ANAHEIM
PUBLIC ART PLAN
ANAHEIM PUBLIC ART PLAN
2 EXECUTIVE SUMMARY
01. A LEGACY OF
CREATIVITY IN ANAHEIM- Page 6
02. WHY A PUBLIC ART
PLAN?
03. STEPS FOR
ESTABLISHING THE
ANAHEIM PUBLIC ART
PROGRAM
TABLE OF CONTENTS
04. STRATEGIES FOR
IMPLEMENTATION OF
THE ANAHEIM PUBLIC
ART PROGRAM
05. PRIORITY ACTION
PLAN
CHAPTER 01
PHOTO CREDITS
Cover: Daniel J. Martinez
Hammer Clock
Right: Buster Simpson,
Anaheim "A" Benches
Top Left: Buster Simpson,
Public Utility Forum
Top Right: Daniel J.
Martinez, Video Trees
Bottom Left: Lloyd Hamrol,
City Terrace
Bottom Right: MIG
Architecture, Santa Ana
River from Mountains to
the Sea
3 ACKNOWLEDGEMENTS
CHAPTER 02 CHAPTER 03
CHAPTER 04 CHAPTER 05
COMMUNITY SERVICES
Sjany Larson-Cash, Director
Anaheim Sporn, Community Services Manager
Holly Unruh, Community Services Superintendent
Nikki Sandusky, Community Services Superintendent
Ana Straabe, Principal Project Planner
Jane Newell, Heritage Services Manager
ECONOMIC DEVELOPMENT
Sergio Ramirez, Director
Laura Alcala, Community Investment Manager
PLANNING AND BUILDING
Ted White, Director
Niki Wetzel, Deputy Director
Heather Allen, Principal Planner
Scott Koehm, Principal Planner
Judy Dadant, Principal Planner
Lisandro Orozco, Senior Planner
Bianca Alcock, Code Enforcement Supervisor
Brittany Malenofski, Community Preservation
& Licensing Manager
CITY ADMINISTRATION
Jim Vanderpool, City Manager
Greg Garcia, Assistant City Manager
Mike Lyster, Chief Communications Officer
Erin Ryan, Communications Specialist
CITY COMMISSION
City of Anaheim Cultural & Heritage Commission
CITY COUNCIL
Mayor Ashleigh E. Aitken
Mayor Pro Tem Natalie Rubalcava, District 3
Council Member Jose Diaz, District 1
Council Member Carlos A. Leon, District 2
Council Member Norma Campos Kurtz, District 4
Council Member Stephen Faessel, District 5
Council Member Natalie Meeks, District 6
ANAHEIM PUBLIC ART PLAN CONSULTANT TEAM
Designing Local, Ltd.
Cusick Consulting
Tomas Benitez
Marc Pally
ANAHEIM PUBLIC ART PLAN
4 The Anaheim Public Art Master Plan takes
an overarching look at Anaheim’s legacy
of public art while setting a vision for the
future and defining how public art will
shape Anaheim for years to come. The
framework of this plan is a strategy for
the establishment and operationalization of a formal
Public Art Program that proposes ways to ensure public
art in Anaheim is transformational, unifying, and is
representative of the spirit of Anaheim.
VISION FOR THE PROGRAM
Public art adds to the dynamic environment of Anaheim
and delivers high-impact public spaces that elevate the city’s people, history, and imagination.
STEPS TO ESTABLISH THE ANAHEIM PUBLIC ART
PROGRAM
By implementing the following steps, the City of
Anaheim can formally establish a Public Art Program.
Step 1: Adopt a Collection Management Policy.
Step 2: Streamline the Mural Approval Process.
Step 3: Leverage the City’s Investment in Public Art.
Step 4: Streamline Program Management Through the
Establishment of a Formal Public Art Staff Committee.
Step 5: Support the future of the program through
increasing resources and defining the role of the Cultural and Heritage Commission for decision making purposes.
E XECUTIVE
SUMMARY
T
5 STRATEGIES FOR IMPLEMENTATION OF THE
ANAHEIM PUBLIC ART PROGRAM
After establishing the Anaheim Public Art Program
through the steps outlined above, the City and the
Cultural and Heritage Commission will need to
operationalize the Program using the following strategies.
Strategy 1: Celebrate the current collection through
the development of an online collection tool placed on
the City’s website.
Strategy 2: Develop opportunities for active community
participation in the Arts.
Strategy 3: Strengthen partnerships with other
organizations and agencies through collaborating on
public art projects.
Strategy 4: Honor historic artistic contributions to the City of Anaheim.
PHOTO CREDITS
Left: Buster Simpson, Knowse to the Stone
Top: Kelly Rothicka Castillo, We all shine brightly in Many Different Colors Bottom Left: Buster Simpson, Public Utility Forum
A LEGACY OF
CRE ATIVIT Y
IN ANAHEIM
CHAPTER 1
ANAHEIM PUBLIC ART PLAN
8 naheim is a city built on imagination
and is a special place for residents and
visitors alike. Founded in 1857 as a
small settlement on the Santa Ana River,
Anaheim was known for its vineyards and orange
groves. In the mid-1950s, Disneyland and the 5
Freeway opened and changed Anaheim’s identity from
primarily agricultural to a tourist destination. Anaheim spans 50.8 square miles and has just under 350,000
residents, making it the largest and most populated city in Orange County. Anaheim Convention Center is the
largest convention center on the West Coast. Proud to
be home to global meetings, shows and conventions
including National Association of Music Merchants,
or NAMM, Natural Products Expo, VidCon and more.
Anaheim is home to two theme parks, Disneyland and
California Adventure, and two national sports franchises, the Anaheim Ducks and the Angels.
While Anaheim is known worldwide for its highprofile tourist attractions, it is also home to unique neighborhoods with rich architecture, numerous
beloved parks, and an impressive public art collection.
These components highlight the distinctive culture and
qualities that the people of Anaheim have to offer.
Investing in public art can extend Anaheim’s reach and
tell Anaheim’s story as a city that cares about who it
is, what it represents, what takes place, and where it is going in the future. Public art in Anaheim will become a calling card to the world. This plan should be viewed as a living document that will grow and change according
to the city’s trajectory. The evolution of public art will not be random or unfocused. Instead, it will follow the contents of this plan, ensuring that all future art will reflect the values and vision of Anaheim.
The people of Anaheim generate ideas that spark joy,
create technologies, start companies, and impact how
people see themselves. The future of public art in
Anaheim should be no different- it should go beyond
the traditional and mundane to offer a glimpse of the
innovative and extraordinary energy that exists within
Anaheim. The art commissioned in Anaheim should be
inspired by those who call Anaheim home. This plan aims to ensure Anaheim finds its collective voice through
publicly displayed art by representing and celebrating
its cultural diversity and rich cultural heritage.
ASSESSMENT OF THE
CURRENT COLLECTION
Through 2011, funding for most of Anaheim's current
public art collection came from redevelopment
projects, in which redevelopment funds were reserved
for artworks as part of the project. Like many other
California cities, Anaheim viewed the arts as a tool
for building invigorating downtown environments and
neighborhoods.
Anaheim boasts work from renowned artists Daniel
Martinez, Nobuho Nagasawa, Millard Sheets, Peter
Shire, Buster Simpson, and Richard Turner, to name a
few. Many of these pieces were installed in the mid1990s as redevelopment experienced much of its investment. Outside of that period, Anaheim has invested significantly in park developments that incorporate the vision of the neighborhood in design and art elements.
These creative elements have become beloved features
in many of Anaheim's parks.
ABOUT ANAHEIM
A
PHOTO CREDITS
Chapter 1 Cover: Buster Simpson, Anaheim "A" Benches
Chapter 2 Cover: Buster Sipson, Public Utility Forum
9 Because several creative amenities have been added to city parks and other public spaces, understanding what constitutes a work of art is imperative to understanding the collection and how to care for it in the future.
The Public Art Plan will use the following definitions for the Public Art Program:
Public art, when used herein, shall mean any of the following: sculpture, statues, or monuments in any material or combination of materials; painting; murals; graphic arts including printmaking and drawing; photography; crafts in clay, fiber and textiles, wood, metal, plastics, glass and other materials; mixed-media, any combination of forms of media, including collage; functional art such as street furniture, as defined by the Anaheim Public Art Plan; environmental art consisting of landforms and artistic landscape composition.
The term “public art” does not include reproductions by mechanical or other means of original works of art, except for limited editions, controlled by the artist, of original prints, cast sculptures, photographs, or other works of art; decorative, ornamental, or functional elements designed by the building architect or consultants engaged by the architect, which are traditional and typical elements of architectural design; elements generally considered to be conventional components of a landscape architectural design including, but not limited to, plant materials, pools, paths, benches, receptacles, fixtures, and planters, except street furniture, as defined by the Anaheim Public Art Plan and environmental art consisting of landforms and artistic landscape composition; “art objects” which are mass-produced, or of a standard design, such as playground sculptures or fountains, except pieces of historical significance to the city; directional or other functional elements, such as supergraphics, signage, color coding, and maps, except where sculptural pieces define gateways in the city; electrical, water, or mechanical service for activation of the work; exhibitions and educational programs related to the work; performing arts; and art that displays slogans, logos, mascots, or commercial advertising.
Artist means an individual generally recognized by critics and peers as a professional practitioner of the visual, performing, or literary arts, as judged by the quality of that professional practitioner’s body of work, educational background, experience, public performances, past public commissions, sale of works, exhibition record, publications, and production of artwork. The members of the architectural, engineering, design, or landscaping firms retained for the design and construction of a development project covered by this policy shall not be considered artists for the purposes of this policy.
Historic or civic objects means an object that is historically or civically significant.
Creative amenity means non-standardized enhancements made to public space.
Mural means a large-scale artwork, painting, or mosaic, applied to or mounted directly to an exterior surface of a building, construction fence or other structure and that is visible from the public rightof-way. Its primary intent is to be artistic in nature, rather than purely information, creative signage or commercial signage.
The emphasis of the mural will be on artistic expression. Mural proposals shall not include designs that would be considered inappropriate and/or indecent by community standards. A mural shall not indicate or describe in narrative, the form of commercial activity that happens inside a building. All mural proposals containing any signage elements, as defined in the City of Anaheim’s Code, will be redirected to submit an application through the Planning Division.
An extensive collection of public art was reviewed and finalized based upon these definitions.
WHY A
PUBLIC ART
PL AN?
CHAPTER 2
12 THE PUBLIC ART PL AN OUTLINES THE
VISION, GOALS, AND CORE VALUES
OF THE CIT Y ’S PUBLIC ART PROGRAM.
THE PL AN ALSO PROVIDES ESSENTIAL
ADMINISTRATIVE GUIDELINES FOR
DE TERMINING HOW PUBLIC ART IS
IDENTIFIED, PRESERVED, SELECTED,
AND PL ACED. PUBLIC ART ADDS
ENORMOUS VALUE TO THE CULT URAL ,
AESTHE TIC, AND ECONOMIC VITALIT Y
OF A COMMUNIT Y. IT IS NOW A WELLACCEPTED PRINCIPLE OF URBAN
DESIGN THAT PUBLIC ART CONTRIBUTES
TO A COMMUNIT Y 'S IDENTIT Y, FOSTERS
COMMUNIT Y PRIDE AND A SENSE OF
BELONGING, AND ENHANCES THE
QUALIT Y OF LIFE FOR ITS RESIDENTS
AND VISITORS.
PHOTO CREDITS
Right: Peter Shire, The Neighborhood
13 ublic art allows communities to connect people to places through culture.
Anaheim recognizes that design, art, culture, historic preservation, and other critical attributes of communities are essential to a successful planning process.
Prosperity and economic development come from strategically planning and investing in a community’s cultural assets and unique artistic legacy. A welldeveloped Public Art Plan results in better community relations, an increased sense of pride and ownership by stakeholders, new and leveraged funding resources to benefit the city, and newfound value in an existing collection. A Public Art Plan serves to help communities grow their pride, foster a sense of place, serve as an economic driver, and realize their ability to influence the present and future aesthetic of the place they call home.
Recognizing the value that public art adds to the city, in 2018, Anaheim City Council renewed its commitment to public art by establishing the Public Art Ordinance. This plan outlines how the City of Anaheim could fund, manage, and review public art projects in the future.
OVERVIEW OF THE PUBLIC ART PLAN PROCESS
Despite the COVID-19 pandemic, this plan is a result of extensive public engagement.
The consultant team, along with City leadership and staff, worked diligently to engage the public throughout an 18-month process (August 2020-December 2021) and provided ample opportunity for a broad cross-section of the community to participate in shaping the vision for public art in Anaheim. The team held over 40 virtual stakeholder engagement opportunities, including 18 individual interviews, 25 focus groups, and six identical community meetings in each of Anaheim’s 6 Council Districts to listen and learn about the community’s vision for public art. Participants included business owners, arts organizations, art educators, realtors, private developers, community groups, and engaged residents. Translation services were available on an as-needed basis. 2,149 people participated in a survey. In all, over 3,000 people were engaged.
P
ANAHEIM PUBLIC ART PLAN
14 DISTRICT SPECIFIC MEETINGS
Each District meeting focused on generating conversation with participants on integrating public art into parks, community facilities, corridors, private development
projects, and gathering spaces to experience more art
throughout the city.
DISCUSSION QUESTIONS
• What parks and community facilities would benefit
from an investment in public art?
• What corridors would benefit from an investment
in public art?
• How can public art be integrated into new
development?
• How can public art enhance community destinations
for the local community?
• How can public art in tourist destinations benefit
the local community?
• What values should be celebrated in your
neighborhood?
• What values should be celebrated throughout the
City?
• Where should public art be placed in your
neighborhood?
• Where should public art be placed throughout the
City?
SURVEY
The project survey received 2,149 responses as
Community Services staff worked tirelessly to engage
participants at numerous events throughout the summer
of 2021. Information about the Plan was placed in
the Summer Activity Guide, and 60,000 residents
received the summer mailer advertising the survey
and engagement opportunities. The team also made
paper surveys available for the public at family resource centers, community and youth centers, and libraries,
as well as publicized the opportunity widely on social
media.
EVENTS AT TENDED
• Maxwell Dog Park Opening
• Neighborhood Vaccination Sites
• Community Meetings
• Flag Day Procession
• July 4th
• Concerts in the Canyon (Four Concert Dates)
• Summer Nights Under the Stars at Pearson Park
Amphitheatre (Three Family Shows)
• Pearson Park Amphitheater Summer Concerts (Two)
• Oak Canyon Nature Center Nature Nights (Seven
Events)
• Downtown Farmer’s Market
• Symphony on the Go (Twila Reid Park & Juarez Park)
• Mobile Family Resource Center Sites
• Ponderosa Park Splash Pad Pop-Ups
• Anaheim Fall Festival
TREASURE HUNT
The team also developed a treasure hunt for each district where participants searched for Anaheim’s treasures in
their neighborhoods. The treasure hunt was a tool for
thinking about and discovering treasures within their
communities and safely exploring the city.
In total, nearly 3,000 people participated in the public art planning process, shaping the recommendations
and vision.
THE RESIDENTS OF ANAHEIM
VALUE PUBLIC ART
Throughout the stakeholder meetings, individual
and group interviews, and survey comments, several
recurring themes emerged. The people of Anaheim want
to be known for their creativity. They want public art to become synonymous with their identity, elevating their
reputation in southern California, stacking upon the
experience of a tourist destination. They want public
art to celebrate and showcase the many cultures in
Anaheim, and they want to see public art reflecting
their values in their local neighborhoods. They want
art to be a part of their public spaces, making them
more exciting and desirable. They want to share their
histories and the history of Anaheim with each other
and, ultimately, the world.
PHOTO CREDITS
Right: Paul Revere's Ride, Katherine England
15 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
The Santa Ana River
Architecture and Historic
Character
History
Arts and Culture
392 respondents
428 respondents
594 respondents
603 respondents
Parks 1,152 respondents
Sports and
Entertainment
965 respondents
Neighborhoods /
Community Culture
855 respondents
Community Diversity/
Inclusion
633 respondents
ANAHEIM PUBLIC ART PLAN
16 series of survey questions that gave specific insight into what residents currently value in their city, what values they want to see expressed in their future public art, and where they want to see future projects placed. Overwhelmingly, participants communicated their desire to see public art projects on the neighborhood scale and in underestimated, hyper-local spots throughout the city.
Insights
A
Nominate Your Favorite Anaheim Treasure
What is
Unique
About
Anaheim?
A treasure is a physical feature, visible to the public which enhances its surroundings: may be a work of art,
a historic building, or a folk art gem. Scattered around the city, treasures are sources of delight and pride in which everyone can feel ownership.
PARKS: 168
DISNEYLAND: 127
PACKING DISTRICT: 37
FOUNDERS PARK: 33
MUZEO: 31
OAK CANYON NATURE CENTER: 23
ARTIC: 15
BIG A: 14
MOTHER COLONY HOUSE: 10
17 0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
Enhance the City's Brand
Create Destinations
Help Community Reconnect
Post COVID-19
Expand Arts and
Cultural Offerings
410 respondents
554 respondents
641 respondents
751 respondents
How Can
Public
Art Serve
Anaheim
in The
Future?
What's One Word
That Comes to Mind
When you Think of
Public Art?
HISTORY: 426 RESPONDENTS
PRIDE: 216 RESPONDENTS
BEAUTY: 107 RESPONDENTS
INTERACTION: 97 RESPONDENTS
WONDER: 86 RESPONDENTS
COMMUNITY: 53 RESPONDENTS
CREATIVITY: 49 RESPONDENTS
CULTURE: 48 RESPONDENTS
0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
Yes
No
1,577 respondents
451 respondents
Are you a resident
of Anaheim?
0% 10% 20% 30% 40% 50% 60% 70% 80% 90% 100%
Under 18
18-24
25-44
45-64
65-84
85+
443 respondents
131 respondents
738 respondents
562 respondents
136 respondents
9 respondents
Age of
Respondents
Promote Neighborhood
Pride and Beautification
948 respondents
Support Creativity 910 respondents
Share History 843 respondents
Celebrate Diversity 831 respondents
ANAHEIM PUBLIC ART PLAN
18 VISION FOR
PUBLIC ART ADDS TO THE
DYNAMIC ENVIRONMENT OF
ANAHEIM AND DELIVERS HIGHIMPACT PUBLIC SPACES THAT
ELE VATE THE CIT Y ’S PEOPLE ,
HISTORY, AND IMAGINATION.
THE FOLLOWING CRITERIA AND
THEMES CAN SUPPORT DECISIONMAKING AND E VALUATIONS MADE
BY THE CIT Y WHEN ASSESSING
PROPOSED PROJECTS AND
COMMISSIONING ART PROJECTS
USING PUBLIC DOLL ARS. THROUGH
STRATEGIC INVESTMENT USING THE
STATEMENTS BELOW, ANAHEIM CAN
BE KNOWN AS A CIT Y THAT VALUES
PUBLIC ART AND CULTIVATES THE
COMMUNIT Y ’S CRE ATIVIT Y.
PHOTO CREDITS
Top Left: Love Mural, Privately owned
Top Center:Buster Simpson, Exchanger Fountain
Top Right: MUZEO sign, Chance O'Neil
Bottom Left: The Anamorph, Michael Davis, Ann Preston, and Richard Turner Bottom Center: Buster Simpson, Anaheim "A" Benches
Bottom Right: Madame Helena Modjeska sculpture, Eugene Maier-Krieg 19 PUBLIC ART
BE DIVERSE
Anaheim’s public art can represent
the community’s rich diversity by
reflecting many cultures, histories,
and tastes while also incorporating
different types of artwork.
CONNECT PEOPLE TO
ONE ANOTHER
Anaheim’s public art will create
exceptional and transformational
public spaces that are loved
and cherished by all. Public art
investments should engage, inspire,
and provide a connection for the
entire community.
BECOME SYNONYMOUS
WITH ANAHEIM'S
IDENTITY
Anaheim’s public art pays tribute to
the past and anticipates the future.
Anaheim is made up of many people
from many backgrounds, creating a
unique story worth sharing.
BRING VISITORS AND
CAPTIVATE LOCALS
Anaheim’s public art will captivate
locals and non-locals, building upon
the dynamic arts and culture scene
already well-established in the City.
BE A UNIQUELY ANAHEIM
EXPERIENCE
Anaheim’s public art will create
unmatched experiences in the region,
elevating the profile of Anaheim
while celebrating the unmatched
hospitality and unique atmosphere.
ELEVATE ARTISTS
Anaheim’s public art promotes
opportunities for the artists, visitors,
and residents that encounter it.
Ensuring the ongoing integrity
of artworks and respecting the
creative rights of artists is of utmost
importance.
THE CIT Y OF ANAHEIM'S PUBLIC ART WILL ...
CHAPTER 3
STEPS FOR
ESTABLISHING
THE ANAHEIM
PUBLIC ART
PROGRAM
ANAHEIM PUBLIC ART PLAN
22 onsideration and adoption of a Collection
Management Policy would recognize the
value and legacy of the current collection
while planning for the maintenance of
the future collection. Sound collection
management practices include routine documentation,
monitoring, and maintenance. The Collection
Management Policy will equip the City to care for
existing work while setting standards for any new pieces in the collection, receiving gifts of public art, accepting memorial gifts, and addressing temporary art.
The proposed Collection Management Policy specifically
includes the following:
• Establishes the management practices for
artworks acquired through the solicitation and
donation processes.
• Outlines standards for maintenance and relocation
and guards against inappropriate disposal of any
of the pieces in the collection.
• Provides direction for surveying the collection,
working with future artists to establish a
maintenance plan for any commissioned work,
and includes inspection guidelines.
• Creates procedures for individuals or organizations
who want or wish to donate artwork to the City.
A designated staff member should administer or oversee
the following tasks:
• Review and update an annual survey of all pieces
within the City’s collection. Each piece should
be evaluated and should have information about
maintenance needs.
• Ensure that all repair and restoration of artwork
is completed with the highest standards of
professional conservation practice.
• Ensure routine maintenance is completed.
• Plan for the future development of the collection.
• Advocate for funding of maintenance of the
collection when appropriate.
WHAT IS IN A COLLECTION MANAGEMENT
POLICY?
A Collection Management Policy establishes the
management practices for artworks acquired through
the solicitation and donation processes. These pieces
are considered part of the City’s permanent collection
and must be cared for per the Maintenance Policy. The
Collection Management Policy will help maintain the
value of the City’s permanent collection and guard
against inappropriate disposal of any of its pieces.
DONATION AND ART WORK ON LOAN
POLICY
This policy creates procedures for individuals or
organizations who want or wish to donate artwork to
the City. These donations may be considered on a caseby-case basis, and requests for consideration shall be made to the Public Art Staff Committee.
MAINTENANCE POLICY
This policy establishes the procedure for maintaining
the future public art collection and pieces currently
therein. Direction for surveying the collection, working with future artists to establish a maintenance plan
for any commissioned work, and artwork inspection
guidelines are included.
THOUGH THE CIT Y OF ANAHEIM HAS LONG HAD PUBLIC ART,
THE CIT Y IS LOOKING ESTABLISH A PUBLIC ART PROGRAM
BY IMPLEMENTING THE FOLLOWING STEPS.
C
STEP 1: ADOPT A COLLECTION MANAGEMENT POLICY
PHOTO CREDITS
Chapter 3 Cover: Daniel J. Martinez, Video Trees
Left: MIG Architecture, Santa Ana River from Mountains to the Sea Right: Planters - Gabrieleno Baskets, Nobuho Nasagawa
23 ANAHEIM PUBLIC ART PLAN
24 Murals play an important role in Anaheim’s past and present. Anaheim boasts many murals by esteemed Chicano artist Emigdio Vasquez. Vasquez painted dozens of murals throughout Orange County, including at Disneyland, Anaheim City Hall, and on many private buildings throughout Anaheim. In addition to the seven Vasquez murals, Anaheim is home to dozens of murals scattered throughout the city.
As is evidenced by the popularity of murals throughout Anaheim and the rest of the world, murals provide an opportunity to transform blank walls into vibrant spaces. Murals can celebrate a place’s history, tell memorable stories of residents, provide brightness in drab spaces, and inject beauty wherever they are.
The current approval process in Anaheim to place murals on private property facing the public right-of- way could be streamlined to encourage installations. The current process requiring a minor conditional use permit requires a fee of $6,057.
PROPOSED ART RE VIE W PROCESS FOR MURALS AND OTHER FORMS OF ART ON PRIVATE PROPERT Y VISABLE TO PUBLIC RIGHTS OF WAY OR PUBLIC PROPERT Y.
The City of Anaheim has a long tradition of murals and encourages this and other forms of creative community expression. For that purpose, the city will adopt a straightforward public art review process that is contentneutral. This new process is in this plan as part of the suggested policies.
Any form of art that includes advertisement or meets the definition of a sign as outlined in the Anaheim Municipal Code shall be regulated under Chapter 18.44 of the Anaheim Municipal Code. The intent of public art is on artistic expression and shall not be considered inappropriate and/or indecent by community standards.
REVIEW PROCESS
Any public art that is located on private property and is visible to public property or public rights of way shall be required to obtain a Public Art Permit. Artwork that is proposed on public property shall be reviewed through any contractual requirements with the City of Anaheim.
• Applications shall be filed on forms approved by the Planning & Building Director which shall be filed with the Planning & Building Department.
• The application shall include installation and de-installation plans and a maintenance plan as detailed in the application.
• Murals shall include the artist name, title of the artwork and year installed.
The Interdepartmental Public Art Coordination Committee is the approval authority and issues the permit.
Any work on public property or that may need to temporarily occupy the public right of way may also require an Encroachment permit issued by Public Works.
ASSOCIATED FEE
The fee for the review of public art shall be $966 as may be amended by City Council.
M
STEP 2: STREAMLINE THE MURAL APPROVAL PROCESS
25 ANAHEIM PUBLIC ART PLAN
26 As the City of Anaheim considers ways to implement a more expansive approach to public art, funding will be needed. Several methods have proven successful in cities throughout the country that Anaheim can explore. Americans for the Arts surveyed public art programs in the US; according to the 2018 survey on public art programs, they found 725 local, county, and state ordinances with various funding mechanisms for public art programs.
UTILIZE THE PUBLIC ART TRUST FUND ESTABLISHED IN
CHAPTER 17.37 PUBLIC ART IN ANAHEIM MUNICIPAL CODE
The City established a fund for public art in 2018 as part of the Anaheim Municipal Code. The following language is used in the ordinance to establish the funding for the Program.
.0102 The City shall establish the Public Art Trust Fund as a special revenue fund which expenditures may be made in accordance with this ordinance. The Public Art Trust Fund shall fund the administration of the Public Art Plan pursuant to the Public Art Regulations and permanent public improvements in the form of the purchase, acquisition or commission of new public art, major restorations, and installation and maintenance thereof. Authorized expenditures include, but are not limited to, associated site installation costs such as lighting and landscaping, and costs associated with the commission engineering, contract administration, unveiling, dedication activities, and preservation, conservation and repair of existing public art.
STEP 3: CONSIDER
OPPORT UNITIES
FOR FUNDING
76% YES
24% NO
"IF MORE ARTS AND
CULT URE OPPORT UNITIES
E XISTED IN ANAHEIM
OUTSIDE OF DISNE YL AND,
WOULD YOU LENGTHEN THE
DURATION OF YOUR STAY ?"
Y/N RESPONSES WERE
OFFERED
PHOTO CREDITS
Top: Brian Peterson, Dreamcourt
Right: Richard Turner, Veterans Monument
and Plaza
27 DONATIONS AND GRANTS
This fund could receive regular or periodic allocations of monies from any source deemed appropriate, or grants and contributions from private individuals or public programs could provide funding. At the state level, the California Arts Council has grants that support public art. At the federal level, a number of programs and resources also provide funding for public art. The trust fund can also be used as a source for matching funds, when required for grants.
The monies in the public art trust fund could be used to develop a program to support temporary public art installations and activations throughout the City, such as those outlined below in Chapter 4.
The City of Anaheim currently includes public art in many public building projects, particularly parks. This is illustrated in Section .0101 of the city's ordinance.
.0101 Every public park project that entails construction or major refurbishment of a new park or community/recreational building or library within the city’s capital improvement program (CIP) shall provide for the installation of an art piece for the purposes of incorporating public art within each project in furtherance of the Public Art Plan.
One option the City can consider moving forward is establishing a more clearly defined funding mechanism for public art by allocating a percentage of the capital improvement budget to create and maintain public art.
ANNUAL ALLOCATION FROM THE CIT Y’S GENERAL FUND
An annual allocation could be made for public art to the City’s Public Art Trust Fund that would support maintenance of the current collection and new projects. This allocation should be made consistently over a minimum of five years to understand the impact of the investment.
ANAHEIM PUBLIC ART PLAN
28 E XPLORE A PUBLIC ART OPTION FOR PRIVATE
DEVELOPMENT
Negotiated Benefit
The City of Anaheim, through the former Anaheim Redevelopment Agency, had an established practice of negotiating the inclusion of public art as a community benefit when developers were building on public land or in partnership with the Agency. Much of the City’s current collection has been developed in this manner. The City can continue to build its collection by consistently including public art as a community benefit in all City development partnerships. The City could also explore, where appropriate, offering development incentives that would enhance the pedestrian experience and benefit the entire community.
Built in Development Fee/In-Lieu Fee
Another option would be to establish a public art requirement for private development, either citywide or in certain districts, such as the Platinum Triangle or in CtrCity. Several cities in Orange County have such a policy.
Some programs require public art on-site with a set value as a percentage of the project cost. There is also the option of an in-lieu fee where the monies can be deposited into the city’s public art fund to be used to support public art throughout the city.
A LEGACY OF INVESTMENT AND FUTURE OPPORTUNITIES
The City of Anaheim has an established tradition of celebrating its history and creativity through commissioning works of public art that adorn the city’s public spaces, streets, and parks. As part of the process of developing this public art plan, and as detailed elsewhere in this document, the consulting team worked with staff to document and inventory the City’s existing collection of public art. Residents were also asked about their future vision for public art in Anaheim and what opportunities they most wanted to see realized. The team also learned that many visitors to Anaheim would be willing to extend their stay to participate in additional cultural opportunities.
LE VERAGING THE INVESTMENT AND IMPLEMENTING
THE PLAN
In developing this plan, over 3,000 residents invested their time to help shape the future of public art for this community. In coming together to discuss the future of public art in Anaheim, residents expressed the desire to see more public art in neighborhoods. They prioritized public art that helps to promote neighborhood pride (47%) and shares aspects of the community’s history (39%). Other oft-cited opportunities included the expansion of murals throughout the city and the possibility of including public art in future boulevard improvement plans. As the City moves forward with implementing components of this plan, as opportunities present themselves, the City will be leveraging both its existing collection and the community’s vision and creativity.
PHOTO CREDITS
Top: DeL'Esprie, Gene Autry
Bottom: Miraloma Birds
Right: Buster Simpson, Granite People
29 CULT URAL TOURISM AND PUBLIC ART
CULT URAL TOURISM
The arts have proven to be an effective building block of many cities’ economic development and cultural tourism strategies across the nation. A 2018 study by the National Governors Association states:
Arts programs have been high-impact components of economic development programs by:
• Leveraging human capital and cultural resources through tourism, crafts, and cultural attractions; • Serving as a centerpiece for downtown redevelopment and cultural renewal; • Creating vibrant public spaces, enhancing urban quality of life, expanding the tax base, and improving regional and community image; and
• Contributing to a region’s “innovation habitat” by making communities more attractive to highly desirable, knowledge-based employees.
Anaheim has the potential to expand as a cultural tourism destination. When asked if they would spend an extra night in Anaheim to enjoy additional cultural offerings, 76 percent of hotel guests at the Hyatt House said yes.
In addition, during stakeholder interviews conducted by the consultants, several community leaders associated with the hospitality industry noted the role the arts and culture, particularly public art, can play in marketing a destination such as Anaheim.
MARKETING OPPORTUNITIES
Both the existing public art collection and new works of public art can be the foundation of expanded cultural tourism marketing by the City of Anaheim. Maps of Anaheim’s public art and community treasures were developed in addition to an image library, as part of the master plan process and can be utilized in future marketing and educational partnerships and initiatives. Public art can be woven into existing websites and materials or accentuate new marketing initiatives developed with local tourism assets, from Visit Anaheim to local hotels. he City of Anaheim does not currently have a standard
approach to managing public art. Projects have been
realized through various processes, depending on the
initiating department, funding source, and nature of the project. Public artworks in parks go through one process, murals another, and developer projects a third. While this approach has resulted in many extremely successful works of art, it has also resulted in some gaps in knowledge and ultimately in the uncoordinated management of a public asset. To ensure better coordination moving forward, the City can explore having an Interdepartmental Public Art Coordination Committee for all public art and clearly defined processes and policies for public art review and approval. This is not to say that all projects need to go through the same process; projects could still be initiated and reviewed in several distinct ways, which are consistent depending on the nature of the project. Building upon the inventory developed for this plan and adopting some policy, the City can develop a central repository of information and policies regarding public art in Anaheim. This will allow for a clear understanding moving forward on how best to initiate, review, and approve public art projects and what the City’s responsibility is towards that asset once developed.
An Interdepartmental Public Art Coordination Committee should be formed consisting of staff from relevant departments to ensure coordination among departments and projects within departments.
The Committee should meet regularly and be managed by someone in a position to focus on managing the Public Art Program who has extensive knowledge in public art administration, including maintenance, inventory management, and extensive knowledge in utilizing funding mechanisms.
The need for staff and/or consultant expansion is explored in Step 5.
T
30 STEP 4: STRE AMLINE PROGRAM
MANAGEMENT THROUGH THE
ESTABLISHMENT OF A FORMAL PUBLIC
ART STAFF COMMIT TEE .
PHOTO CREDITS
All: Buster Simpson, Business Arch
31 ANAHEIM PUBLIC ART PLAN
32 PUBLIC ART PROGRAM SUPPORT
As noted above, public art in Anaheim can benefit by having a primary point of contact in the City moving forward. This person would be knowledgeable about the City’s collection, informed about the City’s processes and policies, and could serve as a resource to staff and the public in all matters related to public art. In addition, this person could help the City pursue future opportunities, from grants to partnerships and loans of works of art. A staff and/or consultant position for Public Art can collaborate with the relevant city departments Attorney's Office.
The responsibilities can include:
1. Work with various departments to develop potential projects
2. Coordinate with other City planning efforts.
3. Prepare the Public Art Program Update
4. Coordinate with Public Art Committee to ascertain advice on any matter pertaining to public art, including:
• public art updates to the Committee and the Commission; • artist selection juries and process;
• purchase of artworks;
• commission and placement of artworks; and
• public art programming;
5. Coordinate hiring an outside consultant or agency to administer public art projects as needed.
6. Coordinate with various city departments on the City’s Public Art Policy.
7. Pursue grants available to the City for the Public Art Program.
8. Overseeing the Public Art Trust Fund.
9. Manage the collection through the following actions:
• Conduct regular surveys of all pieces within the City’s collection. Each piece should be evaluated and should have information about maintenance needs.
• Ensure that all repair and restoration of artwork is completed with the highest standards of professional conservation practice.
• Ensure routine maintenance is completed on the City's collection and public art on private property.. • Advocate for funding of maintenance of the collection when appropriate. • Manage the maintenance needs of the creative amenities within the City’s Collection. • Manage the murals/public art applications for private property STEP 5: A COMMITMENT TO ENHANCED RESOURCES AND
DECISION MAKING PROCESSES.
PHOTO CREDITS
Left, Center: Jenny Voznesensky
& Athena Tseng Small WondersTop Right, Left: Nobuho Nagasawa Orange Crates
33 WHAT IS THE PUBLIC ART PROGRAM
UPDATE?
The Public Art Program Update is a document that
outlines projects to be in the coming fiscal year and
projects that will be in process during that fiscal year.
The Program Update creates a roadmap and allows
for the input of community members, and others who
care deeply about public art in Anaheim.
The Update will be prepared through consultation with
staff, the Interdepartmental Public Art Coordination
Committee, and the Public Art Committee.
The following steps will be taken to develop the Public Art Program Update:
1. Identify projects including acquisition and
maintenance.
2. Work with City departments to integrate
feedback on the program update.
ADVISORY BODY
Public art is currently under the purview of the
Cultural and Heritage Commission, an appointed body
that advises the Council on matters related to the arts, culture, heritage, and preservation. Moving forward,
the City can explore revisions to this extensive initiative to better support public art and the other broad and
essential areas under the purview of this one body.
A Public Art Committee is recommended to be formed
as a subcommittee to the Cultural and Heritage
Commission. The Committee should be chaired by a
member of the Cultural and Heritage Commission and
should be made up of five members and will have the
following responsibilities:
1. Act principally in an advisory capacity to Anaheim
staff in any matter pertaining to public art.
2. Advise and make recommendations to the Cultural
and Heritage Commission, who will then advance
recommendations to city staff about, among
other things, artist selection juries and process;
commission and placement of artworks; and
maintenance and removal of artworks.
At a minimum, three of the five committee members
should be Anaheim residents and chaired by a
Cultural and Heritage Commissioner. The following
qualifications should be considered when appointing
the members of the Committee and would establish
an ideal group of committee members:
1. One or more artists;
2. One or more arts professionals or educators;
3. One cultural or heritage professional; and/or
4. One design professional.
Any member serving on the Committee is ineligible for
a public art project by the City of Anaheim during their membership and for a year following their service on
the committee.
CHAPTER 4
STRATEGIES FOR
IMPLEMENTATION
OF THE ANAHEIM
PUBLIC ART
PROGRAM
fter establishing the Anaheim Public
Art Program through the steps outlined
in the previous chapter, the City and
the Cultural and Heritage Commission
will need to implement the program. Goals and
strategies to implement the program are in the
following sections.
GOALS OF THE PUBLIC ART PROGRAM
The City of Anaheim has a legacy of embracing public
art. Public art can play a crucial role in ensuring
maximum livability for residents and supporting
the community’s tourism sector and the broader
economy.
The following are core goals for the Public Art
Program and are in no particular order. These goals
can be used when implementing public art projects,
and though no one project will accomplish all goals,
projects should satisfy one or more of the goals.
A
ANAHEIM PUBLIC ART PLAN
36 PHOTO CREDITS
Chapter 4 Cover: Lloyd Hamrol,
City Terrace
Left: Michael Davis, Ann
Preston, and Richard Turner , The
Anamorph
Top Left: Emigdio Vasquez, One
Hundred and Twenty-four Years
of Progress
Bottom Left: Jae Kitinoja
Gardenwalk Stairs
GOAL 2
BUILD UPON ANAHEIM’S
RICH HERITAGE
There is no shortage of history to
build upon in Anaheim, and public
art can help share those stories in
new and contemporary ways.
GOAL 4
ENGAGE A SENSE OF
PL AYFULNESS AND JOY
Public art in Anaheim has the
potential to move beyond the
traditional and inject creativity,
education, and joy into public spaces.
GOAL 3
CELEBRATE ANAHEIM’S
CULT URAL DIVERSIT Y
As a community with a Native
American legacy and growing nonnative populations, our public art should tell the story of all those
who make Anaheim a vibrant
community, particularly those who
are underrepresented.
37 GOALS OF THE PROGRAM
GOAL 1
CONNECT PEOPLE TO THE
IDENTITY OF ANAHEIM
Public art should foster a connection
between the City of Anaheim and
the people who live, work, and visit
the community.
Targeted public art investments in
neighborhoods can allow community
members an opportunity to contribute
to the creative process through
meaningful interactions with artists.
GOAL 5
CRE ATE PL ACE-BASED
PUBLIC ART STEEPED IN
COMMUNITY ENGAGEMENT
he City of Anaheim currently boasts
a robust collection that residents and
visitors would enjoy experiencing. A
map representing the collection with
images of each piece does not exist. An
online interactive map as an exploration tool, could
be created to showcase the city’s well-documented
collection.
At a minimum, the tool should include the following:
• Location of the piece
• Title of the piece
• Artist(s) name
• Link to the artist’s website when available
• Year installed
• Image(s) of piece
COMMUNIT Y TRE ASURES AND
PUBLIC ART
The City is fortunate to have many highly qualified staff engaged in the planning, designing, and constructing of public infrastructure and amenities, from streetscape
enhancements to parks. Over the years, those
efforts have resulted in many well-designed projects
enhanced by special design features and works of
public art. Many of these are well known and beloved
by the community and cited as ‘community treasures.’
As part of the streamlining process, moving forward,
the City can distinguish between public art and design
enhancements, both of which add value to the City’s
infrastructure but need to be identified, managed,
and maintained in different ways. Public art is the
result of the participation of an artist and is subject to specific protections, while design enhancements
are not subject to the same restrictions.
T
ANAHEIM PUBLIC ART PLAN
38 STRATEGIES
The following strategies can further the Public Art Program. Some strategies are continuations of existing approaches, while others will involve new initiatives for the Public Art Program.
STRATEGY 1:
CELEBRATE
THE CURRENT
COLLECTION
THROUGH THE
DE VELOPMENT
OF AN ONLINE
COLLECTION TOOL
PL ACED ON THE
CITY’S WEBSITE.
PHOTO CREDITS
Top, Left: Katherine England, Tree of Life
39 40
consistent theme throughout the public
engagement process was the desire for
increased community interaction and
engagement in the arts. Community members
shared their desire for cultural experiences
that celebrate the many cultures in Anaheim. This desire could be manifested in the form of festivals,celebrations, and other temporary events that focused on a specific
theme or culture. Ultimately, these opportunities should consider stacking experiences on top of one another, so multiple senses are engaged simultaneously, leading to a more fulfilling experience for the attendees.
A
STRATEGY 2 : DE VELOP
OPPORTUNITIES FOR ACTIVE
COMMUNIT Y PARTICIPATION IN
THE ARTS.
naheim is rich with incredible partners that
play a significant role in the identity of the City
within the region and nationally. Disneyland,
the Angels, and the Ducks all contribute to
creating a large tourism base for the City. In
addition, the Anaheim Convention Center reigns as the
largest exhibition facility on the West Coast, boasting over
1.8 million square feet of space. Partnerships with these organizations could range from an annual temporary show that lasts for a short time, appearing throughout the City or in specific locations on a rotating basis, to a quarterly public art show focused on one particular subject. The
City could work with a different partner on a rotating basis to provide public art programming in the resort area, at the Convention Center, and near the Angels Stadium and
Honda Center. While tourists may be coming for specific events, conferences, or to Disneyland, these temporary
installations can provide additional points of interest for tourists and consistent programming for residents.
A
STRATEGY 3: STRENGTHEN
PARTNERSHIPS WITH OTHER
ORGANIZ ATIONS AND AGENCIES
THROUGH COLL ABORATING ON
PUBLIC ART PROJECTS.
Because of the vital tourism sector, Anaheim enjoys a series of unmatched regional transportation resources, including a regional intermodal center, providing rail, bus, taxi, and other services for daily commuters and visitors. The facility is architecturally significant and offers ample opportunity for programming. Programming within this facility could range from various installations on the interior and exterior to commissioning an artist to light the entire building or performers to activate the building through performances.
One way to approach such programming would be to
consider establishing an artist-in-residence program in the City's regional intermodal center. Artists of various disciplines (painters, photographers, choreographers,
writers, etc.) could apply to share their craft with the public at the facility. Artists could offer free classes/ workshops for the public in their art form or develop a temporary installation or performance. For example, a
choreographer might create a site-specific dance to be
performed in locations throughout the facility. In addition to performances of the new dance, the choreographer
could also offer a couple of dance classes and hold open rehearsals at the facility. A photographer might offer
free photography classes and engage the public in a
photography contest or project, the results of which might be temporarily displayed in the facility or on the City’s website.
Because so much tourism is focused in the Resort District, Anaheim Transportation Network (ATN) services the
district and gives tourists a reliable way to get around the district. This experience could be enhanced and tied to a public art experience in various ways. Two examples are as follows:
• Work with ATN to offer a periodic public art tour, once a day, or a few times a week, where people interested
in exploring Anaheim and its history and culture can
take the bus and view a selection of the City’s public
art collection. The brochure developed for this tour
could also be made available to visitors interested in
taking a self-guided tour.
• The City could partner with the Resort District to
commission artists to wrap the shuttles in eye-catching ways.
PHOTO CREDITS
Left: Peter Shire, The Neighborhood
41 ANAHEIM PUBLIC ART PLAN
42 43
naheim is home to a number of important
cultural spaces created by indigenous
peoples and communities of color. Special
consideration should be given to honoring
those historic contributions, celebrating
their signifigance, and using storytelling tools to ensure their permanence in the community for decades to come.
Contributions of the Tongva, the Mexican American and
wider Latino community, and members of the Asian
American community should be considered. Historic
preservation efforts, oral history documentation, and
seeking to realize contributions of these communities
when designing public spaces is of utmost importance.
A
STRATEGY 4: HONOR HISTORIC
CONTRIBUTIONS OF VARIOUS
CULT URES THROUGHOUT THE
CIT Y.
PHOTO CREDITS
Left, Top: Emigdio Vasquez, Recuendos del
pasado y imagenes del presente
CHAPTER 5
PRIORIT Y
ACTION PL AN
he following steps and strategies are
derived from national best practices
in public art planning. Both are broken
into short-, medium-, and long-term
tiers. Collectively, this plan for action is ambitious
and will require public funding and strong leadership.
T
ANAHEIM PUBLIC ART PLAN
46 47
STEPS TO ESTABLISH THE
ANAHEIM PUBLIC ART
PROGRAM
STEP 1
ADOPT A COLLECTION MANAGEMENT POLICY
Timeframe: Short-term
Proposed Budget: N/A
Action Narrative: Consideration and adoption of a Collection Management Policy would recognize the value and legacy of the current collection while planning for the maintenance of the future collection. Sound collection management practices include routine documentation, monitoring, and maintenance. The Collection Management Policy will equip the City to care for existing work while setting standards for any new pieces in the collection, receiving gifts of public art, accepting memorial gifts, and addressing temporary art.
Key Steps for Completion:
• Review proposed policy with respective departments
• Adopt proposed policy
STEP 2
STREAMLINE THE MURAL AND PUBLIC ART APPROVAL PROCESS
Timeframe: Short-term
Proposed Budget: N/A
Action Narrative: Update the City's Municipal Code to amend existing mural requirements and create public art permit requirements including creating a new Public Art Permit with a fee of $966. The process for review should be updated to include the following application materials and steps for approval:
• Applications shall be filed on forms approved by the Planning & Building Director which shall be filed with the Planning & Building Department.
• The application shall include installation and de-installation plans and a maintenance plan as detailed in the application.
• Murals shall include the artist name, title of the artwork and year installed.
Key Steps for Completion:
• Update the Anaheim Municipal Code to reflect new process for public art including murals. • Schedule the regular review panels within the Interdepartmental Staff Coordination Committee. • Develop application materials and place on website for public use. • Provide funding for staff time needed to administer this program.
PHOTO CREDITS
Chapter 5 cover: MIG Architecture, Santa
Ana River from Mountains to the Sea
Top: Ramon G. Velazco, Kate and Ella
1895
ANAHEIM PUBLIC ART PLAN
48 STEP 3
CONSIDER OPPORTUNITIES FOR FUNDING
Timeframe: Short-term
Proposed Budget: N/A
Action Narrative: As the City of Anaheim considers ways to implement a more expansive approach to public art, funding will be needed. Several methods have proven successful in cities throughout the country that Anaheim can explore. The tourism sector should be considered to build support within the community for increased funding for public art as there is a direct correlation between an investment in arts and culture and an increase in tourism.
Key Steps for Completion:
• Review proposed funding methods with respective departments and select the method(s) most suitable to Anaheim.
• Meet with Visit Anaheim to build support in the tourism sector for enhanching the built environment with public art.
• Present the selected funding mechanism(s) to City Council for consideration.
STEP 4
STRE AMLINE PROGRAM MANAGEMENT THROUGH THE ESTABLISHMENT OF A FORMAL PUBLIC ART STAFF COMMIT TEE .
Timeframe: Short-term
Proposed Budget: N/A
Action Narrative: An Interdepartmental Public Art Coordination Committee should be formed consisting of staff from relevant departments to ensure coordination among departments and projects within departments. The Committee should meet regularly and be managed by someone in a position to focus on managing the Public Art Program who has extensive knowledge in public art administration, including maintenance, inventory management, and extensive knowledge in utilizing funding mechanisms.
Key Steps for Completion:
• Determine which departments should be represented on the Interdepartmental Public Art Coordination Committee.
• Select dates for committee meetings.
STEP 5
A COMMITMENT TO ENHANCED RESOURCES AND DEFINING THE ROLE OF THE CULT URAL AND HERITAGE COMMISSION FOR DECISION MAKING PURPOSES.
Timeframe: Medium-term
Proposed Budget: $$
Action Narrative: A staff and/or consultant position for Public Art could be created to collaborate with the relevant city departments and to manage the Public Art Program. A Public Art Program Update should be developed annually. A Public Art Committee should be formed as a sub-committee to the Cultural and Heritage Commission to act as a selection panel on public art projects and to advise the Interdepartmental Public Art Coordination Committee.
Key Steps for Completion:
• Consider hiring a full time staff member and/or consultant to manage the Public Art Program. • Complete the creation of the Program Update annually. • Solicit interest for the Public Art Committee and seat the Committee. 49 STRATEGIES FOR
IMPLEMENTATION OF THE
ANAHEIM PUBLIC
ART PROGRAM
STRATEGY 1
CELEBRATE THE CURRENT COLLECTION THROUGH THE DE VELOPMENT OF AN ONLINE COLLECTION TOOL PLACED ON THE CITY’S WEBSITE.
Timeframe: Short-term
Proposed Budget: $
Action Narrative: Celebrate the City's current public art collection through developing an online collection for the public to view. The online collection should be updated as new pieces are commissioned, Key Steps for Completion:
• Select an online platform to place the collection on the City's website. • Place the images and all relevant information on the platform. • Continually update the collection database as new pieces are commissioned. • Utilize the collection as a tool to understand routine maintenance needs for the Collection. • Utilize the collection as marketing material for the City and for Visit Anaheim.
STRATEGY 2
DE VELOP OPPORT UNITIES FOR ACTIVE COMMUNIT Y PARTICIPATION IN THE ARTS.
Timeframe: Medium-term
Proposed Budget: $$
Action Narrative: Evaluate opportunities for new festivals and events that celebrate culture. Ensure multiple partners are engaged to develop the programming and that programming is geographically diverse.
Key Steps for Completion:
• Brainstorm opportunities for future pop-up events or festivals • Solicit community partnerships for each event
STRATEGY 3
STRENGTHEN PARTNERSHIPS WITH OTHER ORGANIZ ATIONS AND AGENCIES THROUGH COLL ABORATING ON PUBLIC ART PROJECTS.
Timeframe: Medium-term
Proposed Budget: N/A
Action Narrative: Anaheim is home to many significant organizations that anchor the tourism sector on the region. Collaboration with Disneyland, the Angels, the Ducks, the Anaheim Convention Center, and an intermodal center.
Key Steps for Completion: Adopt
• Investigate interest of partners in establishing an artist in residence program in partnership with the City.
• Understand potential partners willingness to collaborate on public art projects in the future and what participation will look like for each partner organization.
ANAHEIM PUBLIC ART PLAN
50 STRATEGY 4
HONOR HISTORIC CONTRIBUTIONS OF VARIOUS CULT URES THROUGHOUT THE CIT Y.
Timeframe: Medium-term
Proposed Budget: $$
Action Narrative: Anaheim is rich with physical pieces of cultural contributions by various artists. The City should develop strategies to celebrate and preserve the physical contributions for future generations.
Examples include the Emigdio Vasquez murals and a series of historic neon signs.
Key Steps for Completion:
• Consider a multi-site National Register Nomination for the Emigdio Vasquez murals to activate funding for restoration.
• Document historic neon signs throughout the City.
• Explore other opportunities and candidates for preservation including architectural districts, creative amenities within parks, and stories of significance from across the City. 51 ANAHEIM PUBLIC
ART PLAN