Developer” shall mean the person or entity that is financially and legally
responsible for the planning, development, and construction of any
development project that may, or may not, be the owner of the subject
property.
E. “ Development Project” shall mean any commercial and residential
development which requires the issuance of a building permit by the City of
Palmdale.
F. “ Public Art Policy Guidelines” or “Guidelines” shall mean the document
adopted by the Public Art Commission that includes standards and procedures
for the implementation and administration of Public Art in accordance with
this ordinance.
G. “ In-Lieu Contribution” shall equal the percentage of building permit valuation
required by this section.
H. “ Maintenance” shall mean those activities required to conserve, repair, or
preserve the integrity of the artwork and setting within which the artwork is
located. Routine maintenance means the basic day-to-day care of the artwork.
I. “ Non-profit Agency” shall mean a corporation organized under Internal
Revenue Code Section 501(c)(3), in good standing with the California
Department of Corporations, and in compliance with any and all federal, state,
and local licensing, reporting, and tax requirements.
J. “ Public Art” as defined herein shall be located in a public place on private
property, or on land or in a building owned by the City of Palmdale, and
encompass all cultures through the broadest possible range of expression,
media, and materials that may be permanent, fixed, temporary or portable,

78
 may be an integral part of a building, facility, or structure, and may be
integrated with the work of other design professionals.

1.  edia: Paintings, sculpture, graphic arts, mosaics, photography, mixed-

M
media, ceramics, light, sound, digital or electronic, environmental,
video, media- based, time-based, web-based and new and emerging
forms.

2. S
 tyle: Functional, realistic, abstract, community-based, and process-
oriented; permanent and temporary

3. G
 enre: Fine art, craft, folk art, performance art. For reference,
performance art is an art form in which a performance is presented
within a fine art context, usually in collaboration with other
interdisciplinary artists. The performance may be live or via media and
the performer may be present or absent.
K. “ Public Art Commission” shall mean the City of Palmdale commission that
advises the City Council on public art policies, procedures, and expenditures
from the Public Art Fund.
L. “ Public Art Fund” means a separate account into which all monies generated
under this policy, derived from gifts or donations for public art, shall be
deposited.
M. “ Public Art Project Plan” shall mean a narrative statement submitted to the
Public Art Coordinator by the private developer or City department under
whose jurisdiction the public art project is located, indicating how the
development will meet the requirements of this ordinance for on-site artwork.
A Public Art Project Plan shall be submitted at the concept and final design
stages of the project.
N. “ Public Art Workplan” shall mean a document developed annually by
the Palmdale Public Art Commission with Public Art project and funding
recommendations that shall be presented to the City Council for approval.
O. “ Public Place” shall mean an area on public or private property that is freely
accessible to and available for use by the general public during normal hours
of business operation consistent with the operation and use of the premises,
including lobbies, meeting spaces, and rooftop gardens.

SECTION 2

The City Council hereby finds the following public art in private and municipal
development project contribution requirements.

79
A. M
 unicipal developments shall devote an amount not less than one percent
(1%) of CIP Construction Costs for municipal development of two-hundred fifty
thousand dollars ($250,000) or more for acquisition and installation of public
art on the development site. This amount shall be the Program Allocation.
The public art shall be installed on the development site in a public place that
allows the public art to be visible from a public right-of-way or from other
public property.
B. A
 s of July 1, 2021 private developments shall devote an amount not less than
one half percent (.5%) of Building Permit Valuation for private development
of two-hundred fifty thousand dollars ($250,000) or more for acquisition and
installation of public art on the development site. This amount shall be the
Program Allocation. The public art shall be installed on the development site in
a public place that allows the public art to be visible from a public right-of-way
or from other public property.
C. P
 rivate and municipal developments shall deposit an amount equal to ten
percent (10%) of the minimum percent for art allocation to the Public Art Fund
to support public art in Palmdale.
D. F
 or phased development, calculation of total Building Permit Valuation shall be
based on the total number of building permits applied for, but not yet issued,
for the premises, but does not include any withdrawn permit applications
E. T
 he contribution requirement of this section shall apply to mixed-use and
residential projects that create five (5) or more residential units.
F. A
 ll non-profit and affordable housing developments and structures shall be
exempt from the requirements of this section. The valuation of any exempt
component of a mixed-use development shall be deducted from the
combined total Building Permit Valuation.
G. I n-lieu of public art on the private or municipal development site with Building
Permit Valuation/CIP Construction Costs of two-hundred fifty thousand dollars
($250,000) or more, an owner or developer, at its discretion, may place a Public
Art In-Lieu Contribution in an amount equal to the Program Allocation into the
Palmdale Public Art Fund to support public art in Palmdale. The Public Art In-
Lieu Contribution shall be paid prior to the issuance of a building permit for the
project on the development site.
H. A
 n owner or developer may incorporate public art into the development that
has a value lower than the Program Allocation and pay a Public Art In-Lieu
Contribution to the Public Art Fund for the balance of the Program Allocation.
I. I f an owner or developer chooses to incorporate public art into the
development that has a value higher than the Program Allocation, the
development project does not qualify for fee credit or other reimbursement.

80
SECTION 3

The City Council hereby finds the following public art in private and municipal
development project contribution exemptions.

Private Development Exemptions:

A. Non-profit and affordable housing developments and structures.

B. Mixed-use and residential projects that create four (4) or less residential units.

Municipal Development Exemptions:

A. C
 osts of non-construction related activities such as studies, design, reports,
leases, and easements; including, without limitation, activities in the City’s
capital improvement budget that are designated as non-construction.
B. T
 he cost of environmental review, whether or not it is related to a construction
project.
C. Sewer and drainage projects and other below-ground construction.
D. C
 apital Improvement Program projects that are designated as maintenance
in the City’s CIP budget or designated as non-construction projects in the CIP
budget, retrofits (e.g., seismic or those required to meet legal requirements
such as compliance with the Americans with Disabilities Act); site remediation;
acquisition or installation of furniture, fixtures, and equipment; and affordable
housing projects.
E. N
 othing is intended to prohibit the City Manager, in conjunction with the
submission and approval of the annual capital budgets of the City and subject
to the approval of the City Council, from designating additional funds, subject
to applicable restrictions, to be utilized for public art.
F. A
 ppropriations for purposes of acquiring public art in order to carry out the
provisions of this ordinance shall comply with applicable funding source
requirements. If the source of funding or other applicable law or regulation
with respect to any particular project prohibits or restricts the use of funds for
public art, the amount of funds so prohibited or restricted shall be excluded in
determining the 1%.

SECTION 4

The City Council hereby finds the following public art in private and municipal
development project compliance standards. The following public art may be used
to satisfy the requirements of this ordinance: non-profit and affordable housing
developments and structures.

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 A. On-site Artwork: On-site installation of artwork that is created uniquely by an
artist.

1. Sculpture: Free standing, wall supported or suspended, kinetic,

electronic or mechanical in material or combination of materials;

2. Murals or portable paintings: In any materials or variety of materials,

with or without collage or the addition of nontraditional materials and
means;

3. Earthworks, neon, glass, mosaics, photographs, prints, calligraphy, any

combination of forms of media, including sound, film, holographic, and
video systems, hybrids of any media and new genres;

4. Standardized fixtures such as grates, street lights, signage, and other

design enhancements, as are rendered by an artist for unique or limited
editions; and

5. Any other form determined by the City Manager or designee to satisfy

the intent of this section if the owner or developer appeals the decision of
the Public Art Coordinator.
B. The developer may be required by the Public Art Coordinator to contract
the services of a professional art consultant to oversee the public art project,
particularly if valued at fifty thousand dollars ($50,000) or more. Art consultant
fees are an allowable budget expense.

SECTION 5.

The City Council hereby establishes the Public Art Fund.

A. T
 here is hereby created the Public Art Fund to account for the Public Art In-
Lieu Contributions and any and all other revenues appropriated or received for
public art. The revenues in such Fund shall be used solely for:

1.  he acquisition, commission, design, transportation, installation,

T
production, presentation, maintenance, and insurance of public art.

2. T
 he acquisition or improvement of real property for the purpose of
displaying public art.

3. O
 ther project expenses associated with implementation of public art
and the Public Art Workplan.

4. Further the purposes of public art as defined in this Ordinance.

82
 B. The Public Art Fund shall be distributed annually as follows:

1.  o more than twenty percent (20%) of the annual Public Art Fund shall
N
be used for all necessary and reasonable administrative costs incurred
in connection with Public Art Coordinator and staff supervision of the
Public Art Program and the expenditure of all funds appropriated for
public art.

2. T
 he balance of the Public Art Fund shall be used to support public
art throughout Palmdale that may take the form of site-specific
artwork commissions, purchase of artwork, and other special public art
initiatives.

3. T
 he Public Art Fund shall be authorized to accept gifts, grants
and donations made to the City of Palmdale, as well as any in-lieu
contributions from private and municipal development projects. The
Fund shall be self-perpetuating from year to year.
C. I f real property purchased with monies from the Public Art Fund is
subsequently sold, the proceeds from the sale shall be returned to the Public
Art Fund.
D. T
 he Public Art Commission shall present annually to the City Council for
approval a Public Art Workplan that recommends the use of Public Art Fund
monies consistent with the purpose of this section. The Public Art Workplan
shall be administered by the City Manager or designee.

SECTION 6 – PUBLIC ART FUND.

 he City Council hereby establishes the following allowable Public Art Fund expenses
T
and exclusions.

A. The following expenses may be included in the program allocation for public
art:

1.  cquisition of public art through direct purchase or through the

A
design, fabrication, transportation, installation, and presentation of
public art;

2. Artist fees and expenses;

3. Project related supplies and materials; and

4. C
 osts for insurance, identification plaques, project management by
an independent public art consultant, and other reasonable expenses
associated with the planning, development and completion of public
art.

83
 B. The following expenses shall not be included in the program allocation for
public art:

1.  eproductions, by mechanical or other means of original artwork,

R
except in cases of film, video, photography, printmaking, theater, or
other media arts;

2. D
 ecorative, ornamental, architectural, or functional elements that are
designed by the project architect or other design consultants engaged
by the architect as opposed to an artist commissioned for this purpose;

3. L
 andscape architecture, gardening, or materials generally considered
to be components of the landscape designed by the project architect,
landscape architect or other design professional engaged by the
architect as opposed to an artist commissioned for this purpose;

4. A
 rt objects that are mass produced (excluding artist-created, signed
limited-edition works), ordered from a catalog, or of a standard design,
such as playground sculpture or fountains;

5. D
 irectional or other functional elements such as signage, super
graphics, color coding, or maps that are designed by the architect,
landscape architect or other design professional engaged by the
primary designer;

6. U
 tility costs and expenses related to the ongoing operation of the
artwork such as electrical, water, or mechanical service required to
activate the work; and

7. O
 ther services and ongoing operating expenses for maintenance of
the artwork.

SECTION 7

The City Council hereby establishes the Public Art Commission.

A. There is hereby created the City of Palmdale Public Art Commission.

B. T
 he Public Art Commission shall consist of nine (9) members who shall serve at
the pleasure of the City Council. Commission members shall be nominated by
the Mayor and approved by the City Council.

 almdale Public Art Commission members shall have professional credentials

P
and work experience as exhibiting and performing artists in the visual and
media arts, contemporary museum and gallery art curators/directors, arts
management professionals, arts educators, design professionals such as

84
 architects, landscape architects, and urban planners. At least three (3) of the
nine voting members shall be professional artists, at least two (2) of the nine
voting members shall be design professionals, and at least one (1) of the nine
members shall be a member of the Planning Commission.
C. It shall be the duty of the Palmdale Public Art Commission to:

1.  repare and approve bylaws that follow this ordinance and the Ralph
P
M. Brown Act; organize and conduct meetings in compliance with the
Ralph M. Brown Act;

2. E
 stablish and approve the Public Art Program mission, curatorial and
programmatic goals, policies, and guidelines;

3. E
 ncourage and promote public art programs and activities within the
City;

4. M
 ake recommendations to the City Council regarding local visual art
needs, activities and programs;

5. R
 eceive and gather input from the community on issues relevant to
public art policies;

6. Enhance community awareness of public art resources;

7. W
 ork cooperatively with public and private agencies to procure space
and opportunities for public art and to contribute to the enrichment
of the community by adding public art that is of the highest quality,
visually stimulating and of enduring value;

8. A
 nalyze and make recommendations to the City Council on long-term
financing to support public art;

9. A
 dvise and make recommendations to the City Council on the
acceptance of donations and submissions of art and other matters of
arts in the community;

10. D
 evelop an annual Public Art Workplan that charts current and future
public art projects and determines resources and funding priorities;

11. R
 eview and forward recommendations to City Council for deaccession
of artwork, acceptance of artwork gifts and loans, and proposals for
memorials and murals on city-owned property, in accordance with
each respective policy; and

12. S
 erve as the key advocacy body for the Public Art Program and
participate in community outreach activities and events.

85
SECTION 8 – PUBLIC ART COMMISSION

The City Council hereby establishes the application and approval procedures for
public art.

A. Private Property

1.  he developer has the option of proposing public art incorporating

T
on-site artwork into the development or may elect to deposit the full
amount into the Public Art Fund as required under Section 2.A of this
ordinance. In any event, ten percent (10%) of the amount required
under Section 2A shall be deposited into the Public Art Fund as
required under Section 2.B. of this ordinance.

2. I n conjunction with an application for a building permit, the developer

shall submit to the City a Concept Public Art Project Plan for on-site
artwork.

3. F
 ollowing approval of the Concept Public Art Project Plan by the Public
Art Coordinator, the developer shall refine the design and submit a
Final Public Art Project Plan.

i.  n application for the installation of public art on private property

A
on forms furnished by the City for that purpose;

ii.  he developer shall refer to the Public Art Policy Guidelines

T
referenced in this ordinance.

4. T
 he Concept Public Art Project Plan and Final Public Art Project Plan
submitted pursuant to this section shall be delivered to the Public Art
Coordinator for review to determine whether the Public Art Project
Plan is complete.

5. T
 he Public Art Coordinator shall review the permit application within
sixty (60) days of receipt of a complete Concept Public Art Project Plan
and Final Public Art Project Plan. The Public Art Coordinator may
make recommendations regarding possible changes, modifications or
additions to the Concept Public Art Project Plan.

6. T
 he Public Art Coordinator shall approve or deny the Concept Public
Art Project Plan and Final Public Art Project Plan in accordance with
the Public Art Policy Guidelines referenced in this Ordinance. The
Public Art Coordinator may conditionally approve a Concept Public
Art Project Plan and Final Public Art Project Plan subject to such
conditions that the Public Art Coordinator deems reasonably necessary
to conform to the Public Art Policy Guidelines for approval.

86
7. T
 he Public Art Project Plans required by this section shall be made,
approval obtained, and the public art installed prior to final building
inspection or issuance of approval of a certificate of occupancy for
the new construction. If installation prior to the date of occupancy
is impracticable, as determined by the Public Art Coordinator, a
certificate of occupancy may be approved for the building or portion
thereof if the Concept Public Art Project Plan and Final Public Art
Project Plan submitted pursuant to this section have been approved,
the applicant has executed a written agreement with the City to install
the public art, and the applicant deposits with the City security either
in the form of a surety bond issued by a surety company authorized
to do business in the State of California, or in cash, or the equivalent
amount in other security approved by the City Manager and City
Attorney in an amount equal to one percent of the total Building
Permit Valuation to guarantee installation of the public art. Any costs
associated with acquiring the required security are the responsibility of
the applicant and may not be applied to the Public Art allocation.

8. T
 he property owner shall maintain, or cause to be maintained, in good
condition the public art continuously after its installation, and shall
perform necessary repairs and maintenance to the satisfaction of the
City. The property owner shall execute and record a covenant against
the property with the City of Palmdale recorder which sets forth the
property owner’s and any subsequent property owner’s obligations
to comply with maintenance requirements. The covenant shall be
recorded prior to the request for final construction inspection and
the issuance of a temporary certificate of occupancy or certificate of
occupancy.

9. S
 tolen or removed artwork shall be replaced by the property owner.
Replaced artwork shall be reviewed and approved by the Public Art
Commission and City Council subject to the criteria set forth in this
ordinance.

10. T
 he property owner shall be required, when property is transferred
to new property owners, to inform the new property owners of the
requirement not to remove or alter the artwork without the approval
of the Public Art Commission and City Council, and their responsibility
to maintain the artwork and any surrounding landscaping and lighting
that are integral to the artwork.

87
 B. Municipal Property

1.  ach year in adopting the City’s annual Capital Improvement Program

E
budget, the City Council shall approve the appropriation of 1% of
eligible Construction Project costs to be set aside and identified
as funds to be appropriated and expended for acquisition or
commissioning of Public Art.

2. M
 anagement of Public Art in municipal development shall be provided
by the Public Art Coordinator or by contracting the services of a
professional public art consultant.

3. T
 he Public Art Commission shall approve or deny the selection of
artists, and shall make recommendations to the City Council for
approval of the commissioning of public art and/or the purchase of
artwork to be located on municipal property in accordance with the
Public Art Policy Guidelines defined in this Ordinance.

4. T
 he Public Art Coordinator shall set meetings with Engineering, Public
Works, and Building and Safety to review maintenance and safety
considerations for all public art prior to it being commissioned and/or
purchased.

5. R
 outine maintenance of public art shall be performed by the Public
Works Department, consistent with the specifications of the artist.
Minor routine costs shall be borne by the Public Works Department
budget. When routine maintenance costs exceed the resources
of the Public Works Department, the Public Art Commission may
recommend the expenditure of Public Art Fund reserves to support
the cost of supplies and labor to perform routine maintenance.

SECTION 9

The City Council hereby establishes the following public art in private development
ordinance.

Compliance with the provisions of this section shall be demonstrated by the owner or
developer prior to the issuance of a certificate of occupancy as follows:

A. Payment of the Public Art In-Lieu Contribution; or

B. I nstallation of the public art in accordance with approval of the Final Public Art
Project Plan submitted pursuant to this Ordinance; and
C. E
 xecution of an installation agreement and evidence that a maintenance
covenant has been recorded against the property as outlined in Section 8.A.7.
of this ordinance.

88
SECTION 10

The City Council hereby establishes the following Public Art Policy Guidelines.

Guidelines for the implementation and administration of public art (“Public Art Policy
Guidelines”) shall be adopted by the Public Art Commission. Any major changes to
the Public Art Policy Guidelines after adoption shall be submitted to the Palmdale
Public Art Commission for review and approval.

The Guidelines for Approval shall include standards for reviewing a Concept Public
Art Project Plan and Final Public Art Project Plan and shall provide guidance in the
appropriation for and maintenance of public art.

SECTION 11

City Council role and responsibilities.

A. Approve the Palmdale Public Art Master Plan.

B. A
 pprove the annual Public Art Workplan as part of the City’s annual budget
adoption process, which outlines the projects and expenses the Public Art
Program will undertake each year.
C. A
 pprove annual Capital Improvement Plan allocations to include the Public Art
Program, as outlined in this Public Art Ordinance.
D. A
 pprove annual operating allocations for the Public Art Program from the
General Fund as part of the City’s annual budget process, including necessary
funding for staffing the Public Art Program and maintenance of public art with
a relief of twenty percent (20%) for allowable costs from the Public Art Fund as
indicated in Section 5B.
E. M
 ake final determinations on Public Art Commission recommendations
regarding the commissioning and acquisition of public art with a value of fifty
thousand dollars ($50,000) or more on City property.
F. M
 ake final determinations on Public Art Commission recommendations
regarding deaccession of artwork, acceptance of artwork gifts and loans, and
proposals for memorials and murals on City property, in accordance with each
respective policy.
G. R
 eceive periodic informational reports from the Public Art Program and the
Public Art Commission on the status of public art project implementation on
the basis of the Public Art Workplan.

89
SECTION 12

Severability. If any section, subsection, subdivision, paragraph, sentence, clause

or phrase in this Ordinance or any part thereof is for any reason held to be
unconstitutional or invalid or ineffective by any court of competent jurisdiction, such
decision shall not affect the validity or effectiveness of the remaining portions of this
Ordinance or any part thereof. The City Council hereby declares that it would have
passed each section, subsection, subdivision, paragraph, sentence, clause or phrase
thereof irrespective of the fact that any one (1) or more subsections, subdivisions,
paragraphs, sentences, clauses or phrases be declared unconstitutional, or invalid, or
ineffective, provided the basic purposes of this Ordinance and the benefits to the City
and the public are not substantially impaired.

SECTION 13

The City Clerk shall certify to the adoption of this ordinance and shall cause this
ordinance to be published or posted as required by law.

PASSED, APPROVED and ADOPTED this ______ day of ____________, ________.

________________________________________________________________
Approved as to form: Steven D. Hofbauer, Mayor

ATTEST:

________________________________ ________________________________
Wm. Matthew Ditzhazy, City Attorney Rebecca J. Smith, City Clerk

90
I, Rebecca J. Smith, City Clerk of Palmdale, California, do hereby certify that the

foregoing Ordinance was duly introduced, passed, approved, and adopted by the City

Council of the City of Palmdale at a regular meeting of said Council held on the ______

day of _____________, 20______ effective on the ______ day of ___________, 20______ by the

following roll call vote:

AYES: ______________________

NOES: ______________________

ABSTAIN: ______________________

ABSENT: ______________________

Date: ______________________

Rebecca J. Smith, City Clerk

91
APPENDIX E
PROPOSED ARTIST AND ARTWORK SELECTION GUIDE-
LINES
ARTIST SELECTION GOALS

The overarching goal of artist selection is to acquire artwork of the highest quality.
Success depends on selecting an artist whose skill, experience, style, commitment to
collaboration and community facilitation skills match the project’s needs. The specific
goals of the selection process are to:

•  ncourage the highest level of creative engagement and vibrant thinking in

E
creating free-standing or site-integrated artworks;

•  elect an artist or artists whose existing public artworks or past collaborative

S
efforts have maintained a high level of quality and integrity;

• Further the mission and goals of the Public Art Program and the City;

• I dentify the optimal approach to public art that is suitable to the demands of
the particular project;

•  elect an artist or artists who will best respond to the distinctive characteristics
S
of the site and the community it serves;

•  elect an artist or artists who can work successfully as members of an overall

S
project design team; and

•  nsure that the selection process represents and considers the interests of all
E
parties concerned, including the public, the arts community and the City.

 RTIST SELECTION PANEL FOR MUNICIPAL CAPITAL IMPROVEMENT

A
PROGRAM PROJECTS

The Artist Selection Panel is responsible to review artist submittals for publicly
funded art projects and make recommendations of finalists to the Public Art
Commission. The Artist Selection Panel should be comprised of no fewer than three
arts professionals selected on the basis of expertise in public art, artists with public
art experience and arts management professionals, a representative of the project
design team, the client City department, and at least one panel member representing
the community in which the artwork will be located. Public Art Commission members
may serve on the panel in the capacity of community members or arts professionals,

92
if appropriate, or may participate on the artist selection panel as observers. Panel
recommendations shall be based upon consensus.

METHODS OF ARTIST SELECTION: OPTIONS

Private Percent for Art Projects

The developer and the developer’s public art consultant are responsible for artist
solicitation and selection for privately-funded on-site projects. The method of artist
selection and the rationale for this method will be articulated in the public art plan
created by the public art consultant when the project is presented to the Public Art
Coordinator for review.

Public Percent for Art Projects

The Public Art Commission, in consultation with Public Art Program Coordinator,
recommends the method for identifying artists that best reflects the project goals
and offers the best chance of finding the most qualified artist for the project.

The Public Art Commission, in consultation with Public Art Program Coordinator,
defines the method for artist selection for each project, taking into account the
nature and needs of the specific project, including:

• Size of the budget available for artwork;

• Interest in working with emerging and/or established artists;

• Geographic restrictions on artists’ eligibility;

• Preferences concerning the nature of the artwork (i.e. medium, form); and

•  otential locations for the work and limitations or opportunities presented by

P
the site.

TYPES OF ARTIST SOLICITATION

There are several standard methods of artist selection that may be used for either
public or private percent for art projects. Typically, public projects, as reflective of
standard government bid processes, require an openly advertised bid. Privately-
funded projects tend to use more direct methods of selection.

93
Request for Qualif ications (RFQ)

Request for Qualifications (RFQ) can be an effective and efficient method to issue a
Call for Artists. RFQs require minimal expenditures of time and money from artists.
RFQs primarily rely upon examples of an artist’s previous work and typically include
an artist’s vita, selected references, and a statement of interest about the project.
When RFQs are written thoughtfully and applicants’ materials are subsequently
reviewed, considered, and evaluated by arts professionals and the commissioning
organization, a short list of qualified artists to interview for a proposed project may be
easily accomplished.

The outcome of this process creates opportunities for in-person interviews or offering
a reasonable fee to compensate development of conceptual ideas for the project. The
RFQ process does not anticipate that artists prepare or present specific ideas based
on limited information provided in the Call. Instead, conceptual artwork proposals
for the project are developed only after learning more about the project through site
visits and interactions with project personnel and constituent interests. It is expected
that short listed artists be compensated for travel expenses when invited to interview.

Request for Proposals (RFP)

If the design process is sufficiently advanced and a context has been established
to which the artists can respond, each of the finalists may be asked to develop a
preliminary artwork proposal. Request for Proposals (RFP) can be an effective way
to consider and evaluate the appropriateness of an artist when a limited number
of artists are invited to participate in a selection process, the criteria for selection
is explicit and uniform, and there is an honorarium paid to the artist for each
submission. Commissioning bodies recognize that artists will not have sufficient time
and information to develop site specific proposals that are informed by substantial
client interaction unless the proposals and competition affords at least four to six
weeks of preparation time.

Proposals are requested only when the commissioning agency is prepared to

consider the proposal as a conceptual approach to the project and not the final
design. The commissioning body must pay for the proposals, all proposal materials
are returned to those artists not selected for the project, and the commissioning
agency recognizes that all ideas presented for the project, including copyright, belong
to each artist.

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Open Competition

In an open competition, any artist may submit her/his credentials, subject to

requirements established by the Public Art Program. The Call for Artists must be
sufficiently detailed to permit artists to determine whether their work is appropriate
for consideration. An open competition allows for the broadest range of possibilities
for a site and can bring in new, otherwise unknown, and emerging artists. This
method sometimes discourages established artists who prefer to respond to limited
competitions and to be directly selected for projects.

Limited Competition

In a limited competition, three or more artists are preselected and invited to submit
qualifications. Limited competitions are more appropriate for projects with extremely
aggressive schedules, where there is consensus around an artist or list of artists to
be considered, and where a high-level or specific type of expertise is required for the
project.

The list of preselected artists can be developed by the Public Art Commission
with input from the Public Art Coordinator; local, national and international arts
professionals; project partners; and a curator or consultant advising on the projects.

Direct Selection

Direct selection is a method that is most often used in private development projects,
although developers may choose to select an artist through other methods described
here. On occasion, an artist for a municipal public art project may be chosen directly
by the Public Art Commission. Direct selection may be appropriate on projects where
an urgent timeline, limited budget or specific project requirements exist.

Direct Purchase

At times the Public Art Commission may elect to recommend a direct selection in
which it contracts with a specific artist for a particular project. This may occur for
any reason, but generally is used when circumstances surrounding the project make
either an open or limited competition unfeasible (i.e. project timeline, community
or social considerations, client demand) or a specific artwork is needed due to the
exacting nature of the project.

95
EVALUATION CRITERIA

General Questions to Consider When Commissioning Public Art

• Is the artwork of a high quality?

• Does the artist have experience or demonstrate a level of excellence?

• Does the artwork celebrate some aspect of the uniqueness of Palmdale?

•  ave potential safety and security issues been assessed by the City’s Public
H
Works Department?

•  as the design of the artwork taken ongoing maintenance considerations into

H
account?

•  as there been a consultation to ensure that design of the project meets

H
requirements of the Americans with Disability Act?

• How does the work relate to the overall collection?

Artist Qualif ications

•  he Public Art Commission will use the following criteria to review the selection
T
of artists for the acquisition of artwork:

• Meets the definition of artist, as defined in the Percent for Art Ordinance.

•  emonstrates artistic excellence, innovation and originality as represented in

D
past work and supporting materials.

•  emonstrates capacity for working in media and with concepts that are
D
appropriate to the project goals and site.

•  emonstrates interest and capability in creating public artwork in collaboration

D
with the City, Public Art Program, the design team (if applicable) and other
project partners.

•  emonstrates experience in successfully completing works of similar scope,

D
scale, budget and complexity, or ability to articulate how he or she would be
able to bring the necessary artistic and technical skills to this project.

• Demonstrates interest in and understanding of the project.

• I s available to perform the scope of the work in a timely and professional

manner.

• Builds the diversity of the City’s public art collection.

96
 • If applicable, demonstrates a cohesive team.

Criteria for Evaluating Artist Concept and Schematic Proposals

The Public Art Commission will use the following criteria to review Artist Concept
Proposals:

• Clearly responds to the project goals.

•  eets the definition of artwork as defined by the Public Art Program

M
Ordinance.

•  emonstrates excellence in aesthetic quality, workmanship, innovation, and

D
creativity.

•  emonstrates appropriateness in scale, form and is of materials/media suitable

D
for the site.

•  emonstrates feasibility in terms of budget, timeline, safety, durability,

D
operation, maintenance, conservation, legal and ethical issues related to
possession and use of proposed artwork, security, and/or storage and siting.

• Builds the diversity of the City’s public art collection.

97
APPENDIX F
CITY OF PALMDALE
Methods and Materials
Conservation Review Form

ARTIST INFORMATION

Name: Phone #:

Address: Email Address:

TITLE OF ARTWORK:

ARTWORK DESCRIPTION

1. Provide a complete description of how the artwork will be fabricated including:

2. List all materials to be used.

3. Location/placement of artwork.

METHODS AND MATERIALS

PLEASE ATTACH ANY MATERIAL DATA SHEETS RELEVANT TO THIS ARTWORK.

1. Have you used this material before in the same climate/condition?

2. If yes, please list location and date installed.

3. List all material suppliers for the artwork.

4. List any proposed coatings or sealants proposed for this artwork.

5. List name and contact information for the proposed fabricator for this artwork.

6. Give a description of the fabrication method to be used for this artwork.

7. L
 ist name and contact information for person or shop that will prepare shop
drawings and/or stamped structural engineering drawings if applicable.

8. Do you have any maintenance recommendations for this artwork?

9. D
 o you have any specific questions for the conservator to address when
completing a report on your artwork?

98
APPENDIX G
PROPOSED DEACCESSION OF ARTWORK POLICY
PURPOSE

The Public Art Program has an obligation to maintain the City of Palmdale’s collection
of artwork for the benefit of Palmdale citizens. Removing an artwork from the
collection (deaccessioning) is a delicate matter and must be managed according to
strict criteria. The policies outlined below shall be subject to periodic review. From
time to time, as necessary, the Public Art Program, with the input of the Public Art
Commission, may adopt and incorporate into this policy such additional guidelines
as it deems essential. No work may be deaccessioned until all policies set forth below
have been observed.

POLICY

1.  ny proposal for removal, destruction, or relocation of an artwork shall be

A
submitted to the Public Art Coordinator and reviewed by the Public Art
Commission according to the policies and procedures contained herein, and
shall be deliberate and independent of political pressures, fluctuations in
artistic taste, popularity, and public opinion.

2. D
 eaccession shall be a seldom-employed action that is taken only after
issues such as artists’ rights, public benefit, censorship, copyrights, and legal
obligations have been carefully considered. The final decision with respect
to deaccession of artworks owned by the City shall rest with the Public Art
Coordinator upon approval by the Public Art Commission.

3. A
 t regular intervals, the City’s artwork collection shall be evaluated by the
Public Art Program and reported to the Public Art Commission to determine
the condition of each artwork and determine whether there is artwork that
should be deaccessioned.

DEFINITIONS

ARTIST: An individual generally recognized by critics and peers as a professional

practitioner of the visual arts as judged by the quality of the professional practitioner’s
body of work, educational background and experience, past public commissions, sale
of works, exhibition record, publications, and production of artwork.

ARTWORK: Works in any style, expression, genre and media created by an artist and

99
owned by the City of Palmdale as defined herein that may be permanent, temporary,
functional and non-functional. Artwork may be stand-alone and integrated into the
architecture, landscaping, or other site development if such are designed by an artist
as defined herein.

For the purposes of this policy, the following are not considered artwork:

1.  eproductions, by mechanical or other means of original artwork, except in

R
cases of film, video, photography, printmaking, or other media arts;

2. A
 rt objects that are mass produced (excluding artist-created, signed limited
edition works), ordered from a catalog, or of a standard design, such as
playground sculpture or fountains; and

3. D
 irectional or other functional elements such as signage, supergraphics, color
coding, or maps unless specifically designed as artworks.

DEACCESSION: The procedure for the removal of an artwork owned by the City and
the determination of its future disposition.

DEACCESSION NOTIFICATION: A written letter to the artist or donor referencing the

applicable condition(s) of the artwork and describing reasons why the deaccession
review needs to be undertaken.

GUIDELINES

Any artwork owned by the City shall be eligible for deaccession with the exception of
an artwork that is accompanied by verified legal stipulations that the artwork may not
be deaccessioned. During the review process, the artwork shall remain accessible to
the public in its existing location unless it poses a threat to public safety.

Artwork may be reviewed for deaccession at any time at the initiative of the Public Art
Coordinator or Public Art Commission members. Review also may be initiated by the
artist regarding the artwork she/he created, by that artist’s designated heir(s), or by
legally recognized representative(s).

Artwork may be considered for review toward deaccession if one or more of the
following conditions apply:

1. The condition or security of the artwork cannot be reasonably guaranteed;

2. T
 he artwork requires excessive maintenance or has faults of design, materials
or workmanship and repair, or remedy is impractical or unfeasible;

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 3. T
 he artwork has been damaged or has deteriorated and repair or remedy is
impractical or unfeasible;

4. The artwork’s physical or structural condition poses a threat to public safety;

5. T
 he artwork is proved to be inauthentic or in violation of existing copyright
laws;

6. T
 he artwork is not, or is only rarely, on display because the City lacks a location
for its display;

7. N
 o suitable site is available for relocation or exhibition, or significant changes in
the use, character or design of the site have occurred which affect the integrity
of the artwork;

8. C
 hanges to the site have significantly limited or prevented the public’s access
to the artwork;

9. The site where the artwork is located is undergoing privatization;

10. Deaccession is requested by the artist;

11. I f there are more than six works (excluding editions of prints) by the same
artist in the City-owned portable collection, or more than three permanently
installed works on public display in the City-owned collection or in private
development, the Public Art Coordinator may recommend to the Palmdale
Public Art Commission that the City retain only a representative selection of
that artist’s work.

12. I f the artwork has been lost, stolen, or is missing, the Public Art Commission
may approve formally deaccessioning it from the collection while retaining
a record in the collection database showing that the artwork has been
deaccessioned.

PROCEDURES

Deaccession shall begin with a formal Deaccession Request which can be initiated
by the Public Art Commission, the Public Art Program Coordinator, the artist; or the
artist’s designated heirs or legally-appointed representative. The Deaccession Request
shall be submitted to the Public Art Coordinator and shall describe the applicable
condition(s) outlined in the Guidelines above, and the reasons why the deaccession
review needs to be undertaken. A Deaccession Request must also contain information
about the requestor’s relationship to the artwork and stake in deaccessioning the
artwork.

Deaccession Requests shall be reviewed by the Public Art Coordinator who shall
make every reasonable effort to contact the artist who created the artwork named

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in the Deaccession Request and any other known parties with a vested interest
in the artwork. When permanently-sited artworks are proposed for deaccession,
the Public Art Coordinator shall convene a publicly noticed meeting to discuss
the reasons deaccessioning is being considered, and to gather comments on the
deaccession proposal. The Public Art Coordinator shall then present a deaccession
recommendation to the Public Art Commission, which may decide to convene an ad
hoc committee comprised of practicing conservators, art appraisers, registrars, and/or
other visual arts professionals to review and advise the Public Art Commission on the
Deaccession Request.

In presenting the Deaccession Request, the Public Art Coordinator will provide all
available relevant corresponding materials to the Public Art Commission, including,
but not limited to:

1. Artist’s name, biographical information, samples of past artwork, and résumé.

2. A written description and images of the artwork.

3. Artist’s statement about the artwork named in the Deaccession Request.

4. A description of the selection/acquisition process and related costs that was

implemented at the time the artwork was selected.

5. A formal appraisal of the artwork provided by a qualified art appraiser.

6. Information about the origin, derivation, history, and past ownership of the
artwork.

7. A warranty of originality of the artwork.

8. Information about the condition of the artwork and the estimated cost of its
conservation provided by a qualified visual arts conservator.

9. Information about and images of the artwork’s site.

10. For permanently-sited artwork: Information about how community feedback

about the artwork was collected and the outcome of that feedback.

11. Feedback from the Director of the City department responsible for operating
and maintaining the artwork site.

12. A detailed budget for all aspects of conservation, maintenance, repair,

installation, operation, insurance, storage, and City staff support.

13. The artist’s contract with donor or comparable legally binding document with
Proof of Title.

14. Deed of gift restrictions, if any.

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DEACCESSION CRITERIA

A. I n addition to the condition and security of the artwork as stated above, the
review criteria for Deaccession Requests include, but are not limited to:

1.  RTISTIC EXCELLENCE: Qualifications and professional reputation of

A
the artist; craftsmanship, conceptual content, style, form.

2. VALUE OF ARTWORK as determined by a professional appraiser.

3. R
 ELATIONSHIP TO EXISTING COLLECTION OF ARTWORKS: Style, form,
scale, diversity, quantity, quality, longevity, and compatibility with the
existing collection of artwork and goals of the Public Art Program.

4. A
 VAILABILITY OF CITY SUPPORT: The availability of necessary funding
for conservation, maintenance, and/or repair; exhibition and storage
space; real property for siting artwork; and City staff support.

5. R
 ELATIONSHIP TO SITE: Accessibility, public safety, and social, cultural,
historical, ecological, physical, and functional context of the artwork in
relation to the site, both existing and planned.

6. L
 EGAL CONSIDERATIONS: Issues related to liability, insurance,
copyright, warranties, ownership, theft, vandalism, loss,
indemnification, and public safety. The City Attorney shall review the
recommendation of the Public Art Program and the Palmdale Public
Art Commission to determine whether there are any legal restrictions
that would prevent deaccessioning the object. The City Attorney’s
approval must be obtained.

7. T
 IMING: Safety or hazard emergencies, relevant construction schedules,
and the allowance of sufficient time for a normal review process.

8. A
 CQUISITION PROCESS: Method by which the artwork was acquired
and accessioned into the collection of artworks (i.e. donation, loan,
commission).

9. C
 OMMUNITY FEEDBACK: Community feedback about the artwork, its
site, and its condition solicited via a publicly noticed meeting or placed
on the agenda of the Palmdale Public Art Commission.

10. R
 ESTRICTIONS: Any recognized restrictions associated with the
artwork.
B. M
 embers of the Public Art Commission may request to view the actual artwork
during the Deaccession Review process.

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 C. T
 he Public Art Commission shall approve, with or without conditions, or reject
the Deaccession Request based on the review criteria described in this policy.

REMOVAL PROCESS

The deaccessioned artwork shall be removed from the collection of artwork through
methods administered by the Public Art Program. In all cases, the artist or the
artist’s designated heir(s), or legally recognized representative(s) shall be given, when
possible and within a reasonable time frame, the opportunity to purchase the artwork
for the fair market value (as determined by a qualified art appraiser), or, if the artwork
is determined to be of negligible value, the artist shall be given the opportunity to
claim the artwork at the artist’s own cost.

A. When the artist does not purchase or claim the deaccessioned artwork, the
methods which may be utilized to remove artwork through public negotiations
include, but are not limited to:

1.  ale. Proceeds from the sale shall be deposited into the Public Art
S
Fund. Written acknowledgement by Finance to place revenues from
the sale of deaccessioned artwork into the Public Art Fund, must be
obtained. Legal public notice regarding the sale shall be published in
local newspapers.

i.  he artist/donor shall be given the right of first refusal to reacquire

T
the work at fair market value, original price, or nominal value,
depending on the recommendation of the Palmdale Public Art
Commission. The cost of removal of the artwork may be reflected
in the amount set.

ii. Sell the work through a dealer.

iii. Sell the work through sealed bidding or public auction.

2. Trade or exchange of a deaccessioned artwork for another by the same

artist.

3. Donation of deaccessioned artwork to a non-profit organization,

institution, or agency.

4. Destruction. This method shall only be used in the following instances:

i.  he entire artwork has been damaged or has deteriorated and

T
repair or remedy is impractical or unfeasible.

ii.  ost of the artwork has been damaged or has deteriorated and
M
repair or remedy is impractical or unfeasible, and any remaining

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 intact parts of the artwork are deemed to have negligible value,
and the artist is not willing to claim the remaining parts at the
artist’s own cost.

iii. Public safety can be protected only by destroying the artwork.

iv. Every effort to locate the artist, kin or donor has failed.
B. W
 hen possible, the method for removing the artwork from the collection
of artworks shall be selected to ensure that the highest reasonable price is
received. Any profits received by the City through the sale, trade, or auction
of a deaccessioned artwork shall be deposited into the Public Art Fund
administered by the Public Art Program.
C. I n keeping with the California Resale Royalties Act, Civic Code Section 986, if
a deaccessioned work is sold or exchanged, 5% of the sale price or exchange
value of any work over $1,000 will be given to the artist who created the work,
provided that the artist can be located by reasonable means. If the artist cannot
be found, the Resale Royalties shall be transferred to the California State Arts
Council, a state agency.
D. T
 he Public Art Coordinator shall remove acquisition numbers and labels from
the artwork and coordinate its physical removal from the City’s collection.
E. T
 he Public Art Coordinator shall report on the sale or exchange of artwork at
the next regularly scheduled meeting of the Palmdale Public Art Commission,
following receipt of all funds or the completion of the sale, exchange, or
donation.
F. T
 he Public Art Coordinator shall transmit a report informing the City Council of
the removal of the artwork from the City’s collection.
G. T
 he Public Art Coordinator shall maintain a Deaccession File that includes
individual files on each deaccessioned artwork. These files shall include all
documentation regarding the artwork. All deaccession folders shall be kept in a
deaccession file.
H. A
 rtworks may not be sold, traded, or donated to current employees of the
City of Palmdale, their business partners, or their immediate family members.
Current elected officials, Palmdale Public Art Commission members, their
business partners, and their immediate family members may not buy, receive
or own any artwork which has been deaccessioned from the collection of
artworks.
Nothing in these guidelines shall limit the City’s ability to take appropriate action to
protect public health and safety in the event of an emergency.

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APPENDIX H
PROPOSED DONATIONS AND LOANS
OF ARTWORK POLICY & GUIDELINES
PURPOSE

A. F
 rom time to time, private individuals, organizations and agencies make
donations of artwork or funding to acquire or commission artwork to the City of
Palmdale for general or specific purposes. This policy outlines the procedures
that the City shall follow in accepting donations of artwork. This policy also shall
apply to artwork proposed for long-term loan to the City.

Memorials, whether artworks or other forms of recognition, shall not be

considered as an element of the Gifts and Loans of Artwork Policy, and are
addressed in a separate Memorials Policy. A memorial is defined as an item,
object or monument established to preserve the memory of a deceased person
or an event that occurred in the past.
B. A
 cceptance of an artwork into the City’s collection shall imply a commitment
to its long-term care and preservation. Therefore, the acceptance of such
donations must be deliberate, must maintain high aesthetic standards, and
must further the goals of the public art program.

Recognizing that Palmdale’s public spaces are a valuable and limited public
resource, each proposed artwork must add significant and long-term value to
the space in which it is proposed to occupy.
C. The purposes of this policy are to:

1.  rovide uniform procedures for the review and acceptance of

P
donations or loans of artwork to the City;

2. V
 est in the Public Art Program the responsibility of ensuring the
management and long-term care of donated Artwork;

3. F
 acilitate planning for the placement of artwork on City-owned
property;

4. P
 reserve the City’s public spaces for the greatest enjoyment of its
citizens and visitors;

5. M
 aintain high aesthetic standards for artwork displayed or installed in
City facilities;

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 6. P
 rovide for appropriate recognition for donors of artwork to the City;
and

7. Further the goals of the City’s public art program.

DEFINITIONS

A. ARTIST. An individual generally recognized by critics and peers as a professional

practitioner of the visual arts as judged by the quality of the professional
practitioner’s body of work, educational background, experience, past public
commissions, sale of works, exhibition record, publications, and production of
artwork.
B. ARTWORK. Works in any style, expression, genre and media created by an
artist as defined herein that may be permanent, temporary, and functional,
may be stand-alone and integrated into the architecture or landscaping if such
are designed by an artist as defined herein. For the purposes of this policy, the
following are not considered artwork:

1. Reproductions, by mechanical or other means of original artwork,

except in cases of film, video, photography, printmaking, theater, or other
media arts and limited editions of sculpture;

2. Art objects that are mass produced (excluding artist-created, signed

limited edition works), ordered from a catalog, or of a standard design,
such as a playground sculpture or fountains; and

3. Directional or other functional elements such as signage,

supergraphics, color coding, or maps.
C. C
 ONSERVATION. The activities required to repair, restore, and conserve a
damaged or malfunctioning artwork, including treatment that returns the
artwork to its original condition.
D. D
 ONATION. A gift of an artwork, or funding to acquire or commission an
artwork for placement on City-owned property.
E. L
 ONG-TERM LOAN. Any loan or display of an artwork that is proposed to be on
City-owned property for a period in excess of one year.
F. M
 AINTENANCE. All activities required to conserve, repair, or preserve the
integrity of the artwork and setting within which the artwork is located.
Routine maintenance is limited to the basic day-to-day care of the artwork.
G. R
 ESTRICTED DONATION. A donation to the City for a specified purpose, or
for which there are conditions or limitations by the donor as to the current or
future use.
H. U
 NRESTRICTED DONATION. A donation to the City without any restrictions or
limitations being placed by the donor as to its current or future use.

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POLICY

Any time a donation or long-term loan of an artwork is proposed for placement on

City-owned property, the City department that operates or maintains the site of the
proposed artwork shall consult with the Public Art Program Coordinator. The Public
Art Commission shall review and recommend acceptance or rejection of the donation
or long-term loan.

The City Council shall have final responsibility of reviewing and approving such
proposed donation or long-term loan.

GUIDELINES

A. W
 hen a donation or long-term loan of an artwork has been proposed, the
City department receiving the proposal shall notify the Public Art Program
Coordinator, who shall contact the prospective donor to inform the donor of
the City’s donation policy and gather information about the proposal.
B. P
 rior to consideration of a donation or long-term loan of artwork to the City, the
following criteria must be met by the donor or lender:

1.  WNERSHIP. Any site recommended for the placement of artwork

O
must be owned by the City of Palmdale. Ownership must be confirmed
by the City Attorney.

2. V
 ISIBILITY. Any site recommended for the placement of artwork must
be visible to a broad, public audience.

3. S
 AFETY. Any site recommended for the placement of artwork must not
pose any hazard or threat to public safety, and must meet the safety
standards of the City’s Risk Management and the City Attorney.

4. M
 AINTENANCE. Any site recommended for the placement of artwork
must be easily maintained by City staff in a routine manner with
standardized equipment.

5. A
 CCESSIBILITY. Any site recommended for the placement of artwork
must comply with the Americans with Disabilities Act.

6. C
 ONTEXT. Any site recommended for the placement of artwork
must be socially, culturally, historically, ecologically, physically, and/or
functionally appropriate.

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 7. D
 EPARTMENTAL SUPPORT. Any site recommended for the placement
of artwork must have the support of the City department that is
responsible for operating and maintaining the site, as well as any
advisory bodies that are responsible for making recommendations
concerning the use of City-owned property.

8. C
 OMMUNITY SUPPORT. No less than two public forums must be
held to inform the community and receive feedback about the
recommended site for a donation or loan of artwork. This can take
place during two subsequent regularly-scheduled meetings of the
Palmdale Public Art Commission. The outcome of each public forum
must be documented and communicated to the bodies responsible for
reviewing recommended donations and loans of artwork.
C. T
 he prospective donor shall meet with the Public Art Coordinator and prepare
written and visual documentation on the proposed donation (Donation
Request). The Donation Request shall include, at a minimum, the following:

1. Contact information for the donor and the artist.

2. A
 rtist’s name, biographical information, samples of past artwork, and
résumé.

3. A written description and images of the artwork.

4. Artist’s statement about the artwork.

5. A
 certified formal appraisal of the artwork provided by a qualified art
appraiser.

6. I nformation about the origin, derivation, history, and past ownership of

the artwork.

7. A warranty of originality of the artwork.

8. I nformation about the condition of the artwork provided by a qualified

visual arts conservator.

9. A
 maintenance plan for routine care and long-term conservation,
including estimated costs.

10. Information about and images of the proposed artwork site.

11. I nformation about the methods used for collecting community

feedback about the artwork and the outcome.

12. A
 written recommendation from the Director of the City department
and relevant advisory board(s) responsible for operating and
maintaining the artwork’s site.

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 13. A
 detailed budget for all aspects of design, fabrication, installation,
operation, conservation, maintenance, insurance, and Public Art
Program staff support. The donor or lender may be asked to provide an
endowment for the routine maintenance and long-term conservation
of the donation or loan for the duration that the donation or loan is
owned by the City.

14. D
 etailed plans for the design, fabrication, installation, operation,
maintenance, conservation, insurance, display, and storage of the
artwork.

15. Conditions or limitations on the donation proposed by the donor.

D. D
 onation Requests shall be reviewed by the Public Art Program Coordinator,
and then presented to the City Manager. If approved by the City Manager,
the donations request will be presented to the Public Art Commission for a
recommendation at a regularly scheduled and noticed public meeting.
E. P
 ublic Art Program staff, as needed, shall solicit input from other City
department advisory commissions and/or committees.
F. T
 he Public Art Commission shall review the donation proposal and determine
whether to recommend acceptance or rejection of the donation or loan to the
City Council. The Public Art Commission shall consider the following criteria in
making their decision:

1.  RTISTIC EXCELLENCE. Qualifications and professional reputation of

A
the artist; craftsmanship, conceptual content, style, form, condition,
and value of the artwork.

2. R
 ELATIONSHIP TO EXISTING COLLECTION OF ARTWORKS. Style, form,
scale, condition, diversity, quantity, quality, longevity, and compatibility
with the existing collection of artwork and goals of the Public Art
Program.

3. A
 VAILABILITY OF CITY SUPPORT. The availability of necessary funding
for conservation, maintenance, and/or repair; exhibition and storage
space; real property for siting artwork; and Public Art Program staff
support.

4. R
 ELATIONSHIP TO SITE. Accessibility, public safety, and social, cultural,
historical, ecological, physical, and functional context of the artwork in
relation to the site, both existing and planned.

5. L
 EGAL CONSIDERATIONS. Issues related to liability, insurance,
copyright, warranties, ownership, theft, vandalism, loss,
indemnification, and public safety.

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 6. T
 IMING. Safety or hazard emergencies, relevant construction schedules,
and the allowance of sufficient time for a normal review process.

7. RESTRICTIONS. Any restrictions specified by the donor or lender.

G. M
 embers of the Public Art Commission may request to view the actual artwork
during the Donation Review process.
H. T
 he Public Art Commission shall make a recommendation to the City Council
to approve, with or without conditions, or reject the Donation Request based
on the review criteria defined herein.
I.  pon reviewing the proposed Donation Request, the City Council shall decide
U
to accept the donation, reject the donation, or accept the donation with
conditions on the basis of technical, economic, and business considerations,
and adherence to the requirements of this policy.
J. T
 o the extent possible, donations shall be accepted without contractual
limitations on the future use, display, photographic reproduction, or disposal
of the artwork. Preference shall always be given to unrestricted donations as
opposed to restricted donations. As appropriate, the City Council shall ask the
donor to provide funds to permanently endow the maintenance of the artwork.
K. I f the City Council chooses to accept the artwork as a donation or a loan,
with or without conditions, the Public Art Coordinator shall obtain either a
legal instrument of conveyance of title or an executed loan agreement, as
appropriate. Any conditions the City or donor places on a donation shall be
stated in writing and attached to the instrument of conveyance.
L. O
 nce the Donation of Artwork has been accepted and the City becomes the
legal owner, the Public Art Coordinator shall coordinate all processes relating
to the installation, maintenance, removal or relocation of the artwork on
City-owned property. If a specific City department operates and maintains
the site of the artwork, the Public Art Coordinator shall consult with the
City department to discuss the financial and practical responsibilities of
maintaining or operating the artwork.
M. T
 he Public Art Program Coordinator, working with the department head and
the donor, shall provide for appropriate recognition of the donor’s contribution
to the City.
N. City departments shall:

1.  irect all parties wishing to donate or lend artworks to the City to the
D
Public Art Program.

111
 2. P
 rovide routine maintenance of the donated or loaned artwork,
upon advice from the Public Art Program Coordinator, and perform
maintenance work in a manner that is consistent with requirements
supplied by the donor or lender.

3. B
 e responsible for reporting to the Public Art Coordinator any damage
to a donated or loaned artwork.

4. N
 ot intentionally destroy, modify, relocate or remove from display any
donated or loaned artwork without prior consent from the Palmdale
Public Art Commission and City Manager in accordance with the Policy
for Deaccession of City-Owned Artwork.

5. N
 ot cause any non-routine maintenance or repairs to donated or
loaned artworks without prior consent from the Public Art Commission
and City Manager.

EXCEPTION

Gifts of state presented to the City by foreign governments or by other political

jurisdictions of the United States — municipal, state or national — which may be
accepted by the Mayor, City Council, or City Manager shall be reviewed as follows:

A. P
 ermanent placement of artwork suitable and accessible for public display
shall be determined jointly by the appropriate City department and the Public
Art Program.
B. Appropriate recognition and publicity shall be the responsibility of the
City department with jurisdiction over the site of permanent placement, in
consultation with the Public Art Program.
C. I f not provided for by the donor, maintenance of the artwork shall be the
responsibility of the department with jurisdiction over the site, in consultation
with the Public Art Program.

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APPENDIX I
PROPOSED MEMORIALS POLICY AND GUIDELINES

INTRODUCTION

The City of Palmdale may occasionally decide to install permanent memorials on

City property to commemorate persons or events of note, or to otherwise convey the
City’s position on various topics (referred to as government speech). The City seeks
to establish a standard measure for review of prospective donated memorials by
the appropriate City board or commission to ensure that only objects of the highest
standard of excellence are accepted.

The following policy for the acceptance of memorials defines the types of donations
that the City will accept and establishes criteria for review and acceptance of these
objects. The following types of projects are considered in this policy:

1. The gift of a newly commissioned memorial to be located permanently upon

City of Palmdale property or public right of way.

2. The offer by a donor to organize a public competition that will result in the
gift or loan of a memorial to be located permanently or temporarily upon City of
Palmdale property.

POLICY

This policy provides a framework for review and approval of prospective memorials.
The City of Palmdale will only accept memorials that are of the highest quality.
Memorials must meet the subject criteria outlined below. In order for the City to
accept donations of memorials, it must first determine that there is an identified
space for exhibition on City property or within City facilities.

The City of Palmdale will not accept memorial objects that are unlimited
reproductions or are mass-produced. Memorials may be created in media, such
as paintings, mosaics, sculpture, and other site-specific installations. These
memorial donations differ from public artworks developed under the City’s Capital
Improvement Program.

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DEFINITIONS

Memorials are markers, statues, and other similar permanent installations to express
government speech, as further described in this policy, and which are installed by the
City of Palmdale on City property, or which are accepted by the City and installed on
City property with City permission. Memorials may be in various forms including:

• Plaques

• Sculpture

• Fountains

• Other forms of memorials as determined by the City of Palmdale

Artwork Memorials are memorials that are designed by an artist. Memorials may be
designed by artists or by members of allied fields such as architecture, engineering,
landscape architecture, or graphic design.

MEMORIALS AND GOVERNMENT SPEECH

The City of Palmdale has established the following considerations for the topic of
memorials:

A. T
 he placement of memorials shall be limited to circumstances of the highest
community-wide importance, both to maintain the significance of such
memorials and to minimize conflicts with the active and variable use of public
spaces.
B. M
 emorials should convey a powerful connection between Palmdale, its natural
setting, and its history.
C. M
 emorials should recognize significant circumstance, events or people, or
provide information on topics approved by the Public Art Commission, as set
forth below:

1.  he contributions of individuals or groups who made a substantial

T
impact upon the City of Palmdale;

2. The history of Palmdale or of the United States;

3. Historical, natural, or cultural influences on Palmdale; or

4. L
 ocal innovation or creativity that has contributed to Palmdale’s
growth and prosperity.

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The City of Palmdale does not permit the installation of memorials to living persons,
and usually a minimum of five years between an event and its commemoration is
recommended to allow for sufficient historical perspective.

The City of Palmdale may decide, in its sole discretion, to reject a proposal for a
memorial and/or may determine the appropriate site for any and all City memorials.

PROCEDURES FOR ACCEPTANCE OF MEMORIALS

Application Process

Potential gifts of memorials must be submitted to the Public Art Coordinator for
initial review. If the memorial is determined to be an artwork memorial, the Public
Art Program will initiate a review and approval process. The Public Art Coordinator
will respond to all donor inquiries and advise donors of the process for review and
approval based on this determination.

Gifts of memorials may not be offered for a specific site. Before offering a permanently
sited memorial, the donor must submit an initial request for placement consideration
to the Public Art Program. Once a potential site has been identified, the donor
must submit a site plan demonstrating the relationship of the work to the proposed
location and include color photographs of the site.

For gifts of memorials, the completed application must be accompanied by

A. A
 letter from the donor stating the purpose of the memorial and its
responsiveness to the criteria stated above.
B. A
 model, color photographs, or a color rendering of the proposed memorial. If
the work is three-dimensional, multiple views are required.
C. If the memorial is an artwork:

1.  professional assessment of the artwork’s condition created by a

A
conservator and accompanied by maintenance requirements;

2. The artist’s résumé; and

3. I nformation of the artwork’s context, provenance, and history (e.g.,

where it has been shown, who owned it, etc.).
D. A letter of authentication from the artist or the artist’s estate.
E. E
 vidence that there are sufficient funds available for the fabrication,
installation, and ongoing care of the memorial.

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Review and Evaluation

The review and approval process involves five steps.

Step 1. Department Review

The Director of the department with jurisdiction of the location where the artwork
is proposed will review the proposed memorial to determine whether there is an
appropriate location for its permanent placement, and to determine whether the
memorial meets the topic criteria identified in this policy. If the memorial is not
determined to be an art component, the Director of the Department of Public Works
will proceed according to Step 4 below.

Step 2. Public Art Program Review

The Public Art Coordinator will review applications for donations of artwork
memorials for completeness, evaluate the prospective donation, and make written
recommendations for review and approval by Public Art Commission. If the Public Art
Coordinator determines that the donation is not feasible, the donor will be notified in
writing.

If the Director of the Department of Public Works has approved a site for the
memorial, then the Public Art Coordinator will consult with the City of Palmdale
department responsible for that site to develop a community outreach plan.

If necessary, the Public Art Coordinator may appoint an arts advisory panel of three to
five arts professionals to review the work and make recommendations to the Public
Art Commission based on the following criteria.

1. Artistic Excellence

Donated artwork memorials should reflect the highest standards of excellence

and represent diversity of art forms and artists, while excluding reproductions
that are unlimited editions and art objects that are mass-produced.

2. Professional Credentials of the Artist

Artist’s résumé should demonstrate the breadth of professional work through

solo and group shows, collections, publications, and if applicable, education.

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3. Appropriateness to the Site

Donated memorials should be compatible with the proposed site’s

architecture, landscape, and/or surrounding area.

4. Maintenance Requirements

The memorial should be in good condition with a recent conservation report

detailing routine maintenance instructions. The materials used in the creation
of the artwork must last in a public, non-archival setting suitable for both
indoor and outdoor exhibition, resistant to vandalism.

5. Maintenance Endowment

The donor demonstrates the ability to provide a maintenance endowment

sufficient for the ongoing care of the memorial.

If the memorial requires siting but no suggested site is specified by the
applicant, the Public Art Program Coordinator, after determining the work to
be appropriate for placement on City property, may consult with other City
departments and then suggest locations to the Public Art Commission for
review.

Step 3. Public Art Commission Review of Artwork Memorials

1. Upon Public Art Coordinator recommendation, the Public Art Commission

will review applications and decide whether to approve or disapprove. The
Commission may review artworks in two ways:

2. Approve/disapprove donations of artwork memorials submitted to the City of

Palmdale.

Approve/disapprove placement of artwork memorials on property belonging to, or

under the control of the City of Palmdale, submitted for acceptance to other City
departments or officials as donations to the City.

Criteria for Evaluation of all Memorials

1. The donor can demonstrate that the person, group or event being
memorialized is deemed by the City of Palmdale to have made a significant
enough contribution to merit a memorial of the scale, cost, and visibility
proposed.

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2. The memorial does not duplicate existing memorial themes.

3. The proposal has been through community outreach conducted by the group
or person suggesting that the City of Palmdale install the memorial, and the
installation and maintenance of the memorial is within the priorities of the
work plan of the responsible department.

4. The community outreach should be consistent with the outreach conducted

for similar City projects.

5. The proposed memorial is not objectionable to the relatives of the persons or

community that it is intended to honor.

6. The proposed site for the memorial is related to its underlying purpose as
designated in a master plan or other approval of the City Council or City
Manager as a particularly appropriate site.

7. The memorial was designed by qualified professionals who may include

registered architects, engineers, landscape architects, and artists who can
demonstrate professional recognition in the form of public commissions or
permanent public installations.

8. There is a committed and verifiable funding source for the review, design,
fabrication, installation, and maintenance of the memorial before proceeding
to incur City of Palmdale costs and staff time.

Step 4: Planning Commission Review of Artwork Memorials

Upon Public Art Commission recommendation, the Planning Commission will review
the application and decide whether to approve or disapprove.

Step 5: Acceptance

If the memorial is accepted by the appropriate City Commission(s), the following

requirements will apply:

1. The artist, donor, or sponsor of a memorial will be required to pay for all
installation costs and commemorative plaques associated with its placement
on property belonging to or under the control of the City.

2. The donor shall grant the City the right to convey the work to another site, to
storage, or for conservation.

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3. The donor shall grant the City the right to deaccession any accepted memorials
under this policy with Public Art Commission review.

4. The donor will be required to establish a maintenance fund for the memorial.
Donor must provide documentation of adequate maintenance for the life of
the memorial and establish a maintenance fund at the City of Palmdale.

5. The City shall inform the donor that acceptance of a donation is not
determinative of the value of the donation.

6. Upon acceptance of donation, the donor will receive an acknowledgement

letter. The commemorative plaque identifying the memorial, artist, and donor
will be installed near the memorial.

If the prospective donation of an artwork memorial is not accepted, the Public
Art Coordinator will provide written notification and explanation to the donor.
If the prospective donation of a non-art related memorial is not accepted,
written notification and explanation to the donor will be provided by Public Art
Program staff.

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APPENDIX J
PROPOSED MURAL POLICY AND GUIDELINES
PURPOSE

The purpose of this policy is to ensure the highest standards of artistic expression by
encouraging appropriate placement and review of murals. The review criteria in this
policy establish guidance for the compatibility and appropriateness of the mural with
minimal intrusion into artistic expression.

A. T
 his policy promotes a clear understanding between the artist and the
property owner concerning the lifespan and maintenance requirements of the
mural.
B. T
 he policy also promotes public safety and welfare by insuring displays are in
keeping with the following objectives:

1.  hat the design, construction, installation, repairs and maintenance

T
of murals will not interfere with traffic safety or otherwise endanger
public safety.

2. T
 hat the regulations will provide reasonable protection to the visual
environment by controlling the size, height, spacing and location of
murals.

3. T
 hat the public will enjoy the aesthetic benefits of murals without
visual blight or traffic safety impacts that would be caused if murals
were not reasonably and appropriately regulated.

DEFINITIONS

Artist: A practitioner of the creative arts generally recognized as such by critics and
peers, with a body of work including commissions, exhibitions, sales, publications,
and collections. For the purposes of this chapter, “artist” shall not include: (i) persons
primarily working in the professional fields of architecture, engineering, design or
landscaping; (ii) an employee or relative of the project architect, landscape architect,
engineer or project manager; (iii) any person with a business interest in a project
or with respect to individuals or entities serving as project architects, landscape
architects, engineers or project managers; or (iv) a relative of or anyone with a
financial interest with respect to an individual or entity serving on an art selection
panel for the project.

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Mural: A one-of-a-kind, hand-painted, hand-tiled, or digitally printed image on
the exterior wall of a building that does not contain any commercial message. For
definition purposes, a commercial message is any message that advertises a business
conducted, services rendered, or goods produced or sold.

AUTHORITY

A. A
 ny mural located on public property or on private property facing a public
right of way, whether commissioned by the City of Palmdale or by a private
entity, must be reviewed and approved by the Public Art Commission.
B. T
 he Public Art Coordinator shall have the authority to determine that an
application for a mural meets all of the applicable requirements as established
in this policy.
C. The review of murals shall follow the same review process as for public art.

NEIGHBORHOOD INVOLVEMENT

A. A
 t least 45 days prior to submitting an application for mural review by the
Public Art Commission, an applicant for mural approval must send notice
to the Public Art Coordinator and to the neighborhood organization with
jurisdictions over the area of the City in which the proposed mural will be
installed.
B. T
 he mural applicant must work with the appropriate Neighborhood Watch
group to convene a presentation of the mural and gather public comment.
C. N
 o mural shall be reviewed by the Public Art Commission until the applicant
certifies that he or she has completed this neighborhood involvement
requirement.
D. T
 he Public Art Coordinator will invite representatives from the neighborhood
organization to provide comments at the Public Art Commission meeting
when the mural is reviewed.

CONTRACT

Applicants submitting murals for review by the Public Art Commission shall submit
a copy of an executed contract between the artist and the property owner indicating
that the mural has been authorized by the property owner, that the owner assumes
responsibility for its maintenance, and that the artist agrees that the mural is a
temporary artwork that may be removed after two years or under the circumstances
described in the sections below.

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COVENANT

A. M
 urals on both public and private property are considered to be temporary
artworks with lifespans of no fewer than two years and no more than eight
years, unless the property owner approves in writing the extended life of the
mural.
B. W
 hen a new mural is approved and installed, the applicant shall record a
covenant with the Public Art Program. This recorded covenant is defined as
mural registration, and the mural shall be entered into the City of Palmdale’s
murals database.
C. T
 he covenant shall require that the mural comply at all times with all provisions
of the mural policy. The covenant shall remain in force for as long as the mural
exists.

CHANGE OF OWNERSHIP

Upon a change of ownership of the property to which a mural is affixed, a new owner
may, at the owner’s election and without the need for permission from the Public
Art Program, deregister the mural with the Public Art Program and terminate the
covenant. The owner shall inform the artist and the Public Art Coordinator at least
30 days in advance so that the artist and/or the Public Art Program can properly
document the mural, and the artist has the opportunity to remove the mural if it is
possible, and the artist wishes to claim it.

ORIGINAL ART MURAL REGULATIONS

A. A
 n original art mural that meets all of the following requirements will be
allowed upon satisfaction of the applicable registration procedures:

1.  he mural shall remain in place, without alteration, for a minimum

T
period of two years.

2. “ Alterations” include any change to a permitted mural, including, but

not limited to, any change to the image(s), materials, colors or size of
the permitted mural. “Alteration” does not include naturally occurring
changes to the mural caused by exposure to the elements or the
passage of time.

3. M
 inor changes to the permitted mural that result from the
maintenance or repair of the mural shall not constitute an “alteration.”
Such minor changes may include slight unintended deviations from
the original image, colors, or materials that occur when the permitted
mural is repaired due to the passage of time or as a result of vandalism.

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 4. A
 mural may be removed within the first two years of the date of
registration under the following circumstances:

i. The property on which the mural is located is sold; or

ii.  he structure or property is substantially remodeled or altered in a

T
way that precludes continuance of the mural; or

iii.  he property undergoes a change of use authorized by the

T
Building and Safety division.

iv.  he owner of a mural may request permission from the Public Art
T
Program to remove a mural prior to the expiration of the two-year
period, which the department may grant upon making a finding
that the continued maintenance of the mural is not feasible and
that the early removal of the mural is not in furtherance of off-site
commercial advertising.
B. N
 o part of a mural shall exceed the height of the structure to which it is tiled,
painted or affixed.
C. N
 o part of a mural shall extend more than six (6) inches from the plane of the
wall upon which it is tiled, painted or affixed.
D. N
 o mural may consist of, or contain, electrical or mechanical components or
changing images which are defined as moving structural elements, flashing or
sequential lights, lighting elements, or other automated methods that result
in movement, the appearance of movement, or change of mural image or
message, not including static illumination turned off and back on not more
than once every 24 hours.
E. N
 o mural shall be placed over the exterior surface of any building opening,
including, but not limited to, windows, doors, and vents.
F. N
 o mural shall be placed on a lot that is improved with only one single family
residential structure and accessory structures.
G. N
 o mural shall be arranged and illuminated in a manner that will produce a
light intensity of greater than three foot-candles above ambient lighting, as
measured at the property line of the nearest residentially zoned property.
H. S
 ponsor and artist names may be incorporated but should be discreet and not
exceed 5% of the design.

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DESIGN AND REVIEW

A. T
 he review of murals shall follow the same review process and criteria used
for public art by the Public Art Commission. Artists and/or property owners
submitting murals for review must provide the Public Art Commission with the
following information:

1. A site plan showing the location of the mural and its address;

2. A
 color rendering of the mural to scale showing it to scale on the
façade of the building where it will be displayed;

3. The materials the artist will use in creating the mural;

4. The artist’s résumé;

5. Examples of previous artwork completed by the artist; and

6. A
 n executed contract between the artist and the building owner that
specifies the lifespan of the mural and the mutual rights of the artist
and the property owner as specified in this policy.
B. T
 he mural should be respectful of the greater context of the community,
including historic and sociocultural contexts.
C. The content of a mural is protected under the laws of free speech.
D. T
 he mural cannot depict sexual conduct or sexually explicit nudity nor
advertise any activity illegal under the laws of California or the United States.
E. S
 ponsor and artist names may be incorporated but should be discreet and not
exceed 5% of the design.

MAINTENANCE

A. The maintenance of the mural is the responsibility of the property owner.

B. T
 he mural must be properly maintained to ensure that material failure is
corrected and vandalism removed promptly.

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APPENDIX K
PROPOSED TEMPORARY ARTWORK POLICY
PURPOSE

The Temporary Artwork Policy is intended to activate publicly-owned spaces in

parks, plazas, streetscapes, and other City-owned property. Temporary artworks
enliven communities, provoke conversations and refresh the public realm. The City of
Palmdale commissions temporary artworks through its Public Art Program and acts
as a conduit for temporary projects initiated by artists and non-profit organizations.

Temporary artworks must be approved by the City of Palmdale and are considered to
be government speech. In permitting temporary artworks, the City does not intend to
open a public forum for free speech activity.

The Temporary Artwork Placement Policy establishes criteria and guidelines for the
consideration and installation of temporary artworks in parks, plazas, streetscapes and
similar City property. The policy and procedures are intended to ensure a consistent
approach to placing art in the public realm.

GOALS

A. T
 o encourage the temporary placement of thought-provoking, innovative
works of high artistic merit that connect people to place;
B. To contribute to Palmdale’s sense of identity and pride;
C. T
 o build on Palmdale’s identity as a diverse community and a global center for
innovation;
D. T
 o engage artists in projects that stimulate and encourage community
interaction;
E. To create pilot projects in potential locations for permanent artworks;
F. To provide opportunities for emerging and established artists;

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SCOPE

The focus of this policy is on temporary artworks located in the City of Palmdale.
Temporary public art may include visual artworks, performance art, projections, digital
media, virtual reality, and other artistic media that are displayed 12 months or less;
and community-based art that builds upon the diverse cultural traditions of Palmdale
residents, and provides a space for reflection. Temporary projects may be artist-
initiated, commissioned by the City, or commissioned by a Palmdale-based non-profit
community or cultural organization. This policy should be employed whenever the
City, through its Public Art Program, commissions temporary art, and when the City
facilitates temporary artwork proposed by others.

PUBLIC ART PROJECT TYPES AND ARTWORK CONSIDERATIONS

Temporary artworks are defined as projects that last more than 24 hours and less
than one year. Temporary artworks are allowed on any City-owned property provided
that the City department responsible for that site is willing to allow the temporary
placement of art. Temporary art may include display of existing works of art as well as
artworks and art experiences that are created specifically for the site.

Physical artworks must be constructed to withstand outdoor placement during

the City-designated display period. All approaches and media for public art will be
considered. These include, but are not limited to artworks that consist of or include
sculpture, light, social practice/community art, performance, sound, projection art and
other artistic media.

Temporary artworks and experiences must not create a nuisance in the community
where the artwork is proposed, especially when employing light or sound. Artwork
must not present any public safety hazards or violate City laws or codes. Physical
artwork selected for temporary placement may require stamped engineering
drawings. All temporary artworks must be removed by the artist, who must restore
the site to its original condition upon completion of the display.

PROCEDURES AND PROGRAM MANAGEMENT: CITY FUNDED PROJECTS

The Public Art Program will include the commission of City-funded temporary
artwork projects in its Annual Public Art Work Plan. The project description should
include the proposed location(s) and goal of the commission and artist selection
methods. The Public Art Program will issue an RFP to solicit artists to develop
proposals or submit artworks to be placed on loan. The artist’s commission contract
will include the artist’s cost for design, installation, maintenance and deinstallation of
the temporary artwork created for the Program; or a fee for the loan and maintenance
of preexisting artworks.

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Temporary artwork projects that are funded by the City of Palmdale may be
commissioned by the City’s Public Art Program or commissioned by a nonprofit arts
organization or curator contracted by the City. When a contracted arts organization or
curator is chosen by the City to implement the temporary artworks, the City must be
represented in the artist selection process as well as on the project team that reviews
design development and implementation. Projects implemented by the Public Art
Program or by a partner organization may be selected through an open Request for
Proposal (RFP) process, limited invitation, or by a curatorial process that invites artist
proposals. The City will secure a list of available sites prior to soliciting proposals. The
RFP or invitation will indicate the available sites for art placement, the duration of the
display, and the City’s requirements for insurance, liability, safety, etc.

City-funded projects will be selected by a panel, usually comprised of three arts

professionals, two community representatives, one Public Art Commissioner and
one representative of the appropriate City department(s). The exact makeup of
the selection panels may shift depending on the location, scale and purpose of the
artwork. If possible, community representatives will be knowledgeable about the arts.

Artists or commissioning organizations submitting artwork for consideration shall

submit the following information:

• Artist’s résumé

• A minimum of two photographs of the work

• A written narrative describing the artwork

• I n the case of physical artworks, a description of the construction materials and

methods of fabrication

Selection criteria will be defined in advance by the Public Art Program based on the
goals articulated in the annual Public Art Work Plan. In general, selection criteria will
include:

• Artistic merit

• Appropriateness to site and goals articulated for the project

• Community engagement

• Feasibility and durability

• Compliance with City codes

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The Public Art Commission will review and approve, deny, or suggest revisions to
temporary artwork proposals. The City Council must approve any City-funded project
agreements with values that exceed City Manager’s authority. Performance based
projects of less than 24-hour duration may be reviewed and approved at staff level.

PROCESS FOR PLACEMENT OF SELF-FUNDED ARTIST- OR ARTS-

ORGANIZATION INITIATED TEMPORARY ART PROJECTS

The point of contact for review and approval of self-funded artist- or community-
initiated projects is the Public Art Program Coordinator, who will insure that
appropriate City staff approves the proposed location of the work and addresses
public safety concerns. A City employee or elected official who is contacted
regarding temporary placement of an artwork must direct the donor to the Public
Art Coordinator, who will consult with the relevant City department regarding
appropriateness of location before initiating the artwork review process.

Applications for placement of temporary art must include a detailed narrative

describing the project and the artist creating it, drawings or other graphic
representation of the artwork being proposed, and a notional budget. In addition, the
structural description of the proposed temporary artwork should include, but not be
limited to the medium, dimensions (H x W x D and weight), required power sources,
detailed information regarding installation method, anchoring procedure, and any
necessary maintenance to be provided.

The Public Art Coordinator will convene a Temporary Artwork Review panel consisting
of arts professionals, City department representatives, and community stakeholders
to evaluate the viability, appropriateness, durability and safety of the proposal.

In general, selection criteria will include:

• Artistic merit

• Appropriateness to site and goals articulated for the project

• Community engagement

• Feasibility and durability

• Compliance with City codes

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Recommendations from the Temporary Artwork Review Panel will be forwarded to
the Public Art Commission for final review and approval.

Once the proposed project has received Final Approval, the Public Art Coordinator will
issue a contract between the City of Palmdale for the proposer regarding placement,
duration, maintenance and installation of the work or project. The proposer will be
required to sign, submit proof of insurance to the City of Palmdale, and meet all other
obligations as outlined in the agreement, including date and method of removal of
the artwork. The City department must receive and provide written notification of
approval of deliverables to the applicant before the applicant can install artwork on
City property.

ACCEPTANCE CONDITIONS

A. T
 he City reserves the right to manage its own property, including the removal
of the artwork, when it poses a public safety risk, has been left on City property
beyond the agreed terms, or is damaged beyond repair.
B. I f an artwork is not completed within the timeline originally approved by the
Public Art Commission, or if changes in content, materials, form, presentation,
or financing of the artwork occur, the artwork must be reviewed again by the
Public Art Coordinator and Public Art Commission.
C. I n accepting a temporary artwork, the City of Palmdale requires that the
responsible parties enter into an agreement for the duration of the display that
outlines the maintenance responsibilities and removal of the artwork at the
agreed upon conclusion of the display, leaving the site in its original condition
or better.

Neither the Public Art Commission, the City of Palmdale, nor any of its agents
will be held liable for any damage or state of disrepair of a temporary artwork.

ROLES AND RESPONSIBILITIES

City of Palmdale: The City will demonstrate leadership by providing the skills and
resources to administer the Temporary Artwork Program.

Public Art Program: Lead program for managing Temporary Artwork Program.

Public Art Coordinator: City staff member responsible for managing Temporary
Artwork Program.

Temporary Artwork Panel: Panel of three to seven members assembled by the Public
Art Coordinator to select and/or review and approve temporary artworks proposed for
City placement initiated by an artist or a cultural organization.

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LEGAL CONSIDERATIONS

Copyright: The artist retains the copyright for the artwork and must grant the City
the right to use images of the temporary artworks for municipal purposes.

Ownership and maintenance: Temporary artworks commissioned by the City of a

contracted arts organization remain the property of the artist who will be responsible
for maintaining the work during the duration of its display. The City or the sponsoring
agency will be responsible for maintaining artworks that are displayed through a loan
agreement. The artist or contracted arts organization is responsible for removing the
artwork and restoring the site to its original condition.

Removal: The City of Palmdale reserves the right to remove or relocate temporary
artwork that deteriorates beyond repair, poses a public safety challenge, or meets
with substantial community objections as determined by the Public Art Commission.
All attempts will be made to coordinate relocation of the work with the artist, but if
the City must remove the art, it may bill the artist for the removal and storage costs.

DOCUMENTATION

Upon completion of the project, the Public Art Coordinator shall create
documentation that includes the following information:

• Artist’s résumé

• A minimum of two photographs of the work

• A written narrative describing the artwork

• I n the case of physical artworks, a description of the construction materials and

methods of fabrication

• Mention and/or reviews of the artwork in local press

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CREDITS

Photos 33 Flying Cat by Mark Lere, 2016

Palmdale Animal Care Center
Cover Palmdale Landscape
Photo: Courtesy of the City of Palmdale
Photo: Gail Goldman

34 Mobile Perception Unit Participant

5 The Palmdale Amphitheater
Legacy Commons for Active Seniors,
Photo: Courtesy of the City of
March 2018
Palmdale
Photo: Lesley Elwood
8 Cloud Gate by Anish Kapoor, 2006
35 Chalk Artists
New York City Waterfalls by Olafur
Kaleidoscope Art and Music Festival,
Eliasson, 2004
2017
Photo: Lesley Elwood
9 Sundial Bridge by Santiago
Calatrava, 2004
36 Portraits by Portraits of Hope, 2019
Photo: Turtle Bay Exploration Park
Palmdale Animal Care Center
Photo: Lesley Elwood
10 Mobile Perception Unit Participant
Children’s Springfest & Egg Hunt,
43 Dedication of The First Mayor by
March 2018
Michael DeMedina, October 2015
Photo: Lesley Elwood
Chimbole Cultural Center
Photo: Courtesy of the City of Palmdale
11 Back Home by Sol Mesz, 2014
Photo: Courtesy of the City of
47 Joe Davies Heritage Airpark
Palmdale
Photo: Courtesy of the City of Palmdale
14  aces of Elysian Valle by Brian
F
50 Untitled by Nuri Amanatullah, 2018
Howe and Freyja Bardell, Los
Marie Kerr Park Community Building
Angeles, 2017 Photo: Riboflavin301
Photo: Courtesy of the City of Palmdale
16 Jackets by Jason Greene, 2008
51 Mobile Perception Unit Drawing
Fire Station 136
Children’s Springfest & Egg Hunt,
Photo: Courtesy of the City of
March 2018
Palmdale
Photo: Leslie Elwood
22 
Facing the Sun by Lauren Evans
54 4am Dragon by Jason Greene, 2008
and Margaret Lazzari, 2018
Fire Station 93
Courtyard adjacent to
Photo: Courtesy of the City of Palmdale
Development Services
Photo: Courtesy of the City of
Appendices
Palmdale

57 Palmdale Landscape
30  ilacs, Blake and Laura’s Roses,
L
Photo: Lesley Elwood
Day Lilies, and Holly Berries
by Reva Mattson, 2006
Development Services Lobby
Graphic Design
Photo: Courtesy of the City of
Palmdale Karen Morrison, karen-m.com

131