1 CITY OF ALAMEDA RESOLUTION NO. ______
ADOPTING THE PUBLIC ART MASTER PLAN
WHEREAS, Alameda has a thriving arts and culture community that is supported by the Base Reuse and Economic Development Department to foster a unique sense of place and a more livable and economically thriving city; and
WHEREAS, in 2003, the City of Alameda adopted public art requirements for new commercial, industrial, residential and municipal construction; and
WHEREAS, Alameda Municipal Code Section 30- 98 Public Art in New Commercial, Industrial, Residential and Municipal Construction requires that major development projects dedicate 1% of development costs to providing public art; and WHEREAS, Alameda Municipal Code Section 30-98 defines the role of the Public Art Commission as advising the City Council on public art policies, procedures and expenditures from the Alameda Public Art Fund; and
WHEREAS, in this role, the Public Art Commission plays a critical role in ensuring that public art in Alameda is of the highest quality and reflects the values, cultural heritage, and diversity of the community; and
WHEREAS, in December 2020, Base Reuse and Economic Development Department staff facilitated a working session of the P ublic Art Commission to identify upcoming public art priorities; and
WHEREAS, in its December 2020 working session, the P ublic Art Commission identified the development of a Public Art Master Plan as priority; and
WHEREAS, collaboratively developing a master plan is understood to be a best practice for guiding municipal public art programs; and
WHEREAS, in December 2021, City Council received a biennial report on the Public Art Fund, which included the request for proposal s for qualified consultants to support the development of a Public Art Master Plan; and
WHEREAS, between June 2022 and February 2023, the selected consultant (Forecast) led a community engagement which involved collaboration with local artists, arts organizations, and community members; and
WHEREAS, this community engagement effort included three facilitated workshops with the Public Art Commission, one-on-one conversations with key public art stakeholders, a series of focus groups, two community “pop-up” events, and a community wide survey; and
2 WHEREAS, between April and June 2023, the selected consultant and Base Reuse and Economic Development Department staff presented draft s of the Public Art Master Plan to the Public Art Commission and received feedback which was incorporated into the Plan; and
WHEREAS, on June 26, 2023, Base Reuse and Economic Development Department staff brought the Plan before the Planning Board and received feedback which was incorporated into the Plan; and
WHEREAS, on October 17, 2023, Forecast and Base Reuse and Economic Development Department staff presented a revised Plan to the Public Art Commission , which incorporated feedback from the Planning Board and senior staff from other departments and the Public Art Commission voted to recommend to the City Council adoption the Plan contingent on additional revisions , which were primarily graphic in nature.
NOW, THEREFORE, BE IT RESOLVED by the Council of the City of Alameda hereby adopts the Public Art Master Plan as shown in Exhibit A.
3 Exhibit A
Public Art Master Plan
Attached to Staff Report 2023-3567
A Road Map for
Future Investment
Prepared by:
November 2023
ALAMEDA
PUBLIC ART
MASTER PLAN:
Alameda Public Art Master Plan Page 4
[Placeholder for foreword to be provided by Elected Official or City Manager]
ACKNOWLEDGEMENTS
This Public Art Master Plan was made possible by the participation of a wide variety of individuals and organizations in Alameda. Special thanks to:
Public Art Commission members
Adam Gillitt, Chair
Liz Rush, Vice Chair
Robert Ferguson
Peter Platzgummer
Jennifer Hoffecker
Planning Board members
Base Reuse and Economic Development Department Staff
Lois Butler, Economic Development Division Manager
Walker Toma, Development Manager
Amanda Gehrke, Special Projects Manager
All other City of Alameda Staff that Contributed to this Plan Community participants involved in the process included artists, arts and culture organizations, City staff, developers, arts educators, and philanthropists.
Local Artist
Yolanda Cotton Turner
Survey Respondents
439 anonymous survey respondents
Plan content prepared by Forecast Public Art:
Jen Krava, Director of Programming
Mark Salinas, Senior Project Manager
Yarlyn Rosario, Project Manager
Mallory Rukhsana Nezam, Consulting Partner
Plan design assistance: Jessica Warren
All photos in the plan by Maurice Ramirez unless otherwise noted.
Image on front cover:
“Calimar”By Rosella Scapini
Supported by the Public Art Fund
Alameda Public Art Master Plan Page 6
Foreword by Elected Official or City Manager
Acknowledgements
Executive Summary
A Road Map for Public Art in Alameda
Recommendations
Five-Year Action Plan
Appendices
Appendix A: Plan Purpose
Appendix B: Public Art in Alameda
Appendix C: Plan Input
Appendix D: Recommendations
Appendix E: Draft Deaccessioning Policy
Appendix F: Locational Opportunities for Public Art in Alameda Appendix G: Potential Structure for Unveiling Celebrations
Appendix H: Possible Additional Sources of Funding for Public Art in Alameda
Appendix I: Public Art Policy Guidelines
Appendix J: City of Alameda Procedures for Public Art
TABLE OF CONTENTS
3 4
7 - 16
17 - 28
19 21 - 27
29 - 120
31 - 35
39 - 44
45 - 64
65 - 68
69 - 74
75 - 82
83 - 84
85 - 88
89 - 102
103 - 126
“Nautilus” by Jill Turman
Developer funded
Page
Alameda Public Art Master Plan Page 8
EXECUTIVE SUMMARY1.
“Tidal Arch” by Adrian Segal
Developer funded
Alameda Public Art Master Plan Page 10
The Public Art Master Plan (Plan) is a
comprehensive guide that aims to promote
and support public art in the City of Alameda
(City). Alameda has a thriving arts and
culture community that is supported by the
Base Reuse and Economic Development
Department (BREDD) to foster a unique sense
of place and a more livable and economically
thriving city. The Public Art Commission (PAC)
plays a critical role in ensuring that public art in
Alameda is of the highest quality and reflects
the values, cultural heritage, and diversity of
the community. Together, BREDD and PAC
provide access to resources and opportunities
for artists and cultural organizations, and
ensure that public art is accessible and
inclusive for everyone in Alameda.
Through a competitive RFP process, Forecast
Public Art was selected to develop the Public
Art Master Plan in collaboration with BREDD.
The Plan’s development involved collaboration
with local artists, arts organizations, and
community members through a community
engagement strategy. The strategy involved
reaching out to a diverse range of stakeholders
through various channels and actively listening
to their input in places where they congregate.
Overall, we received input from over 600
people through one-on-one conversations,
focus groups, pop-up creative engagement
activities, and a community-wide survey. We
additionally held three workshops with the
PAC.
This Plan establishes policies and procedures
that will help the City to effectively manage its
Public Art Program and collection, prioritize
public art funding, and create a cohesive
approach to public art that is accessible and
inclusive. The plan builds upon the 2012
report, Synergy: Public Art for Alameda and
the Alameda General Plan 2040, and will help
the City to evaluate the success of its Public
Art Program and measure its impact on the
community.
One of the main reasons for the development
of the Plan is to ensure that the City’s limited
resources are being used to support the most
important and impactful public art projects.
The Plan will also enable the City to create
a strategic approach to site selection for
public art, carefully planning ahead to avoid
potential issues and to ensure that public art is
integrated seamlessly into the community. By
working closely with artists, institutions, and
community members, the City can tap into
a wealth of creativity, cultural perspectives,
and local knowledge to inform its Public Art
Program. This collaborative approach can lead
to a better distribution of public art that is
reflective of the diverse interests and identities
of the city’s residents.
Additionally, the Plan will amplify a sense
of place and identity for the City, helping
to define Alameda’s unique character and
enhance its cultural and creative landscape.
“Rockspinners”By Zachary Coffin
Supported by the Public Art Fund
By having a structured and comprehensive
approach, the City can build a cohesive
Public Art Program that is in line with its
objectives and creates a positive impact
on the community. The involvement of
the community in the public art process is
crucial to ensure that the projects selected,
commissioned, and installed reflect the
diversity of cultures, perspectives, and interests
of the residents of the city. This not only allows
for a more inclusive and representative public
art collection, but also creates a sense of
ownership and pride in the community for the
artwork that is being displayed.
ABOUT THIS PLAN
This Plan is organized into two sections: an
Executive Summary and a Road Map for
Public Art in Alameda and includes ten (10)
appendices. The Road Map is comprised of
two sections: Recommendations and a Five-
Year Action Plan. The Recommendations
present overarching themes that help to
establish strategic priorities for public art in
Alameda, while the Five-Year Action Plan lays
out specific actions that can be taken each year
over the next five years in order to meet the
recommendations.
The Plan is intended for use by City officials,
artists, developers, and members of the
community interested in participating in the
public art process. The plan outlines the
processes, roles, responsibilities, and funding
mechanisms related to the commissioning,
selection, placement, maintenance, and
deaccessioning of public art in Alameda. It also
includes appendices that provide additional
background and guidance on the plan’s
implementation.
City officials can use the plan as a reference
for developing policies and procedures related
to public art, while artists and developers
can refer to it for information on the public
art commissioning process, selection criteria,
and placement guidelines. Members of the
community interested in participating in the
public art process can use the plan to learn
about the various opportunities available for
contributing to the City’s public art collection,
as well as the criteria and requirements for
doing so. The plan can also serve as a tool for
ensuring transparency and accountability in the
City’s Public Art Program by providing a clear
framework for decision-making and resource
allocation.
Appendix A provides a summary of the Plan’s
purpose. Appendix B lays out the current state
of public art in Alameda. Appendix C shares
community engagement efforts, findings,
and synthesis as part of the planning process.
Appendix D is an expanded version of the
Recommendations. Appendix E is a draft
Deaccessioning Policy for the PAC to consider
modifying and adopting. Appendix F offers
specific locational opportunities for public art in
Alameda, along with criteria to consider when
assessing additional locations in the future.
Appendix G shares a framework for future
unveiling ceremonies related to public art
installations. Appendix H provides examples of
how other cities in California are funding public
art, and additional possible funding sources to
be vetted by Alameda’s legal team. Appendix
I contains the full Public Art Policy Guidelines,
to assist developers, staff, and members of the
public in the public art commissioning process.
Appendix J contains the full City of Alameda
Procedures for Public Art and discerns between
On-Site Artworks and In-Lieu Artworks, and the
Alameda Public Art Master Plan Page 12
The City has a thriving arts and culture
community, which works closely with the
BREDD to promote various forms of art
throughout the city. The Public Art Ordinance,
adopted in 2003, requires the installation
of publicly accessible art in certain new or
substantially rehabilitated development
projects. See pages 81-82 for a map of current
public art in Alameda.
The Public Art Fund
Developers have the option to make a
monetary contribution to the City’s Public Art
Fund (Fund) instead of installing on-site art. The
Fund is used to support physical art, cultural
arts, and arts programming for the benefit
of the community. Physical artworks refer to
tangible objects like sculptures and murals that
are installed in public spaces, while cultural arts
and arts programming refer to a broader range
of artistic experiences and events designed to
engage and enrich the community.
Public Art and Larger City Goals
The Alameda General Plan 2040 places value
on supporting arts and culture and identifies
opportunities for future public art projects
associated with City development, including
integrating public art in Seaplane Lagoon,
utilizing public art to create significant places,
and making utility boxes more attractive with
public art. The City has a Public Art Program
and arts organizations that offer a diverse range
of art and cultural experiences, reflecting the
community’s values, heritage, and diversity.
More detailed information about the Public
Art Program and public art in Alameda is
presented in Appendix B.
Public Art Commission
The PAC plays a critical role in advising
and implementing the City’s Public Art
Program. Appointed by the Mayor, the
PAC is responsible for recommending
projects for public art funding, selecting
and commissioning artists and artworks, and
PUBLIC ART IN ALAMEDA developing policies and programs related to public art. With members representing a range
of perspectives and meeting regularly with
the public, the PAC ensures that public art in
Alameda is of the highest quality and reflects
the community’s values, heritage, and diversity.
By working closely with the City’s Public Art
Program and other stakeholders, the PAC helps
to promote public engagement and education
about public art, while also advancing the City’s
goals of economic development, enhanced
livability, and effective operations. Ultimately,
the PAC’s work helps to create a more vibrant
and inclusive city that supports public art for
years to come. More detailed information
about the Public Art Commission is presented
in Appendix B.
COMMUNITY ENGAGEMENT
The development of the Public Art Master Plan
in Alameda involved a community engagement
strategy that collaborated with local artists, arts
organizations, and community members. The
planning process was designed to reach those
who reside, work, and recreate in Alameda
through various channels and to actively listen
to them in places where they congregate.
Engagement Activities
The engagement activities included PAC
workshops, one-on-one conversations, focus
groups, pop-up creative engagement activities
conducted by a local team member, and
a community-wide survey. The workshops
involved creating a shared definition of public
art, discussing cultural equity, and reviewing
comparative programming of other cities
in California to provide inspiration around
what could happen in Alameda in the future.
One-on-one conversations were held with
people who have been involved in arts and
On the following page:
The updated vision, mission, and goals for the Public Art Program in Alameda were developed through a series of
workshops with the PAC.
VISION:
Public art in Alameda fosters a sense of community and pride in place, celebrates and reflects diverse local perspectives, supports the local arts community, and creates a vibrant and exciting community within which to live, work, and visit.
MISSION:
The mission of the Alameda Public Art Program is to:
1. Present a high-quality and engaging public art collection that reflects and embraces the cultural diversity of the community, inspires critical thinking among residents and visitors, and presents public art in locations across the city;
2. Foster a greater understanding of public art and cultural performances in Alameda;
3. Facilitate a clear, inviting and consistent process for artists and organizations by creating guidelines around public art;
4. Provide meaningful opportunities for the local arts community in a consistent way; and
5. Facilitate the presentation of art and funding for public artists.
GOALS:
1. Awareness and Education
A. Increase public access to public arts program infomation, documents, and maps.
B. Increase public appreciation and knowledge of public art.
C. Increase public understanding of and access to the PAC.
2. Programming and Participation
A. Ensure existing and future public art is accessible and equitably distributed.
B. Create unique Alameda-influenced public art opportunities for artists and organizations.
C. Provide inclusive programming to historically underserved communities.
3. Funding
A. Create sustainable funding opportunities for artists and organizations by seeking additional government and philanthropic funding.
4. Leverage Resources
A. Bring high-quality art to the public throughout the city.
B. Collaborate with other departments in the City.
C. Maximize the utilization of available resources for documenting and maintaining public art.
5. Representation
A. Curate equal opportunities for diverse experiences and perspectives.
B. Foster public appreciation of cultural arts and arts programming.
C. Create methods to promote artists in the collection.
D. Provide long-term care and ethical responsibility of artwork.
culture activities in the past, while focus group
conversations were held with people who will
be affected by decisions made around arts
and culture. Local artist Yolanda Cotton Turner
developed pop-up activities to engage directly
with community members and understand their
wishes for public art in Alameda.
Engagement Findings
Through all of the engagement activities, we
learned that the community would like public
art to:
• Invoke a positive mood and inspire the
community
• Connect, reflect, and involve the locals in its
creation
• Be impactful
• Provide fun and entertainment, beautify the
community and make them feel proud while
supporting artists
• Be located everywhere
• Be inclusive, accessible and available to
everyone.
Community members are also interested in:
• More arts and culture events and
programming, expansion of free events,
and more culturally relevant programming
• Murals, sculpture, and art that is connected
to history and/or culturally relevant
• Rich history of Alameda including Native
American and Indigenous history
• Support and capacity building for local
artists.
ROAD MAP
This Road Map provides actionable, prioritized
steps to take in the next five years, and
was created in consideration of Public Art
Program Staff (Staff) capacity, fund variability,
and community desires. It consists of a set of
recommendations and a Five-Year Action Plan,
and establishes policies and procedures for
the effective management of the City’s Public
Art Program and collection, prioritizes funding,
and provides a roadmap for the selection and
placement of artworks. The Plan builds upon
previous reports and ensures that public art in
Alameda is accessible, inclusive, and reflects
the community’s cultural, social, and historical
context.
Recommendations
Specifically, the Plan recommends:
1. Creating opportunities for professional
connections for artists, culture bearers, and
creatives in Alameda
2. Building local artist capacity
3. Continuing existing programming and
finding ways to increase culturally relevant
programming while expanding cost-free
offerings
4. Developing prioritized sites for public art
across the island
5. Developing opportunities for the
community to be involved in, and to invest
in, public art
6. Developing a mix of artworks in theme,
form, and interactivity, ensuring that all
public art is physically accessible by people
of all abilities
7. Further defining cultural equity, diversity
and inclusiveness within the Public Art
Program, and creating an action plan
around it.
Actions
To achieve these, the Plan lays out actions
that can be taken over the next 5 years. These
actions have been developed with Staff and
PAC capacity in mind, and are focused on
developing tools and resources, providing
consistency in funding opportunities for artists
and arts organizations, determining future
locations for public artworks, and addressing
the condition of existing artworks. For more
detail, please see the Five-Year Action Plan on
pages 20 - 25.
Alameda Public Art Master Plan
RECOMMENDATIONS
Create opportunities for professional connections for artists, culture bearers, and creatives in Alameda1.
Build local artist capacity2.
Continue existing programming and find ways to increase culturally relevant programming while expanding cost-free offerings
3. Develop prioritized sites for public art across the island4.
Develop opportunities for the community to be involved in and to invest in, public art5.
Develop a mix of artworks in theme, form, and interactivity, ensuring that all public art is physically accessible by people of all abilities
6. Further define cultural equity, diversity and inclusiveness within the Public Art Program, and creating an action plan around it.7.
Alameda Public Art Master Plan Page 16
PUBLIC ART POLICY
GUIDELINES AND PUBLIC
ART PROCEDURES
Having processes to guide decision making is
key when putting together a public art plan.
Public Art Policy Guidelines (see Appendix
I) and Public Art Procedures (see Appendix
J) documents for public art in Alameda have
been updated and created anew, respectively,
to meet the recommendations included in this
Plan and provide transparency into the public
art process.
Public Art Policy Guidelines
Public Art Policy Guidelines are intended to
create more clarity for developers who must
follow the Public Art Ordinance (Ordinance).
The Ordinance requires commercial, industrial
and municipal development projects with
a development cost of $250,000 dollars or
greater as well as residential development
projects consisting of five (5) or more
residential units and a development cost of
$250,000 dollars or greater to devote one
percent (1%) of building development costs
to public art in Alameda. This contribution is
known as the Program Allocation, and may be
fulfilled in the following ways:
• On-Site Installation: Install public art with a
value that meets or exceeds the Program
Allocation on the development site; or
• In-Lieu Contribution: Place an In-Lieu
Contribution for an amount equal to the
Program Allocation into the Fund. The
Fund is used for development of public art
projects; or
• Combination: Install On-Site Artwork that
has a value less than 100% of the Program
Allocation, and pay an In-Lieu Contribution
to the Fund for the balance of the Program
Allocation.
The Public Art Policy Guidelines are also a
reference for Staff when moving through
a public artwork process, and explains the
Ordinance requirements, eligible and ineligible
expenses, and lays out the process for
commissioning On-Site and In-Lieu artworks.
Public Art Procedures
Public Art Procedures is a resource for
members of the public, developers, artists, arts
organizations, and more to follow the public art
process and understand where opportunities
lie and how decisions are made. The Public
Art Procedures discerns between On-Site and
In-Lieu Projects, defines common words used
in public art projects in Alameda, guidelines for
placement of public art and what to consider
when selecting sites, and how to address
maintenance and deaccessioning for public
artworks.
The Public Art Fund
The Alameda Public Art Fund is described
in detail in Section V of the Public Art
Procedures (Appendix J). Cultural Arts and
Arts Programming and Physical Art projects
(temporary or permanent) are commissioned
with Fund grants. One of the action steps in the
Five-Year Action Plan is to maintain a consistent
schedule for when grants are released so that
artists and arts organizations can plan for them.
The applications will live on the City’s website.
Artists and arts organizations apply for the
grants. A PAC Subcommittee made up of PAC
members, Staff, or a combination of the two,
review every application and make decisions
based upon set criteria. The Subcommittee
then makes recommendations to the PAC
on which applications to fund. This process
is designed to be as simple as possible, and
every step is laid out in the Procedures (see
Appendix J).
Please read on to see how public art in
Alameda will take shape over the next five
years.
“Beken”By Dewitt Godfrey
Developer funded
Alameda Public Art Master Plan Page 18
A ROAD MAP FOR PUBLIC ART IN ALAMEDA2.
Rhythmix Cultural Works: Island City Waterways
Supported by the Public Art Fund
Alameda Public Art Master Plan Page 20
This public art planning process comes at an
exciting time: PAC members are interested
in amplifying their work, local creatives are
interested in opportunities and capacity
building, the community is interested in
seeing more artwork across the city, and the
Ordinance was recently updated. Staff are
also eager to create regularity in providing
grant opportunities to local artists and arts
organizations, but are constrained by the
variable number of In-Lieu Contributions made
into the Public Art Fund each year.
This road map provides actionable, prioritized
steps to take in the next five years, and was
created in consideration of staff capacity, fund
variability, and community desires.
RECOMMENDATIONS
The following Recommendations were crafted
based on the feedback gathered through the
community engagement initiatives summarized
in the Executive Summary. These initiatives
are further documented in Appendices C and
D. These Recommendations align with the
mission of the PAC and will aid in establishing
strategic priorities for public art in Alameda,
reflecting the diversity of cultures present in the
community. Recommendations are to:
1. Create opportunities for professional
connections for artists, culture bearers, and
creatives in Alameda.
2. Build local artist capacity.
3. Continue existing programming, and
find ways to increase culturally relevant
programming while expanding cost-free
offerings.
4. Develop prioritized sites for public art
across the island.
5. Develop opportunities for the community to
be involved in, and to invest in, public art.
6. Develop a mix of artworks in theme, form,
and interactivity, ensuring that all public
art is physically accessible by people of all
abilities.
7. Further define cultural equity, diversity and
inclusion within the Public Art Program, and
create an action plan around it.
FIVE-YEAR ACTION PLAN
The next pages contain actionable tasks
associated with these Recommendations which
are to be taken over the next five years.
“Diatom” By Adrien Segal
Developer funded
Alameda Public Art Master Plan Page 22
• Develop a toolkit of resources for developers so
it is all in one easy to follow package.
• Set aside time in a PAC meeting to walk through
the Procedures so that artists understand what
to do when they have an idea for a public art
project. These conversations could also help the
Public Art Staff gather feedback about what else
artists need in regards to knowledge and skill
building.
• Develop a toolkit/reference package that can
be utilized to onboard new PAC members or
Staff quickly when there is turnover.
• Develop a version of the toolkit/reference
package that can be utilized to share processes
with artists.
HIGHEST PRIORITY TASKSACTIONS
2. Attend to the condition of artworks in
the public art collection.
3. Release a grant application for Cultural
Arts and Arts Programming.
1. Build resources based upon the
updated Public Art Policy Guidelines
and Public Art Procedures documents
to assist artists, developers, community
members, Staff, and PAC in the public
art process.
• Engage a public art conservator to conduct a
survey of the existing collection and determine
whether major repairs are warranted.
• Determine what actions to take on identified
artworks.
• Review and adopt a deaccessioning policy
for the public art collection in Alameda. See
Appendix E for a draft deaccessioning policy.
YEAR 1
RECOMMENDATIONS
ADDRESSED GOALS ADDRESSED
Create opportunities for
professional connections for
artists, culture bearers, and
creatives in Alameda.
Build local artist capacity.
1. Awareness and Education
A. Increase public access to public arts program
infomation, documents, and maps.
C. Increase public understanding of and access to
the PAC.
Develop opportunities for the
community to be involved in,
and to invest in, public art.
Develop a mix of artworks in
theme, form, and interactivity,
ensuring that all public art is
physically accessible by people
of all abilities.
Build local artist capacity.
Continue existing programming,
and find ways to increase
culturally relevant programming
while expanding cost-free
offerings.
Develop a mix of artworks in
theme, form, and interactivity,
ensuring that all public art is
physically accessible by people
of all abilities.
5. Representation
D. Provide long-term care and ethical responsibility
of artwork
2. Programming and Participation
B. Create unique Alameda-influenced public art
opportunities for artists and organizations.
C. Provide inclusive programming to historically
underserved communities.
3. Funding
A. Create sustainable funding opportunities for
artists and organizations by seeking additional
government and philanthropic funding.
4. Leverage Resources
A. Bring high-quality art to the public throughout
the city.
5. Representation
A. Curate equal opportunities for diverse
experiences and perspectives
B. Foster public appreciation of cultural arts and
arts programming.
1. 2.
5. 6.
2. 3.
6. Refer to page 12 for full Mission, Vision, GoalsRefer to page 14 for full list of Recommendations
Alameda Public Art Master Plan Page 24
• Utilize the Public Art Procedures to guide
your decision-making process.
• Explore ways to create consistency in grant
opportunities year after year (e.g. offering
Cultural Arts and Arts Programming grants
every year, and physical artwork grants
every other year, determining how much
money can be rolled over from year to year
to fund new projects, etc.)
ACTIONS
1. Prioritize and select sites for
upcoming projects.
1. Select a site and release a grant
application for physical artworks.
2. Simplify the grant process for all
grants.
3. Start a Biennial Work Plan. (see a
Biennial Work Plan description on
page 27).
• Develop a prioritized list of locations for
physical artworks based upon known
upcoming public and private development
projects, public locations available (such
as walls on public buildings for murals,
etc.), and areas where public art does not
currently exist across the island.
• Develop a process for identifying sites for
public art in the future.
– See Appendix E for more information
on location opportunities for public art in
Alameda.
HIGHEST PRIORITY TASKS
YEAR 2YEAR 3
GOALS ADDRESSED
Build local artist capacity.
Continue existing
programming and find
ways to increase culturally
relevant programming
while expanding cost-free
offerings.
Develop opportunities for the
community to be involved in,
and to invest in, public art.
Develop a mix of artworks
in theme, form, and
interactivity, ensuring that
all public art is physically
accessible by people of all
abilities.
1. Awareness and Education
A. Increase public access to public arts program
infomation, documents, and maps.
2. Programming and Participation
A. Ensure existing and future Public Art is
accessible and equitably distributed
3. Funding
A. Create sustainable funding opportunities
for artists and organizations by seeking
additional government and philanthropic
funding.
4. Leverage Resources
A. Bring high-quality art to the public
throughout the city.
B. Collaborate with other departments in
the City.
2. Programming and Participation
A. Ensure existing and future Public Art is
accessible and equitably distributed.
4. Leverage Resources
A. Bring high-quality art to the public
throughout the city.
B. Collaborate with other departments in
the City.
Develop prioritized sites for
public art across the island.
6. 4.
5. 3.
2. RECOMMENDATIONS
ADDRESSED
Refer to page 12 for full Mission, Vision, GoalsRefer to page 14 for full list of Recommendations
Alameda Public Art Master Plan Page 26
HIGHEST PRIORITY TASKSACTIONS
1. Review and adopt a
deaccessioning policy and process.
• Review the draft Deaccessioning Policy in
Appendix E
• Make changes based upon advice from
legal counsel
• Adopt and implement the policy
1. Develop initiatives and/or materials
for advocacy, marketing, and
visibility of the Public Art Program.
• Build an advocacy, marketing, and
visibility plan that includes opportunities
for sustained community engagement.
• Include the link for people to sign up for
Public Art email updates on the public
art website: https://www.alamedaca.
gov/Subscribe
If there is further capacity:
• Continue to build upon the Public
Art map on the City of Alameda’s
Public Art website to help visitors
and residents discover Public Art
throughout the city. The online
map could be made available as a
printed brochure.
• Share information about the
process to apply and be selected
for serving on the PAC. Encourage
members of the community to
apply who have traditionally not
been a part of civic processes
• Identify other partners that could
assist with amplifying the visibility
plan.This could include the
Alameda Chamber and Economic
Alliance, business associations,
local arts and culture organizations,
and other City departments
such as the Alameda Recreation
and Parks Department and the
Alameda Free Library.
• Develop a process for celebrating
new artworks. See Appendix G for
a potential structure for unveiling
celebrations.
YEAR 4YEAR 5
GOALS ADDRESSED
4. Leverage Resources
C. Maximize the utilization of available
resources for documenting and maintaining
public art.
5. Representation
D. Provide long-term care and ethical
responsibility of artwork
Develop a mix of artworks
in theme, form, and
interactivity, ensuring that
all Public Art is physically
accessible by people of all
abilities.
Create opportunities for
professional connections for
artists, culture bearers, and
creatives in Alameda.
Develop opportunities
for the community to be
involved in, and to invest in,
public art.
1. Awareness and Education
A. Increase public access to public arts program
infomation, documents, and maps.
2. Programming and Participation
A. Ensure existing and future public art is
accessible and equitably distributed.
5. Representation
C. Create methods to promote artists in the
collection.
1. 5.
6. RECOMMENDATIONS
ADDRESSED
Refer to page 12 for full Mission, Vision, GoalsRefer to page 14 for full list of Recommendations
Alameda Public Art Master Plan Page 28
Ongoing
As is current practice, PAC will develop a
Biennial Work Plan that lays out priorities for
the following two years. The plan would start
at the end of the year it was developed,and
should prioritize project(s) each year and the
PAC’s role in each. A seventh PAC meeting
could be added in November of the year the
plan is being made, in order for the PAC to
develop this plan.
At the end of the two-year period, the PAC will
continue its current practice of presenting to
City Council how the Fund has been and will
be spent.
The Biennial Work Plan will:
• Include a timeline for each year that
prioritizes actions for PAC and Staff, and
considers upcoming construction projects
and known In-Lieu Contributions.
• Consider utilizing a theme for new public
artworks commissioned through grant calls.
• Determine whether updates to the Public
Art website are needed.
• Include when grant calls for physical
artworks and Cultural Arts and Arts
Programming will be released, based
upon a decided, consistent schedule. For
example:
– Calls for cultural arts and arts
programming grants could be released
on an annual basis whereas calls for
physical artworks could be released less
frequently. Larger, physical artworks have
different requirements that take longer
than cultural arts and arts programming
(i.e. engineering, manufacturing,
installation, etc.). These projects require
more staff oversight and capacity and
typically take around 18-24 months to
complete.
Recommendations addressed: This ongoing
work addresses all seven Recommendations.
Goals addressed: this ongoing work addresses
all 5 goals and 14 subgoals.
“Gateway to California”By Norman Moore
Supported by the Public Art Fund
Alameda Public Art Master Plan Page 30
APPENDICES3.
“Island Cruisin Mural” By David“HYDE” Cho
w/ Three Thirty Three Arts
Supported by Façade Grant Program
Alameda Public Art Master Plan Page 32
“Semi Ripples” by Jeffrey Laudenslager
Developer funded
APPENDIX A:
PLAN PURPOSE
This Public Art Master Plan (Plan) is designed
to be a comprehensive guide for the City of
Alameda (City) in its efforts to promote and
support public art. This plan aims to provide a
clear direction and vision for the City’s Public
Art Program and to ensure that public art is
integrated into the community in a meaningful
and impactful way. The purpose of this Plan
is to establish the policies and procedures
needed to effectively manage the City’s Public
Art Program and collection, and to promote
public art as an essential component of the
community’s cultural and creative landscape.
The Plan will help the City to make informed
decisions about public art, including the
selection and placement of artworks, the
commissioning of new works, and the
management of existing collections. It will
provide a roadmap for the City to effectively
leverage its limited resources and staff
capacity to support public art initiatives, and
it will provide a framework for community
engagement and involvement in public art
projects.
The Plan builds upon the 2012 report,
Synergy: Public Art for Alameda and the
Alameda General Plan 2040, and will help to
ensure that public art in Alameda is accessible
and inclusive, and that it reflects the cultural,
social, and historical context of the community.
It will also provide a foundation for the City to
evaluate the success of its Public Art Program,
to measure its impact on the community, and
to continuously improve its efforts to support
and promote public art in Alameda.
A few specific reasons that highlight the need
for this effort are:
1. To prioritize public art funding and
allocate resources effectively, ensuring
that the City’s limited resources are being
used to support the most important and
impactful projects.
A. The limited capacity of staff resources
presents a challenge for the effective
management of Alameda’s Public Art
Program. Although the program has
access to 1/3 of a full-time staff position
and $10,000 in General Fund dollars,
the administrative tasks associated with
public art grants, particularly physical
art grants, require a significant amount
of time and effort. This can divert
staff attention away from their main
Rhythmix Cultural Works: Island City Waterways
Supported by the Public Art Fund
Alameda Public Art Master Plan Page 34
responsibility of funding artists and
bringing public art to Alameda.
2. To create a cohesive and consistent
approach to public art in the City, ensuring
that new projects are in line with the City’s
overall vision and goals.
A. In order to increase the presence of
public art in the city, it is important to
have a structured and comprehensive
approach. A framework that makes
logical sense will help ensure that new
public art projects align with the City’s
overall vision and goals. Having a clear
plan in place will also streamline the
process of bringing more public art
to the city, making it more effective
and efficient. By having a consistent
approach, the City can build a cohesive
Public Art Program that is in line with its
objectives and creates a positive impact
on the community.
3. To involve the community in the process
of selecting, commissioning, and installing
public art, ensuring that projects reflect
the diverse perspectives and interests of
Alameda’s residents.
A. The involvement of the community
in the public art process is crucial to
ensure that the projects selected,
commissioned, and installed reflect the
diversity of cultures, perspectives and
interests of the residents of the city. This
not only allows for a more inclusive and
representative public art collection, but
also creates a sense of ownership and
pride in the community for the artwork
that is being displayed. By engaging
the community in the decision-making
process, the City can create a more
meaningful and impactful Public Art
Program that aligns with the values and
desires of its residents. To promote
fairness and equal representation
in public art, it is crucial to increase
engagement with communities that
are typically not engaged in public art
processes or lack access to public art.
4. To implement a strategic approach to site
selection for public art.
A. This will ensure that all future public art
installations are situated in the most
appropriate locations. The current
national best practice for public art site
selection is to create a location plan
in advance before releasing a call for
artists. Utilizing this approach would
allow the City to perform due diligence
on the site, considering various factors
such as site ownership, conditions,
existing public art locations, expected
development buildout, demographics,
and land uses. By carefully planning
ahead, the City can avoid potential
issues, develop a more realistic budget
for the artwork, and ensure that public
art is integrated seamlessly into the
community. With a strategic approach to
site selection, the City can take the first
step towards creating a cohesive and
consistent Public Art Program that aligns
with its vision and goals.
B. Currently, the City of Alameda has an
uneven distribution of public art across
the city. To address this imbalance,
it is crucial to implement a strategic
approach to site selection for public
art, which includes the consideration
of the ideal location for each piece,
the demographics of the surrounding
area, and the impact the artwork would
have on the community. By strategically
placing art in parks and other public
spaces, the City of Alameda aims to
make its public art more accessible and
enjoyable for all residents and visitors
across the island.
C. Expanding public art engagement and
involvement in the Alameda community
is a crucial aspect of creating a more
diverse and well-distributed public
art presence in the city. By working
closely with local artists, institutions,
and community members, the City can
tap into a wealth of creativity, cultural
perspectives, and local knowledge
to inform its Public Art Program. This
collaborative approach can lead to a
better distribution of public art that is
reflective of the diverse interests and
identities of the city’s residents. Through
inclusive public art processes, the City
can ensure that its public art not only
enlivens public spaces but also truly
represents the community it serves.
5. To amplify a sense of place and identity
for the city, helping to define Alameda’s
unique character and distinguish it from
neighboring communities.
A. Creating a sense of place and identity
through public art is a significant goal of
the City of Alameda’s Public Art Master
Plan. By showcasing local talent and
highlighting the city’s cultural heritage,
public art can help to define Alameda’s
unique character and distinguish it from
neighboring communities. The presence
of public art in various areas of the city
can also serve to create a strong sense
of community pride, foster a deeper
connection to the City, and provide
visitors with a memorable experience.
By implementing a strategic approach to
the placement of public art throughout
Alameda, the City can create a lasting
impact that will help shape its cultural
identity for generations to come.
6. To establish public art budgets that allow
for adjustments and modifications.
A. This will ensure that future Public Art
Projects are completed within budget
and without any financial strain on the
City. By building in greater contingency
budgets, Alameda can ensure the
success of its Public Art Program and
create a vibrant and diverse public art
landscape for its residents to enjoy.
7. To promote economic development by
attracting visitors and supporting artists,
cultural organizations, and businesses.
A. By having a strong and diverse public
art presence, Alameda can differentiate
itself from neighboring communities
and create a unique sense of place
and identity. This can drive tourism
and encourage people to explore
and experience the culture and art
offerings across the city. Additionally, by
supporting artists, cultural organizations,
and businesses, Alameda can further
strengthen its economy and provide
valuable opportunities for growth and
development.
8. To preserve the city’s cultural heritage
by documenting existing public art
and creating a plan for preserving and
maintaining these pieces for future
generations or decommissioning them as
needed.
A. The preservation of cultural heritage
is an important aspect of community
development in Alameda. This is
achieved by documenting existing
public art and creating a comprehensive
plan for the preservation and
maintenance of the collection. This
ensures that the city’s unique cultural
identity is protected, offering future
generations educational opportunities.
In order to maintain a cohesive and
meaningful collection, this Plan also
shares scenarios to decommission public
art that may no longer be relevant or
suitable for the City.
9. To enhance the quality of life for residents
and workers by creating beautiful and
Alameda Public Art Master Plan Page 36
engaging public spaces that promote
community building and connection.
A. By creating aesthetically pleasing and
interactive public spaces, the City aims
to foster a sense of community and
connection among its residents. This can
be achieved through the placement of
well-designed and meaningful public art
pieces that encourage engagement and
interaction, and that reflect the unique
character and identity of Alameda and
its residents. Whether through large-
scale installations or smaller, community-
focused pieces, public art has the
power to enliven public spaces and
bring people together, making Alameda
a more vibrant and livable place for
all who call it home or their place of
business.
10. To provide opportunities for public
education and engagement, helping to
deepen community understanding and
appreciation of public art.
A. Having opportunities for education
and engagement in public art can help
deepen the public’s understanding and
appreciation of this form of creative
expression. Providing such opportunities
can also create a more informed and
culturally rich community. By developing
and offering interactive events that
focus on public art (e.g. art fares, open
studios, walking tours, etc.), individuals
of all ages and backgrounds can learn
about the creative process, the artists
involved, and the cultural, historical,
and social significance of the pieces.
Publicly accessible programming not
only enriches the lives of residents, but
also contributes to a more vibrant and
culturally diverse community.
“Bright Ideas” By Delaine Hackney
Developer funded
Quilters of Gee Bend Alabama
Supported by the City of Alameda
Alameda Public Art Master Plan Page 38
Asian and Pacific Islander Arts &
Culture Festival at Bohol Circle
Supported by the Public Art Fund
Alameda Public Art Master Plan Page 40
APPENDIX B:
PUBLIC ART IN ALAMEDA
“Egrets With No Regrets” By Dan Fontes
Supported by the Public Art Fund
The City of Alameda (City) has a thriving arts
and culture community that is eager to work
with the City government to promote various
forms of art throughout the city. The Base
Reuse and Economic Development Department
(BREDD) encourages the advancement of
local arts and culture to foster a unique sense
of place and a more livable and economically
thriving city. In 2003, the City Council adopted
a Public Art Ordinance (Ordinance) that
requires the installation of publicly accessible
art in certain new or substantially rehabilitated
development projects. Developers have the
option to make a monetary contribution to
the City’s Public Art Fund (Fund), which was
also established by the Ordinance, instead of
installing On-Site Artwork (this is referred to as
an In-Lieu Contribution). The Fund is used to
support physical art and cultural arts and arts
programming for the benefit of the community.
The difference between physical artworks and
cultural arts and arts programming in the City
of Alameda refers to the form and focus of the
art and cultural experiences being offered to
the community.
Physical artworks refer to tangible, sometimes
two or three-dimensional objects that
are implemented in public spaces, such
as sculptures, murals, photographs, and
installations, including light and projection.
These works of art are often the result of a
commission or public art project and are meant
to be experienced and enjoyed by the general
public. Physical artworks serve to enhance the
public realm and create a sense of place, and
can be used to tell the story of a community
and its values.
Cultural arts and arts programming, on the
other hand, refer to a broader range of artistic
experiences and events that are designed to
engage and enrich the community. This may
include theater performances, concerts, dance
performances, film screenings, workshops, and
educational programs. Cultural arts and arts
programming aim to provide opportunities
for residents and visitors to experience a wide
range of artistic expression, to learn and grow
through the arts, and to engage with the
cultural life of the city.
In the City of Alameda, both physical artworks
and cultural arts and arts programming play an
important role in enhancing the community’s
quality of life and cultural landscape. The City’s
Public Art Program and arts organizations
work together to offer a diverse range of
art and cultural experiences that reflect the
community’s values, heritage, and diversity.
By providing a mix of physical artworks and
cultural arts and arts programming, the City is
able to offer its residents and visitors a rich and
dynamic artistic landscape.
There are currently 32 permanent artworks in
Alameda. The City recently developed a stand-
alone website (www.alamedapublicartwork.
com) that showcases the public art in Alameda
and provides information about the program.
The Alameda General Plan 2040 places value
on support for arts and culture in Alameda,
with a call to “promote and support the public
art requirement for new developments within
the city.” It also specifies opportunities for
future public art projects associated with City
development:
• Seaplane Lagoon: integrating public art as
“short-duration stop” amenities to entice
visitors to spend more time in the area
• Significant Places: utilizing public art as a
component of creating a range of cultural
and civic places.
• Utilities: developing public art projects
that serve as wayfinding opportunities, and
making visible utility boxes more attractive
with public art.
Alameda Public Art Master Plan Page 42
THE PUBLIC ART
COMMISSION
The City of Alameda’s Public Art Commission
(PAC) is a group of community members
appointed by the Mayor to advise on the
development and implementation of the City’s
Public Art Program. The PAC plays a critical role
in ensuring that public art in Alameda is of the
highest quality and reflects the values, cultural
heritage, and diversity of the community.
The PAC’s responsibilities include reviewing
and recommending projects for public art
funding, providing input on the selection and
commissioning of artists and artworks, and
developing and implementing programs and
policies related to public art.
Members of the PAC are appointed for
terms of four years and represent a range of
perspectives, including arts professionals and
community leaders, and are representatives
of the community. The PAC typically meets six
times a year, and its meetings are open to the
public, providing an opportunity for community
members to provide input and engage with the
PAC on public art-related issues.
The PAC works closely with the City’s Public
Art Program and other stakeholders, including
artists, community organizations, and cultural
institutions, to promote public engagement
and education about public art and to ensure
that public art in Alameda is of the highest
quality and reflects the community’s values,
cultural heritage, and diversity. The PAC is
committed to advancing the City’s Public
Art Program and ensuring that public art
continues to play a vital role in enhancing the
community’s quality of life.
The PAC plays a crucial role in ensuring that the
City of Alameda meets its goals by promoting
public art throughout the city. The commission
reviews proposals for public art to ensure that
they are high quality and align with the City’s
goals of preparing for the future, encouraging
economic development, supporting enhanced
livability, protecting core services, and ensuring
effective and efficient operations. The PAC’s
role in approving public art proposals and
installations helps to foster a strong and vibrant
public art scene in Alameda, which contributes
to the City’s economic development and
overall quality of life. The PAC’s role in
requiring the installation of public art on-site
in construction projects over $250,000 in value
also ensures that public art is accessible and
visible to all residents and visitors, creating a
more livable and inclusive city for everyone.
The PAC’s work in ensuring that the Public
Art Program is effective and efficient helps to
protect core services and operations, allowing
the City to continue to meet its goals and
support public art for years to come.
VISION:
Public art in Alameda fosters a sense of community and pride in place, celebrates and reflects diverse local perspectives, supports the local arts community, and creates a vibrant and exciting community within which to live, work, and visit.
MISSION:
The mission of the Alameda Public Art Program is to:
1. Present a high-quality and engaging public art collection that reflects and embraces the cultural diversity of the community, inspires critical thinking among residents and visitors, and presents public art in locations across the city;
2. Foster a greater understanding of public art and cultural performances in Alameda;
3. Facilitate a clear, inviting and consistent process for artists and organizations by creating guidelines around public art;
4. Provide meaningful opportunities for the local arts community in a consistent way; and
5. Facilitate the presentation of art and funding for public artists.
GOALS:
1. Awareness and Education
A. Increase public access to Public Arts Program infomation, documents, and maps.
B. Increase public appreciation and knowledge of public art.
C. Increase public understanding of and access to the PAC.
2. Programming and Participation
A. Ensure existing and future public art is accessible and equitably distributed.
B. Create unique Alameda-influenced public art opportunities for artists and organizations.
C. Provide inclusive programming to historically underserved communities.
3. Funding
A. Create sustainable funding opportunities for artists and organizations by seeking additional government and philanthropic funding.
4. Leverage Resources
A. Bring high-quality art to the public throughout the city.
B. Collaborate with other departments in the City.
C. Maximize the utilization of available resources for documenting and maintaining public art.
VISION, MISSION, AND GOALS
OF ALAMEDA’S PUBLIC ART PROGRAM
An updated vision, mission, and goals for the Public Art Program in Alameda were developed through a series of workshops with the PAC.
Alameda Public Art Master Plan Page 44
5. Representation
A. Curate equal opportunities for diverse experiences and perspectives B. Foster public appreciation of cultural arts and arts programming C. Create methods to promote artists in the collection
D. Provide long-term care and ethical responsibility of artwork
CULTURAL EQUITY IN THE
PUBLIC ART PROGRAM,
ARTWORKS, AND
RESOURCE DISTRIBUTION
The Alameda General Plan 2040 emphasizes
“equity, environmental justice, and a high
quality of life for everyone irrespective of
income, race, gender, sexual orientation,
cultural background or ability by recognizing
and changing local policies, programs,
ordinances, and practices that serve to
perpetuate injustices suffered by under-
served and underrepresented populations and
proactively engaging these populations in all
City decision making.”
As the Public Art Program in Alameda
continues to develop and grow, creating
equity in the program, artworks, and resource
distribution is a critical aspect of promoting
inclusiveness and diversity in the arts. To
achieve this goal, it is essential to ensure that
public art reflects the values, cultures, and
perspectives of all members of a community,
regardless of race, ethnicity, gender, or
socioeconomic status. One place to start is
by analyzing the inventory of public art on
the island. Looking at the content, locations,
and artist information for all of the public art
in Alameda will help to identify discrepancies
as related to race, gender, immigration status,
access, and more.
Another key way to create equity in the Public
Art Program is through intentional outreach and
engagement efforts to historically marginalized
and underrepresented communities to gain
their input and feedback on the Public Art
Program. This input can be used to inform the
selection of artists, artworks, and locations for
public art installations, ensuring that diverse
perspectives are represented.
Another way to create equity in public art
is by providing access to resources and
opportunities for underrepresented artists and
cultural organizations. This can be achieved
by building upon the physical art and cultural
arts and programming grant programs
to provide other resources (in addition to
funding) to support the creation of public art
by underrepresented artists, as well as cultural
organizations that serve diverse communities.
This could take the form of training,
mentorship, and professional development
opportunities for artists from diverse
backgrounds. It can help to increase access to
resources and support that enable these artists
and organizations to produce and exhibit their
work, helping to create a more diverse and
inclusive public art landscape.
It is crucial to ensure that public art is
accessible and inclusive for all members of
the community. This can be achieved through
thoughtful site selection (see more information
about locational opportunities in Alameda
in Appendix F), ensuring that public art
installations are located in accessible locations
that are easily visible and accessible to all
members of the community. In addition, the
City can provide information about the Public
Art Program and the artworks themselves
in a variety of languages, as well as offer
educational and interpretive materials to help
increase understanding and appreciation of
the artworks. By making public art accessible
to all members of the community, it helps to
promote equity and create a more inclusive
and diverse public art landscape.
In addition to incorporating equity, diversity,
and inclusion into the design and creation of
public art, it is important to ensure that these
values are reflected in the administration and
management of the Public Art Program. The
Guidelines and Procedures documents (see
Appendix I for Guidelines and Appendix
J for Procedures) that drive processes for
commissioning public art have been updated
through a lens of equity, diversity, and
inclusion, and can continue to be updated
based upon continued listening to the
community and evaluation of the public art
collection. Additionally, Staff and PAC members
should have access to resources that help them
continue to promote equity, diversity, and
inclusion through their work in the Public Art
Program, such as training.
By taking a comprehensive and proactive
approach to equity, diversity, and inclusion,
Alameda can ensure that its Public Art Program
reflects the values of the community and serves
the needs of all residents.
Alameda Public Art Master Plan Page 46
“Alameda Afore” By Rodrigo Nava
Developer funded
The community engagement strategy
for the Public Art Program in Alameda
involved collaboration with local artists, arts
organizations, and community members. To
ensure widespread participation, the planning
process was designed to reach those who
reside, work, and recreate in Alameda through
various channels and to actively listen to
them in places where they congregate. The
community engagement strategy, which
involved collaboration with a local artist, played
a key role in shaping the planning process. The
engagement of a diverse range of stakeholders
in the development of a vision and goals
for quality public art is crucial to the success
of both. Throughout the process, a range
of engagement activities were conducted,
including:
• Public Art Commission workshops
• One-on-One conversations
• Focus groups
• Pop-up, creative engagement activities
conducted by local team members
• Community-wide survey
ACTIVITIES CONDUCTED
AND FINDINGS
PAC Workshops
The PAC participated in three workshops.
Workshop #1 included creating a shared
definition of public art, including locations,
temporality, aesthetic, tone, geographic
representation, and interactivity. The PAC also
defined success in the planning process, and
was tasked with giving a presentation about
public art in Alameda, and the public art
planning process to community members in
some way.
In Workshop #2, the PAC participated in
activities to articulate what they would like
Alameda’s Public Art Program to be known
for. The second workshop also included a
discussion around cultural equity, and collective
update of the program’s mission, vision and
goals (presented in the “Public Art in Alameda”
section of this plan).
Workshop #3 consisted of reviewing
comparative programming of other cities in
California in order to provide inspiration around
what could happen in Alameda in the future.
The workshop discussed cultural equity, and
explored goals of the PAC, and identified
opportunities where changes in Alameda’s
public art processes could be made.
Community Conversations
Multiple conversations were held with
community members through both one-on-
one conversations and a series of focus groups
exploring different themes. There were two
pop-up events held with a local artist, which
reached a total of 205 people.
One-on-One Conversations
One-on-one conversations were held with
people who will have the highest touchpoints
with arts and culture in the City and/or who
have been involved in arts and cultural activities
in the past (including City Councilmembers,
City staff, arts and culture organizations,
educators, and developers). There was a
total of eleven participants in the on-on-one
conversations.
Focus Groups
Focus group conversations were held with
people who will be affected by decisions
made around arts and culture (including artists,
philanthropists, arts educators, and cultural
organizations).There were a total of four focus
groups, comprising thirteen people.
Four 90-minute group discussions with
individuals and organizations in Alameda were
held to hear opinions on the future of public
art in Alameda. These focus groups sought to
reach all interests, experiences, and opinions
about arts and culture from all segments of
the community to understand what is working
and what is not. Many attendees did not know
APPENDIX C:
PLAN INPUT
Alameda Public Art Master Plan Page 48
each other although everyone in attendance
considered themselves active in the field.
Attendees agreed that more casual group
conversations would be of benefit to them
in defining and strengthening their advocacy
needs.
Questions to start conversations included:
• Who you are and how you identify your role
with local arts and culture?
• Who are your go-to resources for arts and
culture experiences in Alameda?
• What would you recommend that the City
of Alameda change, grow, or adapt in
terms of its programming and activities?
• What do you think are the underutilized
strengths of arts and culture in Alameda?
Creative Pop Up Activities
Local artist Yolanda Cotton Turner joined
the consulting team and developed pop-up
activities to engage directly with community
members and understand their wishes for
public art in Alameda.
Yolanda Cotton Turner is a printmaker based
in Oakland, California. Experimental by
nature, she keeps her methods fresh while
still giving respect to the more traditional
processes. Her subject commonly focuses on
Oakland urban culture, our kindred power
within nature, the magic in music, the human
experience, and other social, spiritual, and
environmental inspirations. Yolanda uses
plexiglass, wood, lino, and nature itself as a
printing plate, printing onto handmade paper,
mulberry, or cotton rag, or natural fabrics. She
personally executes all the steps involved in
the printmaking process, from developing the
image, gouging, inking, and pulling the print
by hand utilizing a Griffin etching press.
Yolanda’s work has earned a spot on the walls
of the de Young Museum in San Francisco,
California as well as many other notable
galleries. She is the Director of Diversity on the
ArtPush.org board and works a full-time job
with West Elm as a Designer and Community
Event Coordinator. She can be found at The
Red Door Creative Art Space in Alameda while
also planning for the re-emergence of her
printmaking studio called Resistance Press 510
in her home town of Oakland, California.
Through two pop-up activities, Yolanda
engaged with 205 people.
Event #1: Alameda Summer Art Fair & Maker
Market
Activity: Virtual Reality Mural Making Activity
and a giant public art wall
Yolanda set up two tables: one with virtual
reality (VR) equipment and the other with a
‘waiting area’ that had information about the
mural-making process and materials available
for community members to make natural inks.
There was also a wall made out of foam board,
where participants could answer questions
related to public art in Alameda. Questions
included:
Virtual Reality Mural
Creative Pop Up with Yolanda Cotton Turner
Supported by the City of Alameda
as part of the Public Art Planning Process
1. Where do you want to see public art in
Alameda?
2. What should public art look like?
3. How do you want people to respond to
public art?
147 people participated in the VR activity and/
or offered answers to the questions posed.
Event #2: Fiesta Alameda
Activity: Mexican paper flowers for Día de Los
Muertos Fiesta Alameda celebration and a
‘meet and greet’ with a PAC commissioner.
Yolanda created paper flowers with all who
stopped by her booth at Fiesta Alameda. In
exchange for flower-making, people had the
opportunity to engage with a member of the
PAC and share feedback about public art in
Alameda. Each time a commissioner or Yolanda
would engage with someone either through
flower making or with the public art survey,
they would record the interaction using the
tally method.
The collaboration with the PAC allowed
Yolanda the opportunity to focus on the event,
while the commissioners engaged residents
around the survey and public art in Alameda.
While only 58 people were engaged in
conversation at this event, the depth of the
engagement provided many opportunities for
• Public art should exist in abundance in
Alameda and be everywhere. People
want to see public art in unexpected
places.
• Public art should be accessible and
available to everyone. It should be
inclusive. Free events for the public are
of interest to the community.
• Public art should invoke a positive
mood and inspire the community.
• Public art should be impactful -- it
should challenge your mind, be
surprising, and/or tell a story.
• Public art should connect, reflect, and
should involve the locals in its creation.
• Local artists want to understand how
the City will help them with capacity
building and people are interested in
the City programming more arts related
activities that include local artists.
• Many people said they want more
culturally relevant programming.
Public Art Wall
Creative Pop Up with Yolanda Cotton Turner
Supported by the City of Alameda
as part of the Public Art Planning Process
Alameda Public Art Master Plan Page 50
Community-Wide Survey
A community survey was distributed to the
broad community to understand how they
currently perceive public art in Alameda and
what they would like to see in the future. The
survey was available in English and Spanish,
with a total of 439 responses collected.
The survey asked Alamedans to:
• Share where they have seen public art on
the island, where they would like to see
more of it and what kinds
• Identify cultural assets
• Articulate what public art should do for the
city and residents
• Denote how they’d like to see public art
funded
West End
East End
Trails
Pulblic Buildings
Outdoor
Festivals
& Events
Parks
Vacant Walls,
Lots & Alleys
Waterways
Other
Where have you seen or visited public art in Alameda?
6%
6%
6%
6% 7% 7%
12%
28%
New private development 5%
Library 5%
New city development 4%
School/college campus & buildings 4%
Health care facilities 2%
Public transportation 2%
Churches & places of worship 2%
WHERE HAVE YOU SEEN OR VISITED PUBLIC ART IN ALAMEDA:
Alameda Public Art Master Plan Page 52
WHAT KINDS OF CULTURAL ART PROGRAMMING,
TEMPORARY, OR EVENT BASED PUBLIC ART HAVE YOU
EXPERIENCED IN ALAMEDA AND WOULD LIKE TO SEE
MORE OF?
7%
8% 10%
15%
25%
What kinds of cultural programming, temporary or event based public art have you experienced in Alameda and would like to see more of? Other/have not experienced 6%
Temporary public art + place based 6%
Music 5%
Rhythmix event 4%
More art (all kinds) 4%
Island City Waterways 4%
Other Arts & Culture Events
Murals
Sculptures Historical & Cultural
Performance
Alameda Public Art Master Plan Page 54
18%
10%
10%
11% 11%
19%
21%
10%
10%
11%
11%
18%
19%
21%
10%
11%
11%
21%
10%
19%
Other
Create connection through story telling 8%
Benefit the economy & development projects 5%
Create a focal point for tourists 3%
Give the community a voice 2%
Make Our Community
Unique & Interesting
Make Us Feel Better
About Our Community
Express Values
Land acknowledgement
& Social Justice Provide
Fun & Entertainment
Beautify The
Community
& Create Pride
Help Artists
Make a Living
What should the role of public art in Alameda be?
WHAT SHOULD THE ROLE OF PUBLIC ART IN ALAMEDA BE?
A
tBeautify the
Community &
Create Pride
Alameda Public Art Master Plan Page 56
I WANT TO SEE PUBLIC ART IN AND AROUND THE
FOLLOWING AREAS:
&
9%
10%
10%
12%
14%
20%
Public Walls
Electric Boxes
& Billboards
Bus Stops
Ferry Terminals
Schools
Other
Park & Webster Street
Commercial &
Property Buildings
Trails
Parks
Waterways
Residential & Property 8%
Concerts 7%
Transportation routes 6%
Station areas 3%
Radio % other media 1%
I want to see public art in and around the following areas:
Radio &
,
,
&
Alameda Public Art Master Plan Page 58
I WANT TO SEE MORE OF THE FOLLOWING PUBLIC ART IN
ALAMEDA:
0 10
20 30
40 50
Permanent & Temporary
All Permanent
Mostly Permanent
Mostly Temporary
All Temporary
I would like to see more of the following public art in Alameda Permanent VS. Temporary
58% 20% 19% 2% 1%
0 10
20 30
40 50
60 Playful & Serious
Mostly Playful
All Playful
Mostly Serious
All Serious
I would like to see more of the following public art in Alameda Playful VS. Serious
58% 22% 15% 4% 1%
PERMANENT VS. TEMPORARY
PLAYFUL VS. SERIOUS
I would like to see more of the following public art in Alameda Contemporary VS. Historic
56% 16% 12% 11% 5%
0 10
20 30
40 50
60 Contemporary & Historic
Mostly Contemporary
All Contemporary
Mostly Historic
All Historic
0 10
20 30
40 50
60 Spread Across The City
Mostly Around The City
Both
Mostly In One Area
In One Area
I would like to see more of the following public art in Alameda Spread Out VS. One Area
58% 20% 19% 2% 1%
CONTEMPORARY VS. HISTORIC
SPREAD OUT VS. ONE LOCATION
Alameda Public Art Master Plan Page 60
WHAT ARE YOUR PRIORITIES FOR ALAMEDA’S INVESTMENT
IN PUBLIC ART?
6%
6%
6% 7%
7%
8%
12%
14%
Consistent
& Sustainable
Funding Resources
Affordable
Artist Housing
& Studios
Emerging
Artist Opportunities
Support
Artist’s
Livelihood
Other
Maintain
& Preserve
Events,
Programming
& Activities
Parks
& Neighborhoods
Prominent
Corridors & Entrances
What are your priorities for Alameda’s investment in public art? Bond communities & organizations 5%
Attract private funds 5%
Express community ideas & values 4%
Grow leadership 4%
Educate the public 4%
Improve information & signage 4%
Online & interactive resources 4%
Curriculum resources for teachers 4%
ts’
Alameda Public Art Master Plan Page 62
SYNTHESIZING THE RESULTS
The results of this survey, 439 responses, show
that there is a general interest for public art
in Alameda. Respondents enjoy the public art
in Alameda and want to see more public art
opportunities across the city.
In summary:
We learned from the survey that Alamedans
place value in the existing cultural assets in the
city. Cultural assets were defined to be places,
people/organizations, and events that amplify
community in Alameda. Responses named
cultural assets in Alameda as prominent arts
organizations such as Rhythmix Cultural Works,
Frank Bette Arts Center, and the West End
Arts District. They also named the rich history
of Alameda including Native American and
Indigenous history as having value in Alameda.
Respondents want to see more public art in the
form of arts, cultural events and programming;
are very interested in creating events,
programming, and activities around public art;
and are interested in amplifying the current
cultural arts and arts programming offerings
(e.g. 4th of July Parade, Island City Waterways,
and other Alameda cultural events and street
fairs). Survey feedback shows that there is an
interest in free or reduced programming that
is easy to access and does not require a heavy
time commitment.
Most respondents have seen public art in the
West End, parks, and in and around public
buildings, and they are interested in a mix of
artworks, but particularly murals and sculpture.
Responses favor permanent artworks that are
playful, colorful, inclusive, and contemporary,
consisting of local themes and made by local
artists that are symbolic in nature.
Full Survey Questions and Responses:
1. Where have you seen or visited public art
in Alameda? Select all that apply.
West End
East End
Parks
Trails
Waterways
New private development
New City development
Library
School/college campus and buildings
Outdoor festivals and events
Health care facilities
Public buildings
Public transportation
Vacant walls or lots/alleys
Churches and places of worship
2. Public art can be permanent objects, but
also cultural programming, temporary
artworks, or events. What kinds of
cultural programming, temporary
or event based public art, have you
experienced in Alameda that you want
more of?
The following factors have prevented me
from attending public art experiences.
Select all that apply.
Time commitment
Childcare/family reponsibilities
Distance
Transportation or traffic
Parking
Cost of participation
I don’t know how to find out about arts
opportunities
I don’t feel comfortable or welcome
There’s nothing of interest to me
I am happy with my level of engagement
3. Cultural assets can be 1) people/
organizations 2) places, and 3) events that
define a community. Name one of each in
Alameda.
4. What is your favorite community public
space in Alameda? (i.e. an intersection, a
landmark, a building, a park, etc.) Why?
5. What should the role of public art in
Alameda be? Select up to 5.
Provides fun and entertainment
Makes me feel better about my
community
Beautifies my community and makes me
feel proud
Creates a focal point for tourists
Expresses community values e.g. land
acknowledgement and social justice
Makes me feel like I have a voice in my
community
Helps artists make a living
Helps connect people to stories that we
share
Makes our community feel unique and
interesting
Boosts the local economy and makes
new development projects more
exciting
6. I want to see public art in/around the
following areas: Select up to 5.
Residential buildings/property/areas
Commercial buildings/property/areas
Park Street and Webster Street areas
Station areas
Transportation hubs such as bus stops
and ferry terminals
Natural outdoor spaces such as trails,
parks, and waterways
Parts of the built environment, such
as public walls, electric boxes, and
billboards
Common transportation routes such
as streets, ferry terminals/piers, and
sidewalks
Public buildings such as schools, post
offices, libraries, police and fire
stations, youth centers, senior
centers, and City Hall
Events such as concerts, festivals, or
sports
Elements of the media such as radio, TV,
internet, podcasts, and the internet
7. I believe the following groups
CURRENTLY shape public art decisions in
Alameda. Select up to 5.
City elected officials/City Staff
Public institutions (museums, libraries,
state arts agencies, schools)
Design community (architects, planners,
engineers, etc.)
Artists/creators
Arts organizations (arts nonprofits,
cultural districts, etc.)
Youth, students, educators
Community members (advocacy leaders,
residents, neighborhood
organizations)
Philanthropists, funders
Business
Tourism
Visitors
Seniors
Historically under-represented/
unrepresented peoples
Media
8. I believe the following people should be
included in making FUTURE public art
decisions in Alameda. Select up to 5
City elected officials/City Staff
Public institutions (museums, libraries,
state arts agencies, schools)
Design community (architects, planners,
engineers, etc.)
Artists/creators
Arts organizations (arts nonprofits,
cultural districts, etc.)
Youth, students, educators
Community members (advocacy leaders,
residents, neighborhood
organizations)
Philanthropists, funders
Business
Tourism
Visitors
Seniors
Historically under-represented/
unrepresented peoples
Media
9. I would like to see more of the following
public art in Alameda: Permanent vs.
Temporary
10. I would like to see more of the following
public art in Alameda: Interactive vs. Static
Alameda Public Art Master Plan Page 64
11. I would like to see more of the following
public art in Alameda: Local vs. Global
12. I would like to see more of the following
public art in Alameda: Playful vs. Serious
13. I would like to see more of the following
public art in Alameda: Contemporary vs.
Historic
14. I would like to see more of the following
public art in Alameda: Symbolic vs. Literal
15. I would like to see more of the following
public art in Alameda: Spread around the
city vs. All in one area
16. Alameda currently has a percent for
public art ordinance, where 1% of any
private development budget is used for
public art projects. How else do you think
public art should be funded in Alameda?
Please include any specific thoughts
under Other.
Members of the community (individual
contributions, crowd sourcing)
More government (municipal, county,
state, and national funds, grants)
Trusts & foundations
17. What are your priorities for Alameda’s
investment in public art? Select up to 10.
Creating new public art in prominent city
corridors and entrances
Creating new public art in parks and
neighborhoods
Create events, programming, and
activities around public art
Improve site information and signage for
public art
Improve online and interactive
resources, maps and information
about public art
Maintain and preserve public art
Educate people about art in public
spaces
Ensure that community ideas and values
influence public art
Support public artists in our community
through professional development
and opportunities to make a living
Support public artists in our community
through affordable artist housing
and studio space
Create public art opportunities for
students and early career artists
Grow leadership and best practices for
cultural planning, placemaking, and
public art
Create curriculum-linked material
for teachers to use public art as an
educational resource.
Form strong relationships between
organizations and community
partners working on arts, cultural
and heritage initiatives
Make sure funding resources for public
art are consistent and sustainable
Use public resources to attract private
funds for public art
“Into the Calm” by Brad Rule
Developer funded
Alameda Public Art Master Plan Page 66
APPENDIX D:
RECOMMENDATIONS
“Milestone” by Marsha Brook
Developer funded
This Appendix includes more robust
information related to each Recommendation
that is part of the Road Map.
Recommendation 1: Create opportunities for
professional connections for artists, culture
bearers, and creatives in Alameda.
• Opportunities for connection and discussion
among arts professionals are desired in
order to share opportunities and challenges,
and create projects together.
• These conversations can help the Public
Art Program gather insights into what
artists and arts professionals are seeking
and adjust grants and other offerings
accordingly, in order to better align w,ith
the community’s needs.
• There is also an opportunity for the City
to build off existing relationships with the
Alameda County Arts Council.
Recommendation 2: Build local artist capacity
and create opportunities specifically for local
artists to be involved in creating public art.
• Provide free public art training and
workshops for local artists who are new to
public art.
• Create opportunities for local early career
artists to gain experience on public art
projects when they are led by mid and/or
late career artists.
Recommendation 3: Continue existing
programming and find ways to increase
culturally relevant programming. Continue to
expand cost-free offerings.
• Create a visiting artist-in-residency/
visiting artist lecture series program for all
organizations to benefit from and promote
• Partner a pilot project with creative
entrepreneurs such as those found in
places like Spirits Alley, the Research Park
at Alameda Marina and the Harbor Bay
Business Park.
Recommendation 4: Develop prioritized sites
for public art across the island.
• Work with the Alameda Recreation and
Parks Department (ARPD) and other City
departments, along with the PAC, to
identify sites for public art including, but not
limited to, parks, ferry terminals, identified
transportation projects, intersections, etc.
This effort would contribute to researching
best practices and defining a process for
considering and implementing artwork
in the “daylighting zone” or decorative
sidewalks.
Recommendation 5: Develop opportunities for
the community to be involved in, and to invest
in, public art.
• Continue to post PAC meeting minutes.
Advertise the meetings to a wider audience
to grow attendance.
• Public Art Commission: Community
Workshops and Open Forums: Host public
meetings and workshops to gather input
and feedback from the community on
the City’s Public Art Program and what
residents would like to see in terms of future
public art projects. A portion of a regularly
scheduled PAC meeting could be dedicated
to this.
• Public Art Steering Committee: Establish a
public art steering committee composed
of community members, artists, and arts
professionals to advise the PAC on the
development of the City’s Public Art
Program.
• Public Art Education and Outreach:
Develop a public art education and
outreach program to educate residents
about the City’s Public Art Program and
encourage participation in future public art
projects.
• Community Murals: Commission community
mural projects that involve residents in the
creation of public art.
• Public Art Walks and Tours: Organize public
art walks and tours to showcase existing
Alameda Public Art Master Plan Page 68
public artworks in the city and engage
residents in learning about the City’s
Public Art Program. These efforts could
leverage the recently launched website
(alamedapublicartwork.com) showcasing the
City’s public art collection.
• Volunteer Opportunities: Provide
opportunities for residents to volunteer on
public art projects, such as assisting with
the installation of public art or helping to
maintain existing public artworks.
• Online Engagement: Utilize social media
and other online platforms to engage
residents in the City’s Public Art Program,
such as through online surveys and forums.
By engaging the community and involving
them in the process, the City of Alameda can
ensure that public art reflects the values and
interests of the residents and creates a sense
of ownership and pride in the City’s Public Art
Program.
Recommendation 6: Develop a mix of artworks
in theme, form, and interactivity, ensuring that
all public art is physically accessible by people
of all abilities.
• In the Biennial Plan, include types and
themes of artworks to commission that
increase the diversity of Alameda’s public
art collection.
Recommendation 7: Further define cultural
equity, diversity and Inclusion within the Public
Art Program, and create an action plan around
this.
• Utilize the Americans for the Arts’ definition
of Cultural Equity as a starting point. Align
this with the projects you plan for in the
Biennial Plan.
“MetalMorphasis” by 1AM Projects
Developer funded
“Webster Gateway Mural” By Dave Young Kim & Erik Burke
Supported by Façade Grant Program
Alameda Public Art Master Plan Page 70
APPENDIX E:
DRAFT DEACCESSIONING POLICY
"Birth" By Arthur Williams
Developer funded
It is the intent of the Plan to ensure the growth,
development, and maturity of the City’s Public
Art Collection (Collection). The Plan seeks
to preserve the vision of the Collection by
ensuring that the intent of the artist, integrity
of the artwork, and the interests of the public
are in alignment. However, on rare occasions,
circumstances may warrant the deaccession or
relocation of works in the Collection by means
of sale, trade, loan, donation, or demolition.
The following policy applies to all artworks
on City property collected by any method. In
the case of donated artworks, all documents
relating to the donation circumstances and
recipient obligations will be consulted prior
to beginning the process. In the case of
commissioned artwork, the artist’s contract
must be reviewed. The disposition of works
by living artists will be accomplished in such a
manner that it will not impugn the reputation of
the artist or the artist’s body of work.
Deaccessioning an artwork removes it
permanently from the Collection, thereby
removing it from its location. Both permanent
and portable artwork may be considered for
deaccession.
REMOVAL FROM
PUBLIC DISPLAY
If the artwork is removed from public display,
the PAC may consider the following options for
disposition of artwork:
• Relocation of Public Display: If the PAC
decides that an artwork must be removed
from its original site, and if its condition is
such that it could be re-installed, the PAC will
attempt to identify another appropriate site.
If the artwork was designed for a specific site,
the PAC will attempt to relocate the work to a
new site consistent with the artist’s intention.
If possible, the artist’s assistance will be
requested to help make this determination.
• Store object until a new site has been
identified or the PAC decides to deaccession
the artwork.
• Sale or trade of object after deaccession.
DEACCESSIONING CRITERIA
Deaccession should be considered only after
five years have elapsed from the date of
installation for permanent works or acceptance
of the artwork into the Collection in the case
of portable works, unless otherwise specified
in the artist’s contract. Deaccession may be
considered earlier under special circumstances,
such as when artwork has been damaged
beyond repair or presents a public safety
hazard, or expansion of a building may impact
the location of the artwork.
A work of art may be considered for removal
from public display and/or deaccessioning if
one or more of the following conditions is met:
• In the case of site-specific artwork,
significant changes in the use, character,
or design of the site have occurred which
affect the integrity of the artwork.
• The condition or security of the artwork can
no longer be reasonably guaranteed.
• The artwork endangers physical public
safety.
• The artwork has been damaged, or has
deteriorated, and repair is impractical or
unfeasible.
• The artwork requires excessive
maintenance, or has faults in design or
fabrication, and repair is impractical or
unfeasible.
• The artwork is not, or is rarely, on display.
• The artwork is incompatible with the entire
Collection, PAC goals, or Plan guidelines.
• The City wishes to replace the artwork with
a work of more significance by the same
artist.
• There has been significant, adverse, and
sustained public reaction to the artwork
over an extended period of time.
Alameda Public Art Master Plan Page 72
• The condition of the work is in such a
deteriorated state that restoration would
prove either unfeasible or impractical.
• No suitable site for the work is available, or
significant changes in the use or character
of design of the site affect the integrity of
the work.
• The work interferes with the operations of
the City.
• Written request from the Artist has been
received to remove the work from public
display.
• The work is duplicative in a large holding of
work of similar type by the Artist.
• The work is fraudulent or not authentic.
METHODS
Artist rights under the laws of the State of
California shall be adhered to by the City.
Any member of the public may request the
deaccession or relocation of artwork. All
requests must be in writing and accompanied
by any photo documentation and/or pertinent
materials for presentation to the PAC. The
PAC may also recommend artworks for
consideration of deaccession and relocation to
the City Council.
The PAC shall follow a deaccession review
and determination process based upon public
opinion, professional judgment, legal advice,
and City Council direction.
Staff shall prepare a report which includes a
staff evaluation and recommendation along
with the following information:
• City Attorney’s Opinion: The City Attorney
shall be consulted regarding any restrictions
that may apply to a specific work.
• Rationale: An analysis of the reasons for
deaccessioning and its impact on the
Collection and the artist, and an evaluation
of the artwork.
• Community Opinion: If pertinent, public
and agency feedback on the dispensation
of work in question. For Monuments and
Memorials, develop a public outreach plan.
• Independent Appraisal or other
documentation of the value of the artwork:
Prior to disposition of any object having
a value of $25,000 or more, Staff should
obtain an independent professional
appraisal, or an estimate of the value of the
work based on recent documentation of
gallery and auction sales.
• Related Professional Opinions: In cases
where deaccessioning or removal is
recommended due to deterioration, threat
to public safety, ongoing controversy, or
lack of artistic quality, it is recommended
that Staff seek the opinions of independent
professionals qualified to comment
on the concern prompting review (i.e.,
conservators, engineers, architects, critics,
safety experts, community members, etc.).
• History:
– Provide written correspondence, press
and other evidence of public debate.
– Original acquisition method and
purchase price.
– For Monuments and Memorials: Historic
analysis of subject, artist, and intent
– For Monuments and Memorials: Analyze
symbolic impact of location
– For Monuments and Memorials: Social
and well-being impacts
– Options for disposition.
– Replacement costs.
The PAC must, by a majority vote, approve
Staff recommendation that a work of art under
its jurisdiction should be deaccessioned.
All decisions and determinations of the PAC
will honor pre-existing contractual agreements
between the artist, City and all other parties.
The PAC recommendation will be made to the
City Council for consideration and possible
approval. If the artwork’s original value
exceeds $25,000, the recommendation goes
to City Council for possible approval. The City
Council will consider any appeal made by the
PAC according to Municipal Code.
In all the following scenarios, the artist or his/
her survivors, if locatable, must be informed of
the action taken.
Relocation or Loan of the Artwork
Relocation of an artwork changes its physical
location status. While both permanent
and portable artwork may be considered
for relocation, portable artworks are more
adaptable to new environments. Relocations
are intended to resolve a long-term, extended
display of an artwork and not to address
rotating, temporary exhibitions. If the work
was designed for a specific site, relocation
must be to a new site consistent with the
artist’s intention. The artwork may be loaned
to the Artist, gallery, museum or other
institution or agency for one or more artwork(s)
or comparable value by the same artist.
Applicable of approvals, based on the value
of the artwork would apply. Any final decision
of the PAC or by Staff may be appealed to the
City Council within ten calendar days, or may
also be called for review by the City Council
pursuant to the call for review process in
Municipal Code Section 30-25.1.
Sale or Trade of the Artwork
The artist will be given the first option to
purchase or trade the artwork. Sale may be
through auction, gallery resale, or bidding by
individuals, in compliance with local policies
governing advertising and disposition of
surplus property. If the artwork has a value
of $25,000 or more, the artwork must bear
at least one written appraisal by a qualified
independent dealer or appraiser. Any final
decision of the PAC or by Staff may be
appealed to the City Council within ten
calendar days or may also be called for review
by the City Council pursuant to the call for
review process in Municipal Code Section
30-25.1. Proceeds from all sales of artwork
shall be retained in an account as managed by
the BREDD (or applicable department). The
proceeds of any sale shall be placed in the
Fund.
Proceeds from Sale of Artwork
All proceeds from any sale or auction, less any
payment due the artist under the California
Resale Royalties Act, shall be credited to the
Fund, and the monies contributed to the Fund
from the sale, exchange or exhibition of a work
of art under the jurisdiction of the PAC shall
be expended exclusively for the purpose of
acquiring or maintaining works of art for the
same public location for which the original
work of art was acquired.
• Adequate Records: An adequate record
of the conditions and circumstances under
which objects are deaccessioned and
disposed of should be made and retained
as part of the City records.
• California Resale Royalties Act: The
PAC shall abide by the California Resale
Royalties Act (Civil Code Section 986) with
respect to notification of the sale of any
work of art which is sold for more than
$1,000, and payment of 5% of the sale price
for any work of art which is sold for more
than the PAC paid for the artwork provided
that the artist can be located by reasonable
means. If the artist cannot be found, the
Resale Royalty will revert to the California
Arts Council in accordance with state law.
Donation of the Artwork
Deaccessioned artwork may be donated to a
nonprofit organization or other public office
or agency with approval of the City Manager,
PAC or City Council, as applicable depending
on the value of the piece. Any final decision
of the PAC or by Staff may be appealed to the
City Council within ten calendar days, or may
also be called for review by the City Council
pursuant to the call for review process in
Municipal Code Section 30-25.1.
Alteration, Modification, or Destruction of
Artwork
It is the primary responsibility of the PAC to
preserve and protect the Collections for the
people of the city. However, under certain
conditions, and in accordance with the
Alameda Public Art Master Plan Page 74
constraints of the California Art Preservation
Act [Civil Code 987] (CAPA), and the Visual
Artists Rights Act of 1990 [17 U.S.C. 106A and
113 (d)] (VARA), or in the case where the Artist
has waived his/her rights under CAPA and
VARA, in accordance with the City’s contractual
agreement with the artist, the PAC may
authorize actions that would alter, modify or
destroy an artwork.
Conditions: Removal and disposal, destruction,
alteration or modification of an artwork may be
considered under the following circumstances:
• The work has faults of design or fabrication,
or is damaged so that repair or remedy is
impractical, unfeasible or an unjustifiable
allocation of resources.
• In the event that the condition of the
artwork represents an eminent safety
hazard, and cannot be removed without risk
of damage or destruction, Staff will proceed
in accordance with the provisions specified
under “Emergency Removal.”
• The PAC deems it necessary in order for the
City to exercise its responsibilities in regard
to public works and improvements, or in
furtherance of the City’s operations, or for
any other good cause.
If, for any of the above reasons, the City
finds it necessary to pursue plans that would
modify, remove, destroy or in any way alter an
artwork, and the Staff, PAC, or City Council,
as applicable, approves such action, then Staff
shall make a reasonable effort to notify the
public and artist of the City’s intent and outline
possible options, which include, but are not
limited to, the following:
• Transfer of Title to the artist: The artist will
be given the first option of having the title
to the artwork transferred to him/her. If the
artist elects to pursue title transfer, he/she is
responsible for the object’s removal and all
associated costs, including purchase of the
artwork, if applicable.
• Disclaim Authorship: In the case where
the City contemplates action which would
compromise the integrity of the artwork,
the artist shall be given the opportunity to
disclaim authorship and request that his/her
name not be used in connection with the
given work.
• Alteration, Modification or Destruction: If
alteration, modification, or destruction of an
artwork is protected under the CAPA, or the
VARA is contemplated, the PAC must secure
a written waiver of the artist’s rights under
this section. In the case of an emergency
removal that may result in destruction
or irreparable damage, Staff will act in
accordance with the advice of the
City Attorney.
Nuestros Colores: Art & Culture Festival of the Americas Supported by the Public Art Fund
Alameda Public Art Master Plan Page 76
APPENDIX F:
LOCATIONAL OPPORTUNITIES
FOR PUBLIC ART IN ALAMEDA
“Rockspinners”By Zachary Coffin
Supported by the Public Art Fund
Identifying appropriate locations for public
art in Alameda is an important step in the
process of creating a vibrant and dynamic
Public Art Program. This appendix outlines the
methods and criteria used to determine the
most fitting locations for Public Art in the city,
taking into consideration the cultural context,
existing infrastructure, community involvement,
and potential impact on the surrounding
environment. By establishing clear guidelines
and processes for site selection, the City of
Alameda will be able to ensure that Public Art
is integrated seamlessly into the fabric of the
community, adding to its unique character and
cultural identity.
It is important to continue building upon the
existing map of Public Art in Alameda on the
Public Art website, in order to offer the most
updated information to the public.
1. Identify upcoming municipal development
projects. Identify and prioritize
opportunities within these projects to
include Public Art, and then carry those
projects over to the Biennial Work Plan.
For example, the upcoming roundabout
projects:
• Clement/Tilden - www.alamedaca.gov/
ClementTilden
• Tilden/Blanding/Fernside
• Central Avenue Project - www.alamedaca.
gov/Central
• Central/Fourth/Ballena
• Central/Third/Taylor
• Central/Main/Pacific
• Railroad Platform at Tilden and
Broadway Avenue
2. Consider ARPD as a partner in locating
public artwork in parks. “Gateway to
California,” “Rock Spinners,” and “Beken”
were all installed in Jean Sweeney Open
Space Park with the assistance and
partnership of ARPD.
• ARPD has also identified locations in
other parks across Alameda where
Public Art could be installed, as well
as what types of Public Art could be
installed.
• It’s important to include
parameters that any artwork
in parks has the possibility
of being climbed upon and
otherwise used, and should be
designed accordingly. Kinetic
and climbable/usable art are
encouraged in parks.
• Utilize information from community
input as part of this planning process,
and prioritize park locations near
Webster and Park streets.
• As part of the PAC’s biannual work
plan, Public Art deserts will be
identifed. Prioritize locations within
these areas of Alameda in order to
equitably distribute Public Art across
Alameda.
There are best practices in identifying locations
for public artworks. These practices should be
included as part of the process for selecting
sites in Alameda.
• Consider visibility: Choose locations where
the artwork will be highly visible to the
public, such as in busy pedestrian areas,
public parks, or near public transportation.
• Evaluate accessibility: Ensure that the
location is accessible to all members of the
community, regardless of physical abilities,
and consider factors such as curb cuts,
sidewalks, and other accessibility features.
• Equitable geographic distribution: Consider
the existing locations of public artworks
and ensure artworks are geographically
distributed throughout the City of Alameda.
• Consider community input: Involve the
community in the process of selecting
locations for Public Art, through public
meetings, surveys, or other outreach efforts.
Listen to their opinions and suggestions and
take their feedback into account.
Alameda Public Art Master Plan Page 78
• Assess suitability of the environment:
Evaluate the physical environment of each
potential location, including factors such as
climate, exposure to water, animals, birds,
light exposure, wind patterns, and existing
landscape features, to determine if they are
appropriate for the artwork.
• Consider historical significance: Take
into account the historical and cultural
significance of the location and ensure that
the artwork complements and enhances the
area’s existing cultural heritage.
• Evaluate safety: Ensure that the location is
safe for both the artwork and the public,
considering factors such as traffic patterns
and natural hazards.
• Evaluate maintenance requirements:
Consider the long-term maintenance
requirements of the artwork and ensure that
the location can accommodate these needs,
such as access to electricity and water.
• Evaluate funding and budget constraints:
Consider budget constraints and funding
sources when selecting locations for public
art, as this may impact the type of artwork
that can be commissioned and the number
of locations that can be considered.
“Korean Child” By Royyal Dog
Supported by Façade Grant Program
Rhythmix Cultural Works: PAL in the Parks
Supported by the Public Art Fund
Alameda Public Art Master Plan Page 80
ALAMEDA
LOCATIONS
FOR PUBLIC
ART
Marina Village Park
Free standing art locations
ALL THAT THE
OFFER!
Triump
h
W
ay
Marina Village Pkwy
Albert H. DeWitt
O’Club
Singleton Ave
Marina
Village
Park
Mosley Ave
Washington
Dog Park
Chochenyo
Park
Portola
Triangle
Alameda
Point
Neighborhood
Park
Alameda
Point
Waterfront
Park
Alameda Landing
Waterfront Park
Main St
Linear
Park
Longfellow
Park
Mural on
backside of
court
Washington Park
Mural behind upper baseball field
Woodstock Park
Free standing art locations
Encinal Boat Ramp
In picnic areas
Roundabout projects*
Ferry terminal locations*
*Public art opportunities for
roundabout and ferry terminal
locations will be determined in
coordination with other City
departments and the community
Franklin Park
Free standing art locations
near San Antonio Avenue
Portola
Triangle
Free stand-
ing art
locations
Littlejohn Park
Free standing art locations
Neptune Park
Free standing art locations
Veterans Building
In lawn area out front
Mastick Senior Center
Mural options, free standing artworks in courtyard or in front (Santa Clara Ave + Bay St) Main Street Ferry Terminal
Free standing art locations
Alameda Point
Neighborhood Park
Locations on block between Main St + Skylark
Seaplane Lagoon Ferry Terminal
Free standing art locations
De-Pave Park
Multiple opportunities to be
developed as the park is designed
Bayport Park
Free standing art at park corners
Lincoln Park
Mural on rec center, some
free standing art locations
Godfrey Park
Mural on rec center, some free standing
art locations at Beach + Seminary
Tillman Park
Free standing art locations
Shoreline Park
Free standing art locations
Krusi Park
Free standing art locations
Towata Park
Free standing art locations
Alameda Public Art Master Plan Page 82
MAP OF
CURRENT
PUBLIC ART IN
ALAMEDA
• Beken by DeWitt Godfrey
• Alameda Afore by Rodrigo Nava
• Rockspinners (Ghost)by Zach Coffin
• Rockspinners (Oumuamua) by Zach Coffin
• Neptune Beach Roller Coaster by Jon Altemus
• Tidal Archby Adrien Segal
• Egrets with no Regrets by Dan Fontes
• Calimar by Rossella Scapini
• Webster Gateway Mural by Dave Young Kim &
Erik Burke
• Gateway to California by Norman Moore
• Diatom Sculpture Series by Adrien Segal
• Ohlone People by Jennifer Riley
• Tule Balsa Rafts by Jennifer Riley
• Willie Stargell Baseball Monument by Michael Bondi
• Semi Ripples by Jeffery Laudenslager
• Maritime Commerce in Alameda – The Estuary of
San Antonio by Troy Corliss
• Nautilus by Jill Turman
• Portal I by Jill Turman
• Milestone by Marsha Brook
• Bright Ideas by Delaine Hackney
• Bridgeside Performance Glade
• K Gallery at Rhythmix Cultural Works
• Looking Back by John Lausen
• Into the Calm by Brad Rule
• Birth by Arthur Williams
• Island Cruisin’ by David “Hyde” Cho with Three
Thirty Three Arts
• Enchanted Alameda by Denis Duhkalov with Three
Thirty Three Arts
• Born to be Loved by Royyal Dog
• Beauté de la Nature by Kemit Amenophis
• Julie’s Café by David Burke
• Watching Sea Creatures by Dylan Keene with Three \
Thirty Three Arts
Alameda Public Art Master Plan Page 84
APPENDIX G:
POTENTIAL STRUCTURE FOR
UNVEILING CELEBRATIONS
“Portal I” by Jill Turman
Developer funded
The following structure can be followed for
unveiling celebrations:
• Planning: Gather a team of stakeholders,
including artists, community members, arts
professionals, City staff, and others to plan
the celebration. Set goals for the event and
determine the type of celebration that will
best suit the artwork and community.
• Engagement: Reach out to the community
and encourage them to participate in the
celebration. This could be done through
flyers, emails, social media, and other
outreach efforts.
• Preparation: Arrange for the necessary
resources and facilities to be in place
for the celebration, including sound and
lighting, seating, food and drinks, and
entertainment, if desired.
• Celebration: Hold the event to celebrate
the new public artwork. This could include
a ribbon-cutting ceremony, a dedication
speech, or a performance by artists.
• Follow-up: After the celebration, gather
feedback from participants and evaluate the
success of the event. Use this information
to refine the process for future celebrations
and to improve community engagement
around Public Art in Alameda.
• For on-site artworks as part of private
development projects, the developer would
be responsible for carrying this out. For
artworks commissioned through physical
artwork grants, Staff would lead this process
with the assistance of the artist developing
the artwork and community volunteers.
Ribbon cutting for “Beken”By Dewitt Godfrey
Developer funded
Alameda Public Art Master Plan Page 86
APPENDIX H:
POSSIBLE ADDITIONAL SOURCES
OF FUNDING FOR PUBLIC ART IN
ALAMEDA
Animate Dance Festival
Supported by the Public Art Fund
Here are other ways that we see Public Art
being funded in California, and we recommend
working with the City Attorney to explore
whether additional funding sources may be
viable for the Public Art Program in Alameda:
• Percent for art: Public Capital Improvement
Projects (CIP) – the percentage varies from
.5 – 2%
• Private development percent for art
ordinances – the percentage varies from .5
– 2%
• In-lieu fund - a CIP or private development
project can select to put their money into a
public art fund rather than create a public
art project connected to their project
• General fund allocation to public art
programs
Examples from other California communities of
all sizes:
Watsonville, CA
Population: 52,067
The City Council passed a percent for art in
private development, but all of the money
goes into a Cultural Fund for the City. The
Council specifically changed the initial draft of
the ordinance that originally said the developer
could commission their own work of art.
Source:
Nuñez, B. T. (2022, April 21). New development fee
will fund public art in Watsonville - the pajaronian. The Pajaronian | Watsonville, CA.
Santa Cruz, CA
Population: 61,950
Annual appropriations for public art shall
be calculated by fund as one percent of an
average of the most recent three-year total
eligible capital spending.
Once appropriated by the City Council,
public art moneys shall be transferred by the
City Manager or his or her designee into a
designated public art fund. In addition to
receiving moneys for City Public Art, this fund
shall also be authorized to accept gifts, grants
and donations made to the City for works of
art.
An amount up to twenty-five percent of the
public art funding allocation shall be set aside
in a separate account within the public art fund
for program administration activities as may be
deemed appropriate.
Source:
Chapter 12.80 Public Art Program. (n.d.).
Berkeley, CA
Population: 117,145
City policy is to set aside one and three
quarters percent (1.75%) of its estimated
capital improvement project (CIP) budgets,
as defined in this section, for the purpose of
providing public art.
City Staff shall use reasonable efforts to obtain
appropriate approvals from any funding source
for any capital improvement project, to allow
use of one and three quarters percent (1.75%)
of such funds for the acquisition of public art as
provided in this title. Such efforts shall include,
without limitation, identifying public art in grant
applications for capital improvement projects,
efforts to include expenditures for public art in
developer funded infrastructure projects, and
efforts to allocate for public art in developer-
constructed infrastructure and public
facilities.
Funds shall be deposited into the Public Art
Fund. Per BMC Chapter 6.14, the Civic Art
Commission shall determine public or publicly-
accessible sites for art funded by the one and
three quarters percent (1.75%) for art policy.
Funds may be expended on public art at any
appropriate site within the city. Funds from two
or more CIP projects may be pooled to fund
Alameda Public Art Master Plan Page 88
a single work of art. Funds may be used for
permanent or temporary public art.
Source:
6.13.030 reasonable efforts to include funds for public art. Berkeley Municipal Code. (n.d.).
Long Beach, CA
Population: 456,062
General Fund budget: this support is in the
ongoing structural budgetary funds allocated
to the Long Beach Arts Commission.
They also did some research in 2016 into what
other programs are doing. One thing they
found was that the City charges development
impact fees on certain projects. It was
recommended that Long Beach investigate an
Arts Impact Fee further.
Source:
Memorandum - City of Long Beach. (n.d.).
San Mateo, County CA
Population: 737,888
Their ordinance lays out the following: The
methods for funding of public art can include
General Fund allocations, or the inauguration
of a percent-for-arts programs. Alternative
funding sources might include government
grant monies and private (including business)
donations and grants.
Source:
San Mateo county public art policy. County of San
Mateo, CA. (n.d.).
San Diego, CA
Population: 1.3M
10% of all public art budgets for public and
private projects – to the extent permitted
by law and funding source restrictions – are
set aside in a separate pooled, interest-
bearing account within the Public Art Fund for
collections management and maintenance of
the public art collection.
They also require any public artwork donations
to come with a maintenance endowment to
ensure long-term care of the artwork.
The San Diego City Manager annually proposes
that the City’s Public Art Program be funded by
2% of the annual Capital Improvement Program
budget. The City Council, then decides how
much to allocate each year.
Source:
City of San Diego, California Council policy. (n.d.-a).
Other funding mechanisms that have been
utilized by communities around the country
are listed below. (Note that further research
into the specific deployment and legality of
mechanisms in Alameda is required):
• A percentage of event revenue can be
dedicated to future public art projects
• Private sponsors (individuals, companies)
• Grants - local, regional, and national, such
as:
• Our Town Grant from the National
Endowment for the Arts
• Bloomberg Philanthropies Public Art
Challenge
• Creative taxing mechanisms such as
taxes on billboards, golf bag taxes, or on
dispensaries
• Sales tax revenue
• TIF funding
• Utilities tax
• Liquor tax
• Line item from City’s general fund
• Pull a percentage of taxes from events
• Shared City/County funding possibilities
• State lottery revenue
• Parking meter revenue
• State arts agencies
“Tule Balsa Rafts” By Jennifer Riley
Developer funded
“Ohlone People” By Jennifer Riley
Developer funded
Alameda Public Art Master Plan Page 90
APPENDIX I:
PUBLIC ART POLICY GUIDELINES
CITY OF ALAMEDA
BASE REUSE AND ECONOMIC
DEVELOPMENT DEPARTMENT
950 WEST MALL SQUARE
ROOM 205
ALAMEDA, CA 94501
TABLE OF CONTENTS
I. WHAT IS THE ALAMEDA PUBLIC ART PROGRAM?
• Program Overview
• Projects that are Required to Provide Public Art
• Determining Public Art Program Allocation
II. ON-SITE ARTWORK:
• On-Site Artwork Definition and Eligibility
• On-Site Artwork Application Process
• Maintenance Requirements for On-Site Artwork
• Ownership and Copyright
• On-Site Artwork Criteria
III. IN-LIEU CONTRIBUTION
• In-Lieu Contribution
• Definition and Eligibility
• In-Lieu Contribution Expenditure Approval Process
• Artist Selection Process when using In-Lieu Contribution for the Acquisition of Public Art Addendum A: Plaque Signage Requirements
Photo on previous page:
“Tidal Arch” By Adrian Segal
Developer funded
Alameda Public Art Master Plan Page 92
PURPOSE
This document serves to provide a technical
reference for developers, staff, and members
of the public to provide transparency into the
processes required for public art in Alameda.
This document explains the public art
ordinance requirements, eligible and ineligible
expenses, and the process for commissioning
On-Site and In-Lieu artworks.
DEFINITIONS
The following terms are common in public art
projects in Alameda. For specific ordinance
language and definitions, please see the entire
public art ordinance.
Alameda Public Art Fund (Fund) is a fund
dedicated to public art in Alameda. Instead
of installing On-Site Artwork, a developer
can contribute an equal amount of funds
into the Public Art Fund, that can be utilized
to fund permanent or temporary artwork.
Grants to community organizations and artists
for physical artworks or cultural arts and arts
programming come from this fund.
Applicant is the person or entity that is
applying to do a public art project. This could
be a developer applying with an On-Site
Artwork project to fulfill the Ordinance, or an
artist who is applying for grant funding from
the City.
Artwork is art in many different forms.
This includes sculpture, painting, mosaics,
photography, crafts, mixed media, and
electronic arts. Artwork can be permanent,
temporary, or portable, and can be integrated
into other design projects, such as architecture
or landscape architecture.
Artist is the person who is creating the artwork.
Artist eligibility is determined by project as
early and mid-career artists will have varying
levels of skills and will be suitable for different
projects.
Building Development Costs are construction
costs declared on building permit applications
for new construction or rehabilitation. These
are then accepted by the Planning, Building,
& Transportation Department and can include
but not be limited to all building, plumbing,
mechanical, and electrical permit applications
for the project.
City of Alameda (City) The City of Alameda,
incorporated in April 1854, is located in the
East Bay region of the San Francisco Bay Area.
Alameda has a population of approximately
76,400 spread across Alameda Island, Bay
Farm Island, and Coast Guard Island.
Cultural Arts and Arts Programming is
performance arts such as theater, dance, music;
literary arts; poetry reading and storytelling;
film and video; screenings and installations;
arts education; art lectures and presentations;
special events; festivals and celebrations; and
artist in residence programs in the arts.
Development Project is any project that
requires a building permit from the City of
Alameda. This includes apartment buildings,
civic spaces, and mixed use and retail
developments.
Maintenance is the physical care of the
artworks in the City’s Collection. This includes
cleaning and repairs in order to keep the
artworks in a condition close to when it was
installed.
Non-Profit Organization is an organization
under Internal Revenue Code Section 501 c 3
in good standing with the California Franchise
Tax Board and in compliance with any and all
federal state and local licensing, reporting, and
tax requirements.
On-Site Artwork is permanent artwork that is
commissioned and installed for a Development
Project, as required by the Public Art
Ordinance.
Public Art is artwork that is accessible to
the public, including but not limited to On-
Site Artwork and Cultural Arts and Arts
Programming. Accessible means that the art
is placed in a location that allows the public
to view it from a public right-of-way or from
other publicly accessible property and follows
ADA guidelines. Interactive art must be fully
accessible and approachable by the public.
Public art can be located 1) on private property
that has public accessibility; 2) on City owned
property or in City owned buildings; or 3) on
state, county, federal or other government
property that has public accessibility. Public
art can be publicly or privately funded, or a
combination of the two.
What a city or tourism bureau advertises to
residents and visitors as its public art collection
often is a combination of privately-owned
artworks in the public realm and City-owned
artworks on public property. While both types
of artworks share public accessibility, the
selection process, ownership, and maintenance
responsibilities may vary from artwork to
artwork.
Successful long-term administration of the
Plan will result in a rich and diverse Public Art
Collection (Collection). Prior to creation of
this Plan, it is recognized that some 2D and
3D objects, which may have been considered
representative of public artwork, may already
be in possession by the City of Alameda
through a variety of undocumented and
unprocessed means of gifting, donation, or
purchase. Some of the items may or may not
have a registered history of accession or any
supporting provenance. To be included in the
Collection and considered property of the
City, all future objects defined as Public Art
must be commissioned in partnership with the
City. In-Lieu Contributions, otherwise known
as the Fund, can be utilized to commission
public artwork as defined in this document.
Any artworks in the Collection are eligible for
maintenance and insurance from the Alameda
Public Art Fund.
Physical public art forms may include, but are
not limited to: drawings, prints, photographs,
collages, paintings, mosaics, murals, written
works, fiber and mixed media artworks, stained
glass, relief or freestanding three-dimensional
forms, digital or computer-generated imagery
or sound, indoor and outdoor installations.
Cultural arts and arts programming may include
but are not limited to: music, performance,
dance, theater, song, story-telling, or poetry.
Works of art may be temporary, permanent,
or portable. Some works of art may highlight
specific cultures, near or abroad, through
communal folk traditions, ceremonies,
celebrations, or languages.
Public artworks shall not include objects that
are mass-produced of standard design, such
as floor coverings, wall coverings, seating,
benches, bike racks, light fixtures, signage,
architectural infrastructure, except when
designed by an artist as an integral part of
a project; or reproductions of works of art,
except when considered a numbered edition of
a limited series.
Public Art Commission (PAC) is the City
of Alameda’s volunteer commission which
advises the City Council on Public Art policies,
procedures, and expenditures from the
Alameda Public Art Fund.
Public Art In-Lieu Contribution (In-Lieu
Contribution) happens when a developer
makes a payment to the Alameda Public Art
Fund rather than installing On-Site Artwork to
fulfill their public art obligation required under
the Ordinance.
Public Art Master Plan (Plan) is a document that
lays out a strategy for public art in Alameda.
Public Art Program Staff (Staff) are the City staff
members who manage the Public Art Program
for the City of Alameda.
Alameda Public Art Master Plan Page 94
I. WHAT IS THE ALAMEDA
PUBLIC ART PROGRAM?
Program Overview
The intent of the City of Alameda Public
Art Program is to provide art that is easily
accessible to the general community
throughout the city. The Public Art Program is
designed to offer a wide range of artistic styles,
themes, and media, all of outstanding quality.
The variety of artistic expression is chosen to
ensure and encourage discussion. Public art
is dependent on public-private cooperation
between the City, artists, the Public Art
Commission (PAC), members of the public, and
developers. All public art is privately or publicly
owned, and is designed to encourage pride in
ownership and add value to the community.
The Alameda City Council (Council) adopted
Public Art Ordinance No. 2892 on March
4, 2003 which was most recently amended
by Ordinance No. 3303 on July 21, 2021
(Ordinance). The Public Art Policy Guidelines
(Guidelines) describe the Public Art Program’s
policies, procedures, and application
processes. Development projects subject to
the Ordinance are subject to the Guidelines
in effect prior to final approval of the
development project application.
Purpose:
Cultural identity plays an important role in
attracting and retaining artists and creatives
to Alameda. Public art can help bring people
together to celebrate and experience the rich
cultural diversity in the City of Alameda (City).
Creating opportunities for people of different
backgrounds aids in the economic vitality of
the city. Including public art in publicly and
privately owned, publicly accessible spaces
across the city can emphasize what is important
to the community. It can also add beauty
to our shared spaces, enhance the design
of buildings, and increase the quality of life
for those working, living, and recreating in
Alameda.
Public art projects support the larger goals of
the City. It is important for public art to be part
of private developments in order to ensure that
development in Alameda benefits everyone.
A robust, engaging public art program can
attract people to come to Alameda, bolstering
the economy and creating opportunities to
retain artistic and creative talent. Public art
creates a more desirable community within
which to live and work.
Projects that are Required to Provide
Public Art
Commercial, industrial and/or municipal
development projects with a cost of $250,000
or greater are required to provide On-Site
Artwork or to make an In-Lieu Contribution to
the Alameda Public Art Fund (Fund).
Residential development projects consisting
of five or more residential units and a
development cost of $250,000 dollars or
greater are required to provide On-Site
Artwork or make an In-Lieu Contribution to the
Alameda Public Art Fund (Fund).
Exempt Projects:
• Affordable housing development projects
in which one hundred (100%) percent of the
units qualify as units affordable to very low-,
low- or moderate-income households.
• Rehabilitation of designated City
monuments.
• Development or rehabilitation of structures
that house a cultural facility.
• Municipal or Non-Profit Organization
Development Projects (including parks) may
not be required to provide On-Site Artwork
or to make an In-Lieu Contribution to the
Fund if Council determines it is in the best
interests of the Alameda community.
Determining Public Art Program Allocation
Eligible projects must devote at least one
percent (1%) of building development costs
for public art. This contribution is known as the
Program Allocation. The exact dollar amount
of the Program Allocation will be established
as part of the permitting process or within
a negotiated comprehensive public benefit
package.
Applicants may fulfill the Program Allocation in
any of the following ways:
• On-Site Installation: Install public art with a
value that meets or exceeds the Program
Allocation on the development site; or
• In-Lieu Contribution: Place an In-Lieu
Contribution for an amount equal to the
Program Allocation into the Fund. The
Fund is used for development of public art
projects; or
• Combination: Install On-Site Artwork that
has a value less than 100% of the Program
Allocation, and pay an In-Lieu Contribution
to the Fund for the balance of the Program
Allocation.
Determination of On-Site Artwork, In-Lieu
Contribution, or a Combination
Prior to final approval of the development
project application, projects that are required
to contribute a Program Allocation will select
if they would like to install an On-Site physical
artwork, make In-Lieu Contribution, or some
combination of the two. If an On-Site physical
artwork is selected for the Program Allocation
and is not installed by the indicated installation
date denoted by the applicant, the Program
Allocation would need to be fulfilled through
an In-Lieu Contribution rather than an On-Site
artwork.
II. ON-SITE ARTWORK
On-Site Artwork Definition and Eligibility
On-Site Artwork is a physical installation of
permanent public art and must be constructed
of materials that are appropriate for the
proposed location.
On-Site Artwork installations may include the
following artwork mediums and types:
• Sculpture; such as in the round, bas-relief,
mobile, fountain, kinetic, electronic, or
other, in any material or combination of
materials;
• Painting: All media, including but not
limited to, murals;
• Graphic and multimedia: Printmaking,
drawing, calligraphy and photography
including digital, any combination of forms
of electronic media including sound, film,
“Julie’s Cafe mural” by David Burke
Supported by Façade Grant Program
Alameda Public Art Master Plan Page 96
holographic, and video and other art forms
but only when on a large public scale;
• Mosaics;
• Crafts: In clay, fiber and textiles, wood
metal, plastics and other materials;
• Mixed Media: Any combination of forms
or media, including collage; and any other
artwork determined by the PAC, or Council
on appeal, to satisfy the intent of this
section.
If an applicant chooses to install physical public
art On-Site, the applicant will identify the
proposed location(s) of the On-Site Artwork on
the submitted plans. Typically, the location of
proposed On-Site Artwork will be evaluated
by the Planning Board as part of its review
of proposed projects. On-Site Artwork must
be installed on the development project site
in a location that allows the artwork to be
visible from a public right-of-way or from other
publicly accessible property. Interactive art
must be fully accessible to the public.
The following are not eligible to satisfy the On-
Site Artwork Program Allocation:
• Construction of indoor or outdoor stages or
performance spaces.
• Cultural arts and arts programming.
On-Site Artwork Application Process:
Successful On-Site Artworks involve
collaboration and cooperation between the
applicant, the artist and the City.
A location must be selected prior to filling out
the On-Site Artwork application. Typically, the
Planning Board will provide input regarding the
location/context of proposed on-site artwork.
In addition, an artist must be selected prior to
filling out the On-Site Artwork application, and
can be selected by the applicant in any of the
following ways:
1. Open Request for Qualifications: The
applicant determines the selection criteria
and issues a call for artists to submit
credentials for consideration (a “Request for
Qualifications” rather than a “Request for
Proposals”). The applicant invites a short-list
of artists to interview and develop proposals
for the project and shares the call through
their channels.
2. Invitational Competition: The applicant
invites a limited number of artists to submit
credentials for consideration (a “Request
for Qualifications” rather than a “Request
for Proposals”). A short-list of artists may
be invited to interview and to develop
proposals for the project.
3. Direct Selection: The applicant selects a
specific artist(s) to develop a proposal.
The Base Reuse and Economic Development
Department (BREDD) is available to provide
assistance throughout the project, including
help finding and hiring an artist. An arts
consultant may be retained for public art
projects valued at $50,000 and above.
The following are not eligible to be selected as
the artist for On-Site Artwork:
• Members of the design team or their
immediate families
• Project architects or consulting architectural
firms
• Members of the selection team
• Members and immediate families of the
PAC
• BREDD Staff or other City staff
Once the artwork location is solidified an
artist is selected, and an artistic concept is
developed the below process must be followed
in order to meet the Program Allocation
requirement for On-Site Artwork.
1. An application for the installation of On-Site
Artwork must be submitted to the BREDD.
An artist should be selected prior to filling
out this form. This form is available on the
BREDD website. The following information
is asked for in the application:
a. A site plan of the development,
including:
i. the proposed location of the On-Site
Artwork showing how it integrates
into the overall project design;
ii. A sample, model, photograph or
drawings of the proposed On-Site
Artwork;
iii. Material samples and finishes if
appropriate;
b. The artist's resume and portfolio of
past work, showing that the artist has
experience and ability to create the
proposed On-Site Artwork;
c. A written statement by the artist
describing the On-Site Artwork and
how the artwork proposal meets the
following requirements (which are used
by the PAC to approve an artwork to
move forward in the process):
i. The artist has demonstrated
qualifications to complete the
proposed On-Site Artwork with the
highest professional standards.
ii. There is sufficient public visibility and
accessibility to the On-Site Artwork,
and the proposed On-Site Artwork
is compatible and harmonious
with the development project and
surrounding environment.
iii. The proposed On-Site Artwork
is durable and cost effective to
maintain using ordinary methods of
maintenance.
iv. The budget for the proposed
On-Site Artwork and any In-Lieu
fees proposed by the applicant is
equivalent to or exceeds the required
Program Allocation.
d. An itemized budget showing the
valuation of the On-Site Artwork,
artist design fees, transportation and
installation fees, and any other fees as
applicable and necessary. The budget
total must equal or exceed the 1%
minimum Program Allocation and ensure
that items in the budget are eligible.
i. The following expenses are eligible
for On-Site Artwork:
1. The On-Site Artwork itself
including the artist's fee for
design, structural engineering
and fabrication;
2. Transportation and installation
of the On-Site Artwork at the
development project site;
3. Identification signs; and
4. Mountings, anchorages,
containments, pedestals,
bases, or materials necessary
for installation of the On-Site
Artwork.
ii. The following expenses are not
eligible for On-Site Artwork:
1. The cost of locating the artist(s);
2. Architect and landscape architect
fees;
3. Land costs;
4. Landscaping around the On-Site
Artwork not integral to its design;
5. Publicity, public relations,
photographs or dedication
ceremonies;
6. Utility fees associated with
activating the artwork; and
7. Illuminating the On-Site Artwork if
not integral to the design.
e. A maintenance plan for both the
routine and long-term upkeep, care
and preservation of the On-Site
Artwork, based upon the maintenance
requirements laid out in section
2: Onsite Artwork, Maintenance
Requirements for On-Site Artwork,
p.14 -15.
f. Any additional information or materials
as required by the BREDD Director;
g. Application processing fees set by City
Council Resolution.
2. Once submitted to the BREDD, the BREDD
Director will review the application and
determine whether it is complete and meets
the Program Allocation requirements.
3. The PAC will meet to review the proposal as
soon as possible (within 60 calendar days)
Alameda Public Art Master Plan Page 98
after all application materials are submitted
in their complete form. If items are found
incomplete, the 60-day period for review
will not begin until all outstanding items
are received. Staff will inform the applicant
of the date, time and location of the PAC
meeting.
4. The PAC reviews the application following
the criteria listed in section 2, “Onsite
Artwork, On-Site Artwork Criteria,”
p. 15 - 16.
5. The applicant will make an oral presentation
to support the On-Site Artwork proposal,
utilizing written and visual materials. The
applicant must be present at the meeting
to give the presentation and to receive
comments and suggestions of the PAC,
should the application not be approved
in full.
6. The PAC will contact the Planning Board
to address any potential site feasibility or
constraint issues.
7. The PAC will either approve the application,
ask for refinements, or deny the application.
Approval by the PAC will require the
adoption of a resolution, an example of
which is included in Appendix A. The PAC
retains the right to ask the applicant to
provide further information or demonstrate
how their application meets the review
criteria, prior to giving their final decision.
8. A final decision of the PAC may be
appealed to the City Council within ten
calendar days following the PAC decision.
a. The applicant will be notified in writing
of the PAC’s decision within ten working
days of the review meeting. If the project
application is approved, any outstanding
items that must be completed by the
installation date will be listed and given
to the applicant.
b. If the project application is not
approved, the reason(s) for denial
will be noted, as well as possible
modifications or additions that could
lead to approval. If the applicant agrees
to the modifications, the applicant may
resubmit an application to the PAC for
reconsideration. Staff will inform the
applicant of the date, time and location
of the meeting to review the revised
application.
c. Once the project application is
approved, the applicant will inform the
City of the approximate date the project
will be installed or completed.
d. Completion of the On-Site Artwork
application, approval of the project by
PAC, and artwork installation must all
happen prior to final building inspection
or issuance of the first certificate of
occupancy for the development project.
Please refer to Ordinance section 30-
98.9 for specific details.
e. If an On-Site Artwork is selected for the
Program Allocation and is not installed
“DiatomSculpture Series” By Adrien Segal
Developer funded
by the indicated installation date
denoted by the applicant, the Program
Allocation would need to be fulfilled
through an In-Lieu Contribution rather
than an On-Site Artwork.
9. The applicant contracts with and makes
payments directly to the artist, and must
submit a copy of the agreement with artist
and/or contract of sale including the long-
term care and maintenance instructions for
the public art.
10. If installation of the On-Site Artwork occurs
over more than two months, the applicant
will provide monthly progress reports on
installation status to the BREDD.
Maintenance Requirements for On-Site
Artwork
Once the permanent On-Site Artwork is
installed, the applicant and any future property
owner is legally responsible for maintaining
the artwork in perpetuity. The applicant should
demonstrate that the selected public art is
constructed appropriately for its display and
that provisions have been made for the care of
the work throughout its lifetime.
The artist will provide an updated maintenance
manual with the expected lifetime of the
artwork, a description of all materials,
processes and products to be used for
maintaining the artwork, the required care
and upkeep involved, and the recommended
procedures ("the Maintenance Plan"). The draft
Maintenance Plan is subject to review by a
professional conservator.
The Property Owner will:
1. Maintain the On-Site Artwork on a regular
basis, and as described in the maintenance
plan provided by the artist as part of the
application and approval process;
2. Repair the On-Site Artwork when necessary;
3. Replace the On-Site Artwork when it is
damaged beyond repair, destroyed or
stolen; and
4. Establish a source of funding to maintain
the On-Site Artwork for its lifetime.
The plaque will contain a credit to the artist
and a copyright notice substantially in the
following form:
Copyright ©[artist's name, date of publication].
Additionally, the artist will design and install
a plaque on or near the artwork consistent
with plaque guidelines provided by the City.
See Appendix A. The plaque design and
installation plans must be approved by City
Staff prior to installation.
The City must approve the final Maintenance
Plan and installation of an approved plaque
must be installed prior to the On-Site Artwork
receiving final approval from the City.
Ownership and Copyright
All On-Site Artwork included in a project
belongs to the property owner; however,
the On-Site Artwork copyright belongs to
the artist(s). The copyright remains with the
artist unless specifically assigned in the artist
agreement. The City has the right to use any
photos, slides, models, printed materials, etc.
of the On-Site Artwork for non-commercial
purposes, and this must be in the contract
between the applicant and the artist. The
City and applicant agree to act in accordance
with Federal and State of California artist’s
rights legislation with regard to the ownership,
maintenance, preservation, disposition, sale,
copyright, and other legal considerations
concerning On-Site Artwork.
On-Site Artwork Criteria
Criteria that will be used by the PAC when
considering On-Site Artwork will include, but
not be limited to:
Alameda Public Art Master Plan Page 100
1. Inherent Artistic Quality: The artistic
or conceptual merit of the On-Site
Artwork proposal, independent of other
considerations.
2. Context: Works of art must be compatible
in scale, material, form and content with
their surroundings. Consideration should
be given to the architectural, historical,
geographical and social/cultural context of
the site.
3. Media: Sculpture, painting, graphic and
multimedia, mosaics, crafts, and mixed
media may be considered.
4. Permanence: Due consideration shall
be given to the structural and surface
soundness, and to inherent resistance to
theft, vandalism and weathering.
5. Ability to Maintain: Significant
consideration shall be given to the cost
of on-going maintenance and repair
anticipated, and the applicant's ability to
provide adequate maintenance. Ephemeral
artwork will be maintained for the lifetime
as defined by the artist.
6. Public Safety and Accessibility: Each work
shall be evaluated to ensure that it does
not present a hazard to public safety and
complies with all applicable building codes
and accessibility requirements.
7. Diversity: The City is committed to
acquiring public art that reflects its diverse
cultural communities and perspectives. To
that end, the City encourages applicants
to seek public art from artists of diverse
backgrounds and permanent artworks in
a variety of styles, scales, and materials.
Innovative work as well as established art
forms shall be encouraged.
8. Feasibility: Proposed On-Site Artworks shall
be evaluated for feasibility. Factors to be
considered include, but are not limited to:
project budget, timeline, artist’s experience,
soundness of materials, and City approval
requirements.
9. Duplication: To assure that the On-Site
Artwork is unique, the artist will be asked to
warrant its distinction from other artworks in
the artist’s body of work. A limited edition
will be evaluated on a case-by-case basis.
III. IN-LIEU CONTRIBUTION
In-Lieu Contribution Definition and Eligibility
Instead of acquiring and installing a
permanent, On-Site Artwork in order to fulfill
the Program Allocation requirement, the
applicant may provide a Public Art In-Lieu
Contribution in an amount equal to 100% of
the Program Allocation into the Fund (please
refer to Ordinance section 30-98.10 for the
guidelines, including eligible uses for Fund
monies). If an applicant chooses to make an
In-Lieu Contribution, the applicant must do so
as part of the initial discretionary permit for the
project, or the submission of building permits,
if no discretionary permits are required for the
project.
The In-Lieu Contribution will be placed in the
Fund.
The Fund may be used only in one of the
following ways:
1. Acquisition, commission, design,
installation, improvement, and insurance of
public art;
2. City acquisition of property or improvement
of public property for the purpose of
displaying public art. (If property purchased
with monies from the Fund is sold, the
proceeds from the sale shall be returned to
the Fund);
3. Grants to provide publicly accessible
cultural arts and arts programming to
benefit the Alameda community free of
charge. (No more than twenty-five percent
of the Alameda Public Art Fund shall
be distributed for cultural arts and arts
programming);
4. Other expenses associated with
implementation, conservation,
maintenance, or deaccession of public art.
(These funds will be prioritized for public
art on public property, rather than private
property).
The PAC will biennially report to the Council on
the distribution of Fund dollars.
In-Lieu Contribution Expenditure Approval
Process
Expenditures from the Fund will be authorized
by the Council. The City Manager is also
authorized to approve expenditures within
the City Manager's spending authority,
and will notify the Council of any approved
expenditures.
Any two Members of the Council may call the
City Manager's decision for review within ten
days of the City Manager's notification. If no
timely call for review occurs, the City Manager's
decision shall become final and effective.
Artist Selection Process when using In-Lieu
Contribution for the Acquisition of Public Art
An Open Request for Qualifications will
typically be the selection process for City
public art projects, with the PAC leading the
development of selection criteria.
Typically, Public Art Program Staff (Staff)
manage the application process and convene
the PAC as deemed necessary to gather
input towards the creation of a City-issued
solicitation for public artworks as funded
through grants coming from the Fund. Staff will
include any technical drawings, dimensions,
photographs, or renderings of the project site.
City solicitations for public art are posted on
the City webpage where all City contracts open
to bids are posted (https://www.alamedaca.
gov/BUSINESS/Bid-on-City-Contracts). In
addition, the solicitation will be distributed
widely through various means including, but
not limited to: social media, City press release,
circulation with other City and artists’ networks,
etc. with a goal of reaching diverse audiences.
Please see the Procedures document for
more detail about the commissioning process
K Gallery at Rhythmix Cultural Works
Developer funded
Alameda Public Art Master Plan Page 102
for Cultural Arts and Arts Programming and
Physical Art Projects.
ADDENDUM A: PLAQUE
SIGNAGE REQUIREMENTS
Public Art Identification Signage Guidelines
The Public Art Commission may, as a condition
of approval, require that identification signage
be installed on or in the vicinity of public art
projects that are subject to approval by the
Commission. When required, the following
shall serve as guidelines for the design and
placement of public art identification signage:
Material: All signage shall be bronze in which
the letter or symbol shall be cast, embossed, or
etched.
Size: Identification signage shall be separated
into two components, each with a dimension
of 5"x 5". One shall bear the Seal of the City
of Alameda (to the right), while the other
shall contain information required by these
guidelines or other information deemed
necessary by the Public Art Commission.
Required Information: The following
information shall be included on identification
sign:
• Date
• Artist name
• Title of Art
• Alameda Public Art Program
Applicant Drawings: Applicant shall provide
drawings that identify:
• Font style
• Font height
• Arrangement of required information
• Location of the identification signage in
relation to the public art
“Looking Back” by John Lausen
Developer funded
“Willie Stargell baseball”By Michael Bondi
Developer funded
Alameda Public Art Master Plan Page 104
APPENDIX J:
CITY OF ALAMEDA:
PROCEDURES FOR PUBLIC ART
CITY OF ALAMEDA
BASE REUSE AND ECONOMIC
DEVELOPMENT DEPARTMENT
950 WEST MALL SQUARE
ROOM 205
ALAMEDA, CA 94501
TABLE OF CONTENTS
I. INTRODUCTION
I. A. Definitions
II. PROCESSES
II. A. An Overview of the Public Art Process
II. B. Process for On-Site Artwork
II. C. Process for In-Lieu Artwork
III. ROLES AND RESPONSIBILITIES
IV. FUNDING
IV. A. Public Art Ordinance
IV. B. General Fund
IV. C. Grants
IV. D. Private Donations
IV. E. In-Kind Donations
V. ALAMEDA PUBLIC ART FUND
V. A. Cultural Arts and Arts Programming
V. B. Permanent Artwork
V. C. Temporary Artwork
V. D. Donated Artwork
VI. PLACEMENT
VI. A. Public Property
VI. B. Murals on Private Property
VI. C. Public / Private Development
VII. SELECTION / PUBLIC ART COMMISSION-
ING PROCESS
VII. A. Public Art Commission
VII. B. Public Art in Private Development
VII. C. Public Art In-Lieu Contributions
VII. D. Cultural Arts and Arts Programming and
Physical Art Projects
VII. E. Scoring
VII. F. Contract
VIII. MAINTENANCE
VIII. A. Documentation
VIII. B. Storage
VIII. C. Conservation
VIII. D. Insurance
IX. DEACCESSION
IX. A. Removal from Public Display
IX. B. Deaccessioning Criteria
IX. C. Methods
Exhibit A: History
Exhibit B: Vision, Mission and Goals of the
Alameda Public Art Master Plan
Exhibit C: Ordinance No. 3303
Exhibit D: City of Alameda Public Art Policy
Guidelines
Exhibit E: Quick Guide to the Application for
the Alameda Public Art Program
Exhibit F: Public Art Commission Application
Image on previous page:
Rhythmix Cultural Works: Island City Waterways at Bridgeside Performance Glade Photo By Alameda Staff
Supported by the Public Art Fund
Alameda Public Art Master Plan Page 106
I. INTRODUCTION
This document lays out the processes and
procedures involved in public art projects in the
City of Alameda. It discerns between On-Site
Artworks and In-Lieu Artworks, and provides
a process for each. It includes definitions for
common words used in public art projects in
Alameda, and shares roles and responsibilities
for each part of the process.
I. A. Definitions
The following terms are common in public
art projects in Alameda. For more detailed
language, see Ordinance No. 3033.
Alameda Public Art Fund (Fund) is a fund
dedicated to public art in Alameda. Instead
of installing On-Site Artwork, a developer
can contribute an equal amount of funds into
the Fund that can be utilized to fund both
permanent or temporary artwork. Grants
to community organizations and artists for
physical artworks or cultural arts and arts
programming come from this fund.
Applicant is the person or entity that is
applying to do a public art project. This could
be a developer applying with an On-Site
Artwork project to fulfill the Ordinance, or an
artist who is applying for grant funding from
the City.
Artwork is art in many different forms.
This includes sculpture, painting, mosaics,
photography, crafts, mixed media, and
electronic arts. Artwork can be permanent,
temporary, or portable, and can be integrated
into other design projects, such as architecture
or landscape architecture.
Artist is the person who is creating the artwork.
Artist eligibility is determined by project as
early and mid-career artists will have varying
levels of skills and will be suitable for different
projects.
Building Development Costs are construction
costs declared on building permit applications
for new construction or rehabilitation. These
are then accepted by the Planning, Building,
& Transportation Department and can include,
but not be limited to, all building, plumbing,
mechanical, and electrical permit applications
for the project.
City of Alameda (City) Incorporated in April
1854, the City is located in the East Bay region
of the San Francisco Bay Area. Alameda has a
population of approximately 76,400 spreads
across Alameda Island, Bay Farm Island, and
Coast Guard Island.
Cultural Arts and Arts Programming is
performance arts such as theater, dance, music;
literary arts; poetry reading and storytelling;
film and video; screenings and installations;
arts education; art lectures and presentations;
special events; festivals and celebrations; and
artist-in-residence programs in the arts.
Development Project is any project that
requires a building permit from the City. This
includes apartment buildings, civic spaces, and
mixed use and retail developments.
Maintenance is the physical care of the
artworks in the Municipal Public Art Collection.
This includes cleaning and repairs in order to
keep the artworks in a condition comparable to
when it was installed.
Municipal Public Art Collection (Collection) all
works of Public Art which are owned by the
City and considered City assets. To be included
in the Collection and considered property of
the City, all future objects defined as public art
must be commissioned in partnership with the
City.
Non-profit Organization is an organization
under Internal Revenue Code Section 501(c)(3)
in good standing with the California Franchise
Tax Board and in compliance with any and all
federal state and local licensing, reporting, and
tax requirements.
On-Site Artwork is permanent artwork that is
commissioned and installed for a Development
Project, as required by the Public Art
Ordinance.
Public Art is artwork that is accessible to
the public, including but not limited to On-
Site Artwork and Cultural Arts and Arts
Programming. Accessible means that the art
is placed in a location that allows the public
to view it from a public right-of-way or from
other publicly accessible property and follows
ADA guidelines. Interactive art must be fully
accessible and approachable by the public.
Public art can be located 1) on private property
that has public accessibility; 2) on City owned
property or in City owned buildings; or 3) on
state, county, federal or other government
property that has public accessibility. Public
art can be publicly or privately funded, or a
combination of the two.
What a city or tourism bureau advertises to
residents and visitors as its public art collection
often is a combination of privately-owned
artworks in the public realm and municipal-
owned artworks on public property. While both
types of artworks share public accessibility, the
selection process, ownership, and maintenance
responsibilities may vary from artwork to
artwork.
Successful long-term administration of the
Plan will result in a rich and diverse Collection.
Prior to creation of this Plan, it is recognized
that some 2D and 3D objects, which may
have been considered representative of public
artwork, may already be in possession by the
City through a variety of undocumented and
unprocessed means of gifting, donation, or
purchase. Some of the items may or may not
have a registered history of accession or any
supporting provenance. To be included in the
Collection and considered property of the City,
all future objects defined as public art must
be commissioned in partnership with the City.
In-Lieu Contributions deposited in the Fund
can be utilized to commission public artwork as
defined in this Plan. Any artworks in the public
art collection whether privately-owned or
municipal-owned, are eligible for maintenance
and insurance from the Fund. However, the
Fund is intended to be used for maintenance
expenses only in isolated or extreme cases,
and prioritization shall be for artwork on public
property.
Physical public art forms may include, but are
not limited to: drawings, prints, photographs,
collages, paintings, mosaics, murals, written
works, fiber and mixed media artworks, stained
glass, relief or freestanding three-dimensional
forms, digital or computer-generated imagery
or sound, indoor and outdoor installations.
Cultural arts and arts programming may include
but are not limited to: music, performance art,
dance, theater, song, story-telling, poetry, art
education, artist-in-residence programs in the
arts, art lectures and presentations, and special
events (festivals and celebrations).
Works of art may be temporary, permanent,
or portable. Some works of art may highlight
specific cultures, near or abroad, through
communal folk traditions, ceremonies,
celebrations, or languages.
Public art shall not include objects that are
mass-produced of standard design, such
as floor coverings, wall coverings, seating,
benches, bike racks, light fixtures, signage,
architectural infrastructure, except when
designed by an artist as an integral part of
a project; or reproductions of works of art,
except when considered a numbered edition of
a limited series.
Public Art Commission (PAC) is a City volunteer
commission which advises the City Council
on Public Art policies, procedures, and
expenditures from the Fund.
Alameda Public Art Master Plan Page 108
Public Art In-Lieu Contribution (In-Lieu
Contribution) happens when a developer
makes a payment to the Fund rather than
installing On-site artwork to fulfill their public
art obligation required under the Ordinance.
Public Art Master Plan (Plan) is a document that
lays out a strategy for public art in Alameda.
Public Art Program Staff (Staff) are the City staff
members who manage the Public Art Program
for the City.
II. PROCESSES
The following processes are utilized in
commissioning public art in Alameda, both
physical artworks and cultural arts, and arts
programming.
Public Art
Program Overview
Public Art
Program
Alameda
City
Council
Base Reuse
& Economic
Dev. Dept.
Public Art
Commission
Private
Developer
Public Art
Proposal
Ordinance
No. 3303 &
General
Fund
On-Site
Artwork
Permanent
Artwork
Public Art
Program
Staff
In-Lieu
Contribution
Alameda
Public
Art Fund
Public Art
Commission
Cultural
Arts and
Programming
Temporary
Artwork
Permanent
Artwork
Possible
Additional
Funding
Grants
Private
Donations
In-Kind
Donations
Alameda Public Art Master Plan Page 110
On Site
BREDD
Director reviews
App; Sets PAC
Meeting within
60 cal days
Developer
presents
application to
PACBREDD Director
notifies Developer
of On-Site Artwork
requirement
Developer
submits
App to
BREDD Dept.
PAC reviews
& notifies
Developer of
decision within
10 cal days
Approval
Modifications
Denial
Developer
contracts
directly
with ArtistArtwork Process
Developer
may
submitt
Developer
may
appeal
BREDD = Base Reuse & Economic Development Department
PAC = Public Art Commission
App = Application
Cal = Calendar
Alameda Public Art Master Plan Page 112
In-Lieu
Contribution Process
Public Art
Program Staff
administers
work planDeveloper
makes In-Lieu
Contribution to
Alameda Public
Art Fund
Display Property:
Acquisition, Improvement
Permanent Art
Examples: Murals,
Sculptures
Evaluation
Committee
reviews
applications
Artist or
Organization
is contracted and
provides report
upon
completion
Temporary Art
Examples: Performances,
Educational Programming
Art Maintenance:
Cleaning, Conservation
Alameda Public Art Master Plan Page 114
III. ROLES AND
RESPONSIBILITIES
Mayor
• The Mayor reviews applications to the PAC
and nominates appointments.
City Council (including the Mayor)
• The City Council approves the Mayor’s
nominees for the appointments.
• The City Council approves, adopts, and
amends the Plan upon recommendation of
the PAC as needed to expand and advance
the City’s arts and culture identity.
• The City Council approves all grants or
commissions funded out of the Fund over
the City Manager’s monetary limit.
• The City Council reviews all appeals and
makes decisions on appeals.
Base Reuse and Economic Development
Department (BREDD)
• The BREDD works with businesses and
the Alameda community to cultivate and
develop the City’s economic, housing, social
and cultural resources.
Public Art Program Staff (Staff)
• Staff is responsible for the day-to-day
management of both the Public Art
Program and PAC (including ensuring its
meetings are agendized and posted), as
well as the administration of the Plan.
• Staff oversees all agreements between
the City and Artists, organizations, and
other appropriate contractors including
the outreach effort, program marketing,
maintenance of the City’s public art website,
and overseeing the maintenance of its
Collection, if it is unassigned to another
department.
Public Art Commission (PAC)
• The PAC’s primary role is to make decisions
regarding public art in Alameda, including,
but not limited to, the evaluation of public
art applications, the use of Fund monies,
and other matters pertaining to the quality,
quantity, scope and style of art in public
places.
• The PAC makes recommendations to the
City Council regarding the Plan.
• The PAC makes recommendations to the
City Council on funds sourced from the
Fund on public artwork that exceeds the
City Manager’s monetary threshold.
• The PAC guides and provides input to
private developers for all On-Site Artwork
resulting from Ordinance No. 3303.
• Commissioners act as volunteer
representatives for the Public Art Program,
representing community input and interests.
In coordination with Staff, the PAC will
develop a strategy to help dictate the
Public Art priorities for a set amount of
time.
• The PAC promotes the Collection.
Planning Board
• The Planning Board’s role in public art is
to provide input in the siting of On-Site
Artworks.
• The Planning Board can also assist with
decision making should the PAC need
guidance.
IV. FUNDING
Funding for Public Art in Alameda can come
from five identified sources. Additional funding
sources may arise over time and should be
added to this list.
IV. A. Public Art Ordinance
On-Site Artworks: Commercial, industrial
and municipal development projects with
a development cost of $250,000 dollars or
greater as well as residential development
projects consisting of five or more residential
units and a development cost of $250,000
dollars or greater located in the City of
Alameda are subject to the Public Art
Ordinance, and must install a public artwork
(either permanent or temporary) on the
development site. The cost of the artwork
must be at least one percent (1%) of building
development costs (referred to as the Program
Allocation).
In-Lieu Contribution: Rather than
commissioning and installing On-Site Artwork,
the developer may pay into the Fund an
amount equal to one hundred percent (100%)
of the Program Allocation.
If the developer chooses to commission and
install On-Site Artwork, and its value is less than
one hundred percent (100%) of the Program
Allocation, the developer shall pay into the
Fund the difference between one hundred
percent (100%) of the Program Allocation and
the value of the On-Site Artwork prior to the
issuance of the Certificate of Occupancy. If an
On-Site Artwork is selected for the Program
Allocation and is not installed by the indicated
installation date denoted by the applicant, the
Program Allocation would transfer to an In-Lieu
Contribution rather than an On-Site Artwork.
IV. B. General Fund
Resources for the management of the Public
Art Program is subject to change but may
include staffing as well as additional City
General Fund dollars.
The Public Art Program Allocation makes up
the Fund. Please see Section V Alameda Public
Art Fund for more information about the Fund.
IV. C. Grants
Local, state, and national grants may also
provide a source of funding for the Alameda
Public Art Program. The Fund may be used
as matching funds for grant applications
determined worthy of application by the PAC.
If the amount being used from the Fund is
over the City Manager’s limit, then City Council
approval of the disbursement is required. All
approvals of City dollar commitments must be
approved at all necessary levels.
IV. D. Private Donations
Private individuals and organizations may also
provide financial sponsorship or other forms
of funding as long as they are aligned with
ordinance requirements and do not interfere or
change the roles and responsibilities of those
parties identified in the Plan.
IV. E. In-Kind Donations
Non-monetary resources such as volunteerism,
donation of commercial space, materials,
transportation, education, entertainment,
food/drink, or promotional items, gifts, and
awards may be contributed to the Public Art
Program. Such contributions may not interfere,
reduce, or omit the policies and procedures of
the Public Art Program nor limit the roles and
responsibilities of those parties identified in the
Plan. Any donations requiring ongoing, long-
term expenses by the City will not be accepted
without City Council approval.
V. ALAMEDA PUBLIC
ART FUND
The Fund is made up of contributions from
the In-Lieu Contributions for On-Site Artwork.
The Fund is utilized for cultural arts, arts
programming and physical art (both Permanent
Works and Temporary Works).
V. A. Cultural Arts and Arts Programming
The Fund offers the possibility for Cultural Arts
and Arts Programming which, depending on
annual budget and staff capacity, may manifest
itself in many forms such as artist residencies,
grants, cultural programming, creative pop-
ups, arts education workshops, new or special
arts events, annual or signature arts events, or
incoming loans of artwork for display. Based
on the Fund balance at the time a request for
proposals is released, no more than twenty-five
percent of the Fund shall be distributed for
cultural arts and arts programming. The daily
administration of this portfolio is managed by
Staff with recommendations made from the
PAC.
V. B. Permanent Artwork
Permanent artwork, such as commissions
through a City-issued RFP/RFQ opportunity,
can create and contribute towards the
Alameda Public Art Master Plan Page 116
Collection. Such artwork becomes City
assets, requiring on-going insurance,
maintenance, storage, repair, conservation, and
documentation. Unless otherwise stated in a
contract, the artist transfers title and ownership
of the artwork to the City. A permanent
artwork acquisition may range from a small
unframed photograph to a monumental
outdoor sculpture requiring a permanent site
researched and prepared in advance of its
delivery and installation, for example.
V. C. Temporary Artwork
Temporary artwork, such as loans, leases, and
rentals, are methods of borrowing usually
ready-made artwork to display, on rotation,
upon City property with appreciable public
visibility. Unless otherwise stated in the
contract, the incoming artwork is insured
short-term by the City, and the lender holds
title, ownership, and copyright of the artwork.
A temporary acquisition typically utilizes
less budget and Staff time in the selection,
preparation, and installation of artwork than
in comparison to permanent acquisitions.
Temporary artworks must be on display for a
minimum of two weeks.
Temporary, physical artworks also include,
but are not limited to, creative pop-ups, or
incoming loans of artwork for display.
Temporary, cultural arts and arts programming
also include, but are not limited to, artist
residencies, grants, cultural programming,
performances, arts education workshops, new
or special arts events and annual or signature
arts events.
V. D. Donated Artwork
The City will accept donations of artwork on a
case-by-case basis.
VI. PLACEMENT
The thoughtful placement of Public Art,
whether permanent or temporary, indoor
or outdoor, is critical in creating audience
thought, appreciation, and dialogue. The most
successful installation of public artwork will
be compatible in its design to its immediate
surroundings. In all cases, such locations
should reflect a balanced and strategic effort to
represent a diversity of sites that comprise and
define the City and its community members.
While not exhaustive, a list of potential sites
for future Public Art has been identified and is
included in the Plan on pages 75 - 80.
VI. A. Public Property
To ensure that physical, environmental,
social, and cultural factors of the public
are considered, the following three main
criteria will be considered when selecting
sites for permanent or temporary artworks:
Accessibility/Visibility, Site Capacity, and
Compatibility. These are most compatible with
large-scale artworks but can be referenced and
considered for smaller works and projects.
Accessibility/Visibility: Public Art is ‘public’ in
that it must be available for the community to
view and engage with at a meaningful level.
This means that it is located in a place that is
open to the public (whether indoor or outdoor)
and does not require admission.
This requires:
• Permission and support of property owner
• Convenient public access to the physical
site, including attention to the Americans
with Disabilities Act (ADA) needs, and
consideration of building hours and/or
parking
• Proper lighting, signage
• High visibility along vehicular, pedestrian
corridors, in public buildings or public
outdoor areas (such as parks) - the view of
the artwork is not obstructed
• Considerations for audience involvement
and what space is needed to interact with
the artwork in a meaningful way.
Site Capacity: The physical qualities of the
potential site must be conducive to Public Art
installations and the ongoing maintenance, or
utility service of such work. Public safety is a
major consideration in selecting sites for
Public Art.
Considerations may include:
1. Required permits secured, pursuant to the
municipal code
2. ADA compliance
3. Planning and development requirements
secured
4. Adequate structural support for display
5. Security of artwork against theft, weather,
vandalism
6. Accessibility for cleaning, maintenance
7. Compliance with traffic safety standards
when applicable
Compatibility: Public Art should enhance,
rather than detract from, the public realm and
any nearby artworks. Sites must be chosen with
great consideration for the surrounding built
and natural environments and their intended
uses. Artwork should help anchor and activate
the site and enhance the surroundings.
This includes:
• Architectural, cultural, historical, social
history of site
• Community stakeholder input
• Other art in the vicinity, or in the Collection
• Future site development plans
VI. B. Murals on Private Property
Private mural projects installed on private
property need not adhere to the Plan but shall
adhere to the City of Alameda Municipal Code.
VI. C. Public / Private Development
According to independent state and national
research, funding for the arts directly benefits
community vitality, economic development,
and leads to healthier neighborhoods. Many
private entities, such as private developers,
building owners, businesses, and community
organizations may seek to partner with the City
in projects that elevate the arts for residents
and visitors. Such partnership may be realized
through the private sector’s raising of funds, or
other in-kind donations to sponsor a work of
public art or public art programming.
Public Art funded through the Fund can be
located on private property if there is an
agreement with the City.
VII. SELECTION / PUBLIC
ART COMMISSIONING
PROCESS
VII. A. Public Art Commission
The PAC is composed of five members
nominated by the Mayor, and confirmed by
City Council, to serve as the primary advisory
body for all City matters related to arts and
culture. Members serve as representatives
of the City’s Public Art Program, providing a
variety of professional perspectives, opinions,
recommendations, and approvals on the
funding, priority, and placement of Public
Art. Its mission is to foster an environment in
which arts and culture are recognized as critical
to the quality of life in Alameda. The PAC
supports the artistic expression, education and
awareness of diverse voices, and beautification
of public spaces.
The PAC plays a vital role in the evaluation of
both On-Site Artwork (private) and artwork
commissioned through the Fund.
VII. B. Public Art in Private Development
Per the Public Art Ordinance, projects subject
to the Public Art requirement shall declare their
intention to install permanent On-Site Artwork
or to contribute to the Fund through an In-Lieu
Contribution as part of the initial discretionary
permit for the project. This process is explained
in more detail in the Guidelines document. See
Exhibit D for the full Guidelines.
Process for physical On-Site Artwork in private
development:
• An application for the installation of On-Site
Artwork shall be submitted to the BREDD.
Once Staff determines the application
Alameda Public Art Master Plan Page 118
is complete and in accordance with the
Ordinance, the PAC reviews the application
at a scheduled meeting.
• The PAC is the technical body responsible
for reviewing and evaluating for approval
all public art projects and shall ensure that
all public art projects meet program criteria
established by the Ordinance. In order to
approve an On-Site Artwork application, the
PAC must make all of the following findings:
• The artist has demonstrated
qualifications to complete the proposed
On-Site Artwork with the highest
professional standards.
• There is sufficient public visibility and
accessibility to the On-Site Artwork,
and the proposed On-Site Artwork
is compatible with and harmonious
with the development project and
surrounding environment.
• The proposed On-Site Artwork is
durable and cost effective to maintain
using ordinary methods of maintenance.
• The budget for the proposed On-Site
Artwork and any in-lieu fees proposed
by the applicant is equivalent to
or exceeds the required program
allocation.
VII. C. Public Art In-Lieu Contributions
In-Lieu Contributions are made directly to the
Fund. Projects are then commissioned by Staff
or the PAC utilizing these funds.
VII. D. Cultural Arts, Arts Programming and
Physical Art Projects
The following section outlines the typical
processes for artwork commissioned by Fund
grants; however, there may be instances
wherein the responsibilities of Staff, the PAC,
and/or other stakeholders differ from the
processes described below.
Cultural Arts, Arts Programming and Physical
Art projects (temporary or permanent) will be
commissioned by Fund grants and, typically,
processed through 1) a Staff managed grant
program which includes a grant application
process with solicitation, curatorial review,
scoring, and selection or 2) a PAC curatorial
review, scoring, and selection. However, there
may be instances in which grants are processed
without PAC curatorial review, scoring, and/or
selection.
Typically, Staff manages the grant process and
convenes the PAC as deemed necessary to
gather input towards the creation of a City-
issued application and solicitation for Public
Artworks.
Solicitations for Public Art are posted on the
City webpage where all City contracts open to
bids are posted. The solicitation is distributed
with the intent of reaching diverse audiences in
“Maritime Commerce in Alameda -
The Estuary of San Antonio” by Troy Corliss
Developer funded
such manner that include, but are not limited to
social media, City press releases, and City and
artist networks.
All applications received will be reviewed
and scored through fair, equitable, and
transparent means by a PAC Subcommittee
(Subcommittee) composed of Staff, PAC, or a
combination of the two.
In many instances, Staff can be voting or
non-voting members of the Subcommittee.
Evaluation of submissions considers
appropriateness of the content of the artwork,
design and materials of the artwork, placement,
potential risk issues, and expense of
maintaining and owning the artwork. Members
of the Subcommittee are not compensated and
must have no conflict of interest throughout
the selection process. The Subcommittee shall
have no communications with any applicant
once City-issued solicitations are publicly
posted.
Process
• Staff determines the number and size of the
grant awards budget based upon what is
available in the Fund. PAC approval is not
required for grant awards but the PAC may
be consulted regarding the size, number
and scope of grant awards.
• Staff determines appropriate locations for
artwork for physical artworks based upon
criteria in Section VI of this document.
(Cultural Arts and Arts Programming can
propose their own sites as these projects
are temporary in nature). PAC approval is
not required for designating locations but
will be consulted for input.
• Staff develops an initial draft of the grant
application based upon the PAC’s work plan
and priorities for the year. The draft should
include any technical drawings, dimensions,
and photographs or renderings of the
project site. Staff will integrate PAC input
regarding project goals, scope of work,
location of the project site, artist eligibility,
budget, and timeline, as well as generating
any specific scoring criteria.
• Application is posted publicly online and
is supported through marketing efforts by
Staff and, when appropriate, the PAC.
• When applicable, applicants are offered
a pre-submittal opportunity to ask Staff
questions regarding the application process
and site considerations.
• Upon application deadline, Staff will check
eligibility of submitted applications. Staff
will then aggregate all submissions for
Subcommittee review and scoring.
• Staff convenes the Subcommittee and
leads discussion of applications with a
goal of selecting grantees by the end of
the meeting. Subcommittee members
are expected to review applications prior
to the meeting. The Subcommittee will
recommend to the full PAC which grants
to award.
• In instances wherein the awarded
grant(s) exceeds the City Manager’s
monetary threshold, Staff will bring the
recommendation to the City Council for
consideration and possible approval. Any
final decision of the PAC may be appealed
to the City Council within ten calendar days
or may also be called for review by the
City Council pursuant to the call for review
process in Municipal Code Section 30-25.1.
• Upon approval, Staff contacts selected
applicants.
• Upon acceptance by selected grantees,
Staff creates a press release to announce
upcoming grantees and their projects.
• Grantees sign a contract with the City and
the grant period begins.
VII. E. Scoring
The Evaluation Committee shall review all
eligible City-issued solicitations using the
scoring rubrics posted in each solicitation.
Typically, such scoring rubrics include:
• Artistic Merit: Proposal achieves quality and
value based on uniqueness, creativity, and
ingenuity.
Alameda Public Art Master Plan Page 120
• Clarity of application, narrative, and budget:
Proposal has a vision and planning that
evokes understanding and enthusiasm.
• Alameda Relevance and Community
Engagement: Relevance to the City,
including, but not limited to its diverse
communities, and history, traditions, and/or
natural environment. Engagement with the
community during the concept and design
phase, and/or through interactive artwork.
• Site Compatibility: Proposal connects to
architectural, cultural, historical, and social
history of site.
• Artist Portfolio: Artist reputability and
history in successfully accomplishing large
scale projects.
• Local preference: Artist and/or artist team
lives or works in the City.
VII. F. Contract
After the final approval, Staff shall prepare a
contract in consultation with appropriate City
departments. Upon execution of the contract,
Staff monitors the artist’s work within the
established budgets and timelines, inspects the
project to certify progress, authorizes payments
to the artists as scheduled in the contract,
tracks expenses against art project allocations,
and provides periodic updates to the PAC.
General contract considerations should include:
• Project details
• Artist design fee
• Travel/per diem fees
• Materials, transportation, and installation
costs
• Contingency fee
• Timeline
• Project delays
• Title and ownership
• Reproduction rights/copyright
• Warranties/Risk of loss
• Certificate of insurance
• Contract enforcement
• Termination or cancellation
In certain instances, the artist’s contract may
stipulate that contractors are hired by and
managed by the City, rather than the artist.
VIII. MAINTENANCE
VIII. A. Documentation
Proper documentation of the Collection creates
value and safety for the artwork. Information
to archive includes artist name, contact info,
medium, size, year of completion, budget,
RFQ submission, final presentation, contract,
maintenance instructions, insurance value, and
all related correspondence. All works should
be professionally photographed for inclusion in
marketing assets.
Maintenance responsibility and funding
mechanism is to be clearly identified prior to
installation.
The contract with the artist shall require the
artist to provide a maintenance plan for review
by Staff who may engage a Conservator in
order to help inform the artist’s maintenance
plans as deemed necessary. Final approval of
an artwork will be contingent upon approval
of the final maintenance plan by the PAC and
must be reflected in a recorded maintenance
agreement.
VIII. B. Storage
All Public Art should be on view to the general
public at all times, whenever possible. Even
when not on display, the Collection still
requires a safe and thoughtful monitored
environment. Proper storage techniques
include assuring safe access to the inventory,
maintaining a proper, pest-free environmental
climate of both temperature and humidity,
and providing ample room to store empty
packing and crating materials, installation tools
and hardware, ladders, frames, easels, display
pedestals, platforms, stanchion, rugs, tables,
and special event/reception materials. As the
Collection grows, so, too, does the need for
storage. Location of each artwork must be
accurate at all times. Packing material and
crates or any other components or replacement
parts for display should be properly labeled
and inventoried. If the artwork has specialized
art installation instructions or hardware, this,
too, must be organized.
VIII. C. Conservation
The City has a role in caring for the artworks in
the Collection in order to extend the objects’
life for future education and public enjoyment
for generations to come. Preservation of the
Collection includes enacting preventative
measures to save tangible artworks from
inherent decay, material decomposition,
weathering, vandalism, damage, or theft, as
to present artwork in its original, artist-intent
condition. Considerations include proper
art handling, proper use and selection of
materials for packing and crating, condition
reporting, anti-theft hardware, anti-graffiti
coating, UV glass coating, general on-going
non-specialized treatments such as dusting and
cleaning, and consulting the maintenance plan
for the artwork, if applicable.
Conservation of the Collection includes
hands-on, invasive measures to address
the occurrence of inherent decay, material
decomposition, weathering, vandalism, and
damage, as to present artwork in its original,
artist-intent condition. Such methods require
consultation with the artist or a skilled
professional. Avoid cleaning of artwork by
typical commercial cleaning companies. If
damage does occur, contact a professional
Conservator to assess the piece and contact
your insurance company.
VIII. D. Insurance
All temporary and permanent artworks on City
property should be fully insured while in the
care of the City.
IX. DEACCESSION
It is the intent of the Plan to ensure the growth,
development, and maturity of the Collection.
The Plan seeks to preserve the vision of the
Collection by ensuring that the intent of the
artist, integrity of the artwork, and the interests
of the public are in alignment. However, on
rare occasions, circumstances may warrant
the deaccession or relocation of works in
the Collection by means of sale, trade, loan,
donation, or demolition.
The following policy applies to all artworks
on City property collected by any method. In
the case of donated artworks, all documents
relating to the donation circumstances and
recipient obligations will be consulted prior
to beginning the process. In the case of
commissioned artwork, the artist’s contract
must be reviewed. The disposition of works
by living artists will be accomplished in such a
manner that it will not impugn the reputation of
the artist or the artist’s body of work.
Deaccessioning an artwork removes it
permanently from the Collection, thereby
removing it from its location. Both permanent
and portable artwork may be considered for
deaccession.
IX. A. Removal from Public Display
If the artwork is removed from public display,
the PAC may consider the following options for
disposition of artwork:
• Relocation of Public Display: If the PAC
decides that an artwork must be removed
from its original site, and if its condition is
such that it could be re-installed, the PAC
will attempt to identify another appropriate
site. If the artwork was designed for a
specific site, the PAC will attempt to
relocate the work to a new site consistent
with the artist’s intention. If possible, the
artist’s assistance will be requested to help
make this determination.
Alameda Public Art Master Plan Page 122
• Store object until a new site has been
identified or the PAC decides to
deaccession the artwork.
• Sale or trade of object after deaccession.
IX. B. Deaccessioning Criteria
Deaccession should be considered only after
five years have elapsed from the date of
installation for permanent works or acceptance
of the artwork into the Collection in the case
of portable works, unless otherwise specified
in the artist’s contract. Deaccession may be
considered earlier under special circumstances,
such as when artwork has been damaged
beyond repair or presents a public safety
hazard, or expansion of a building may impact
the location of the artwork.
A work of art may be considered for removal
from public display and/or deaccessioning if
one or more of the following conditions is met:
• In the case of site-specific artwork,
significant changes in the use, character,
or design of the site have occurred which
affect the integrity of the artwork.
• The condition or security of the artwork can
no longer be reasonably guaranteed.
• The artwork endangers public safety.
• The artwork has been damaged, or has
deteriorated, and repair is impractical or
unfeasible.
• The artwork requires excessive
maintenance, or has faults in design or
fabrication, and repair is impractical or
unfeasible.
• The artwork is not, or is rarely, on display
• The artwork is incompatible with the entire
Collection, PAC goals, or Plan guidelines.
• The City wishes to replace the artwork with
a work of more significance by the same
artist.
• There has been significant, adverse, and
sustained public reaction to the artwork
over an extended period of time.
• The condition of the work is in such a
deteriorated state that restoration would
prove either unfeasible or impractical.
• No suitable site for the work is available, or
significant changes in the use or character
of design of the site affect the integrity of
the work.
• The work interferes with the operations of
the City.
• The work can be sold to finance, or can be
traded for, a work of greater importance.
• Written request from the artist has been
received to remove the work from public
display.
• The work is duplicative in a large holding of
work of similar type by the artist.
• The work is fraudulent or not authentic.
IX. C. Methods
Artist rights under the laws of the State of
California shall be adhered to by the City.
Any member of the public may request for
deaccession or relocation. All requests must
be in writing and accompanied by any photo
documentation and/or pertinent materials for
presentation to the PAC. The PAC may also
recommend artworks for consideration of
deaccession and relocation to the City Council.
The PAC shall follow a deaccession review
and determination process based upon public
opinion, professional judgment, legal advice,
and City Council direction.
Staff shall prepare a report which includes a
staff evaluation and recommendation along
with the following information:
• City Attorney’s Opinion: The City Attorney
shall be consulted regarding any restrictions
that may apply to a specific work.
• Rationale: An analysis of the reasons for
deaccessioning and its impact on the
Collection and the artist, and an evaluation
of the artwork.
• Community Opinion: If pertinent, public
and agency feedback on the dispensation
of work in question. For Monuments and
Memorials, develop a public outreach plan.
• Independent Appraisal or other
documentation of the value of the artwork:
Prior to disposition of any object having
a value of $25,000 or more, Staff should
obtain an independent professional
appraisal, or an estimate of the value of the
work based on recent documentation of
gallery and auction sales.
• Related Professional Opinions: In cases
of where deaccessioning or removal is
recommended due to deterioration, threat
to public safety, ongoing controversy, or
lack of artistic quality, it is recommended
that Staff seek the opinions of independent
professionals qualified to comment
on the concern prompting review (i.e.,
conservators, engineers, architects, critics,
safety experts, community members, etc.).
• History:
– Provide written correspondence, press
and other evidence of public debate.
– Original Acquisition method and
purchase price.
– For Monuments and Memorials: Historic
analysis of subject, artist, and intent
– For Monuments and Memorials: Analyze
symbolic impact of location
– For Monuments and Memorials: Social
and wellbeing impacts
– Options for Disposition
– Replacement Costs
The PAC must, by a majority vote, approve
Staff recommendation that a work of art under
its jurisdiction should be deaccessioned.
All decisions and determinations of the PAC
will honor pre-existing contractual agreements
between the artist, City and all other parties.
The PAC recommendation will be made to the
City Council for consideration and possible
approval. If the artwork’s original value
exceeds $25,000, the recommendation goes
to City Council for possible approval. The City
Council will consider any appeal made by the
PAC according to Municipal Code.
In all the following scenarios, the artist or his/
her survivors, if locatable, must be informed of
the action taken.
Relocation or Loan of the Artwork
Relocation of an artwork changes its physical
location status. While both permanent
and portable artwork may be considered
for relocation, portable artworks are more
adaptable to new environments. Relocations
are intended to resolve a long-term, extended
display of an artwork and not to address
rotating, temporary exhibitions. If the work was
designed for a specific site, relocation must
be to a new site consistent with the artist’s
intention. The artwork may be loaned to the
artist, gallery, museum or other institution
or agency for one or more artwork(s) or
comparable value by the same artist. Any
final decision of the PAC or by Staff may
be appealed to the City Council within ten
calendar days or may also be called for review
by the City Council pursuant to the call for
review process in Municipal Code Section 30-
25.1. Sale or Trade of the Artwork
The Artist will be given the first option to
purchase or trade the artwork. Sale may be
through auction, gallery resale, or bidding by
individuals, in compliance with local policies
governing advertising and disposition of
surplus property. If the artwork has a value
of $25,000 or more, the artwork must bear
at least one written appraisal by a qualified
independent dealer or appraiser. Any final
decision of the PAC or by Staff may be
appealed to the City Council within ten
calendar days or may also be called for review
by the City Council pursuant to the call for
review process in Municipal Code Section
30-25.1. Proceeds from all sales of artwork
shall be retained in an account as managed by
the BREDD (or applicable department). The
proceeds of any sale shall be placed in the
Fund.
Proceeds from Sale of Artwork
Alameda Public Art Master Plan Page 124
All proceeds from any sale or auction, less any
payment due the artist under the California
Resale Royalties Act, shall be credited to the
Fund, and the monies contributed to the Fund
from the sale, exchange or exhibition of a work
of art under the jurisdiction of the PAC shall
be expended exclusively for the purpose of
acquiring or maintaining works of art for the
same public location for which the original
work of art was acquired.
• Adequate Records: An adequate record
of the conditions and circumstances under
which objects are deaccessioned and
disposed of should be made and retained
as part of the City’s records.
• California Resale Royalties Act: The
PAC shall abide by the California Resale
Royalties Act (Civil Code Section 986) with
respect to notification of the sale of any
work of art which is sold for more than
$1,000, and payment of 5% of the sale price
for any work of art which is sold for more
than the PAC paid for the artwork provided
that the artist can be located by reasonable
means. If the artist cannot be found, the
Resale Royalty will revert to the California
Arts Council in accordance with state law.
Donation of the Artwork
Deaccessioned artwork may be donated to a
nonprofit organization or other public office
or agency with approval of the City Manager,
PAC or City Council, as applicable depending
on the value of the piece. Any final decision
of the PAC or by Staff may be appealed to
the City Council within ten (10) calendar days
or may also be called for review by the City
Council pursuant to the call for review process
in Municipal Code Section 30-25.1.
Alteration, Modification, or Destruction
of Artwork
It is the primary responsibility of the PAC to
preserve and protect the Collections for the
people of the city. However, under certain
conditions, and in accordance with the
constraints of the California Art Preservation
Act [Civil Code 987] (CAPA), and the Visual
Artists Rights Act of 1990 [17 U.S.C. 106A and
113 (d)] (VARA), or in the case where the artist
has waived his/her rights under CAPA and
VARA, in accordance with the City’s contractual
agreement with the artist, the PAC may
authorize actions that would alter, modify or
destroy an artwork.
Conditions:
Removal and disposal, destruction, alteration or
modification of an artwork may be considered
under the following circumstances:
• The work has faults of design or fabrication,
or is damaged so that repair or remedy is
impractical, unfeasible or an unjustifiable
allocation of resources.
• In the event that the condition of the
artwork represents an eminent safety
hazard, and cannot be removed without risk
of damage or destruction, Staff will proceed
in accordance with the provisions specified
under “Emergency Removal.”
• The PAC deems it necessary in order for the
City to exercise its responsibilities in regard
to public works and improvements, or in
furtherance of the City’s operations, or for
any other good cause.
If, for any of the above reasons, the City
finds it necessary to pursue plans that would
modify, remove, destroy or in any way alter an
artwork, and the Staff, PAC, or City Council,
as applicable, approves such action, then Staff
shall make a reasonable effort to notify the
public and artist of the City’s intent and outline
possible options, which include, but are not
limited to, the following:
• Transfer of Title to the artist: The artist will
be given the first option of having the title
to the artwork transferred to him/her. If the
Artist elects to pursue title transfer, he/she
is responsible for the object’s removal and
all associated costs, including purchase of
the artwork, if applicable.
• Disclaim Authorship: In the case where
the City contemplates action which would
compromise the integrity of the artwork,
the artist shall be given the opportunity to
disclaim authorship and request that his/her
name not be used in connection with the
given work.
• Alteration, Modification or Destruction:
If alteration, modification, or destruction
VISION:
Public art in Alameda fosters a sense of
community and pride in place, celebrates
and reflects diverse local perspectives,
supports the local arts community, and
creates a vibrant and exciting community
within which to live, work, and visit.
MISSION:
The mission of the Alameda Public Art
Program is to:
1. Present a high-quality and engaging
Public Art Collection that reflects and
embraces the cultural diversity of the
community, inspires critical thinking
among residents and visitors, and
presents public art in locations across
the City;
2. Foster a greater understanding of
public art and cultural performances in
Alameda;
3. Facilitate a clear, inviting and consistent
process for artists and organizations by
creating guidelines around public art;
4. Provide meaningful opportunities for
the local arts community in a consistent
way; and
5. Facilitate the presentation of art and
funding for public artists.
GOALS:
1. Awareness and Education
A. Increase public access to public arts
program infomation, documents,
and maps.
B. Increase public appreciation and
knowledge of public art.
C. Increase public understanding of and
access to the PAC.
2. Programming and Participation
A. Ensure existing and future public
art is accessible and equitably
distributed.
B. Create unique Alameda-influenced
public art opportunities for artists and
organizations.
C. Provide inclusive programming to
historically underserved communities.
3. Funding
A. Create sustainable funding
opportunities for artists and
organizations by seeking additional
government and philanthropic
funding.
4. Leverage Resources
A. Bring high-quality art to the public
throughout the City.
B. Collaborate with other departments
in the City.
C. Maximize the utilization of available
resources for documenting and
maintaining public art.
5. Representation
A. Curate equal opportunities for
diverse experiences and perspectives
B. Foster public appreciation of cultural
arts and arts programming
C. Create methods to promote artists in
the collection
D. Provide long-term care and ethical
responsibility of artwork.
Alameda Public Art Master Plan Page 126
of an artwork is protected under the CAPA, or the VARA is contemplated, the PAC must secure a written waiver of the artist’s rights under this section. In the case of an emergency removal that may result in destruction or irreparable damage, Staff will act in accordance with the advice of the
City Attorney.
X. EXHIBITS
X. Exhibit A. History
Incorporated in April 1854, the city is located in the East Bay region of the San Francisco Bay Area. Alameda has a population of approximately 76,400 spread across Alameda Island, Bay Farm Island, Ballena Bay, and Coast Guard Island. Alameda has an active and enthusiastic arts and cultural community that is interested in partnering with the City government to promote a variety of art forms.
The Public Art Program encourages the advancement of local arts and culture to create a unique sense of place, and a more livable and economically vibrant city.
In 2003, the City Council adopted a Public Art Ordinance to require the installation of publicly accessible On-Site Artworks in certain new and substantially rehabilitated development projects. In lieu of providing On-Site art, developers may choose to make a monetary contribution equal in value to the Fund. The Fund, also established by the aforementioned Ordinance, is to be used for physical art and/or cultural arts and arts programming to benefit the community.
X. Exhibit B. Vision, Mission, and Goals of the Alameda Public Art Master Plan
Public Art contributes to the public’s understanding, enjoyment, and experience of cultural diversity, and helps to attract and anchor a large and diverse creative sector, enriching the city’s cultural identity which is a key component of the city’s economic vitality. The Vision, Mission, and Goals were developed in collaboration with the PAC.
X. Exhibit C. City of Alameda Public Art Ordinance
Ordinance No. 3303
X. Exhibit D. City of Alameda Public Art Policy Guidelines See Appendix A of the Alameda Public Art Master Plan document.
X. Exhibit E. Application Quick Guide
Quick Guide to the Application for the Alameda Public Art Program X. Exhibit F. Public Art Commission By-Laws
X. Exhibit G. Application for prospective Public Art Commissioners Public Art Commission Application
“Beaute de la Nature”By Kermit Amenophis
Supported by Façade Grant Program
4 ******
I, the undersigned, hereby certify that the foregoing Resolution was duly and regularly adopted and passed by the Council of the City of Alameda in a regular meeting assembled on the 5th day of December 2023, by the following vote to wit:
AYES:
NOES:
ABSENT:
ABSTENTIONS:
IN WITNESS, WHEREOF, I have hereunto set my hand and affixed the seal of said City this 6th day of December 2023.
_____________________
Lara Weisiger, City Clerk
City of Alameda
APPROVED AS TO FORM:
______________________
Yibin Shen, City Attorney
City of Alameda