June 25, 2024
City Council
DATE: June 25, 2024
TO: Mayor Martinez and Members of the City Council
FROM: Council Members Bana and McLaughlin
Subject: Presentation on proposed November 2024 $20B
Affordable Housing Bond
FINANCIAL IMPACT: N/A
PREVIOUS COUNCIL
ACTION:
None
STATEMENT OF THE
ISSUE:
The Bay Area Housing Finance Authority will provide a
presentation on the proposed November 2024 $20 billion
Affordable Housing Bond.
RECOMMENDED ACTION: RECEIVE a presentation from the Bay Area Housing Finance Authority and the Contra Costa County
Department of Conservation and Development on the
proposed November 2024 $20 billion Affordable Housing
Bond - Councilmembers Soheila Bana (510-620-6743)
and Gayle McLaughlin (510-620-6636).
DISCUSSION:
AGENDA
REPORT
1580
June 25, 2024
The Bay Area Housing Finance Authority will provide a presentation on the proposed November 2024 $20 billion Affordable Housing Bond. The presentation will include background information about the Bay Area Housing Finance Authority (BAHFA), the agency that would be administering the Bond, and the anticipated local impacts of the funds, and Contra Costa County’s planning process for these funds.
Presenters:
Irene Farnsworth, Anti-Displacement Program Manager, Bay Area Housing Finance Authority
Gabriel Lemus, Assistant Deputy Director, Housing and Community Improvement, Contra Costa County Department of Conservation and Development
DOCUMENTS ATTACHED:
Attachment 1 – PowerPoint
Attachment 2 – Bay Area Housing Bond: Regional Funding for Local Solutions 1581
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1591
1592
The Bay Area Housing Bond:
Regional Funding for Local Solutions
In November 2024, Bay Area residents could potentially vote on a regional bond measure to generate up to $20 billion to build more affordable homes and help keep existing homes affordable.
A $20 billion dollar bond could build and preserve approximately 72,000 new affordable homes—doubling the number that would be possible without a bond.
Currently, the Bay Area doesn’t have enough affordable homes for the people who live here.
As a result of our housing shortage:
• In 2022, 37,000 people were unhoused in the Bay Area. • 1.4 million people—23% of Bay Area renters—spend over half their income on rent. • High rents and home prices force people to live far from work, making congestion and pollution much worse, and putting a major strain on working families.
The Bay Area Housing Finance Authority (BAHFA) is considering placing the housing bond measure on the November ballot to address these critical housing challenges.
Funding Local Solutions
A Regional Housing Bond will help fund local
solutions to meet the needs of our communities.
Money from the housing bond will be used to build new
affordable homes and preserve existing housing to
help protect vulnerable tenants across the Bay Area.
80% of the bond revenue will go directly to the nine
counties and four cities—San Jose, Oakland, Santa
Rosa, and Napa—letting local governments determine
how best to produce and preserve affordable housing
for their own communities.
Photo Credits: Alain McLaughlin Photography, courtesy NPH BAHFA will invest 20% of the bond revenue in
affordable developments throughout the region, while
also generating new housing resources to support
affordable housing development long after the bonds
are fully spent.
Every county and city receiving funds will adopt an
expenditure plan. BAHFA will review and confirm that all plans meet required criteria.
The majority of funds (at least 52%) will build more
affordable housing. At least 15% of funds will preserve existing housing. The remainder will build or preserve
more housing, support first-time home buyer assistance
and other housing related uses. 1593
Photo Credit: Bruce Damonte
Photo Credit: Frank Domin
Photo Credit: Tim Griffith
How will the bond be funded?
The bond will be funded through property taxes. The
amount an individual household may expect to pay will
vary depending on the assessed value of their property.
The final bond amount is still to be determined. A
$20 billion bond would require an estimated tax of $19
per $100,000 in assessed value — or about $190 per
year for a $1,000,000 home.
Who will manage the funds?
BAHFA was established by the State Legislature in
2019 to support the construction of new affordable
housing and preservation of existing housing across
the nine-county region. It is governed by the BAHFA
board, which is composed of the same members as
the Metropolitan Transportation Commission and the
Association of Bay Area Governments’ Executive
Board. These governing boards provide local elected
representation from across the Bay Area.
BAHFA will distribute funds directly to each county and city eligible to receive direct funding based on local
expenditure plans. BAHFA will retain 20% of the funds
for a new regional program to help produce and
preserve affordable housing throughout the Bay Area.
Accountability
State law requires BAHFA to be subject to regular,
independent audits and annual financial reporting,
including submitting an annual report to the California Legislature on allocations and expenditures under its
control. Cities and counties receiving direct allocations must also submit annual reports on expenditures and
progress toward goals to BAHFA. If voters approve the
Bond, a new Citizen Bond Oversight Committee will be
appointed to review how bond funds were spent to
ensure they were consistent with voter approval.
For More Information:
Kate Hartley
Director, Bay Area Housing Finance
Authority
Email: [email protected]
Website: mtc.ca.gov/bahfa
1594
June 25, 2024
Economic Development
DATE: June 25, 2024
TO: Mayor Martinez and Members of the City Council
FROM: Nannette J. Beacham, Economic Development Director Winifred Day, Arts & Culture Manager
Subject: Richmond Arts Initiative, Arts District Consultant RFP Search Summary of Recommendations
FINANCIAL IMPACT: $50,000 (Accounts String: 13661065-400201-36032).
PREVIOUS COUNCIL
ACTION:
October 24, 2023
STATEMENT OF THE
ISSUE:
The City Council directed City staff to create and solicit an RFP to establish an Arts District. City staff issued an RFP/Q for consulting services to establish an Arts District and accepted two applications. City staff from multiple departments, a representative of the RAAC and a local
government with arts district expertise reviewed, scored, and interviewed the candidates. City staff will present their recommendation, and the candidates will present a summary of their proposal to the City Council for a final decision.
RECOMMENDED ACTION: RECEIVE a 10-minute presentation from both consulting services applicants from the Request for Qualifications (RFQ) and Request for Proposals (RFP) to establish an
Arts District; and APPROVE a contract with Independent
Arts and Media as Fiscal Agent for Richmond
Renaissance or Ceres Policy Research to develop a
Strategic Plan for a sustainable Art District, in an amount not to exceed $50,000, with a term ending December 31,
AGENDA
REPORT
1595
June 25, 2024
2024 - Economic Development Department (Winifred
Day 510-620-6952).
DISCUSSION:
In June 2022, prior to the issuance of the RFP, the Richmond Arts and Culture Commission (RACC) contracted the professional services of Barbara Goldstein’s Team Art Builds Community, to reach out to the community to capture residents vision for the future of art in Richmond resulting in the Public Arts Master Plan (See Attachment 6).
The updated Public Art Master Plan has eleven arts and economic development related recommendations as community builders including Arts Districts. Consequently, to facilitate consideration and formation of an arts district a strategic planning consultant will need to examine all aspects of an urban art plan using sound methodology and implement an inclusive community engagement strategy. More specifically, the consultant will garner feedback by working with community members such as artists, businesses, community-based organizations, and the Richmond Neighborhood Coordinating Council. Outreach across all parts of the City of Richmond is important and the selected consultant should have a proven track record of demonstrated abilities to work with BIPOC communities for a common goal.
Definition of an Arts District
An Arts District is a demarcated urban area, usually in the periphery of a city center, intended to create and attract a critical mass of art related economic development related activities. Arts Districts have been built in areas somewhat removed from the city’s central business districts and have large open green spaces between buildings.
Some successful Arts Districts are financially supported with residential fees, state Arts Council grants for nationally certified Arts Districts, and art capacity building grants.
Examples: Tulsa Arts District Business Association, in Tulsa, Oklahoma, a coalition of local business owners, oversees the development and portion of the area. The State of Oklahoma has additional support and incentives to create Arts Districts (Oklahoma Arts Council). Dallas, Texas has the largest Arts District in the country.
In some cities Arts and/or Cultural Districts are unique to the characteristics of a community and the resources available locally. The arts and/or cultural district is determined by a cluster of existing arts and culture type(s) of activities, including art galleries, music venues, theatre venues, restaurants, retail shops, parks, art installations, etc.
The creation of an Arts District support the implementation of the goals described in the City of Richmond General Plan 2030, Element 13 - Arts and Culture (Goal AC1 and AC2.
1596
June 25, 2024
Definition of Arts Corridor
Cultural (Arts) Corridors aim to foster equitable community development and celebrate local arts and culture in a particular geographic area. An example is found in Buford, Georgia.
Request for Qualifications/Request for Proposals (RFQ/P) On December 22, 2023, the City of Richmond requested qualifications and proposals from consulting firms to develop a plan for establishing an Arts District(s), which includes outreach to businesses, residents, and stakeholders (See Attachment 1).
Using the City of Richmond Procurement procedures, the BidsOnLine application was posted, questions and answer (Q&A) were available for all possible candidates to review. There were 116 views of the RFQ/P, 36 applicants downloaded the application, and viewed the question and answer (Q &A) sections with responses. Proposals were due February 19, 2024. Two candidates submitted proposals, Independent Arts and Media as Fiscal Agent for Richmond Renaissance and Ceres Policy Research (See Attachments 2 and 3).
Scope of Services for this Arts District RFQ/P:
1. Develop a plan to create a new comprehensive Arts District Plan. Define the characteristic that qualify as part of an Arts District including a sustainable budget over 10 - 20 years.
2. In collaboration with the City, RACC and community develop a mission, vision, and goals for the City’s Arts District including a focus on cultural equity goals to ensure that they are up-to date and reflect the current goals of the City using public art programming, including temporary and permanent art commissions, cultural grants, and other programs based on feedback from the community.
3. Recommend potential boundaries/site/area/location/City Districts for one or more Arts District’s within Richmond boundaries.
4. Review existing background documents including but not limited to the 2030 General Plan, updated Art Ordinances, Art Policies, Art Procedures, and American Rescue Plan Act (ARPA) Fund Guidelines.
5. Outreach to and engagement of the Richmond community, including a diverse range of stakeholders to discuss, art resources, community desires, and specifically, public art awareness.
6. At least one working session with each of the following groups: RACC/PAAC, each Neighborhood Council, and residents. Meetings with individual city council members may also be required.
7. Identification of other funding sources, local, state, federal, public and private to fully and successfully execute a vision of this magnitude.
8. City staff time can be available to assist with administrative tasks such as scheduling of community meetings.
1597
June 25, 2024
The Arts District RFQ/P was uploaded to the City of Richmond Procurement Division BidsOnLine System. Potential applicants are able to submit questions in this central repository (Q&A) and city staff members are able to answer the questions for all applicants to view. Below are the Q&A responses:
1. Q: What is prompting the City and Arts and Culture Commission to plan an Arts District at this time?
A: This is one of many long-term goals established and directed by Richmond City Council to the Economic Development Division. This work is separate from the Richmond Arts and Culture Commission.
2. Q: What pre-planning or investigation for an Arts District has been done to date, if any?
A: The scope of services requests that the selected team provide a comprehensive investigation that will result in a strategic plan that will define the Arts Districts, including examples from other cities of similar size and demographics as Richmond. Tulsa, Oklahoma is an example.
3. Q: Is there a geographic area under consideration for the arts district at this point?
A: Identifying geographic areas will be part of the recommendations made by the selected team as part of the definitions of Arts District in the proposed Strategic Plan.
4. Q: The scope of work calls for a meeting with each neighborhood council. How many councils do you anticipate would be involved in Arts District planning? Is there an association of all neighborhood councils that would provide an opportunity to engage with most at one time?
A: There are 44 neighborhoods in the City of Richmond and one “Coordinating Council” that meets monthly. City staff will assist the selected team with the coordination of community outreach activities.
5. Q: What is the budget or budget range for this project? A: This is a multi-phased grant funded project. The initial fee range, based on the scope of services for the preliminary Arts District Strategic Plan Phase, will not exceed $50,000. The results for the preliminary phase will provide directions that will include budget recommendations for additional sources of long-term funding for a sustainable, successful effort, over a long period of time. 1598
June 25, 2024
Selection Panel Review
The selection panel consisted of six individuals representing Community Services Department, Economic Development, City Manager’s Office, Richmond Arts and Culture Commission (RACC), and an outside member Arts and Culture Manager from the City of Santa Rosa.
The proposals were distributed to the selection panel and given two weeks to respond with their scoring.
Proposal Score #1 #2 #3 #4 #5 #6 Total Average Score Rank Applicants
Ceres Policy
Research
64 99 92 98 76 87 516 86 1
Richmond
Renaissance
49 44 70 22 37 60 282 47 2
After the initial scoring of proposals, both teams were invited for virtual interviews. Each applicant was informed that they would have a total of 25-30 minute interview via ZOOM. Both candidates were asked the same questions. In the RFP, both candidates were informed of the expectation not to reach out to City Council members until the selection process is complete. Both candidates were also informed that the selection process is ongoing until City Council decides to accept or reject the recommendation made by the six selection panelists.
Interview questions asked of both candidates included:
1. Methodology for Community Outreach – inclusion to help define the characteristics of an Art (s) District(s) for the City of Richmond.
2. Business Structure – who will be responsible for the financial aspects of the contract?
Established Business Structure with employees or Fiscal Agent with volunteers?
3. Identify key staff who will be assigned to work on this Arts District project? 5 Staff vs 1.5 staff and volunteers
4. Budget of $50,000 for Strategic Plan phase
5. Provide examples of model Arts Districts across the country in cities of similar size and demographics?
Interview Score #1 #2 #3 #4 #5 #6 Total Average Score Rank Applicants
Richmond
Renaissance
18 5 9 10 13 15 70 11.7 2
Ceres Policy
Research
22 25 25 25 20 23 140 23.3 1
1599
June 25, 2024
Summary Table of Proposals and Interviews
Consultant Team Independent Arts and
Media Fiscal Agent for
Richmond Renaissance
Ceres Policy Research
Methodology for Community
Research that will Define the
Characteristics of Arts District
-Focus Groups, Surveys
-Listening Sessions
-Focus Groups, Surveys
-Community Chats Meet
w/Neighborhood Councils
for input
Business Structure of
Applicant
Fiscal Agent, Volunteers Ceres Firm paid staff
Key Personnel on project -Ratha Lai Project Mgr.
-Kyndelle Johnson
Community Outreach
-Angela Irvine PhD.Owner
-Kerby Lynch PhD –
Project Manager
-Aisha Caldwell – PhD –
Community Engagement
Staff Admin Support
Budget Proposal Phase I $250,000 – Strategic
Planning only
$50,000 – Strategic
Planning
Examples of Model Arts
Districts of similar size,
Demographics
-Santa Rosa -Detroit, MI
-Pittsburg, PA
-Richmond, VA
Strengths -Community connection
-Richmond Pride Grassroots
volunteers
-RFP response matches
request for Arts District
Strategy Consultant
-Community Connection –
PM from Richmond
-Urban Planning and
Economic Development
experts Use of quantitative
and qualitative methods
Concerns -RFQ/P response did not
match request for Arts
District Strategy.
-Responded to Arts Corridor
not Arts District with wrong
budget
-Proposed solution prior to
reaching out for community
input
-Will need to hire for goal
fulfillment
-Five key volunteers not
paid. No living wage for
work?
1600
June 25, 2024
- One candidate gave
interviews to a local
newspaper implying that they
were awarded $250,000
ARPA funds for an Arts
Corridor, which is misleading
to the public.
Next Steps
The City Council will receive a 10-minute presentation from both applicants to determine which team will be contracted for the initial phase to develop the Arts District Strategic Plan. The City Council will have an opportunity to select and decide on the applicant if it chooses to do so on the same night as the meeting. After the Arts District strategic plan is complete, city staff will return to the City Council to recommend the distribution of the remaining funds in October 2024.
DOCUMENTS ATTACHED:
Attachment 1 - RFQ/P
Attachment 2 - Proposal Response – Richmond Renaissance Attachment 3 - Proposal Response – Ceres Policy Research Attachment 4 - Contract with Selected Vendor (Richmond Renaissance or Ceres Policy Research)
Attachment 5 - Arts and Culture Element, Richmond General Plan 2030, Hyperlink Attachment 6 - Public Art Master Plan, Hyperlink
Attachment 7 - East Bay Express Article from Richmond Renaissance, Hyperlink 1601
Request for Qualifications and Request for Proposals
Consulting Services for Establishing an Arts District(s) Release Date: December 22, 2023
Deadline for Submittal
5:00 PM
February 2, 2024
Contact: Winifred Day, Arts and Culture Manager
Email: [email protected]
Phone Number: (510) 620-6952
City of Richmond
Arts & Culture Division
450 Civic Center Plaza, #CMO300
Richmond, CA 94804
1602
INTRODUCTION
The City of Richmond (City) is requesting qualifications and proposals from consulting firms to develop a plan for establishing an Arts District(s), which includes outreach to businesses, residents, and stakeholders.
This request for qualifications/proposal (RFQ/RFP) describes the project, the required scope of services, the selection process, and the minimum information that must be included in the proposal. Failure to submit the information in accordance with the RFP requirements and procedures is cause for disqualification.
Qualified firms are required to read and understand all information contained within this entire proposal package. By responding to this RFQ/RFP, the firm agrees that they have read and understand these documents.
ABOUT THE CITY
The City of Richmond was chartered as a city in 1909, and is located 16 miles northeast of San Francisco, directly across the San Francisco Bay. The City operates a Counciladministrator form of government consisting of six council members and a mayor.
There are six (6) districts in the City of Richmond with the Mayor elected at-large.
Districts 1, 5, and 6 are on the November 5, 2024, election ballot.
Richmond’s population is 116,448. Richmond is one of the region’s most diverse communities: 44.0% of residents identify as Hispanic or Latino, 18.3% identify as Black or African American alone; 17.5% identify as White alone (not Hispanic or Latino), and
14.2% identify as Asian alone. Richmond is home to a multi-modal transit hub that includes Bay Area Rapid Transit (BART), Amtrak, AC Transit, marina, shopping, and recreational and cultural amenities, and 32 miles of shoreline.
The City of Richmond provides a full range of municipal services including police and fire protection; violence prevention programs; construction and maintenance of highways, streets, and infrastructure; library services; employment and training; storm water and municipal sewer systems; operation of a wastewater treatment facility; and the administration of recreational activities and cultural events. The City also operates the Richmond Memorial Convention Center and the Port of Richmond.
To become better acquainted with the City, please visit the City’s website at http://www.ci.richmond.ca.us
PROJECT BACKGROUND / DESCRIPTION
In 1987, the City of Richmond established the Richmond Arts and Culture Commission (RACC) (Ordinance No. 41.87) with the purpose of promoting and encouraging the development and interest in the fine and performing arts. RACC acts in an advisory capacity to the City concerning all artistic and cultural development as well as the preservation of Richmond’s cultural heritage. RACC has established a Public Art 1603
Advisory Committee (PAAC) who serve up to two, two-year terms. Members of the RACC who may serve on the PAAC are responsible to the RACC for:
• Recommending program policies and procedures
• Recommending public art projects and budgets in the form of a public art annual plan
• Reviewing proposals for public art acquisitions and forwarding acceptance or rejections
• Reviewing and recommending acceptance or rejection of all proposed gifts or loans of artwork to the city, and from the city
• Serving as community liaisons and providing advocacy for the public art program within the city
In 2021, Ordinance No. 08-21 updated the Cities policies on the inclusion of public art in private development. All City Capital Improvement Projects shall contribute an amount equal to one and one-half percent (1.5%) of the total development costs of the City Capital Improvement Project to be set aside for Public Art. Private Developers may construct or install On-Site Art valued at 1% of the Building Development Costs of the applicable Private Development project.
The following Arts and Culture Ordinances, Policies and Procedures documents were adopted on May 4, 2021 and May 18, 2021:
o RMC 3.59 Arts and Culture Commission (Amended 5/18/2021) o RMC 6.50 Public Art Program (Adopted 5/18/2021)
o Public Art Policies and Procedures_v2 (Adopted 5/4/2021)
SCOPE OF SERVICES
The following describes the services that are expected to be ultimately performed by the selected proposer:
1. Develop a plan to create a new comprehensive Arts District Plan. Define the characteristic that qualify as part of an Arts District including a sustainable budget over 10 - 20 years.
2. In collaboration with the City, RACC and community develop a mission, vision, and goals for the City’s Arts District including a focus on cultural equity goals to ensure that they are up-to date and reflect the current goals of the City using public art programming, including temporary and permanent art commissions, cultural grants, and other programs based on feedback from the community. 1604
3. Recommend potential boundaries/site/area/location/City Districts for one or more Arts District’s within Richmond boundaries.
4. Review of existing background documents including but not limited to the 2030 General Plan, updated Art Ordinances and Art Policies and Art Procedures and American Rescue Plan Act (ARPA) Fund Guidelines.
5. Outreach to and engagement of the Richmond community, including a diverse range of stakeholders to discuss; art resources, community desires, and specifically, public art awareness.
6. At least one working session with each of the following groups; RACC/PAAC, each Neighborhood Council, and residents. Meetings with individual city council members may also be required.
7. Identification of other funding sources, local, state, federal, public and private to fully and successfully execute a vision of this magnitude.
8. City Staff time can be available to assist with administrative tasks such as scheduling of community meetings.
The estimated schedule for completion of the strategy, including involvement of the community and presentation to the City Council is a maximum of up to eight months.
Responsive materials should be submitted no later than the close of business, Friday, February 2, 2024.
RFP SCHEDULE
Date Activity
December 22, 2023 Release RFP
January 12, 2024 Final Day to Submit Questions (5:00 PM) February 2, 2024 RFP Due Date (5:00 PM)
February 2024/March 2024 Evaluation of proposals/Interviews of Respondents April 2024 Effective Date of Contract
PROPOSAL FORMAT GUIDELINES
The proposal should be concise, well organized, and demonstrate the proposer’s qualifications and experience applicable to the Project. The proposal shall be limited to no more than10 double-sided pages (8.5 inches x 11 inches), inclusive of graphics, forms, pictures, photographs, dividers, etc. but not of cost proposal, resumes, required 1605
forms, certifications, front and back covers, or letters of commitment from subconsultants. The required font size is 12 point, with minimum left and right margins of one-inch, and top and bottom margins of 0.7 inches.
Each proposal will adhere to the following order and content of sections. Proposal should be straightforward, concise and provide “layman” explanations of technical terms that are used. Emphasis should be concentrated on conforming to the RFP instructions, responding to the RFP requirements, and on providing a complete and clear description of the offer. Proposals, which appear unrealistic in the terms of technical commitments, lack of technical competence or are indicative of failure to comprehend the complexity and risk of this contract, may be rejected. The following proposal sections are to be included in the Respondent’s response:
A. Respondent Cover Letter
A cover letter, not to exceed three pages in length, should summarize key elements of the proposal and shall:
• Confirm that all elements of this RFQ/RFP have been reviewed and understood;
• Include a statement of intent to perform the services as outlined; • Express company’s willingness to enter into an agreement under the terms and conditions prescribed by this RFP, insurance requirements (Attachment 1), Sanctuary City Compliance Statement (Attachment 2), and in the sample Standard Service Agreement (Attachment 3). • Submit a written description and brief history of the company’s experiences, qualifications, and successes in providing analysis/services described herein. Please indicate the number of employees, client base and location of offices.
• Indicate the address and telephone number of the Respondent’s office located nearest to Richmond, California and the office from which the project will be managed.
• Confirm that Respondent has a minimum of three (3) years verifiable California experience.
• Stipulate that the proposal price will be valid for a period of at least 180 days.
• Identify a single person for contact during the RFP review process; and • Cover letter shall be signed by an authorized official of the company.
B. Background and Project Summary Section
The Background and Project Summary Section should describe your understanding of the City, the work to be done, and the objectives to be accomplished. Refer to description of services for this RFQ/RFP. 1606
C. Methodology Section
Provide a detailed description of the approach and methodology to be used to accomplish the Scope of Services of this RFQ/RFP. The Methodology Section should include:
1) An implementation plan that describes in detail (i) the methods, including controls by which your firm manages projects of the type sought by this RFQ/RFP; (ii) methodology for soliciting and documenting views of internal and external stakeholders; (iii) and any other project management or implementation strategies or techniques that the respondent intends to employ in carrying out the work. 2) Detailed description of efforts your firm will undertake to achieve client satisfaction and to satisfy the requirements of the "Scope of Services" section.
3) Detailed project schedule, identifying all tasks and deliverables to be performed, durations for each task, and overall time of completion. 4) Detail how your firm conducts meetings with City Council and staff (all with different backgrounds) to get to twelve top priorities. 5) Detailed description of specific tasks you will require from City staff.
Explain what the respective roles of City staff and your staff would be to complete the tasks specified in the Scope of Services.
D. Staffing and Timeline
Describe the proposed Project team organization, including identification and responsibilities of key personnel. Include resumes of the Project team assigned to this project. Indicate role and responsibility of prime consultants and all subconsultants. If applicable, indicate how local firms are being utilized to ensure a strong understanding of state and local laws, ordinances, regulations, policies, requirements, and permitting.
Provide a proposed approach with projected timeline (including retreats and workshops) to conduct and complete the scope of work.
E. Firm Qualifications
The information requested in this section should describe the qualifications of the firm, key staff and sub‐contractors performing projects within the past five years that are similar in size and scope to demonstrate competence to perform these services. Information shall include:
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1) Key staff that participated on named projects and their specific responsibilities with respect to this scope of service. 2) A summary of your firm’s demonstrated capability, including length of time that your firm has provided the services being requested in this Request for Proposal.
3) Provide at least three (3) references that received similar services from your firm in the past 3 years. The City of Richmond reserves the right to contact any of the organizations or individuals listed. Information provided shall include:
a) Client Name and contact info
• Telephone & e-mail address
• Address
b) Description of services provided including contract amount c) Project start and end dates
F. Cost Information
Provide the total direct and indirect costs to complete all tasks identified in the scope of services. Even if the method of payment to proposer will be fixed fee, a detailed cost breakdown shall be provided identifying:
1) The number of staff hours and hourly rates for each professional and administrative staff person who will be available to the City; 2) All other direct costs, such as materials and reproduction costs; and 3) Sub-consultant services, if needed.
If project work exceeds one-year period, indicate if the proposed rates are fixed for this entire time frame or specifically include how the rates will be adjusted in year two and three of a contract. These rates will also be used to negotiate costs for other projects (including optional tasks) that may be assigned. No additional funds will be paid above and beyond the original quote given by the selected Respondent.
G. Value Added Services
Please provide any additional services of benefit not specifically required herein, which the Respondent offers to provide.
H. Respondent Assignment of Sub-Contract
The resulting contract shall not be assigned, transferred, or sublet, in whole or in part, without the prior written approval of the City of Richmond. If Respondents intend to subcontract any portion of the resulting contract, they must describe their process for selecting such subcontractor(s) and the quality control 1608
measures that the Respondent will employ to ensure that any subcontractor complies with the provisions of Respondent’s contract with the City.
I. Previous Contracts with the City of Richmond
The Respondent shall submit a list which indicates all prime contracts and/or amendments awarded to the proposer by the City of Richmond for the last three (3) years. The list shall include a short description of the Project, the Project scope of work, award date, completion date, name of the City of Richmond’s assigned Project Manager, and contract value.
J. Exceptions to this Request for Proposals
The Respondent shall state whether or not it takes exception(s) to this RFP, including but not limited to the City of Richmond’s Standard Services Agreement – RFQ/RFP (Attachment 3). If the Respondent does take exception(s) to any portion of the RFQ/RFP or contract, the specific portion to which exception(s) is taken must be identified by section number and explained. Requests for changes or additions to sections of City of Richmond’s Standard Services Agreement must be shown by requesting deletion of specific words and/or by providing new requested contract language. Requests for complete replacement of the City of Richmond’s Standard Services Agreement for another contract will not be granted. Failure to make exceptions to the RFQ/RFP or Standard Services Agreement within the proposal will be deemed a waiver of any objection.
Exceptions will be considered during the proposal evaluation process.
K. Statement of Impartiality and Disclosure
The nature of this Project requires an impartial unbiased approach on the part of the Respondent’s team. This proposal shall include a statement declaring that the Respondent’s and sub-consultants are not currently, and will not, during the performance of these services, participate in any other similar work involving a third-party with interests currently in conflict or likely to be in conflict with City of Richmond’s interests. Additionally, proposer is required to disclose any pending or active investigations or litigation that may affect the reputation or ability of the proposer to carry out the Project.
QUESTIONS CONCERNING REQUEST FOR PROPOSALS
All questions must be submitted via the electronic BidsOnline system on the Q&A tab by January 12, 2024 - 5:00pm PST. If the City finds it necessary to issue an addendum, prospective Respondents will receive e-mail notification of addendum.
Otherwise, answers to questions received will be provided on the Q&A tab and notification will be sent by January 19, 2024. It is the proposer’s responsibility to periodically check the BidsOnline website www.ci.richmond.ca.us/bids for any possible Addenda to the RFP that may have been posted.
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Any party submitting a proposal shall not contact or lobby any City Council member, City official, employee (except those specified for contact) or agent regarding the RFP.
Any party attempting to influence or circumvent the RFP, bid submittal, and review process shall have their proposal rejected for violating this provision of the RFP.
Interested parties may download copies of the abovementioned proposal by visiting the City's web site, www.ci.richmond.ca.us/bids. To download t h e RFP, new Respondents will be required to register. Once the Respondent downloads any documents relative to a solicitation, that Respondent's name will appear on the Prospective Bidders list for that project and will receive any addenda or notifications relating to the RFP.
PROCESS FOR SUBMITTING PROPOSALS
Electronic Proposals shall be submitted via the City’s secure online bidding system. All required sections of the proposal must be submitted via the website. Respondent is solely responsible for “on time” submission of their electronic proposal. The Bid Management System will not accept late proposals and no exceptions shall be made.
Respondents will receive an e-bid confirmation number with a time stamp from the Bid Management System indicating that their proposal was submitted successfully. The City will only receive those proposals that were transmitted successfully. The proposal must be received no later than 5:00 p.m., local time, on February 2, 2024. The proposal and any required certifications shall be signed by an individual or individuals authorized to execute legal documents on behalf of the Respondent.
GENERAL GUIDELINES
This RFQ/RFP does not commit the City of Richmond to award a contract, to defray any costs incurred in the preparation of a proposal pursuant to this RFP, or to procure or contract for work. The City of Richmond may reject a proposal without providing the reason(s) underlying the declination. A failure to award a contract to the proposer with the lowest cost proposal shall not constitute a valid cause of action against the City of Richmond. The City shall not be responsible for work done, even in good faith, prior to final approval of the proposed contract. The City may investigate the qualifications of any respondent under consideration, require confirmation of information furnished by the respondent, and require additional evidence or qualifications to perform the Services described in this RFQ/RFP.
The City reserves the right to:
1. Reject any or all proposals.
2. Issue subsequent Requests for Proposal.
3. Postpone opening for its own convenience.
4. Remedy technical errors in the Request for Proposal process.
5. Negotiate with any, all, or none of the Respondents.
6. Solicit best and final offers from all or some of the Respondents.
7. Select one or more Respondents.
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8. Accept other than the lowest proposed fees.
9. Waive informalities and irregularities in proposals. 1611
Public Records
All proposals submitted in response to this RFQ/RFP become the property of the City of Richmond and public records and, as such, may be subject to public review. Documents protected by law from public disclosure will not be disclosed by the City of Richmond if clearly marked with the word "confidential" on each applicable page. Trade secrets may be marked as confidential only to the extent they meet the requirements of California Government Code section 6254.7. Only information claimed to be a trade secret at the time of submittal to the City of Richmond and marked as "confidential" will be treated as a trade secret.
Insurance Requirements
The City of Richmond requires consultants doing business with it to obtain insurance, as shown in RFQ/RFP Attachment 1. The required insurance certificates must comply with all requirements of the standards as shown and must be provided within fifteen (15) days of issuance of the Notice of Intent to Award and prior to the commencement of any work on the Project.
Business Licenses
The successful Respondent and all subcontractors used in the work will be required to hold or to obtain a City of Richmond business license for which the fee will not be waived.
Compliance with City Ordinances
The contractor and all subcontractors shall comply with the City of Richmond Nondiscrimination Clauses in City Contracts Ordinance (Richmond Municipal Code (RMC) Chapter 2.28), Business Opportunity Ordinance (RMC Chapter 2.50), Local Employment Program Ordinance (RMC Chapter 2.56), Living Wage Ordinance (RMC Chapter 2.60) and Ordinance Banning the Requirement to Provide Information of Prior Criminal Convictions on all Employment Applications (“Ban the Box”) (RMC Chapter
2.65), which are incorporated into the Contract Documents by this reference.
Sanctuary City Contracting Ordinance (SCCO)
The Richmond Sanctuary City Contracting Ordinance No. 12-18 prohibits the City from granting and or retaining contracts with any person or entity that provides Data Broker or Extreme Vetting services to the U.S. Immigration and Customs Enforcement Division of the United States Department of Homeland Security (“ICE”). Bidders/Proposers must submit the Sanctuary City Compliance Statement (Attachment 2) with their Bid or Proposal.
Collusion
By submitting a proposal, each respondent represents and warrants that its proposal is genuine and not false or collusive or made in the interest of, or on behalf of any person 1612
not named therein; that the respondent has not directly or indirectly induced or solicited any other person to submit a false proposal, or any other person to refrain from submitting a proposal; and that the respondent has not, in any manner, sought collusion to secure any improper advantage over any other person submitting a proposal.
Withdrawal of Proposals
A respondent may withdraw their proposal before the expiration of the time for submission of proposals by delivering to the Finance Department a written request for withdrawal signed by, or on behalf of, the respondent.
Ownership of Documents
All reports, studies, information, data, statistics, forms, designs, plans, procedures, systems and any other materials produced for the Project shall be the sole and exclusive property of the City. No such materials or properties produced in whole or in part for the Project shall be subject to private use, copyrights or patent rights by Respondent in the United States or in any other country without the express written consent of the City. The City shall have unrestricted authority to publish, disclose (except as may be limited by the provisions of the Public Records Act), distribute, and otherwise use, copyright or patent, in whole or in part, any such reports, studies, data, statistics, forms or other materials or properties produced for this project.
PROPOSAL EVALUATION AND SELECTION PROCESS
All proposals shall be reviewed to verify that the Respondent has met the minimum requirements. Proposals that have not complied with requirements, do not meet minimum content and quality standards, or take unacceptable exceptions to the General Terms and Conditions of the Service Agreement, will be eliminated from further consideration. Proposals will be reviewed and evaluated by an evaluation committee comprised of City of Richmond personnel.
The City also reserves the right to require modifications follow‐up with requests for additional information, including, but not limited to, follow‐up interviews. The City may request Best and Final offers based upon improved understanding of the offers or changed scope of service. The City will negotiate with that respondent to determine final pricing, and contract form. Because this proposal is negotiable, all pricing data will remain confidential until after award is made, and there will be no public opening and reading of Proposals. Overall responsiveness to the RFP is an important factor in the evaluation process. The criteria upon which the evaluation of the proposals will be based include, but are not limited to, the following:
• Quality, clarity, and responsiveness of proposal. (15%) • Experience of key individual(s) assigned to the contract. (15%) • Experience of firm in performing this type of service. (15%) 1613
• References from clients for whom similar work was performed. (15%) • Project schedule and depth of staff available to perform services. (10%) • Ability to meet the needs of City. (10%)
• Understanding of services to be provided and ability to provide requested services. (10%)
• Cost. (10%)
Interview/presentations
Upon request of the City of Richmond, Respondents may be requested to give an oral presentation/demonstration on the proposal, which would include a detailed analysis of how each of the RFQ/RFP requirements would be addressed should Offeror receive the award. An in-person presentation is preferred but City staff will work with the vendor to determine what is feasible. The demonstration shall be conducted at no cost to the City.
The purpose of the presentation is to verify the vendor’s capability, suitability, and adaptability to the performance requirements stipulated in this solicitation.
The City will schedule the interview date, time, and location with the successful finalists.
If the vendor fails to participate in the interview on the specified date stipulated, the City may elect to reject the proposal or to re-schedule at its discretion.
Respondents are not guaranteed an opportunity to have an interview. Respondents may be eliminated from consideration based solely on inability to meet minimal requirements and/or review of written proposals. The City shall be the sole judge of the acceptability of the proposal in conformance with the specifications and its decision shall be final.
Respondents will be given at least two (2) weeks advance notice if required to make a presentation. If required these presentations will take place at the following location:
City of Richmond
450 Civic Center Plaza
Richmond, CA 94804
Pre-Award Negotiations
After the proposals are opened, but prior to award, the City may elect to conduct negotiations with the highest ranked respondents for purposes of:
• Resolving minor differences and information
• Clarifying necessary details and responsibilities
• Emphasizing important issues and points
• Receiving assurances from respondents
• Cost/budget clarifications
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Selection may be made without further discussion, negotiations or Respondent’s presentations; therefore, Respondent shall offer the most favorable terms in response to this RFQ/RFP. Respondent must demonstrate an understanding of the scope of service to be provided and the ability to accomplish the tasks set forth. Respondent shall include information that will enable the City to determine the Respondent’s overall qualifications. The City reserves the right to request additional information or clarification on any matter included in the proposal response, to enable the City to arrive at a final award decision.
Award
When the Review Panel has completed its work, City staff will then recommend between one to three firms to the City Manager for approval. The award of a contract to the successful respondent will be at the discretion of the City Manager/City Council.
The services provided by the successful bidder shall be governed by a Standard Services Agreement (Attachment 3).
Attachment 1: Insurance Certificate
Attachment 2: Sanctuary City Compliance Statement
Attachment 3: Standard Services Agreement
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R
FQ/RFP
CONSULTING
SERVICESFOR
ESTABLISHINGAN
ARTSDISTRICT
R I CHMOND
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RENA I SSANCE
Section A: Respondent Cover Letter
Dear City of Richmond, Richmond Arts and Culture Commission, Thank you in advance for your time and consideration of our proposal. Our group, the Richmond Renaissance, is a collective of artists and community leaders with over 100 years of combined firsthand experience utilizing the transformative power of the Arts to heal, drive social change, preserve traditions, inspire creativity, and connect hearts across generations. We are thrilled to apply for this RFP and confident our aligned mission and values will significantly contribute to the city’s efforts to establish an Arts District.
As local leaders, we know Richmond is in a period of great transformation. Many are still feeling the effects of the pandemic. Climate Change has entered a stage that causes extreme weather in the form of wildfires, mega-storms, and more. Richmond is at a moment where it would be wise to diversify our economy and reduce our reliance on a dying fossil fuel industry. In this critical moment, we believe establishing a world-class arts district will uplift our community, diversify our identity, and improve our quality of life with a focus on the arts.
In our proposal, you will find why we are uniquely suited for this project. Our organization’s mission is to create a Richmond Renaissance by establishing an Arts District and bringing art to all residents in Richmond. Our values and practices employ deep-rooted community engagement, bringing together and fostering community leaders and community-based organizations who can invest deeply in impacting the quality of life in Richmond through the arts. We are excited, and thank you again in advance for your consideration. We hope to discuss this further with you all.
The Key Elements of our proposal include
Cover Letter:
Our cover letter introduces our team's enthusiasm and commitment to the Arts District initiative and our dedication to deep community engagement and centering the best interests of the City and community of Richmond in this initiative.
Brief History of Experience, Qualifications, and Successes:
This section will cover our proven track record of successful community engagement initiatives, our team's extensive experience, diverse expertise, and passion for driving positive change in Richmond through arts and culture.
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Background and Project Summary:
We cover the background and context of our understanding of the Arts District initiative and outline our deliverables and objectives according to the requests of this RFP.
Methodology:
Our interdisciplinary methodology combines multiple disciplines in community engagement and prioritizes inclusivity, agility, and data-driven decision-making to ensure effective community engagement, stakeholder participation, and project success.
Project Timeline:
The project timeline outlines critical milestones, deliverables, and deadlines. We detail the expectations with a monthly work breakdown and include reporting mechanisms and benchmarks. Our timeline is expected to take a total of 9 months.
Staffing and Qualifications:
Our team comprises experienced professionals with expertise in community outreach, strategic planning, and project coordination, equipped to lead and support all aspects of deeply engaging and uplifting our communities and stakeholders' interests and desires in the arts district initiative.
References:
We include references from past clients who can attest to the professionalism, reliability, and ability to deliver exceptional results on similar projects.
Cost:
Our cost proposal reflects fair and competitive pricing, transparently aligned with the scope, scale, and complexity of meaningfully engaging the community in the Arts District Initiative.
Value-Added Services:
In addition to our core services, we offer value-added benefits such as targeted marketing and outreach strategies, private funder engagement, and leveraging expert volunteer leadership to enhance the project's impact and sustainability.
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Responses to Additional RFP Information Request.
We have reviewed and understand all elements of the RFQ and RFP. You may consider our application as a statement of intent to perform the services as requested in this RFP/RFQ. We are excited about the possibility, and if selected, we will agree to the terms and conditions prescribed by this RFP, including insurance requirements (Attachment 1), Sanctuary City Compliance Statement (Attachment 2), and information laid out in the sample Standard Service Agreement (Attachment 3).
The Richmond Renaissance currently has no employees, has been volunteer-run, and has benefited from in-kind service donations from Critical Impact Consulting for strategic planning and organizational development. Our founders have volunteered their time and expertise, totaling the community's sweat equity investment in this initiative.
Our Client base is focused on the Richmond community.
Office Location: C/O RPA 12929 San Pablo Ave, Richmond, CA Phone Number: (415) 272-5311
We confirm those responsible for this project have at least three (3) years of verifiable California experience.
We assure you that the proposal price will be valid for at least 180 days.
Our single point of contact for this project will be Ratha Lai.
Email: [email protected]
Phone Number: 510-313-3144
Sincerely
BK Williams
Richmond Renaissance Steering Committee Chair
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Brief history of experiences, qualifications, and successes:
Our organization, the Richmond Renaissance, consists of individuals with over 100 years of combined experience in arts and community engagement. We informally came together one year ago to create more connections to the arts for Richmond Residents. We identified an opportunity to establish an Arts District through our discussions and monitoring of city policies such as the American Relief Plan Act. We discussed and settled on a key objective in our mission to present Richmond's tremendous and timely initiative to create an Arts District that can utilize the transformative power of Art to our entire community. Our group has become a fiscally sponsored project of Independent Arts and Media (IAM), which supports various artistic endeavors.
Independent Arts and Media (IAM) provides fiscal sponsorship services to support affiliate projects, believing in the importance of diverse voices and free expression in culture. Founded in 2000, IAM has supported over 200 organizations and projects in the San Francisco Bay Area.
Richmond Renaissance steering committee
BK Williams is an arts advocate, filmmaker, innovative community leader, and collaborator with RACC. Co-Founder Richmond Film Collective. Former chair QWOCMAP, film training.
Bryan Alvarez is an educator, researcher, and professional musician. He graduated from Oberlin College and Conservatory of Music with dual degrees in Biology and Trombone Performance and a Ph.D. in Psychology from UC Berkeley. His passion for arts education has led him to Richmond, where he now runs arts programming for 4,000 students as the director of school partnerships at East Bay Center for the Performing Arts.
Florene Wiley is a seasoned arts administrator who has worked with the Apollo Theater, Scholastic Inc., Uniworld Advertising, the City of Oakland, and Snap Judgment Studios. She was appointed to the Richmond Arts and Culture Commission in 2018, serving as Chair from 2020-2022. She is President/CEO of Spirit & Image LLC, presenter of the Actors Workshop with Flo Wiley, and community theatre productions in Richmond.
Jenny Balisle, a practicing artist for over twenty years, has had her artworks exhibited in both local and international venues. Jenny was the Richmond Arts & Culture Commission and Public Art Advisory Committee Chair. She is currently the ARTSCCC (Arts Contra Costa County) Executive Founding Director.
Nava Mizrahhi is a lifelong women’s rights and social justice activist and community leader in Richmond since 2014, including Richmond Rainbow Pride, Sisters in Solidarity, former Richmond Arts & Culture commissioner, and Suppressed Histories Archives—global women’s history.
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Critical Impact Consulting, led by Ratha Lai, will be the primary staff person responsible for this community engagement RFP. Ratha brings a decade of experience in empowering local communities, especially in Richmond, with notable successes in influencing the Air District from as early as 2014 that have resulted in small changes over time that now have made a landscape possible for the Air District to hold polluters accountable and increasing fines for violations, resulting in massive financial compensation for Richmond. Ratha has organized Richmond community festivals and The 2017 Richmond People’s Assembly. The People’s Assembly included a deep canvassing effort where he completed training for 9 local organizations to canvass and reached over 1,000 residents in less than two months. This resulted in new initiatives in Richmond, such as the Reimagining Public Safety effort known as Reimagine Richmond. Ratha's efforts as a consultant included outreach to African Americans in Richmond, uplifting their concerns about COVID and the vaccine and ultimately helping to ensure the safety and importance of vaccination. Ratha’s communication strategies were adopted by the Kaiser Foundation and reproduced en masse to a national audience. Ratha recently developed the community engagement plan and a communications toolkit for the AB 617 Community Emissions Reduction Plan Committee.
Kyndelle Johnson is a community advocate and organizer whose experience with many issues prepares her well for neighborhood outreach and engagement toward an Art District in Richmond, CA. Since 2015, she has worked on youth empowerment, racial and social equity, and housing justice issues. With a personal dedication to mental health awareness and creative expression, she is dedicated to having everyone's voice heard and valued in developing a world-class arts district in a beautiful, diverse city like Richmond. Kyndelle grew up in Richmond and El Cerrito and studied Spanish and Politics at Oberlin College. She specialized in international studies and took courses in sociology and art history to understand how artistic and cultural expression can build community power.
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Section B: Background and Project Summary Section
According to the California Healthy Places Index, a data reference that explores community conditions shows that living in Richmond can cut your life shorter than it needs to be. Richmond falls within the lowest quartile, whereas communities within the Macdonald Avenue District rank at 14.2% and surrounding communities between 15% and 23.5%.
Furthermore, the combined pandemic and inflation have worsened conditions for Richmond residents. Despite this, Richmond residents are resilient and have developed a history of organizing and building community. Policing and crime have changed in Richmond, and the American Relief Plan Act (ARPA) has presented a massive opportunity to Richmond.
The $43+ million American Relief Plan Act must be spent on improving several areas in Richmond before the funds expire. We identified that the ARPA funds could allocate up to a maximum of $1.8 million to improve the community through the arts.
Richmond Renaissance’s mission is to revitalize Richmond through the Arts by establishing a world-class arts District on Macdonald Ave and 23rd Street. We believe establishing an Arts District as part of the fabric of Richmond will beautify Richmond in profound ways that will go beyond our imagination. In addition to the astounding wonder that art has on us, an Arts District has the potential for multiple social and economic benefits.
Our methodology includes implementing a deep and equitable community engagement process and recruiting community artists and leaders to help steward and maintain the Arts District. This aligns with fostering civic participation, facilitating cultural engagement, and allowing for the collective expression of Richmond throughout the District. This methodology will also allow us to bring leaders and organizations from our diverse community and empower them to co-create this district for the people and by the people.
Deliverables
● Research Report and Review of existing background documents, including but not limited to the 2030 General Plan, updated Art Ordinances and Art Policies and Art Procedures, and American Rescue Plan Act (ARPA) Fund Guidelines. ● Arts District Master Plan with 10-20-year financial projection and financial development with a mission, vision and goals, boundaries and location areas, and 12 priorities. ● An implementation plan that is inclusive of the community engagement feedback. ● Identify and recommend existing and new City support roles and resources, such as public art programming and temporary and permanent art commissions. ● Identify and cultivate additional funding sources outside of Richmond. ● A report on the community engagement findings.
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Section C: Methodology Section
Deep Community Engagement: We believe in deep community engagement and complement our community meetings with canvassing and direct contact with critical stakeholders. This includes 1 on 1 engagement with key internal and external stakeholders.
Committees and Working Groups: Our group has been actively reaching out to inform and bring community stakeholders to take an active and engaged leadership role in different aspects of the arts district. Our community committees and working groups will participate, bring interested community members into the listening session, and provide valuable feedback and insight for the Arts District.
Canvassing and Direct Stakeholder Outreach: We will canvass the surrounding areas of the proposed districts and engage stakeholders from businesses, community organizations, associations, community leaders, neighborhood councils, and philanthropic organizations interested in investing in Richmond.
Community Listening Sessions: Our engagement strategy will include engagement and active listening and conducting a series of community listening sessions around critical aspects of the arts districts to understand our residents' diverse needs, desires, and aspirations. Our listening sessions will begin with a presentation of the vision, research findings, and a conceptual framework where participants can engage before, during, and after the listening session.
Listening sessions will be conducted virtually and in person, and notes will be recorded and documented in a community engagement report. Listening Session topics will include but are not limited to Structural art installation, Street Beautification, Traffic Calming Art, business development, special events, public programs, black history, and culture.
Diversity, Equity, and Inclusion: Our approach to community engagement prioritizes diversity, equity, and inclusion at every stage. We recognize the importance of engaging with a wide range of voices, perspectives, and experiences within the community to ensure that all stakeholders have an equal opportunity to participate and contribute. Our direct contact strategies and community listening sessions create inclusive spaces for dialogue and creativity.
Lean Experimental Process: We employ a lean experimental process emphasizing agility, iteration, and continuous improvement. This approach involves testing hypotheses, gathering feedback, and making data-driven adjustments in real-time to optimize our engagement efforts.
By adopting a lean methodology, we can quickly identify what works and what doesn't, allowing us to adapt our approach to meet the evolving needs and preferences of the community. 1623
Developing SMART Goals: We believe in setting clear, measurable, achievable, relevant, and time-bound (SMART) goals to guide our community engagement efforts. Our methodology involves working closely with stakeholders to define specific objectives that align with the overall vision and objectives of the Arts District project. These goals serve as benchmarks for evaluating the success of our engagement activities and ensure accountability throughout the process.
Report Presentation: Our approach to report presentation is designed to effectively communicate key findings, insights, and recommendations to stakeholders clearly and compellingly. We utilize a variety of visual and narrative formats to present complex information in an accessible way, ensuring that all stakeholders can understand and engage with the content.
Additionally, we prioritize transparency and openness by providing opportunities for feedback and discussion on the report findings.
Planning Meetings: Our methodology includes regular planning meetings with key stakeholders to review progress, discuss challenges, and make strategic decisions about the direction of the community engagement process. These meetings serve as opportunities to align on priorities, allocate resources, and adjust strategies as needed to achieve our goals. We emphasize collaboration, inclusivity, and participation in planning meetings to ensure that all voices are heard and considered in the decision-making process.
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Section D: Project Timeline
[Month 1-2] Research, Analysis, and Draft Concept Plan
1 on 1 with Internal Stakeholder Clients:
We will meet 1 on 1 with internal stakeholder clients such as but not limited to RACC commissioners, city staff, and city council members to gather initial thoughts, aspirations, and concerns for the Arts District.
Review existing city policies and ordinances:
Review city policies that have implications on the Arts District project, such as but not limited to the 2030 General Plan, updated Art Ordinances and Art Policies and Art Procedures, and the American Relief Plan Act (ARPA) Fund Guidelines. In addition to city policies, we will examine state and national policies and initiatives that can be used to support our initiative.
Summary Report on Policy Findings and Initial Concept Plan Summarize into a report brief the policy implications and initial concept plan for the Arts District. This will include an initial concept, mission, vision, and possible goals to be presented and improved through the community engagement session. Summaries of the 1 on 1’s with internal stakeholders will also be included, as well as discussion with city staff about future implications the staff may take on as part of this initiative. The concept plan will consist of initial boundaries for the Arts District.
Strategic Planning Meeting: 12 Priorities
Conduct a strategic planning meeting with internal stakeholders to incorporate the summary report, policy findings, and initial concept plan and determine 8 -12 priorities for the Arts District project. The 12 priorities will adopt the best practice of SMART Goal development.
Additional priorities will be added through the community engagement process.
Community Survey and Suggestions Form
A community survey will be developed with input from internal stakeholders. This survey will serve as one of the entry points for community stakeholders to provide suggestions about what they would like to see as part of the Arts District and their interest and satisfaction with the concept plan and vision.
Visual Aid Development and Outreach Materials.
We will develop visual aids and outreach materials for community outreach that can be used for the city in website and social media publications.
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[Month 2-6] Community Engagement and Outreach
Canvassing the Corridor: We will canvass the District to reach businesses and organizations directly in the canvass area. We will work with community organizations to gather information from their members, attend events to spread awareness and provide the options to provide feedback, such as the community survey, attending a community listening session, or participating in a working group. During this phase of work, we will be able to gather individuals with specific interests in the concept areas of a public art installation, street beautification, events, business development, public programs, and artist-in-residence.
Community Listening Sessions
We will conduct a series of community listening sessions that will engage specific stakeholders and concept areas to gather wide and in-depth feedback and input from the community. The Community Listening Sessions will consist of presenting the concept plan, collecting feedback and input on the concept plan, and opening up time for feedback and input on ideas and concepts outside of the concept plan. We will collect and gather all the information and summarize it into the community engagement summary report presented to the RACC and City Council. Listening Sessions can be virtual or in person, depending on participants' preference.
We will reach out to all 37 neighborhood councils and provide two options: conducting a community listening session at a neighborhood council meeting or inviting neighborhood councils to participate in a concept-based community listening session with residents. We will try to combine listening sessions where possible but will be prepared to conduct 50 possible community listening sessions.
Concept-Based Community Listening Sessions
● Small Business
● Public Arts Installation
● Traffic Calming Art
● Street Beautification
● Richmond Art Murmur Walk
● Special Events
● Black History Arts and Culture
● Latinx History and Culture
● Indigenous History, Arts, and
Culture
● Southeast Asian Arts and Culture
Special Event Pilot
At the end of month four of the community engagement process, we will determine a special event pilot, such as a poetry night, lecture, or an event defined by the engagement process. We will organize the event at a community-based organization or available facility. This pilot event will allow us to determine the community's interest and gain valuable information about what part of the arts district implementation would look like. We will incorporate this information into the implementation plan and include it in the community engagement report. 1626
[Month 6-7] Community Engagement Report
Summarize and Analyze data from community listening sessions:
We will compile all the data and information collected from the listening sessions and put them in a report that details the approval and satisfaction of the concept plan, additions and adjustments, and eliminations from the concept plan. Community member's preference for prioritization of projects.
Present community engagement findings and collect feedback from RACC.
We will present the findings and collect feedback from the RACC.
City Council through study session.
We will take all the cumulative feedback from the report and RACC feedback and conduct a special study session with the city council to review and discuss the community engagement findings and concept plan. We will finalize, but not be limited to, 12 Key Priorities and Goals, Mission and Vision of the Arts District Plan.
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[Month 8-9] Arts District Master Plan Development and Presentation Develop a Financial Plan for the finalized concept plan that makes 5,10, and 20-year projections and expectations for the Arts District. The financial plan will also include how much financial resources will be needed to realize the concept fully and what can be done with current resources that make a return on investment for the city. Potential funding from sources outside the City of Richmond will also be included. An Economic Development Specialist will be subcontracted to support this specific effort.
Implementation Plan
Develop the implementation plan for actualizing the concept. This will consist of working 1 on 1 with select city staff to ensure the city is prepared to undertake new roles and responsibilities that may arise with implementing the new initiative.
Implementation Schedule
We will utilize the information gathered and work with city staff to create a schedule and implementation plan for the Arts District
Visual Aid Development.
Develop and compile visual aids for the city's website and social media materials. This will include creating a Google Map with points where community members can select and see their input and how the concept will begin to materialize.
Community Presentation and Celebration
At the end of the project, we will organize a community presentation and celebration of the finalized concept and Master plan for the Arts District. We will feature the voices of our community stakeholders as part of the process and celebrate a community-driven initiative to transform Richmond into a world-class Arts destination. 1628
Section D and E: Staffing and Qualifications
Summary of demonstrated capability and qualifications:
Ratha Lai from Critical Impact Consulting will be the primary person responsible for executing the plan for this RFP. Steering Committee members from the Richmond Renaissance will provide advisory capacity to this RFP at no cost. BK Williams, the lead for the Richmond Renaissance, will play a more involved advisory role in the project. Our Fiscal Sponsor, IAM, will also support with advising and marketing services. Kyndelle Johnson will be providing support for community engagement.
Richmond Renaissance
Our steering committee comprises over 100 years of combined experience in the arts and community engagement.
Richmond Renaissance Steering Committee
BK Williams is an arts advocate, filmmaker, innovative community leader, and collaborator with RACC. Co-Founder Richmond Film Collective. Former chair QWOCMAP, film training.
Bryan Alvarez is an educator, researcher, and professional musician. He graduated from Oberlin College and Conservatory of Music with dual degrees in Biology and Trombone Performance and a Ph.D. in Psychology from UC Berkeley. His passion for arts education has led him to Richmond, where he now runs arts programming for 4,000 students as the director of school partnerships at East Bay Center for the Performing Arts.
Florene Wiley is a seasoned arts administrator who has worked with the Apollo Theater, Scholastic Inc., Uniworld Advertising, the City of Oakland, and Snap Judgment Studios. She was appointed to the Richmond Arts and Culture Commission in 2018, serving as Chair from 2020-2022. She is President/CEO of Spirit & Image LLC, presenter of the Actors Workshop with Flo Wiley, and community theatre productions in Richmond.
Jenny Balisle, a practicing artist for over twenty years, has had her artworks exhibited in both local and international venues. Balisle was the Richmond Arts & Culture Commission and Public Art Advisory Committee Chair. She is currently the ARTSCCC (Arts Contra Costa County) Executive Founding Director.
Nava Mizrahhi Life lifelong women’s rights and social justice activist, a community leader in Richmond since 2014, including Richmond Rainbow Pride, Sisters in Solidarity, former Richmond Arts & Culture commissioner, Suppressed Histories Archives—global women’s history.
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Independent Arts and Media ( Fiscal Sponsor)
Independent Arts & Media believes that diverse voices and free expression are a cultural necessity. Through personalized attention, professional expertise, and an active network, we provide fiscal sponsorship services to support our Affiliate Projects. For over 20 years, for more than 200 organizations and projects, IAM has been a partner in bringing powerful works to our community.
Founded in 2000, IAM built a vibrant array of accessible, affordable media and arts services for producers in the San Francisco Bay Area. Early programs included fiscal sponsorship, the award-winning journalism project Newsdesk.org, and public events such as the annual Expo for the Artist & Musician. While independently managed, these programs shared core values of free expression, public participation and informed civic dialogue.
From 2000 to 2010, the Expo for the Artist & Musician served as a signature organizing and connection event for the Bay Area creative community and beyond, bringing in participants from as far away as San Diego, Portland, and the Sierras.
Over the years, IAM would go on to provide fiscal sponsorship to over 200 programs and producers that share our Mission. These programs have won distinguished awards and served crucial roles in empowering community participation in local culture and community.
IAM currently supports over 100 affiliate projects dedicated to non-commercial work in media and the arts, including publishing, theater, dance, music, visual art, film and video, journalism, history, and public events production.
Kyndelle Johnson ( Community Engagement Support),
Education and Background: A current Richmond West Contra Costa County resident, Kyndelle grew up in Richmond and El Cerrito and studied Spanish and Politics at Oberlin College. She specialized in international studies and took courses in sociology and art history to understand how artistic and cultural expression can build community power.
Successful Community Engagement Project
In her past role as membership coordinator at a Richmond-based housing organization, she spread local awareness about a movement toward community-owned housing. Using in-person outreach, digital organizing, and adult education efforts, she grew the membership to over 100 people. She coordinated a group of local leaders to champion real estate projects in their neighborhood. In advocating for community involvement and real estate development, she has used arts and culture to connect residents and local artists to share their stories to build understanding and power.
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Critical Impact Consulting, Ratha Lai (Primary Consultant/Subcontractor) Education and Background: Ratha comes from a refugee Cambodian family and has an English degree from Cerritos Community College and an Interdisciplinary Studies Field degree from UC Berkeley with a concentration on Power, Language, and Contemporary Society.
Interdisciplinary Community Engagement Strategies: Since 2009, Ratha has been developing and refining the best practices for community engagement that stem from cutting-edge theories from UC Berkeley, such as the use of framing and metaphors combined with traditional outreach practices such as equitable facilitation, active listening as well as strategies from businesses such as the lean experimental method as well as marketing strategies that all get implemented to ensure that every community engagement initiative is done with extreme attention to detail and thoughtfulness that empowers communities and make long-lasting change.
Successful Community Engagement Projects
2012 CA Statewide Community Listening Sessions:
Ratha, as part of the Greenlining Institute, led a statewide community listening session to gather feedback from underrepresented communities about the accessibility of the voter guide and voting services from the CA Secretary of State’s office. All of the five recommendations were accepted, which included adopting plain language standards that improved readability and cut down on paper costs, expanding language access beyond the three main languages to include up to 9 languages as reflected in the census, expanding voter registration to intersect with other branches to encourage voter participation, expanding early voting and making a commitment to bring the voter guide and voting information online.
2014-2017 Air District Community Engagement
From 2014 to 2017, Ratha engaged the 9 Bay Area counties and developed a network of diverse stakeholders to learn about and advocate for changes in the Air district concerning refinery pollution and air quality. He garnered 20,000 residents to participate and provided feedback through letters to the air district staff and board members. Ratha led this work as part of the Sierra Club Bay Chapter and the Asian Pacific Environmental Network (APEN). While working at APEN, he distilled a complex understanding of the Air District into everyday terms that facilitated engagement from an underrepresented community with limited English. Ratha also made refinery pollution and air quality a national issue and helped to message and gain over
70.000 letters nationwide to advocate for clean air for Richmond and Contra Costa residents. 1631
2016 Richmond Our Power Festival
Richmond organized the Our Power Festival that brought together over 50 community-based organizations, businesses, and stakeholders at Nicholl Park to celebrate Richmond’s community’s effort to transition to clean energy. The event was family-friendly, including art, music, skating competitions, electric vehicle test drives, and more. The event led to a stronger community that eventually led to the creation of the Richmond Our Power Coalition. 2017 Richmond People’s Assembly
Ratha organized the Richmond People’s Assembly, which included a deep canvassing effort that engaged over 1,000 residents to complete a survey that asked them what is an issue they are dealing with.The results were used to organize an all-day assembly that included several breakout sessions on safety, education and youth, housing, and the local environment and health.
Ratha trained 24 leaders to lead 12 breakout sessions with over 200 participants attending. This resulted in addressing displacement issues, reimagining public safety, and more. 2021 African Americans The Virus and the Vaccine
In 2021, Ratha provided community engagement and communications consulting service for Ya-Neema Healing Circle as part of a grant from the Kaiser Foundation. African Americans were dying from Covid at a higher rate, and needed to find a way to address the issue and ensure African Americans were getting vaccinated. Ratha supported Mz. Dewanda Stewart, with communications material and logistics, created a virtual forum that brought African American leaders from the medical, faith, and community to discuss and validate concerns from the African American community during COVID-19. The forum was turned into several short video formats with specific points addressing different concerns. The Kaiser Foundation adopted the strategy and replicated the approach at a national level. 2022-2023 Spare The Air Resource Teams (Bay Area Air Quality Management District) Ratha was contracted by The Air District to conduct an environmental justice review of the Spare The Air REsource Teams programs. Ratha identified key needs and changes and contacted close to 100 environmental organizations throughout the 9 Bay Area regions to garner interest and identify barriers to participation with the Spare The Air Resource Teams programs. 2023 AB 617 West Contra Costa Community Emissions Reduction Plan Committee Ratha was hired to help develop a community engagement plan and a communications toolkit for community steering committee members to conduct outreach to residents in West Contra Costa and engage in the community emissions reduction plan. This process is currently in progress at the time of this proposal submission.
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References:
Client Name: Bay Area Air Quality Management District
Contact Information:
Contact Name: Azibuike Akaba (Ah-ze-boo-keh) ( Ah-Khab-ah) Telephone: 415-243-7261
Email: [email protected]
Address: 375 Beale St. #600, San Francisco, CA 94105
Description of services provided: Contract awarded to Critical Impact Consulting. Conducted an organizational review and provided strategic planning consulting and community outreach to underrepresented community organizations in the Bay Area for the Spare the Air Resource Teams.
Contract Amount $250,000
Project Start and End Dates: August 2022 - July 2023
Client Name: West Contra Costa AB 617 Community Emissions Reduction Plan Committee Contact Information
Contact Name: Nancy Peace
Telephone: 925-529-2393
Email: [email protected]
Address: N/A This is a community committee meeting are conducted virtually.
Description of services provided: Review policy documents and develop a community engagement plan and communication toolkit for the steering committee to conduct outreach for the community emissions reduction plan.
Contract Amount: $14,100
Project Start and End Dates: March 2023-August 2023
Client Name: Ya Neema Healing Circle
Contact Information:
Contact Name: Ms. Dewanda Stewart
Telephone: 510-776-5453
Email: [email protected]
Address: 13728 San Pablo Ave #1008, San Pablo, CA
Description of services provided
Provided communications support and digital logistics. Created social media profiles and materials. Supported the organization of a digital forum and produced a mini video documentary of community testimonials for the covid vaccine.
Contract Amount: $3,500 (Additional donated in kind-service of $17,500) Project Start and End Dates July - September 2021
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Section F: Cost Information
Contract Amount $250,000.00
Staffing and Sub Contracting
Principal Consultant
Flat monthly retainer
Hourly billing capped at
16.67 hours $90,000.00
Community Engagement
Sub-Contractor $50 at 20-25 hrs $45,000.00
Economic Development Specialist Flat Rate $15,000
Project Advisor Flat Rate $10,000
Subtotal $160,000.00
Community Engagement:
Engagement Goal: 20 940
Community Listening Sessions 1 47
Venue: ($450) $450 $21,150
Food and Refreshments
$15 per person (20 est) $300.00 $14,100.00
Translation Services $300.00 $14,100.00
Flyers and Outreach Materials - $1,000
Virtual Meeting Software ( provided by
Critical Impact Consulting)
Est Cost: $1,050.00 $50,350
Administrative Costs Fiscal
Sponsorship
12.5% of total Award Amount $31,250.00
Totals
Staffing and Sub Contracting $160,000.00
Community Engagement $50,350
Admin Fee $31,250.00
Totals $241,600.00
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Section G: Value-Added Services
Marketing and Outreach
Our approach to marketing and outreach adds value by leveraging innovative strategies to maximize visibility and engagement within the community. We recognize the importance of effectively communicating the Arts District project's mission, goals, and activities to a diverse audience. Through targeted messaging, creative content, and strategic partnerships, we aim to generate excitement, interest, and support for the project among community members, stakeholders, and potential collaborators. By amplifying the project's reach and impact, our marketing and outreach efforts build awareness, foster connections, and mobilize participation in the Arts District initiative. As an IAM project, IAM supplies a budget of $2,000 for digital marketing.
Private Funder Engagement
Our engagement with private funders and foundations adds value by cultivating meaningful relationships and securing critical resources to support the sustainability and growth of the Arts District project. We understand the importance of this and believe this effort aligns with the mission and objectives of potential donors. We have already secured interest from several funders and will contribute to resourcing the Arts District’s programs and initiatives.
Expert Volunteer Time
Our utilization of expert volunteer community leadership time adds value by harnessing the knowledge, skills, and passion of experienced individuals to drive the success of the Arts District project. We recognize the invaluable contributions that volunteers can make in providing expertise, guidance, and leadership across various aspects of the initiative. Whether through advisory roles, committee participation, or specialized project support, our approach empowers volunteers to leverage their unique talents and networks to advance the mission and objectives of the Arts District. By tapping into the collective wisdom and dedication of community leaders, we enrich the project with diverse perspectives, expertise, and resources, thereby strengthening its impact and sustainability for the benefit of all stakeholders. 1635
Section H Respondent Assignment of Sub-Contract
An additional sub-contractor will be hired to support economic development and financial planning after the community listening sessions and during the planning and special study sessions with the city council and the Richmond Arts and Culture Commission. Our process of finding an economic development specialist will begin with a local hire approach, identifying qualified specialists with the sought-after experience of being able to put together an economic plan, financial forecasting, and experience working with diverse communities and using the Arts will be measured for subcontracting an economic development specialist. To ensure quality control, this person will work directly with our primary consultant, who oversees, directs, and provides quality control for the subcontracted economic development specialist.
Section I: Previous Contracts with the City of Richmond No previous contracts with The City of Richmond.
Section J: Exceptions to this Request for Proposals.
No exceptions. We have reviewed and will comply with the City of Richmond's requirements for this proposal.
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Section K: Statement of Impartiality and Disclosure
The Richmond Renaissance and all subcontractors listed for this project will be committed to upholding transparency, integrity, and fairness. Providing a clear statement of impartiality and disclosure regarding our practices and affiliations is essential. We firmly believe in honesty and openness in all interactions with our clients, stakeholders, and audiences.
Impartiality: We strive to maintain impartiality in all aspects of our operations, including but not limited to community engagement, stakeholder interactions, planning meetings, recommendations, and decision-making processes. Our commitment to impartiality ensures that personal biases, external pressures, or conflicts of interest do not influence our actions and judgments.
Disclosure: In the spirit of transparency, we disclose any relevant affiliations, financial interests, or potential conflicts of interest that may impact our work. This includes partnerships, sponsorships, investments, or other relationships that could affect our content's objectivity or recommendations.
By openly disclosing potential conflicts of interest, we empower our clients and stakeholders to make informed decisions and maintain trust in our integrity. Transparency is fundamental to our commitment to accountability and ethical conduct.
Our dedication to impartiality and disclosure underscores our unwavering commitment to providing accurate, unbiased information and services to our audience, fostering trust and credibility in everything we do.
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FebUXaU\ 18, 2024
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Ratha Lai
8419 Bel View Court Apt. R1– El Cerrito, CA 94530 - (510) 313-3144 - [email protected]
EDUCATION
University of California, Berkeley CA – B.A. Interdisciplinary Studies Field: Power, Language & Society May 2012 Cerritos Community College, Norwalk CA – A.A. English Aug 2009
SKILLS & ABILITIES
• Taking initiatives in creating excellent work environments, developing and implementing innovative programs, overseeing and coordinating major campaign responsibilities. • Fluent in speaking Khmer, and maintains a diverse professional and personal stakeholder network. • Experience leading organizations and departments through periods of substantial growth and transition. • Excellent communication, teamwork and leadership abilities working with diverse constituent groups. • Extensive understanding of the complexities of working with underserved BIPOC populations.
EXPERIENCE
Critical Impact Consulting
Founder and Executive Director San Francisco Bay Area, CA 11/2019 – Present • Developed a propriety theory of change and power that combines Nobel Prize winning thought leadership with twelve years of experience leading high stakes campaigns for racial justice and community empowerment. • Facilitated leadership development of BIPOC community leaders through workshops, trainings, and 1 on 1 coaching. • Consult Executive Leaders on matters regarding justice, equity, diversity and inclusion. • Provide clients with strategic public and social media communications during highly public and time constrained periods such as elections, global conferences, as well as responding to Covid in BIPOC communities. • Conduct Policy intervention on behalf of Environmental Justice Communities in coordination with environmentalists and Labor Union leaders on CA statewide policy impacting the jobs and wages for the future of CA energy industry. • Fulfill public speaking invites and requests on issues regarding race, power, justice and the environment.
Asian Pacific Environmental Network/Richmond Our Power Coalition Program Coordinator/Community Organizer San Francisco Bay Area, CA 11/2016 – 12/2019 • Founding staff member for the Richmond Our Power Coalition. Grew coalition from a three-organization steering committee to nine organizations, and multiple campaigns and committees by the end of term. • Facilitated meaningful participation and incorporated Jemez Principles of Organizing for each coalition member to actively provide feedback, insight, wisdom, and community engagement to coalition events, activities and initiatives. • Proactively drafted written documents of incorporation and coalition agreements, reports, and governance language. • Oversaw and lead the coalition involvement for community and fundraising power building events that ranged from community town halls, canvassing campaigns, collaboration with national movements, candidates forum, workshops, assignments involving group travel and funder engagement.
The Sierra Club Bay Chapter
Conservation Coordinator/Community Organizer San Francisco Bay Area, CA 09/2014 – 11/2016 • Pioneered the relationship-building effort between environmentalists and BIPOC organizations. • Co-created multiple campaigns, coalitions and networks that empowers and fosters a relationship between the Bay Chapter and Environmental Justice communities and organizations. • Recruit and train local volunteer teams and interns to conduct outreach and engage people in our campaigns. • Manage Conservation Internship program including, recruitment, retention, training, and tracking of interns.
The Greenlining Institute
Field Manager/Program Coordinator Berkeley, CA 08/2012 – 11/2013 • Recruited, trained, and personally supervised 50 voter outreach specialists, 3 Field Organizers, and developed and facilitated a campaign fellows program for developing political skills for high school and undocumented applicants. • Coordinated a statewide listening tour collaborating with community groups ranging from senior citizen residences, disability, faith, youth, and race-specific groups.
• Researched and track policies that affect marginalized communities and drafted policy positions, data analysis summaries, research findings, and full report publications in accordance to Greenlining’s mission and values. 1639
February 18, 2024
RE: Letter of Commitment for Arts District Community Engagement Initiative Dear City of Richmond and Richmond Arts and Culture Commission, I am excited and committed to providing and delivering the services detailed in the RFP. As part of this community engagement initiative under the Richmond Renaissance and in service of the City of Richmond’s goals in the RFP, I am committed to the following:
● Timely Completion of Assigned Tasks: I commit to fulfilling all assigned tasks and responsibilities within the agreed-upon timelines. Timely completion of deliverables is crucial to the success and effectiveness of the initiative.
● Adherence to Quality Standards: I pledge to uphold high-quality standards in all aspects of work related to the community engagement initiative. This includes maintaining professionalism, accuracy, and attention to detail in all deliverables and interactions. ● Respect for Diversity and Inclusivity: I acknowledge the importance of diversity and inclusivity in our community engagement efforts. I understand that I am expected to demonstrate respect, sensitivity, and inclusivity in interactions with community members from diverse backgrounds.
● Transparent Communication: I agree to maintain open and transparent communication with our organization, clients, and other stakeholders involved in the initiative. I will ensure prompt communication to ensure alignment, address concerns, and foster a collaborative working environment.
● Participation and Collaboration: I agree to actively participate in planning meetings, workshops, and other collaborative activities related to the community engagement initiative.
Your input and expertise are invaluable in shaping the direction and impact of our efforts.
By signing this Letter of Commitment, I affirm my dedication to supporting the community engagement initiative and fulfilling the outlined expectations detailed in the RFP.
Sincerely,
Kyndelle Johnson
________________________________________________
Kyndelle Johnson
February 18th, 2024
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KYNDELLE JOHNSON
[email protected] | 510-610-1844 | 950 Avis Dr. El Cerrito, CA 94530 Summary
Community Outreach and Campaign Development Specialist
Passionate community-owned land advocate & housing justice organizer with 5+ years of experience in political campaign development and membership cultivation through communications and educational efforts. Excellent verbal and written communication skills, multimedia community education resource creation skills, and creative problem-solving skills for cutting-edge organizations. Individually developed member and supporter orientation programs for international organization The Richmond Progressive Alliance, Black Alliance for Peace and local land trust, Richmond LAND; these resources have politicized and mobilized over 400+ people globally.
Education and Training
Oberlin College | Oberlin, OH
Bachelor of Arts in Politics 2020
● Minor in Hispanic Studies and Concentration in International Studies ● Intensive Spanish studies completed in Alicante, Spain (3 months) CIEE Alicante and Universidad de Alicante ● Cole Scholar (One of 10 students selected to participate in the Oberlin College Initiative for Electoral Politics) Experience
Richmond LAND | Richmond, CA
Base Building and Community Education Coordinator November 2021-December 2023 ● Developed and maintained outreach strategy for Richmond residents, local organizations, and public stakeholders to share mission of community-led development
● Create multi-platform content to share the mission and upcoming events of the organization with larger network of supporters ● Utilize Facebook, Instagram, and Twitter to generate membership sign-ups and capital campaign donations ● Develop educational literature, presentations, and content to share “Place-making” work with stakeholders of the Land Trust Richmond Progressive Alliance | Richmond, CA
Youth Outreach Coordinator June 2022- Present
● Hire and manage group of youth activists to create just transition learning & workshop series for summer programming ● Create engaging orientation and onboarding process for youth leaders to develop understanding of the Just Transition Framework ● Develop engage youth and community program to spread awareness about local progressive candidates and people-centered policies ● Execute monthly, just transition themed, youth-led art workshop series to sustain interest and engagement in the youth programs Black Alliance for Peace | Remote
Lead Outreach Team Coordinator April 2020- September 2021 ● Created and share content to mobilize national members around core events and campaigns: Black August 2021, Membership Conferences, Monthly Webinars
● Co-found and developed local Bay Area Chapter of the Black Alliance of Peace, growing the membership to over 50 people ● Coordinated membership of the West Coast with virtual programming and weekly one on ones San Francisco Rising | San Francisco, CA
Full-Time Summer Rising Fellow May 2019 – August 2019
● Participated in three weekly PowerCA phone bank sessions and contacted over 3,000 San Francisco voters to advocate and spread awareness for the Schools and Communities First and Free College CA campaigns. ● Managed social media pages of SFR via Facebook and Instagram; used these platforms to promote events and monthly organizing meetings.
● Canvassed college campuses, conducted research visits with elected officials, and organized rallies to campaign for College for All CA.
Skills
Advanced reading, writing, and
speaking proficiency proficiency in
Spanish
Canva
Adobe Photoshop
R Studio (Statistics modeling
software)
Professional Social Media Use:
Facebook, Twitter, Snapchat, Tumblr,
Instagram
Grant writing apprenticeship
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CITY OF RICHMOND
Sanctuary City Compliance Statement
The undersigned, an authorized agent of Independent Arts and Media (hereafter "Contractor"), has had an opportunity to review the requirements of City of Richmond Ordinance 12-18 (hereafter "Sanctuary City Contracting Ordinance" or “SCCO”).
Contractor understands and agrees that the City may choose with whom it will maintain business relations and may refrain from contracting with any person or entity that provides Data Broker or Extreme Vetting services to the U.S. Immigration and Customs Enforcement Division of the United States Department of Homeland Security (“ICE”). Contractor understands the meaning of the following terms used in the SCCO:
a. "Data Broker” means either of the following:
i. The collection of information, including personal information about consumers, from a wide variety of sources for the purposes of reselling such information to their customers, which include both private-sector business and government agencies; ii. The aggregation of data that was collected for another purpose from that for which it is ultimately used.
b. “Extreme Vetting” means data mining, threat modeling, predictive risk analysis, or other similar services."
Contractor understands that it is not eligible to receive or retain a City contract if at the time the Contract is executed, or at any time during the term of the Contract, it provides Data Broker or Extreme Vetting services to ICE.
Contractor further understands and agrees that Contractor's failure to comply with the SCCO shall constitute a material default of the Contract and the City Manager may terminate the Contract and bar Contractor from bidding on future contracts with the City for five (5) years from the effective date of the contract termination.
By executing this Statement, Contractor certifies that it complies with the requirements of the SCCO and that if at any time during the term of the Contract it ceases to comply, Contractor will promptly notify the City Manager in writing. Any person or entity who knowingly or willingly supplies false information in violation of the SCCO shall be guilty of a misdemeanor and subject to a $1,000 fine.
Based on the foregoing, the undersigned declares under penalty of perjury under the laws of the State of California that the foregoing is true and correct. Executed this February day of 19, 2024 , at Richmond, California.
Printed Name: BK Williams Title: Richmond RenaissanceSteering Committee Chair Signed: Date: February 19, 2024
Business Entity: Richmond Renaissance ( A fiscal project of Independent Arts and Media ) Vendor SCCO Compliance Statement (Augt2020)
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WLTR005
THE HARTFORD
BUSINESS SERVICE CENTER
3600 WISEMAN BLVD
SAN ANTONIO TX 78251 February 16, 2024
City of Richmond
450 CIVIC CENTER PLAZA
RICHMOND CA 94804
Account Information:
Policy Holder Details : Independent Arts and Media
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CERTIFICATE OF LIABILITY INSURANCE
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02/16/2024
THIS CERTIFICATE IS ISSUED AS A MATTER OF INFORMATION ONLY AND CONFERS NO RIGHTS UPON THE CERTIFICATE HOLDER. THIS CERTIFICATE DOES NOT AFFIRMATIVELY OR NEGATIVELY AMEND, EXTEND OR ALTER THE COVERAGE AFFORDED BY THE POLICIES BELOW. THIS CERTIFICATE OF INSURANCE DOES NOT CONSTITUTE A CONTRACT BETWEEN THE ISSUING INSURER(S), AUTHORIZED REPRESENTATIVE OR PRODUCER, AND THE CERTIFICATE HOLDER.
IMPORTANT: If the certificate holder is an ADDITIONAL INSURED, the policy(ies) must be endorsed. If SUBROGATIONIS WAIVED, subject to the terms and conditions of the policy, certain policies may require an endorsement. A statement on this certificate does not confer rights to the certificate holder in lieu of such endorsement(s).
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MIDDLETOWN NJ 07748
CONTACT NAME:
PHONE
(A/C, No, Ext):
(212) 375-3000 FAX
(A/C, No):
E-MAIL ADDRESS:
INSURER(S) AFFORDING COVERAGE NAIC#
INSURER A : Hartford Casualty Insurance Company 29424
INSURED
INDEPENDENT ARTS AND MEDIA
PO BOX 420442
SAN FRANCISCO CA 94142-0442
INSURER B :
INSURER C :
INSURER D :
INSURER E :
INSURER F :
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THIS IS TO CERTIFY THAT THE POLICIES OF INSURANCE LISTED BELOW HAVE BEEN ISSUED TO THE INSURED NAMED ABOVE FOR THE POLICY PERIOD INDICATED.NOTWITHSTANDING ANY REQUIREMENT, TERM OR CONDITION OF ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO WHICH THIS
CERTIFICATE MAY BE ISSUED OR MAY PERTAIN, THE INSURANCE AFFORDED BY THE POLICIES DESCRIBED HEREIN IS SUBJECT TO ALL THE TERMS, EXCLUSIONS AND CONDITIONS OF SUCH POLICIES. LIMITS SHOWN MAY HAVE BEEN REDUCED BY PAID CLAIMS.
INSR
LTR
TYPE OF INSURANCE ADDL
INSR
SUBR
WVD
POLICY NUMBER POLICY EFF
(MM/DD/YYYY)
POLICY EXP
(MM/DD/Y YYY)
LIMITS
COMMERCIAL GENERAL LIABILITY EACH OCCURRENCE
CLAIMS-MADE OCCUR DAMAGE TO RENTED
PREMISES (Ea occurrence)
MED EXP (Any one person)
PERSONAL & ADV INJURY
GEN'L AGGREGATE LIMIT APPLIES PER: GENERAL AGGREGATE
POLICY PROJECT
LOC PRODUCTS - COMP/OP AGG
OTHER:
AUTOMOBILE LIABILITY COMBINED SINGLE LIMIT
(Ea accident)
ANY AUTO BODILY INJURY (Per person)
ALL OWNED
AUTOS
SCHEDULED
AUTOS BODILY INJURY (Per accident)
HIRED
AUTOS
NON-OWNED
AUTOS
PROPERTY DAMAGE
(Per accident)
UMBRELLA LIAB
EXCESS LIAB
OCCUR
CLAIMSMADE
EACH OCCURRENCE
AGGREGATE
DED RETENTION $
A
WORKERS COMPENSATION
AND EMPLOYERS' LIABILITY
ANY
PROPRIETOR/PARTNER/EXECUTIVE
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(Mandatory in NH)
If yes, describe under
DESCRIPTION OF OPERATIONS below
N/ A X 57 WEC AC6CSR 01/08/2024 01/08/2025
X
PER
STATUTE
OTHER
Y/N E.L. EACH ACCIDENT $1,000,000
E.L. DISEASE -EA EMPLOYEE $1,000,000
E.L. DISEASE - POLICY LIMIT $1,000,000
DESCRIPTION OF OPERATIONS / LOCATIONS / VEHICLES (ACORD 101, Additional Remarks Schedule, may be attached if more space is required) Those usual to the Insured's Operations. Waiver of Subrogation applies in favor of the Certificate Holder per Waiver of our Right to Recover from Others Endorsement WC040306 attached to this policy.
CERTIFICATE HOLDER CANCELLATION
City of Richmond
450 CIVIC CENTER PLAZA
RICHMOND CA 94804
SHOULD ANY OF THE ABOVE DESCRIBED POLICIES BE CANCELLED
BEFORE THE EXPIRATION DATE THEREOF, NOTICE WILL BE DELIVERED IN ACCORDANCE WITH THE POLICY PROVISIONS.
AUTHORIZED REPRESENTATIVE
© 1988-2015 ACORD CORPORATION. All rights reserved.
ACORD 25 (2016/03) The ACORD name and logo are registered marks of ACORD 1645
ANY PROPRIETOR/PARTNER/EXECUTIVE
OFFICER/MEMBER EXCLUDED?
INSR ADDL SUBR LTR INSD WVD
PRODUCER CONTACT
NAME:
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AUTOMOBILE LIABILITY
UMBRELLA LIAB
EXCESS LIAB
WORKERS COMPENSATION
AND EMPLOYERS' LIABILITY
DESCRIPTION OF OPERATIONS / LOCATIONS / VEHICLES (ACORD 101, Additional Remarks Schedule, may be attached if more space is required)
AUTHORIZED REPRESENTATIVE
EACH OCCURRENCE $
DAMAGE TO RENTED CLAIMS-MADE OCCUR PREMISES (Ea occurrence) $ MED EXP (Any one person) $
PERSONAL & ADV INJURY $
GEN'L AGGREGATE LIMIT APPLIES PER: GENERAL AGGREGATE $
PRO- POLICY JECT LOC PRODUCTS - COMP/OP AGG
OTHER: $
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(Ea accident) $
ANY AUTO BODILY INJURY (Per person) $
OWNED SCHEDULED AUTOS ONLY AUTOS BODILY INJURY (Per accident) $
HIRED NON-OWNED PROPERTY DAMAGE
AUTOS ONLY AUTOS ONLY (Per accident) $
$
OCCUR EACH OCCURRENCE
CLAIMS-MADE AGGREGATE $
DED RETENTION $
PER OTH- STATUTE ER
E.L. EACH ACCIDENT
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If yes, describe under
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COMMERCIAL GENERAL LIABILITY
Y / N
N / A
(Mandatory in NH)
SHOULD ANY OF THE ABOVE DESCRIBED POLICIES BE CANCELLED BEFORE
THE EXPIRATION DATE THEREOF, NOTICE WILL BE DELIVERED IN ACCORDANCE WITH THE POLICY PROVISIONS.
THIS IS TO CERTIFY THAT THE POLICIES OF INSURANCE LISTED BELOW HAVE BEEN ISSUED TO THE INSURED NAMED ABOVE FOR THE POLICY PERIOD INDICATED. NOTWITHSTANDING ANY REQUIREMENT, TERM OR CONDITION OF ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO WHICH THIS
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THIS CERTIFICATE IS ISSUED AS A MATTER OF INFORMATION ONLY AND CONFERS NO RIGHTS UPON THE CERTIFICATE HOLDER. THIS
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CERTIFICATE HOLDER CANCELLATION
ACORD 25 (2016/03) © 1988-2015 ACORD CORPORATION. All rights reserved.
CERTIFICATE OF LIABILITY INSURANCE DATE (MM/DD/YYYY)
$
$
$
$
$
The ACORD name and logo are registered marks of ACORD
INDEP-1 OP ID: SD
07/17/2023
Stephanie Dufour
Dufour Insurance Services, LLC
5611 Littler Drive
Huntington Beach, CA 92649
Stephanie Dufour
714-369-2998 714-840-6357
[email protected]
Great American Insurance Group
Independent Arts & Media
PO Box 420442
San Francisco, CA 94142
A X 1,000,000
X X PAC435784300 02/09/2023 02/09/2024 100,000
5,000
1,000,000
2,000,000
X 2,000,000
A 1,000,000
PAC435784300 02/09/2023 02/09/2024
X X
A X X 2,000,000
UMB435784200 02/09/2023 02/09/2024 2,000,000
X 10000
A PAC435784300 02/09/2023 02/09/2024 PerOccurr 1,000,000 Aggregate 2,000,000
Certificate Holder is named as Additional Insured as respects the operations of Named Insured
City of Richmond
450 Civic Center Plaza
Richmond, CA 94804
714-369-2998
37532
Sexual Abuse
1646
POLICY NUMBER: PAC435784300 COMMERCIAL GENERAL LIABILITY THIS ENDORSEMENT CHANGES THE POLICY. PLEASE READ IT CAREFULLY.
ADDITIONAL INSURED – DESIGNATED PERSON OR
ORGANIZATION
This endorsement modifies insurance provided under the following:
COMMERCIAL GENERAL LIABILITY COVERAGE PART.
SCHEDULE
Name of Person or Organization:
City of Richmond
(If no entry appears above, information required to complete this endorsement will be shown in the Declarations as applicable to this endorsement.)
WHO IS AN INSURED (Section II) is amended to include as an insured the person or organization shown in the Schedule as an insured but only with respect to liability arising out of your operations or premises owned by or rented to you.
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1. FISCAL SPONSORSHIP AGREEMENT – MODEL A
This Fiscal Sponsorship Agreement (the “Agreement”) is made by and between Independent Arts & Media (“Sponsor”), and Richmond Renaissance Steering Committee (the “Committee”).
Sponsor is a California nonprofit public benefit corporation qualified as exempt from federal income tax under Section 501(c)(3) of the Internal Revenue Code (“IRC”) and classified as a public charity under IRC Sections 509(a)(1) and 170(b)(1)(A)(vi). The Committee is a California unincorporated nonprofit association established to enter into this Agreement.
RECITALS
A. The Sponsor’s Board of Directors (the “Sponsor Board”) has approved the establishment of a restricted fund to receive donations of cash and other property earmarked for support of the project known as Richmond Renaissance (the “Project”) and to make disbursements in furtherance of the Project’s mission to revitalize the City of Richmond through the Arts by establishing a world-class arts corridor on Macdonald Ave and 23rd Street, as further described in Exhibit A to this Agreement, within the range of permissible activities consistent with IRC Section 501(c)(3).
B. Sponsor desires to act as the fiscal sponsor of the Project, by receiving assets and incurring liabilities identified with the Project beginning on the Effective Date as defined in Paragraph 1, and using them to pursue the objectives for which the Project is being established, which the Sponsor Board has determined will further its charitable purposes. The individual members of the Committee, acting as the Project Committee, as defined in Paragraph 3, desire to manage the Project under the sponsorship of Sponsor.
NOW, THEREFORE, THE PARTIES HEREBY AGREE AS FOLLOWS:
1. Term of Agreement. On February 15, 2024 (the “Effective Date”), Sponsor shall assume operation of the Project, which operation shall continue in effect unless and until terminated under Paragraph 7 below.
2. Project Activities and Affiliate Policy Manual. All community programs, public information work, fundraising events, processing and acknowledgment of cash and noncash revenue items, accounts payable and receivable, negotiation of leases and contracts, disbursement of the Project funds (including grants), and other activities planned by the Project shall be the ultimate responsibility of Sponsor and shall be conducted in the name of Sponsor, beginning on the Effective Date. Unless otherwise agreed, and subject to their consent, all personnel to be compensated for working on the Project shall be employed by or, if properly classified, contracted with Sponsor pursuant to written agreements between such personnel and Sponsor. The Committee shall abide by the Model A Affiliate Policy Manual of Sponsor attached hereto as Exhibit B, which Affiliate Policy Manual may be amended from time to time by Sponsor in its sole discretion with written notice to the Committee and which includes, in addition to other provisions, the administrative and other fees to be paid to the general fund of Sponsor from the restricted fund described in Paragraph 5 below. 1648
2. 3. Delegation. As of the Effective Date, authority to manage the program activities of the Project is delegated by the Sponsor Board to one or more individual members of the Committee, acting as agents of Sponsor (collectively, the “Project Committee”), subject at all times to the ultimate direction and control of the Sponsor Board. The Project Committee is a group of individuals that serves as a subordinate advisory body to the Sponsor Board and as an internal and integral part of Sponsor. The Project Committee may, but is not required to, delegate such authority to manage the program activities of the Project to a project director, who shall be an agent of Sponsor and shall be subject at all times to the ultimate direction and control of the Sponsor Board. Members of the Project Committee and/or the project director, if any, acting as agents of Sponsor, may solicit gifts, contributions, and grants to Sponsor to be identified as in support of the purposes of the Project.
4. Intellectual Property. Unless otherwise agreed, any tangible or intangible property, including, but not limited to, copyrights, trademarks, or other intellectual property, obtained from third parties or created in connection with the Project shall be the property of Sponsor while this Agreement is in effect. Notwithstanding the foregoing, Sponsor’s ownership and/or use of such property shall be subject to any third party rights in, and restrictions on the use of, such property.
5. Restricted Fund; Variance Power. Beginning on the Effective Date, Sponsor shall place all gifts, grants, contributions, and other revenues received by Sponsor and identified with the Project into a restricted fund to be used for the sole benefit of the Project’s mission as that mission may be defined by the Committee from time to time within the tax-exempt purposes of Sponsor and with the approval of Sponsor. Sponsor retains the unilateral right to spend such funds so as to accomplish the purposes of the Project as nearly as possible within Sponsor’s sole judgment, subject to any donorimposed or grantor-imposed restrictions, as to purpose, on the charitable use of such assets. The parties agree that all money, and the fair market value of all property, in the restricted fund be reported as the income of Sponsor, for both tax purposes and for purposes of Sponsor’s financial statements. It is the intent of the parties that this Agreement be interpreted to provide Sponsor with variance powers necessary to enable Sponsor to treat the restricted fund as Sponsor’s asset in accordance with Accounting Standards Codification (“ASC”) paragraphs ASC 958-605-25-25 and -26, formerly expressed in Statement No. 136 issued by the Financial Accounting Standards Board, while this Agreement is in effect. Because the restricted fund is held under the charitable trust doctrine for the purposes of the Project as understood by and with funding sources, the parties intend that assets in the restricted fund are not subject to the claims of any creditor or to legal process resulting from activities of Sponsor unrelated to the Project.
6. Performance of Charitable Purposes. All of the assets received by Sponsor under the terms of this Agreement shall be devoted to the purposes of the Project, within the charitable purposes of Sponsor. Expenditures for any attempt to influence legislation within the meaning of IRC Section 501(c)(3) shall be subject to limitations imposed by Sponsor in its sole discretion. Sponsor shall not use any portion of the assets to participate or intervene in any political campaign on behalf of or in opposition to any candidate for public office; to induce or encourage violations of law or public policy; to cause any private inurement or improper private benefit to occur; nor to take any other action inconsistent with IRC Section 501(c)(3). Sponsor has determined, in reliance on the advice of its legal counsel, that the restricted fund is not a donor-advised fund within the meaning of IRC Section 4966(d)(2) as presently interpreted under federal tax authorities.
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3. 7. Termination.
a. Grounds for Termination. This Agreement may be terminated (1) by Sponsor when the objectives of the Project can no longer reasonably be accomplished by Sponsor, including when insufficient funds remain in the restricted fund held for the purposes of the Project, as determined by Sponsor in its sole discretion; (2) by either party when either the Committee or Sponsor desires to terminate Sponsor’s fiscal sponsorship of the Project for any reason; or (3) by either party based upon a material breach of this Agreement by the other party.
When either party desires to terminate this Agreement, it shall provide a written notice of termination to the other party.
b. Understandings Upon Receipt of Notice of Termination. Upon receipt of a written notice of termination of this Agreement on any grounds, the parties shall have sixty (60) days to find another nonprofit corporation which is (i) tax exempt under IRC Section 501(c)(3); (ii) not classified as a private foundation under IRC Section 509(a); and (iii) willing and able to sponsor the Project (a “Successor”). The ability to sponsor the Project shall be evidenced by having exempt purposes consistent with the purposes of the Project and the administrative and financial capacity to competently and lawfully manage the Project. The Successor must be approved in writing by both parties by or before the end of the 60-day period. If the parties do not identify or are unable to agree on a Successor by the end of the initial 60-day period, the Committee shall have an additional 60-day period to find a Successor, subject to Sponsor’s approval in its sole discretion. If a Successor is found and agreed to by the parties, the balance of assets held by Sponsor in its restricted fund for the purposes of the Project, together with any other tangible and intangible assets held or liabilities incurred by Sponsor in connection with the Project, shall be transferred to the Successor at the end of the notice period or any extension thereof, subject to the approval of any third parties that may be required. If the Committee has formed a new organization meeting the definition of a Successor as set forth in this Subparagraph, such organization shall be eligible to receive all such assets and liabilities so long as such organization has received a determination letter from the Internal Revenue Service indicating that such qualifications have been met, by no later than the end of the notice period or any extension thereof. c. Timing of Termination. This Agreement shall terminate upon the earlier of (1) the expiration of the notice period or any extension thereof as set forth in Subparagraph b above, or (2) the transfer of the balance of assets held by Sponsor in its restricted fund for the purposes of the Project, together with any other tangible and intangible assets held or liabilities incurred by Sponsor in connection with the Project, to a Successor. If no Successor is found within the notice period or any extension thereof as set forth in Subparagraph b above, this Agreement shall terminate and Sponsor may dispose of the Project’s assets and liabilities, in its sole discretion, in any manner consistent with applicable tax and charitable trust laws. If the parties mutually wish to earlier terminate this Agreement without identifying a Successor, they may do so in a writing signed by both parties.
8. Miscellaneous. In the event of any controversy, claim, or dispute between the parties arising out of or related to this Agreement, or the alleged breach thereof, the prevailing party shall, in addition to any other relief, be entitled to recover its reasonable attorneys’ fees and costs of sustaining its position. Each provision of this Agreement shall be separately enforceable, and the invalidity of one 1650
4. provision shall not affect the validity or enforceability of any other provision. This Agreement shall be interpreted and construed in accordance with the laws of the State of California applicable to contracts to be performed entirely within such State. Time is of the essence of this Agreement and of each and every provision hereof. This Agreement shall not be deemed to create any relationship of agency, partnership, or joint venture between the parties hereto, and no party shall make such representation to anyone. The failure of Sponsor to exercise any of its rights under this Agreement shall not be deemed a waiver of such rights.
9. Indemnification. The Committee will indemnify, defend and hold harmless Sponsor and its officers, directors, agents, employees, successors and permitted assigns from and against any and all losses, claims, suits, proceedings, liabilities, expenses (including reasonable attorneys’ fees and expenses), causes of action, damages and costs (collectively “Claims”) arising out of or caused by negligence, gross negligence, or willful misconduct of the Committee or its officers, directors, agents, employees, successor or permitted assigns or from any material breach of this Agreement by the Committee. If Sponsor is entitled to indemnification under this Paragraph, it will give prompt notice to the Committee of any Claim with respect to which it seeks indemnification, but the failure to so notify the Committee shall not relieve the Committee of any liability except to the extent that it is actually prejudiced by such delay. The Committee shall assume, at its sole cost and expense, the defense of such Claim with counsel reasonably satisfactory to Sponsor. The Committee will not be subject to any liability for any settlement made without its consent. The Committee shall not, without consent of Sponsor, effect any settlement or discharge or consent to the entry of any judgment, unless such settlement or judgment includes as an unconditional term thereof the giving by the claimant or plaintiff to Sponsor of a general release from all liability in respect of such claim or litigation. Notwithstanding anything herein to the contrary, the indemnification provisions of this Paragraph 9 shall survive any termination of this Agreement.
10. Entire Agreement; Counterparts. This Agreement constitutes the only agreement, and supersedes all prior agreements and understandings, both written and oral, between the parties with respect to the subject matter hereof. All Exhibits hereto are a material part of this Agreement and are incorporated herein by reference. This Agreement, including any Exhibits hereto, may not be amended or modified, except in a writing signed by all parties to this Agreement; provided, however, that the Affiliate Policy Manual of Sponsor attached here to Exhibit B may be amended by Sponsor from time to time in its sole discretion with written notice to the Committee. This Agreement may be executed in counterparts, each of which shall be deemed an original, but all of which shall constitute one and the same instrument.
11. Committee Receipt of Agreement. By signing this Agreement, the Committee acknowledges that each member of the Committee has received a complete copy of this Agreement and all Exhibits hereto.
IN WITNESS WHEREOF, the parties have executed this Fiscal Sponsorship Agreement effective as of the Effective Date.
[ INTENTIONALLY LEFT BLANK ]
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5. INDEPENDENT ARTS & MEDIA RICHMOND RENAISSANCE
STEERING COMMITTEE
By: By:
Lisa Burger, President BK Williams
Dated:_________________ Dated:________________ 2/16/2024 2/16/2024
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A-1.
EXHIBIT A
DESCRIPTION OF PROJECT
Richmond Renaissance’s (the “Project”) mission is to revitalize the City of Richmond through the Arts by establishing a world-class arts corridor on Macdonald Ave and 23rd Street. The Project’s methodology includes implementing a deep and equitable community engagement process and recruiting community artists and leaders to help steward and maintain the Arts Corridor. In October 2023, the Project achieved our first major milestone and accomplishment.
The Richmond City Council approved the designation of an Arts Corridor. Project programming and goals shall include revitalizing public space through art installations, murals, and traffic-calming art; and revitalizing events and activities by renewing and updating the Richmond Auditorium to host shows, concerts, lectures, poetry readings, and more.
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B-1.
EXHIBIT B
MODEL A AFFILIATE POLICY MANUAL OF
INDEPENDENT ARTS & MEDIA
See attached.
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2/19/2024
City of Richmond
Arts & Culture Division
450 Civic Center Plaza, #CMO300
Richmond, CA 94804
Subject: Proposal for Consulting Services for Establishing an Arts District(s) Dear Winifred Day,
We are pleased to submit our proposal in response to the City of Richmond's Request for Proposal for Establishing an Arts District(s). We have thoroughly reviewed the requirements as stipulated in the RFQ/RFP documentation and fully understand the scope and expectations.
Ceres Policy Research expresses our intent to deliver the services outlined in the RFP, drawing on our expertise in research, community engagement, and policy analysis. We are prepared to enter into an agreement in accordance with the terms, conditions, and requirements set forth, including adherence to insurance obligations and compliance with Sanctuary City provisions.
Ceres Policy Research, with 5 employees and offices in Oakland, CA, brings a successful track record of providing similar services. Our client base spans various sectors, reflecting our capacity to manage projects of this scale effectively. The project will be managed from our remote employees throughout California.
Our team has over 25 years of verifiable experience in California, reinforcing our proposal with local insight and expertise. We guarantee that our proposal price remains valid for 180 days following submission.
For all matters regarding the RFP review process, please contact myself, who will serve as the single point of contact. We appreciate the opportunity to present our proposal and are keen to discuss how Ceres Policy Research can partner with the City of Richmond to achieve the objectives of this project.
Sincerely,
Kerby Lynch,PhD
Director of Research
Ceres Policy Research
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Consultation Scope for Establishing Art District(s) in the City of Richmond Kerby Lynch
Aisha Canfield
Angela Irvine-Baker
Overview
In 1987, Richmond initiated a cultural renaissance through the establishment of the Richmond Arts and Culture Commission (RACC), underpinning the city's commitment to the arts and cultural preservation. This was further enriched by the Public Art Advisory Committee (PAAC), guiding public art and its integration within the city's fabric. The 2021 legislative updates underscored a financial commitment to public art in development projects, cementing art's role in urban development. Against this backdrop, Ceres Policy Research proposes to craft a comprehensive Arts District Plan that reflects Richmond's diverse heritage and future aspirations. This involves defining the Arts District's identity, fostering collaboration to set mission-aligned goals, identifying potential district boundaries, reviewing pertinent documents, engaging the community, and sourcing additional funding, all within an eight-month timeline. This endeavor seeks not only to enhance Richmond's cultural landscape but also to ensure its sustainability and equity for years to come. We propose a libratory community engagement process where residents in the city of Richmond are engaged to make the vision come to life. See our proposal below.
Qualifications
Ceres has over 20 years of experience working with community round tables and organizations striving towards racial, gender, and migrant justice. Our research and facilitation expertise includes facilitating large county task forces, training large agencies and small organizations on collecting and analyzing data, conducting large scale system data and survey research, facilitating and analyzing data from local listening sessions, focus groups, and interviews, and completing reports synthesizing a broad range of findings using accessible language.
Intent and commitmentto adhere to the project’s values and principles Ceres’ work is primarily centered around the equity, wellbeing, and liberation of Black and Brown communities. However, we know that Black and Brown communities are not a monolith and have complex lived experiences as race and ethnicity shape (and are shaped by) other layers of identity, such as sexual orientation, gender identity and expression, immigration experiences, socioeconomic status, etc. As such, Black and Brown communities are at particular risk of discrimination, inequality, and disparate outcomes as 1656
systems and institutions work to maintain white supremacy, heteronormativity, patriarchy, and nationalism. While Ceres believes the onus to achieve equity is on systems, institutions and their beneficiaries, we also believe the wisdom, expertise, and vision of vulnerable communities must drive both the process by which change occurs and the definition of what that change is. In this way, Ceres’ approach to research is aligned with the values set forth by the City of Richmond by staffing projects with similar lived experience as the communities reflected in the project; engaging in deep listening, with an awareness of dynamics of privilege and oppression within the “room”, and a commitment to working across differences; co-developing a “north star” that reflects and celebrates the intersectional identities of communities and diverse visions; offering adaptability in approach to honor the dynamism of communities and a changing socio-political landscape.
Experience with Community-Led Evaluation Projects
Here are examples of single-site evaluations that provide insight into our relevant experience for this proposed project.
Multi-Generational Evaluation of MA’AT, an Afro-centric Mental Health Model In 2019, we were asked by the Homeless Children’s Network in San Francisco to evaluate their ground-breaking Afro-centric mental health program in San Francisco. This model is led by Black therapists and is designed to serve Black youth and their families. Our evaluation was multi-method, starting with a logic model that defined Afro-centric mental health and HCN’s expected outcomes. This was a multi-generational evaluation effort that included both parents and children as young as 5. We worked with HCN to develop survey instruments and interview questions, ultimately collecting data directly from youth down to the age of 12.
HCN asked that parents answer surveys for children between 5 and 12. The report can be found here: https://bit.ly/maat_adobe.
Contra Costa County Office of Racial Equity and Social Justice After successfully pressuring the Contra Costa County Board of Supervisors into exploring the creation of an Office of Racial Equity and Social Justice, a group of twelve community leaders then formed a Core Committee tasked with developing recommendations for the Office and convincing a majority of the Board to accept them. This Core Committee hired Ceres to facilitate committee meetings, collect community data, organize forums to track community feedback, and lead a collective writing process. For the portion dedicated to collecting community research, Ceres reviewed transcripts of listening sessions collected by Core Committee members. We also co-developed a survey with the Core Committee that was ultimately disseminated to 2600 people across the county. Notably, only 600 of the respondents were white and over 1000 were Black. This process allowed the Core Committee to document state harm and present the findings in a way that convinced the Board to accept recommendations. The report can be found here: https://bit.ly/oresj_final_nov2022.
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Youth Participatory Action Research
Over the past few years, we have partnered with several organizations that were interested in developing youth participatory action research projects that would have strong policy implications within Alameda and Contra Costa Counties as well as the state. All projects are mixed-method, combining youth-devised surveys with youth-led interviews and focus groups. Within each of these projects, Ceres has taught research skills and coached young people from the collection of data through the completion of final reports.
● Our partnership with the Ella Baker Center in Oakland was focused on Alameda youth perspectives on how to reduce incarceration. They were part of the “Free Our Kids” network pressuring the Alameda Board of Supervisors to change youth justice policy. The report is under review and not yet public. ● Our partnership with California Youth Connection in Oakland was focused on how the child welfare system could improve support for parenting and pregnant foster youth. They will be using their findings to pressure legislatures to revise California law. The report can be found here: https://bit.ly/ceres_cyc_june2023 ● And a current project with the RYSE Center in Richmond is focused on documenting youth well-being after the last five years of the racial reckoning and COVID. They will turn their findings into demands for improved support from Contra Costa youth-serving agencies. They will start by presenting to the Contra Costa Board of Supervisors.
Approach to Work and Responsibilities/Methodology
Our approach integrates rigorous analysis with community-driven planning to develop a comprehensive Arts District Plan for Richmond. Below is a detailed description of our tasks:
Project Management
Led by Dr. Kerby Lynch, with support from Ms. Aisha Canfield and Dr. Angela Irvine-Baker, our project team combines expertise in organizational change and data analysis. We will involve research assistants for logistical support and data handling, ensuring a broad, inclusive perspective in our project management approach.
Strategic Planning and Analysis
We will conduct workshops and brainstorming sessions with stakeholders to define Arts District characteristics, focusing on cultural significance and sustainability. Our analysis will include a review of around 60 hours of community engagement data, identifying themes and gaps to inform the plan.
Community Engagement and Research
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Expanding on our initial data, we will facilitate additional listening sessions (5-8) and engage in targeted outreach in various neighborhoods to ensure diverse community representation. This will include reviewing existing policies and conducting new research to align the Arts District with Richmond's cultural and equity goals.
Facilitation and Capacity Building
Our team will lead bi-monthly meetings, fostering collaboration and creativity with stakeholders. We aim to build local capacity by training community members in data analysis and advocacy, ensuring the project's sustainability and impact after we leave as consultants.
Outreach and Relationship Building
We will conduct one-on-one outreach to engage with various community stakeholders, from known champions to those less involved, to build a comprehensive network of support for the Arts District.
Reporting and Recommendations
A detailed report, including findings and recommendations, will be presented to key stakeholders, accompanied by an evaluation plan to track progress and success metrics over time.
Community Cafes and Communication
Through community cafes and strategic communications, we will share findings and solicit ongoing feedback, ensuring the project remains grounded in community needs and perspectives.
Interpretation Services
To ensure inclusivity, we will provide interpretation services, making the project accessible to Spanish-speaking community members.
Budget
Ceres proposes to complete these tasks according to the budget below.
Deliverables Cost
Project Management 9000
Strategic Planning and Analysis 7500
Community Engagement and Research 8000
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Facilitation and Capacity Building 6000
Outreach and Relationship Building 4500
Reporting and Recommendations 5500
Community Cafes and Communication 3000
Interpretation 1500
Total 45000
Key Staff and Project Responsibilities:
The project team will be led by Dr. Angela Irvine-Baker, our Principal Researcher with over 25 years of experience in social policy. She will oversee the development of surveys and data analysis. Dr. Kerby Lynch, our Director of Research, brings a wealth of community organization and policy expertise. She will manage day-to-day tasks and ensure the project's alignment with community needs. Aisha Canfield, a seasoned expert in juvenile justice reform, will leverage her experience to guide community engagement and research efforts. Each team member's role is crafted to harness their unique expertise and to contribute to the project's success, ensuring a deep understanding of state and local laws, ordinances, and community dynamics.
1. Dr. Kerby Lynch: Project Management, overseeing all project operations, strategic direction, and ensuring timely delivery. (Hourly rate: $142)
2. Ms. Aisha Canfield: Strategic Planning and Analysis, leading community engagement efforts, and ensuring alignment with cultural equity goals. (Hourly rate: $183)
3. Dr. Angela Irvine: Facilitation and Capacity Building, advising on data analysis, and providing strategic recommendations. (Hourly rate: $259)
4. Research Assistants: Support logistics, assist with data collection and analysis. (Hourly rate: $88)
Value Added Services
Ceres Policy Research is committed to providing comprehensive services that extend beyond the basic requirements of this RFP. In addition to our primary research and project management offerings, we propose the following value-added services:
1. Post-Project Support: After the completion of the project, we will offer three months of post-implementation support to address any follow-up questions and assist with any additional data interpretation needs.
5 1660
2. Capacity Building Workshops: We will conduct two additional workshops to empower community members with skills in data analysis and policy advocacy, ensuring sustained impact beyond our direct involvement.
3. Sustainability Planning: Our team will provide a strategic plan for the long-term sustainability of the Arts District, addressing future funding opportunities and community engagement strategies.
Statement of Impartiality and Disclosure
Ceres Policy Research acknowledges the importance of an impartial and unbiased approach in executing the proposed project for the City of Richmond. We affirm that neither Ceres nor any of its sub-consultants are engaged in, nor will we engage in any activities that present a conflict of interest with the City of Richmond during the tenure of our work on this project. Our dedication to the equity, well-being, and liberation of marginalized communities underscores our commitment to this project's unique objectives and the values of the City of Richmond. We uphold a rigorous standard of integrity and will not undertake any work that could compromise our impartiality or the city's interests. We declare that there are no pending or active investigations or litigation against our firm that could impact our reputation or ability to fulfill our obligations for this project. Ceres is committed to transparency and ethical practice, ensuring our research and recommendations are conducted and delivered without bias. 6 1661
Staffing and Timeline
Ceres proposes to complete all of these tasks according to the following timeline. ● April 2024: Project kickoff; begin Project Management and Strategic Planning and Analysis. ● May 2024: Continue Strategic Planning and Analysis; initiate Community Engagement and Research. ● June 2024 : Continue Community Engagement and Research; begin Facilitation and Capacity Building; conduct first Community Café.
● July 2024: Continue Facilitation and Capacity Building; Outreach and Relationship Building begins; second Community Café.
● August 2024: Continue Outreach and Relationship Building; ongoing Facilitation; third Community Café. ● September 2024: Begin Reporting and Recommendations; continue Facilitation and Outreach; Communications intensify.
● October 2024: Wrap up Facilitation and Outreach; finalize Reporting and Recommendations; last Community Café; provide Interpretation as required.
● November 2024: Finalize and present the comprehensive Report; conclude Project Management.
Interpretation Services will be provided as needed throughout the project's community engagement activities. Communications are ongoing from June to November to keep stakeholdersinformed and engaged. Thistimeline ensuresthat each task is given adequate time and resources, with overlapping activities where it's beneficial for the project'ssuccess. 1662
References
Client Name: RYSE Center
Contact Info: Kanwarpal Dhaliwal
- Telephone: 510-579-1922
- Email: [email protected]
- Address: Richmond, CA
Service Description: Facilitation of community planning for the Office of Racial Equity and Social Justice in Contra Costa County.
Contract Amount: $156,000
Project Dates: August 2021 - Present
Client Name: Ensuring Opportunity Campaign to End Poverty in Contra Costa Contact Info: Marianna Moore
- Telephone: (510) 234-1200, ext. 500
- Email: [[email protected]](mailto:[email protected]) - Address: Richmond, CA 94806
Service Description: Program evaluation and strategic planning for the CAPP program.
Contract Amount: $25,000
Project Dates: January 2023 - June 2023
Client Name: Communities United for Restorative Youth Justice (CURYJ) Contact Info:
- Telephone: 510-689-7350
- Email: [email protected]
- Address: 2285 International Boulevard, Oakland, CA 94606 Service Description: Facilitated the EBP+ Collaborative to develop alternatives to incarceration for youth of color.
Contract Amount: $50,000
Project Dates: January 2018 to Present
2 1663
CITY OF RICHMOND
Sanctuary City Compliance Statement
The undersigned, an authorized agent of Ceres Policy Research (hereafter "Contractor"), has had an opportunity to review the requirements of City of Richmond Ordinance 12-18 (hereafter "Sanctuary City Contracting Ordinance" or “SCCO”). Contractor understands and agrees that the City may choose with whom it will maintain business relations and may refrain from contracting with any person or entity that provides Data Broker or Extreme Vetting services to the U.S. Immigration and Customs Enforcement Division of the United States Department of Homeland Security (“ICE”). Contractor understands the meaning of the following terms used in the SCCO:
a. "Data Broker” means either of the following:
i. The collection of information, including personal information about consumers, from a wide variety of sources for the purposes of reselling such information to their customers, which include both private-sector business and government agencies; ii. The aggregation of data that was collected for another purpose from that for which it is ultimately used.
b. “Extreme Vetting” means data mining, threat modeling, predictive risk analysis, or other similar services."
Contractor understands that it is not eligible to receive or retain a City contract if at the time the Contract is executed, or at any time during the term of the Contract, it provides Data Broker or Extreme Vetting services to ICE.
Contractor further understands and agrees that Contractor's failure to comply with the SCCO shall constitute a material default of the Contract and the City Manager may terminate the Contract and bar Contractor from bidding on future contracts with the City for five (5) years from the effective date of the contract termination.
By executing this Statement, Contractor certifies that it complies with the requirements of the SCCO and that if at any time during the term of the Contract it ceases to comply, Contractor will promptly notify the City Manager in writing. Any person or entity who knowingly or willingly supplies false information in violation of the SCCO shall be guilty of a misdemeanor and subject to a $1,000 fine.
Based on the foregoing, the undersigned declares under penalty of perjury under the laws of the State of California that the foregoing is true and correct. Executed this 19 day of February , 20 24 , at Fairfield , California.
Printed Name: Kerby Lynch Title: Director of Research
Signed: Date: 2/19/24
Business Entity: Ceres Policy Research
Vendor SCCO Compliance Statement (Augt2020)
1664
CITY OF RICHMOND
STANDARD CONTRACT
Department: Project Manager:
Project Manager E-mail: Project Manager Phone No:
PR No: Vendor No: P.O./Contract No:
Description of Services:
The parties to this STANDARD CONTRACT do mutually agree and promise as follows:
1. Parties. The parties to this Contract are the City of Richmond (herein referred to as the “City”) and the following named Contractor:
Company Name:
Street Address:
City, State, Zip Code:
Contact Person:
Telephone: Email:
Business License No: / Expiration Date:
A California [ ] corporation, [ ] limited liability corporation [ ] general partnership, [ ] limited partnership, [ ] individual, [ ] non-profit corporation, [ ] individual dba as [specify:] ,
[ ] other [specify:]
2. Term. The effective date of this Contract is and it
terminates unless terminated as provided herein.
3. Payment Limit. City’s total payments to Contractor under this Contract shall not exceed $ . City shall not pay for services that exceed
the Contract Payment Limit unless a contract amendment has been approved by the City Council or City Manager.
4. Contractor’s Obligations. Contractor shall provide those services and carry out that work described in the Service Plan (Exhibit A) which is attached hereto and is incorporated herein by reference, subject to all the terms and conditions contained or incorporated herein.
5. City's Obligations. City shall make to the Contractor those payments described in the Payment Provisions (Exhibit B) which are attached hereto and are incorporated herein by reference, subject to all the terms and conditions contained or incorporated herein.
ED Arts and Culture Winifred Day
[email protected] (510) 620-6952
Arts District Strategic Plan Consultant Contract approval.
Independent Arts and Media
P.O. Box 420442
San Francisco, CA
Lisa Burger
(415) 738-4975 [email protected]
June 25, 2024
December 30, 2024
50,000.00
✔
1665
6. Authorized Representatives and Notices. This Contract is subject to the Authorized Representatives and Notices Provisions (Exhibit C) which are attached hereto and are incorporated herein by reference.
7. General Conditions. This Contract is subject to the General Conditions (Exhibit D) which are attached hereto and are incorporated herein by reference, subject to all the terms and conditions contained or incorporated herein.
8. Special Conditions. This Contract is subject to the Special Conditions (Exhibit E) (if any) which are attached hereto and are incorporated herein by reference, subject to all the terms and conditions contained or incorporated herein. (Note:
other than Public Works contracts, the City will agree to Special Conditions only in unusual circumstances.)
9. Insurance Provisions. This Contract is subject to the Insurance Provisions (Exhibit F) which are attached hereto and are incorporated herein by reference.
10. Signatures. These signatures attest the parties' Contract hereto:
CITY OF RICHMOND CONTRACTOR:
a municipal corporation
By:
(* The Corporation Chairperson of the Board,
President or Vice President should sign below)
Title: By:
I hereby certify that this Contract Title:
has been approved by City Council.
Date Signed:
By:
City Clerk
(* The Corporation Chief Financial Officer,
Secretary or Assistant Secretary should sign below)
Approved as to form:
By:
By: Title:
City Attorney
Date Signed:
(NOTE: Pursuant to California Corporations
Code Section 313, if Contractor is a corporation
or nonprofit organization, this Contract (1) must
be signed by (a) the Chairperson of the Board,
President or Vice-President and (b) the
Secretary any Assistant Secretary, the Chief
Financial Officer or any Assistant Treasurer.
LIST OF ATTACHMENTS:
Service Plan Exhibit A
Payment Provisions Exhibit B
Authorized Representatives and Notices Exhibit C
General Conditions Exhibit D
Special Conditions Exhibit E
Insurance Provisions Exhibit F
Standard Contract/EJ/TE 9-26-07
Independent Arts and Media
1666
For the Contract between the City of
Richmond and
EXHIBIT A
SERVICE PLAN
Contractor shall, to the satisfaction of the , perform the following services and be compensated as outlined below:
"SUTBOE$VMUVSF.BOBHFS
SCOPE OF SERVICES
The following describes the services that are expected to be ultimately performed by the selected proposer:
1. Review of mission, vision, and goals for the City’s Arts District including a focus on cultural equity goals to ensure that they are up-to date and reflect the current goals of the City using public art programming, including temporary and permanent art commissions, cultural grants, and other programs based on feedback from the community.
2. Recommendation and prioritization of creating a new comprehensive Arts District Plan.
Define the characteristic that qualify as part of an Arts District including a sustainable budget over 10 - 20 years.
3. Identification of site/area/location/City Districts for Arts District
4. Review of existing background documents including but not limited to the 2030 General Plan, updated Art Ordinances and Art Policies and Art Procedures and American Rescue Plan Act (ARPA) Fund Guidelines.
5. Outreach to and engagement of the Richmond community, including a diverse range of stakeholders to broadly question; art resources, community desires, and specifically, public art awareness.
6. Identification of site/area/location/City Districts for Arts District.
7. At least one working session with the RACC/PAAC, each Neighborhood Council, and residents.
8. Identification of other funding sources, local, state, federal, public and private to fully and successfully execute a vision of this magnitude.
9. City Staff time can be available to assist with administrative tasks such as scheduling of community meetings.
Independent Arts and Media
1667
For the Contract between the City of
Richmond and
EXHIBIT B
PAYMENT PROVISIONS
{PLEASE NOTE THAT THE CITY OF RICHMOND SHALL NOT PAY FOR SERVICES
THAT EXCEED THE CONTRACT PAYMENT LIMIT UNLESS A CONTRACT
AMENDMENT HAS BEEN APPROVED BY THE CITY COUNCIL OR THE CITY MANAGER}
1. Provided Contractor is not in default under this Contract, Contractor shall be compensated as provided below.
2. Any and all payments made pursuant to this Contract shall be subject to the Contract Payment Limit. The Payment Limit includes expenses (phones, photo copying, meals and travel etc). Invoices, shall be adequately detailed, based on accurate records, and be in a form reasonably satisfactory to the City. Contractor may be required to provide back-up material upon request.
3. Contractor shall submit timely invoices to the following address:
Attention: City of Richmond, Finance Department - Accounts Payable Project Manager: Department:
PO Box 4046
Richmond, CA 94804-0046
4. All invoices that are submitted by Contractor shall be subject to the approval of the City’s Project Manager, before payments shall be authorized.
5. The City will pay invoice(s) within 45 days after completion of services to the City’s satisfaction. The City shall not pay late fees or interest.
6. A Richmond business license shall be obtained before any payment under this Contract shall be authorized and the business license must be kept current during the term of this Contract for payments to continue to be authorized.
7. All insurance coverage required by this Contract shall be provided by the Contractor before this Contract shall be executed by the City. The insurance coverage must be kept current during the term of this Contract for payments to continue to be authorized.
Winifred Day
Independent Arts and Media
ED Arts and Culture
Winifred Day
1668
For the Contract between the City of
Richmond and
EXHIBIT C
AUTHORIZED REPRESENTATIVES AND NOTICES
1. Notices. All notices, demands, statements, or communications provided for by this Contract shall be in writing and may be delivered by deposit in the United States mail, postage prepaid. Notices to the City shall be addressed to the Department Head and (as delineated below in section 1.1) to the project manager responsible for the administration of or the supervision of the scope of work under this Contract. Notices to the Contractor shall be addressed to the party designated by Contractor (as delineated below in section 1.2). Notice shall be deemed delivered (a) upon personal delivery; (b) as of the fifth business day after mailing by United States certified mail, postage prepaid, addressed to the proper party; or (c) as of 12:00 p.m. on the second business day immediately after the day it is deposited with and accepted by Federal Express, or a similar overnight courier service, addressed to the proper party and marked for next business day morning delivery. For the purposes of this Contract, a "business day" means any day Monday through Friday that is not a holiday recognized by the federal government or the State of California.
1. 1 CITY hereby designates as its Authorized Representative the Project Manager whose name and address are as follows:
City of Richmond
Richmond, CA 94804-0046
1. 2 CONTRACTOR hereby designates as its Authorized Representative the Project Manager whose name and address are as follows:
Independent Arts and Media
I d d t A t d M di
Winifred Day
P.O. Box 420442
San Francisco, CA
1669
General Conditions/EJ/TE 01-19-11 1 of 13
EXHIBIT D
GENERAL CONDITIONS
1. Independent Contractor. Contractor acknowledges, represents and warrants that Contractor is not a regular or temporary employee, joint venturer or partner of the City, but rather an independent Contractor. This Contract shall not be construed to create an agency, servant, employee, partnership, or joint venture relationship. As an independent Contractor, Contractor shall have no authority to bind City to any obligation or to act as City's agent except as expressly provided herein. Due to the independent Contractor relationship created by this Contract, City shall not withhold state or federal income taxes, the reporting of which shall be Contractor's sole responsibility.
2. Brokers. Contractor acknowledges, represents and warrants that Contractor has not hired, retained or agreed to pay any entity or person any fee, commission, percentage, gift, or any other consideration, contingent upon or resulting from the award or making of this Contract.
3. City Property. The rights to applicable plans, drawings, reports, calculations, data, specifications, videos, graphics or other materials prepared for or obtained pursuant to this Contract, which, upon request, are to be delivered to City within a reasonable time, shall be deemed assigned to City. If applicable, Contractor shall prepare check prints upon request. Notwithstanding the foregoing, Contractor shall not be obligated to provide to City proprietary software or data which Contractor has developed or had developed for Contractor's own use; provided, however, that Contractor shall, pursuant to Section 15 below, indemnify, defend and hold harmless City from and against any discovery or Public Records Act request seeking the disclosure of such proprietary software or data.
4. Patents, Trademarks, Copyrights and Rights in Data. Contractor shall not publish or transfer any materials, discoveries, developments, concepts, designs, ideas, know how, improvements, inventions and/or original works of authorship resulting from activities supported by this Contract without the express prior written consent of the City Manager. If anything resulting from activities supported by this Contract is patentable, trademarkable, copyrightable or otherwise legally protectable, City reserves the exclusive right to seek such intellectual property rights. Notwithstanding the foregoing, Contractor may, after receiving City's prior written consent, seek patent, trademark, copyright or other intellectual property rights on anything resulting from activities supported by this Contract. However, City reserves, and Contractor irrevocably grants, a nonexclusive, fully paid-up, royalty-free, assumable, perpetual, worldwide license, with the right to transfer, sublicense, practice and exploit said license and the right to make, have made, copy, modify, make derivative works of, use, sell, 1670
General Conditions/EJ/TE 01-19-11 2 of 13
import, and otherwise distribute under all applicable intellectual properties without restriction of any kind said license.
Contractor further agrees to assist City, at City's expense, in every proper way to secure the City’s rights in any patents, trademarks, copyrights or other intellectual property rights relating thereto, including the disclosure to City of all pertinent information and data with respect thereto. Contractor shall also assist City in the execution of all applications, specifications, oaths, assignments, recordations, and all other instruments which City shall deem necessary in order to apply for, obtain, maintain and transfer such rights, or if not transferable, to waive such rights. Contractor shall further assist City in the execution of all applications, specifications, oaths, assignments, recordations and all other instruments which City shall deem necessary in order to assign and convey to City, and any assigns and nominees the sole and exclusive right, title and interest in and to any patents, trademarks, copyrights or other intellectual property rights relating thereto. Contractor further agrees that its obligation to execute or cause to be executed, when it is in Contractor's power to do so, any such instruments or papers shall continue during and at all times after the end of Contractor's services and until the expiration of the last such intellectual property right. Contractor hereby irrevocably designates and appoints City, and its duly authorized officers, agents and servants, as its agent and attorney-in-fact, to act for and in its behalf and stead to execute and file any such applications and to do all other lawfully permitted acts to further the application for, prosecution, issuance, maintenance or transfer of letters of patents, copyright and other registrations. This power of attorney is coupled with an interest and shall not be affected by Contractor's subsequent incapacity.
5. Inspection. Contractor's performance, place of business and records pertaining to this Contract are subject to monitoring, inspection, review and audit by authorized representatives of the CITY, the State of California, and the United States Government.
If the project or services set forth in Exhibit A shall be performed on City or other public property, City shall have the right to inspect such work without notice. If such project or services shall not be performed on City or other public property, City shall have the right to inspect such work upon reasonable notice.
6. Services. The project or services set forth in Exhibit A shall be performed to the full satisfaction and approval of City. In the event that the project or services set forth in Exhibit A are also itemized by price, City, in its sole discretion, may, upon notice to Contractor, delete certain items or services set forth in Exhibit A, in which case there shall be a corresponding reduction in the amount of compensation paid to Contractor. 1671
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Contractor shall, at its own cost and expense, furnish all facilities and equipment necessary for Contractor to complete the project or perform the services required herein, unless otherwise provided in Exhibit A.
7. Records. Contractor shall keep and make available for inspection and copying by authorized representatives of the City, the State of California, and the United States Government, the Contractor's regular business records and such additional records pertaining to this Contract as may be required by the City.
Contractor shall retain all documents pertaining to this Contract for a period of five (5) years after this Contract's termination (or for any further period that is required by law) and until all Federal or State audits are complete and exceptions resolved for this contract's funding period. Upon request, CONTRACTOR shall make these records available to authorized representatives of the CITY, the State of California, and the United States Government.
Contractor shall keep full and detailed accounts, maintain records, and exercise such controls as may be necessary for proper financial management under this Contract. The Contractor’s accounting and control systems shall be satisfactory to City. Contractor's accounting systems shall conform to generally accepted accounting principles and all records shall provide a breakdown of total costs charged under this Contract, including properly executed payrolls, time records, utility bills, invoices and vouchers. The City shall be afforded prompt access to Contractor's records, books, and Contractor shall preserve such project records for a period of at least five (5 years after the termination of this Contract , or for such longer period as may be required by law.
Contractor shall permit City and its authorized representatives and accountants to inspect, examine and copy Contractor's books, records, accounts, correspondence, instructions, drawings, receipts, subcontracts, purchase orders, vouchers, memoranda and other data relating to the project or services set forth in Exhibit A, and any and all data relevant to this Contract at any reasonable time for the purpose of auditing and verifying statements, invoices, or bills submitted by Contractor pursuant to this Contract and shall provide such assistance as may be reasonably required in the course of such inspection. Contractor shall also allow City access to the record keeping and accounting personnel of Contractor.
City further reserves the right to examine and re-examine said books, records, accounts, and data during the five (5 year period following the termination of this Contract; and Contractor shall in no event dispose of, destroy, alter, or mutilate said books, records, accounts, and data in any manner whatever for five (5 years after the termination of this Contract. 1672
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Pursuant to California Government Code § 10527, the parties to this Contract shall be subject to the examination and audit of representatives of the Auditor General of the State of California for a period of three (3) years after final payment under this Contract. The examination and audit shall be confined to those matters connected with the performance of this Contract including, but not limited to, the cost of administering this Contract.
8. Changes and Extra Work. All changes and/or extra work under this Contract shall be performed and paid for in accordance with the following:
Only the City Council or the City Manager may authorize extra and/or changed work. Contractor expressly recognizes that other City personnel are without authorization to either order extra and/or changed work or waive contract requirements. Failure of Contractor to secure the authorization for such extra and/or changed work shall constitute a waiver of any and all right to adjustment in contract price due to such unauthorized work and Contractor thereafter shall be entitled to no compensation whatsoever for performance of such extra and/or changed work.
If Contractor is of the opinion that any work which Contractor has been directed to perform is beyond the scope of this Contract and constitutes extra work, Contractor shall promptly notify City of the fact. The City shall make a determination as to whether or not such work is, in fact, beyond the scope of this Contract and constitutes extra work. In the event that City determines that such work does constitute extra work, City shall provide extra compensation to Contractor on a fair and equitable basis. A change order or Contract Amendment providing for such compensation for extra work shall be negotiated between City and Contractor and executed by Contractor and the appropriate City official.
In the event City determines that such work does not constitute extra work, Contractor shall not be paid extra compensation above that provided herein and if such determination is made by City staff, said determination may be appealed to the City Council; provided, however, a written appeal must be submitted to the City Manager within five (5) days after the staff's determination is sent to Contractor. Said written appeal shall include a description of each and every ground upon which Contractor challenges the staff's determination.
9. Additional Assistance. If this Contract requires Contractor to prepare plans and specifications, Contractor shall provide assistance as necessary to resolve any questions regarding such plans and specifications that may arise during the period of advertising for bids, and Contractor shall issue 1673
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any necessary addenda to the plans and specifications as requested. In the event Contractor is of the opinion that City's requests for addenda and assistance is outside the scope of normal services, the parties shall proceed in accordance with the changes and extra work provisions of Section 8 of these General Conditions.
10. Professional Ability. Contractor acknowledges, represents and warrants that Contractor and its employees are skilled and able to competently provide the services hereunder, and possess all professional licenses, certifications, and approvals necessary to engage in their occupations.
City has relied upon the professional ability and training of Contractor as a material inducement to enter into this Contract. Contractor shall perform in accordance with generally accepted professional practices and standards of Contractor's profession. In the event that City, in its sole discretion, desires the removal of any person employed or retained by Contractor to perform services hereunder, such person shall be removed immediately upon receiving notice from City.
11. Business License. Contractor shall obtain a Richmond Business License before performing any services required under this Contract. The failure to so obtain such license shall be a material breach of this Contract and grounds for immediate termination by City; provided, however, that City may waive the business license requirement in writing under unusual or extraordinary circumstances without necessitating any modification of this Contract to reflect such waiver.
12. Termination Without Default. Notwithstanding any provision herein to the contrary, City may, in its sole and absolute discretion and without cause, terminate this Contract at any time prior to completion by Contractor of the project or services hereunder, immediately upon written notice to Contractor. Contractor may terminate this Contract at any time in its sole and absolute discretion and without cause upon 30 days' written notice to City. In the event of termination by either party, Contractor shall be compensated for: (1) all authorized work satisfactorily performed prior to the effective date of termination; (2) necessary materials or services of others ordered by Contractor for this Contract, prior to receipt of notice of termination, irrespective of whether such materials or services of others have actually been delivered, provided that Contractor is not able to cancel such orders. Compensation for Contractor in such event shall be determined by City in accordance with the percentage of the project or services completed by Contractor; and all of Contractor's finished or unfinished work product through the time of the City's last payment shall be transferred and assigned to City. Additionally, in the event of such termination, the City may proceed with the work in any reasonable manner it chooses.
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13. Termination in the Event of Default. Should Contractor fail to perform any of its obligations hereunder, within the time and in the manner provided or otherwise violate any of the terms of this Contract, City may immediately terminate this Contract by giving written notice of such termination, stating the reasons for such termination. Contractor shall be compensated as provided in Section 12 of these General Conditions; provided, however, there shall be deducted from such amount the amount of damage, including attorney's fees, expert witness fees and costs, if any, sustained by City by virtue of Contractor's breach of this Contract. Additionally, in the event of such termination, the City may proceed with the work in any reasonable manner it chooses.
14. Conflict of Interest. Contractor acknowledges, represents and warrants that Contractor shall avoid all conflicts of interest (as defined under any federal, state or local statute, rule or regulation, or at common law) with respect to this Contract. Contractor further acknowledges, represents and warrants that no City official or employee has any economic interest, as defined in Title 2, California Code of Regulations §§ 18703.1 through 18703.5, with Contractor that would invalidate this Contract. Contractor acknowledges that in the event that Contractor shall be found by any judicial or administrative body to have any conflict of interest (as defined above) with respect to this Contract, all consideration received under this Contract shall be forfeited and returned to City forthwith. This provision shall survive the termination of this Contract for one (1) year.
15. Indemnification.
(a) If this Contract is a contract for design professional services subject to California Civil Code Section 2782.8(a) and Contractor is a design professional, as defined in California Civil Code Section 2782.8(b)(2), Contractor shall hold harmless, defend and indemnify the City, its officers, agents, employees, and volunteers from and against any and all claims, damages, losses, and expenses including attorneys’ fees arising out of, or pertaining to, or relating to the negligence, recklessness, or willful misconduct of the Contractor, except where caused by the active negligence, sole negligence, or willful misconduct of the City. To the fullest extent permitted by law, Contractor shall immediately defend and indemnify the City and its officers, agents, employees, and volunteers from and against any and all liabilities, regardless of nature or type, that arise out of, pertain to, or relate to the negligence, recklessness, or willful misconduct of the Contractor, or its employees, agents, or subcontractors.
Liabilities subject to the duties to defend and indemnify include, without limitation, any and all claims, losses, damages, penalties, fines, and judgments; associated investigation and administrative expenses; defense costs, including but not limited to reasonable attorneys’ fees; court costs; and costs of alternative dispute resolution. Contractor’s obligation to 1675
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indemnify applies unless it is finally adjudicated that the liability was caused by the sole active negligence or sole willful misconduct of an indemnified party.
(b) If this Contract is not a contract for design professional services subject to California Civil Code Section 2782.8(a) or Contractor is not a design professional as defined in California Civil Code Section 2782.8(b)(2), Contractor shall indemnify, defend, and hold harmless the City, its officers, agents, employees and volunteers from any and all claims, suits, or actions of every name, kind and description, brought forth on account of injuries to or death of any person or damage to property arising from or connected with the willful misconduct, negligent acts, errors or omissions, ultra-hazardous activities, activities giving rise to strict liability, or defects in design by Contractor or any person directly or indirectly employed by, or acting as, the agent for Contractor in the performance of this Contract, including the concurrent or successive passive negligence of the City, its officers, agents, employees or volunteers.
(c) It is understood that the duty of Contractor to indemnify and hold harmless includes the duty to defend as set forth in Section 2778 of the California Civil Code. Contractor shall be obligated to defend, in all legal, equitable, administrative, or special proceedings, with counsel approved by the City, the City and its officers, agents, employees, and volunteers, immediately upon tender to Contractor of the claim in any form or at any stage of an action or proceeding, whether or not liability is established. An allegation or determination that persons other than Contractor are responsible for the claim does not relieve Contractor from its separate and distinct obligation to defend under this Section 15. The obligation to defend extends through final judgment, including exhaustion of any appeals. The defense obligation includes an obligation to provide independent counsel if Contractor asserts that liability is caused in whole, or in part, by the negligence or willful misconduct of an indemnified party. (d) The review, acceptance or approval of the Contractor’s work or work product by any indemnified party shall not affect, relieve or reduce the Contractor’s indemnification or defense obligations. This Section 15 survives completion of the services or the termination of this Contract.
The provisions of this Section 15 are not limited by, and do not affect, the provisions of this Contract relating to insurance.
(e) Acceptance of insurance certificates and endorsements required under this Contract does not relieve Contractor from liability under this Section
15. This Section 15 shall apply whether or not such insurance policies are determined to be applicable to any such damages or claims for damages.
16. Safety. Contractor acknowledges that the City is committed to the highest standards of workplace safety. Contractor shall perform all work hereunder in full compliance with applicable local, state and federal safety requirements including but not limited to Occupational Safety and Health Administration requirements, and shall assume sole and complete 1676
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responsibility for the safety of Contractor's employees and any subContractor's employees. If a death, serious personal injury or substantial property damage occurs in connection with the performance of this Contract, Contractor shall immediately notify the City by telephone.
17. Insurance. Insurance requirements are set forth in Exhibit F to this Contract. Contractor shall abide by the insurance requirements set forth in said Exhibit F.
18. Non-Liability of Officials and Employees of the City. No official or employee of the City shall be personally liable for any default or liability under this Contract.
19. Compliance with Laws. Contractor shall comply with all federal, state and local laws, statutes, ordinances, rules and regulations, and the orders and decrees of any courts or administrative bodies or tribunals, with respect to this Contract, including without limitation environmental laws, employment discrimination laws and prevailing wage laws. Compliance under this provision includes compliance with all provisions of the Richmond Municipal Code ("Municipal Code"), including Chapters 2.50, 2.52, 2.56, and 2.60, if applicable.
Contractor acknowledges that under § 2.60.070 of the Municipal Code ("Living Wage Ordinance"), Contractor shall promptly provide to City documents and information verifying its compliance with the Living Wage Ordinance. Also as prescribed in § 2.60.070, Contractor shall notify each of its affected employees with regards to the wages that are required to be paid pursuant to the Living Wage Ordinance.
Contractor shall comply with § 2.28.030 of the Municipal Code, obligating every Contractor or subcontractor under a contract or subcontract with the City for public work or for goods or for services to refrain from discriminatory employment or subcontracting practices on the basis of race, color, sex, sexual orientation, religious creed, national origin or ancestry of any employee, any applicant for employment or any potential subcontractor.
Contractor acknowledges that the City’s Drug Free Workplace Policy, Violence in the Workplace Policy and the Policy Against Workplace Harassment, are available on the City’s website at
http://www.ci.richmond.ca.us/workplacepolicies . Contractor agrees to abide by the terms and conditions of said policies.
20. Limitations upon Subcontracting and Assignment. This Contract binds the heirs, successors, assigns and representatives of Contractor. The Contractor shall not enter into subcontracts for any work contemplated 1677
General Conditions/EJ/TE 01-19-11 9 of 13
under this Contract and shall not assign this Contract, nor any portion hereof or monies due or to become due, without the prior written consent of the City Council or its designee.
Contractor acknowledges that the services which Contractor shall provide under this Contract are unique, personal services which, except as otherwise provided herein, Contractor shall not assign or sublet to any other party without the prior written approval of City, which approval may be withheld in City's sole and absolute discretion. In the event that City, in writing, approves any assignment or subletting of this Contract or the retention of subcontractors by Contractor, Contractor shall provide to City upon request copies of each and every subcontract contract prior to the execution thereof by Contractor and subcontractor. Any assignment by Contractor of any or all of its rights under this Contract without first obtaining City's prior written consent shall be a default under this Contract.
The sale, assignment, transfer or other disposition of any of the issued and outstanding capital stock of Contractor (if applicable), or of the interest of any general partner or joint venturer or syndicate member if Contractor is a partnership or joint-venture or syndicate, which shall result in a change of control of Contractor, shall be deemed an assignment. For this purpose, control shall mean fifty percent or more of the voting power or twenty-five percent or more of the assets of the corporation, partnership or joint-venture.
21. Integration. This Contract constitutes the entire agreement between the parties concerning the subject matter hereof and supersedes any previous oral or written agreement; provided, however, that correspondence or documents exchanged between Contractor and City may be used to assist in the interpretation of the Exhibits to this Contract.
22. Modifications and Amendments. This Contract may be modified or amended only by a change order or Contract Amendment executed by both parties and approved as to form by the City Attorney.
23. Conflicting Provisions. In the event of a conflict between these General Conditions and those of any Exhibit or attachment hereto, these General Conditions shall prevail; provided, however, that any Special Conditions as set forth in Exhibit E shall prevail over these General Conditions. In the event of a conflict between the terms and conditions of any two or more Exhibits or attachments hereto, those prepared by City shall prevail over those prepared by the Contractor, and the terms and conditions preferred by the City shall prevail over those preferred by the Contractor.
24. Non-exclusivity. Notwithstanding any provision herein to the contrary, the services provided by Contractor hereunder shall be non-exclusive, and 1678
General Conditions/EJ/TE 01-19-11 10 of 13
City reserves the right to employ other Contractors in connection with the project.
25. Exhibits. All Exhibits hereto are made a part hereof and incorporated herein by reference; provided, however, that any language in Exhibit A which does not pertain to the project description, proposal, scope of services, or method of compensation (as applicable) , or any corresponding responsibilities of City, shall be deemed extraneous to, and not a part of, this Contract.
26. Force Majeure. Neither party hereto shall be considered in default in the performance of its obligations hereunder to the extent that the performance of such an obligation is prevented or delayed by reason of acts of God, strikes, boycotts, lock-outs, inability to procure materials not related to the price thereof, failure of power, restrictive governmental laws and regulations enacted after the date of this Contract, riots, civil unrest, acts of terrorism, insurrection, war, declaration of a state or national emergency or other reasons of a like nature not within the reasonable control of such party.
27. Time of the Essence. Time is of the essence of this Contract. Contractor and City agree that any time period set forth in Exhibit A represents their best estimates with respect to completion dates and both Contractor and City acknowledge that departures from the schedule may occur.
Therefore, both Contractor and City will use reasonable efforts to notify one another of changes to the schedule. Contractor shall not be responsible for performance delays caused by others, or delays beyond Contractor's control, and such delays shall extend the times for performance of Contractor's work.
28. Confidentiality. Contractor agrees to comply with, and to require its employees, agents and partners to comply with, all applicable State or Federal statutes or regulations respecting confidentially, including but not limited to, the identity of persons served under this Contract, their records, or services provided them, and assures that:
All applications and records concerning any individual made or kept by Contractor or any public officer or agency in connection with the administration of or relating to services provided under this Contract will be confidential, and will not be open to examination for any purposes not directly connected with the administration of such service.
No person will publish or disclose or permit or cause to be published or disclosed, any list of persons receiving services, except as may be required in the administration of such service.
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General Conditions/EJ/TE 01-19-11 11 of 13
29. Third Parties. Nothing herein shall be interpreted as creating any rights or benefits in any third parties. For purposes hereof, transferees or assignees as permitted under this Contract shall not be considered "third parties."
30. Governing Law. This Contract shall be construed in accordance with the law of the State of California without regard to principles of conflicts of law.
This Contract is made in Contra Costa County, California, and any action relating to this Contract shall be instituted and prosecuted in the courts of Contra Costa County, California.
31. Nonrenewal. Contractor understands and agrees that there is no representation, implication, or understanding that the services provided by Contractor under this Contract will be purchased or renewed by the City under a new contract following expiration or termination of this Contract, and waives all rights or claims to notice or hearing respecting any failure by City to continue the purchase of all or any failure to continue purchase of all or any such services from Contractor.
32. Claims. Any claim by Contractor against City hereunder shall be subject to Government Code §§ 800 et seq. The claims presentation provisions of said Act are hereby modified such that the presentation of all claims hereunder to the City shall be waived if not made within six months after accrual of the cause of action.
33. Interpretation. This Contract shall be interpreted as if drafted by both parties.
34. Warranty. In the event that any product shall be provided to the City as part of this Contract, Contractor warrants as follows: Contractor possesses good title to the product and the right to transfer the product to City; the product shall be delivered to the City free from any security interest or other lien; the product meets any specifications contained herein; the product shall be free from material defects in materials and workmanship under normal use for a period of one (1) year from the date of delivery; and the product shall be fit for its intended purpose(s). Notwithstanding the foregoing, consumable and maintenance items (such as light bulbs and batteries) shall be warranted for a period of one hundred and eighty (180) days from the date of delivery. All repairs during the warranty period shall be promptly performed by Contractor, at Contractor's expense, including shipping.
35. Severability. In the event that any of the provisions or portions or applications thereof of this Contract are held to be unenforceable or invalid by any court of competent jurisdiction, City and Contractor shall negotiate an equitable adjustment in the provisions of the Contract with a view 1680
General Conditions/EJ/TE 01-19-11 12 of 13
toward effecting the purpose of this Contract, and the validity and enforceability of the remaining provisions or portions or applications thereof, shall not be affected thereby.
36. Authority. City warrants and represents that the signatory hereto (the Mayor of the City of Richmond or the City Manager) is duly authorized to enter into and execute this Contract on behalf of City. The party signing on behalf of Contractor warrants and represents that he or she is duly authorized to enter into and execute this Contract on behalf of Contractor, and shall be personally liable to City if he or she is not duly authorized to enter into and execute this Contract on behalf of Contractor.
37. Waiver. The waiver by City of any breach of any term or provision of this Contract shall not be construed as a waiver of any subsequent breach.
Inspections or approvals, or statements by any officer, agent or employee of the City relating to the Contractor’s performance, or payments therefore, or any combination of these acts, shall not relieve the Contractor’s obligation to fulfill this Contract as prescribed; nor shall the City be thereby stopped from bringing any action for damages or enforcement arising from any failure to comply with any of the terms and conditions of this Contract.
38. Possessory Interest. If this Contract results in the Contractor having possession of, claim to or right to the possession of land or improvements, but does not vest ownership of the land or improvements in the same person, or if this Contract results in the placement of taxable improvements on tax exempt land (Revenue and Taxation Code 107), such interest or improvements may represent a possessory interest subject to property tax, and Contractor may be subject to the payment of property taxes levied on such interest.
39. Performance and Final Acceptance.
Contractor represents that it is experienced, qualified, registered, licensed, equipped, organized and financed to perform the services under this Contract.
Contractor shall perform the services under this Contract with that degree of skill and judgment normally exercised by professional firms performing services of a similar nature in the State of California, and shall be responsible for the professional quality, technical accuracy and coordination of the services it performs under this Contract. In addition to the other rights and remedies which City may have, Contractor shall, at its own expense, correct any services which fail to meet the above standard. 1681
General Conditions/EJ/TE 01-19-11 13 of 13
City shall provide Contractor an opportunity to cure errors and omission which may be disclosed during the review of submittals, with no increase in the authorized Contract Payment Limit. Should Contractor fail to make necessary corrections in a timely manner, such corrections shall be made by the City and the cost thereof shall be charged to Contractor.
If warranted, City shall determine, and Contractor may request such determination, that Contractor has satisfactorily completed performance of this Contract. Upon such determination, City shall issue to Contractor a written Notice of Final Acceptance, after which Contractor shall not incur further costs under this Contract. Contractor shall respond to such Notice of Final Acceptance by executing and submitting to City a Release and Certificate of Final Payment.
40. Survival. The rights and obligations of the parties which by their nature survive termination or completion of the services covered by this Contract shall remain in full force and effect after termination or completion. 1682
For the Contract between the City of
Richmond and
EXHIBIT E
SPECIAL CONDITIONS
The General Conditions are hereby amended to include the following modifications and/or provisions (if applicable):
Independent Arts and Media
1683
For the Contract between the City of
Richmond and
EXHIBIT F
INSURANCE PROVISIONS
During the entire term of this Contract and any extension or modification thereof, the CONTRACTOR shall keep in effect insurance policies meeting the insurance requirements specified in the insurance provisions which are attached hereto and incorporated herein by this reference.
Independent Arts and Media
1684
___ Exhibit F
___ Section 8
City of Richmond - Insurance Requirements – Type 1:
Consultants and Contractors
Type 1 – Page 1 of 4
Revised: September 2011
In all instances where a CONTRACTOR or its representatives will be conducting business and/or providing services, the City requires the following MINIMUM insurance requirements and limits.
CONTRACTOR shall procure and maintain for the duration of the contract, agreement, or other order for work, services or supplies, insurance against claims for injuries to persons or damages to property which may arise from or in connection with the performance of the work hereunder and the results of that work by the CONTRACTOR, its agents, representatives, employees or subcontractors. Maintenance of proper insurance coverage is a material element of the contract. Failure to maintain or renew coverage or to provide evidence of renewal may be treated by the City as a material breach of contract.
CONTRACTOR agrees that in the event of loss due to any of the perils for which it has agreed to provide Commercial General Liability insurance, CONTRACTOR shall look solely to its insurance for recovery. CONTRACTOR hereby grants to CITY, on behalf of any insurer providing Commercial General Liability insurance to either CONTRACTOR or CITY with respect to the services of CONSULTANT herein, a waiver of any right to subrogation which any such insurer of said CONTRACTOR may acquire against the CITY by virtue of the payment of any loss under such insurance.
Original, signed certificates and original, separate policy endorsements, naming the City as an additional insured for general liability, as well as a waiver of subrogation for Workers’ Compensation insurance, shall be received and approved by the City before any work may begin. However, failure to do so shall not operate as a waiver of these insurance requirements.
City reserves the right to modify or require additional coverages for specific risk exposures depending on scope of CONTRACTORS work.
Minimum coverage is detailed below. The policy limits of coverage shall be made available to the full limits of the policy.
The minimum limits stated herein shall not serve to reduce the policy limits of coverage of CONTRACTOR.
Minimum Scope of Insurance – the following forms shall be provided and coverage shall be at least as broad as the following:
1. Insurance Services Office Commercial General Liability coverage (ISO Occurrence Form CG 0001) including coverage for bodily and personal injury, property damage, and products and completed operations.
2. Insurance Services Office Automobile Liability coverage (ISO Form CA 0001, Code 1, Any Auto)
3. Original and Separate Additional Insured Endorsements for General Liability (ISO Form CG 20 10 11/85 or its equivalent) with primary and non-contributory language.
4. Workers’ Compensation Insurance as required by the State of California including Employer’s Liability coverage.
5. Original and Separate Waiver of Subrogation for Workers’ Compensation and Builder’s Risk/ Course of Construction Insurance.
6. Builder’s Risk/Course of Construction insurance covering all risks of loss less policy exclusions when the City of Richmond has a financial interest in the property. – (Only required for Construction Contracts involving property)
7. Contractor’s Pollution Liability (if applicable for Construction Contractors) Required Coverage Minimum Limits
Workers’ Compensation and
Employers’ Liability
Statutory limits as required by the State of California including $1 million Employers’ Liability per accident, per employee for bodily injury or disease.
If CONTRACTOR is self-insured, provide a certificate of Permission to SelfInsure, signed by the California Department of Industrial Relations and SelfInsurance. If contractor is a sole proprietor (has no employees) than contractor must sign “Contractor Release of Liability” found at:
http://www.ci.richmond.ca.us/index.aspx?nid=61.
1685
___ Exhibit F
___ Section 8
City of Richmond - Insurance Requirements – Type 1:
Consultants and Contractors
Type 1 – Page 2 of 4
Revised: September 2011
PROJECT COST REQUIRED LIMIT
$0 - $5 million $2 million p/o
$5 million - $10 million $5 million p/o
Over $10 million $10 million p/o
Fireworks $5 million p/o
General Liability
(primary and excess limits
combined)
Includes coverage for bodily injury, personal injury, property damage and products and completed operations. The policy shall not exclude coverage for XCU perils (explosion, collapse, or damage to underground property).
If the policy includes a general aggregate, either the general aggregate shall apply separately to this project, service or location or the minimum required aggregate limit shall be twice the per occurrence limit ($4 million aggregate limit).
Policy shall be endorsed to name the City of Richmond as an additional insured per the conditions detailed below.
Automobile Liability $1,000,000 per occurrence for bodily injury and property damage.
Builders’ Risk/Course of
Construction – Covers property
under construction, repair or
renovation as well as equipment
and materials to be installed.
(Only required for Construction
Projects involving property and
equipment installation.)
Coverage shall include all risks of direct physical loss, excluding earthquake, for an amount equal to the full completed value of the covered structure or replacement value of alterations or additions, including soft costs and business interruption.
If the project does not involve new or major reconstruction, an Installation Floater may be acceptable. For such projects, a property installation floater shall be obtained that provides for the improvement, remodel, modification, alteration, conversion or adjustment to existing buildings, structures, processes, machinery and equipment. The Property Installation Floater shall provide property damage coverage for any building, structure, machinery or equipment damaged, impaired, broken or destroyed during the performance of the Work, including during transit, installation and testing at the City of Richmond’s site.
The City of Richmond shall be named as loss payee as its interest may appear. The insurer shall waive all rights of subrogation against City.
Contractor’s Pollution Liability (if
applicable)
Protects against:
unexpected/unintended release of
pollution resulting from contractors
covered operations such as:
HVAC, paving, carpentry, pipeline
& tank installation, drillers,
remediation contractors,
maintenance, mechanical,
demolition, excavation, grading,
street/road construction,
residential & commercial builders.
Same limits as General Liability.
Required Policy Conditions
A. M. Best Rating A:VII or Better. If the A.M. Best Rating falls below the required rating, CONTRACTOR must replace coverage immediately and provide notice to City.
Additional Insured Endorsement Applicable to General Liability Coverage.
The City of Richmond, its officers, officials, employees, agents and volunteers are to be named as additional insureds for all liability arising out of the operations by or on behalf of the named insured, including but not limited to bodily injury, deaths and property damage or destruction arising in any respect directly or indirectly in the performance of this contract.
ISO form CG 20 10 (11/85) or its equivalent is required. The endorsement must not exclude products and completed operations coverage. If it does, then CG 20 37 (10/01) is also required. 1686
___ Exhibit F
___ Section 8
City of Richmond - Insurance Requirements – Type 1:
Consultants and Contractors
Type 1 – Page 3 of 4
Revised: September 2011
Additional Insured Endorsement
(continued)
SAMPLE Endorsements can be found at
http://www.ci.richmond.ca.us/index.aspx?nid=61
Primary and Noncontributory The contractor’s insurance coverage must be primary coverage as it pertains to the City, its officers, officials, employees, agents and volunteers. Any insurance or self insurance maintained by the City is wholly separate from the insurance of the contractor and in no way relieves the contractor from its responsibility to provide insurance.
Waiver of Subrogation
Endorsement Form
Contractor’s insurer will provide a Waiver of Subrogation in favor of the City for Workers Compensation and Builder’s Risk/ Course of Construction coverage during the life of this contract.
SAMPLE Endorsements can be found at
http://www.ci.richmond.ca.us/index.aspx?nid=61
Deductibles and Self-Insured
Retentions
Any deductible or self-insured retention must be declared to and approved by the City. At the option of the City either the insurer shall reduce or eliminate such deductibles or self-insured retention as respects the City or the CONTRACTOR shall procure a financial guarantee in an amount equal to the deductible or self-insured retention guaranteeing payment of losses and related investigations, claims administration and defense expenses.
Contractor is responsible for satisfaction of the deductible and/or self-insured retention for each loss.
Loss Payable Endorsement (only
required when Builder’s Risk
and/or Course of Construction
Insurance is required.)
Applicable to Builder’s Risk/Course of Construction naming the City of Richmond as Loss Payee.
SURETY BONDS
(If a Public Works/Engineering
Project)
The Contractor shall provide:
1. A Bid bond
2. A Performance Bond
3. A Payment Bond
Umbrella/Excess Liability Policies
If an Umbrella or Excess Liability Policy is used to meet the liability limits, coverage shall be as broad as specified for underlying coverages and cover those insured in the underlying policies.
Claims-Made Policies
If any insurance policy is written on a claims-made form: 1) the retroactive date must be shown, and must be before the date of the contract or the beginning of contract work. 2) Insurance must be maintained and evidence of insurance must be provided for at least five (5) years after completion of the contract of work. 3) If coverage is canceled or nonrenewed, and not replaced with another claims-made policy form with a retroactive date prior to the contract effective date, the Contractor must purchase an extended period coverage for a minimum of five (5) years after completion of contract work.
Subcontractors
CONTRACTOR shall include all subcontractors as insured under its policies or shall furnish to the City for review and approval, separate certificates and endorsements for each subcontractor. All coverage for subcontractors shall be subject to all of the requirements stated herein.
CONTRACTOR agrees to defend and indemnify the City of Richmond for any damage resulting to it from failure of either CONTRACTOR or any subcontractor to take out or maintain the required insurance policies. The fact that insurance is obtained by CONTRACTOR, and/or CONTRACTOR’s subcontractors, will not be deemed to release or diminish the liability of CONTRACTOR, including, without limitation, liability under the indemnity provisions of this contract. Damages recoverable by CITY from CONTRACTOR or any third party will not be limited by the amount of the required insurance coverage.
1687
___ Exhibit F
___ Section 8
City of Richmond - Insurance Requirements – Type 1:
Consultants and Contractors
Type 1 – Page 4 of 4
Revised: September 2011
Verification of Coverage
All original certificates and endorsements shall be received and approved by the City before work may begin. The City of Richmond reserves the right to require complete, certified copies of all required insurance policies including endorsements affecting the coverage at any time.
Original insurance certificates and required policy endorsements shall be mailed, or delivered to the Designated Project Manager for the City of Richmond.
Insurance certificates and endorsements may be faxed to the Designated Project Manager. However, Contractor must mail the original certificates and endorsements to Designated Project Manager once faxed.
Continuous Coverage
CONTRACTOR shall maintain the required insurance for the life of the contract. Should the CONTRACTOR cease to have insurance as required during this time, all work by the CONTRACTOR pursuant to this agreement shall cease until insurance acceptable to the City is provided. In the event that CONTRACTOR fails to comply with the City’s insurance requirements, the City may take such action as it deems necessary to protect the City’s interests. Such action may include but is not limited to termination of the contract, withholding of payments, or other actions as the City deems appropriate.
If services or the scope of work extend beyond the expiration dates of the required insurance policies initially approved by the City, CONTRACTOR must provide updated certificates and endorsements indicating that the required coverage, terms and conditions are still in place. Renewal certificates and updated endorsements shall be mailed to the Designated Project Manager.
Cancellation
CONTRACTOR shall ensure that coverage shall not be cancelled, reduced or otherwise materially changed except after thirty (30) days’ prior written notice has been given to the City.
Reporting Requirements
Any failure to comply with reporting or other provisions of the policies including breaches of warranties shall not affect coverage provided to the City, its officers, officials, employees or volunteers.
Consistent with Public Policy
The insuring provisions, insofar as they may be judged to be against public policy shall be void and unenforceable only to the minimum extent necessary so that the remaining terms and provisions herein may be consistent with public policy and thus enforceable.
1688
CITY OF RICHMOND
STANDARD CONTRACT
Department: Project Manager:
Project Manager E-mail: Project Manager Phone No:
PR No: Vendor No: P.O./Contract No:
Description of Services:
The parties to this STANDARD CONTRACT do mutually agree and promise as follows:
1. Parties. The parties to this Contract are the City of Richmond (herein referred to as the “City”) and the following named Contractor:
Company Name:
Street Address:
City, State, Zip Code:
Contact Person:
Telephone: Email:
Business License No: / Expiration Date:
A California [ ] corporation, [ ] limited liability corporation [ ] general partnership, [ ] limited partnership, [ ] individual, [ ] non-profit corporation, [ ] individual dba as [specify:] ,
[ ] other [specify:]
2. Term. The effective date of this Contract is and it
terminates unless terminated as provided herein.
3. Payment Limit. City’s total payments to Contractor under this Contract shall not exceed $ . City shall not pay for services that exceed
the Contract Payment Limit unless a contract amendment has been approved by the City Council or City Manager.
4. Contractor’s Obligations. Contractor shall provide those services and carry out that work described in the Service Plan (Exhibit A) which is attached hereto and is incorporated herein by reference, subject to all the terms and conditions contained or incorporated herein.
5. City's Obligations. City shall make to the Contractor those payments described in the Payment Provisions (Exhibit B) which are attached hereto and are incorporated herein by reference, subject to all the terms and conditions contained or incorporated herein.
ED Arts and Culture Winifred Day
[email protected] (510) 620-6952
Arts District Strategic Plan contract approval.
Ceres Policy Research
3534 Rhoda Avenue
Oakland, CA 94602
Kerby Lynch
(510) 689-9375 [email protected]
June 25, 2024
December 30, 2024
50,000.00
✔
✔
1689
6. Authorized Representatives and Notices. This Contract is subject to the Authorized Representatives and Notices Provisions (Exhibit C) which are attached hereto and are incorporated herein by reference.
7. General Conditions. This Contract is subject to the General Conditions (Exhibit D) which are attached hereto and are incorporated herein by reference, subject to all the terms and conditions contained or incorporated herein.
8. Special Conditions. This Contract is subject to the Special Conditions (Exhibit E) (if any) which are attached hereto and are incorporated herein by reference, subject to all the terms and conditions contained or incorporated herein. (Note:
other than Public Works contracts, the City will agree to Special Conditions only in unusual circumstances.)
9. Insurance Provisions. This Contract is subject to the Insurance Provisions (Exhibit F) which are attached hereto and are incorporated herein by reference.
10. Signatures. These signatures attest the parties' Contract hereto:
CITY OF RICHMOND CONTRACTOR:
a municipal corporation
By:
(* The Corporation Chairperson of the Board,
President or Vice President should sign below)
Title: By:
I hereby certify that this Contract Title:
has been approved by City Council.
Date Signed:
By:
City Clerk
(* The Corporation Chief Financial Officer,
Secretary or Assistant Secretary should sign below)
Approved as to form:
By:
By: Title:
City Attorney
Date Signed:
(NOTE: Pursuant to California Corporations
Code Section 313, if Contractor is a corporation
or nonprofit organization, this Contract (1) must
be signed by (a) the Chairperson of the Board,
President or Vice-President and (b) the
Secretary any Assistant Secretary, the Chief
Financial Officer or any Assistant Treasurer.
LIST OF ATTACHMENTS:
Service Plan Exhibit A
Payment Provisions Exhibit B
Authorized Representatives and Notices Exhibit C
General Conditions Exhibit D
Special Conditions Exhibit E
Insurance Provisions Exhibit F
Standard Contract/EJ/TE 9-26-07
Ceres Policy Research
1690
For the Contract between the City of
Richmond and
EXHIBIT A
SERVICE PLAN
Contractor shall, to the satisfaction of the , perform the following services and be compensated as outlined below:
"SUTBOE$VMUVSF.BOBHFS
SCOPE OF SERVICES
The following describes the services that are expected to be ultimately performed by the selected proposer:
1. Review of mission, vision, and goals for the City’s Arts District including a focus on cultural equity goals to ensure that they are up-to date and reflect the current goals of the City using public art programming, including temporary and permanent art commissions, cultural grants, and other programs based on feedback from the community.
2. Recommendation and prioritization of creating a new comprehensive Arts District Plan.
Define the characteristic that qualify as part of an Arts District including a sustainable budget over 10 - 20 years.
3. Identification of site/area/location/City Districts for Arts District
4. Review of existing background documents including but not limited to the 2030 General Plan, updated Art Ordinances and Art Policies and Art Procedures and American Rescue Plan Act (ARPA) Fund Guidelines.
5. Outreach to and engagement of the Richmond community, including a diverse range of stakeholders to broadly question; art resources, community desires, and specifically, public art awareness.
6. Identification of site/area/location/City Districts for Arts District.
7. At least one working session with the RACC/PAAC, each Neighborhood Council, and residents.
8. Identification of other funding sources, local, state, federal, public and private to fully and successfully execute a vision of this magnitude.
9. City Staff time can be available to assist with administrative tasks such as scheduling of community meetings.
Ceres Policy Research
1691
For the Contract between the City of
Richmond and
EXHIBIT B
PAYMENT PROVISIONS
{PLEASE NOTE THAT THE CITY OF RICHMOND SHALL NOT PAY FOR SERVICES
THAT EXCEED THE CONTRACT PAYMENT LIMIT UNLESS A CONTRACT
AMENDMENT HAS BEEN APPROVED BY THE CITY COUNCIL OR THE CITY MANAGER}
1. Provided Contractor is not in default under this Contract, Contractor shall be compensated as provided below.
2. Any and all payments made pursuant to this Contract shall be subject to the Contract Payment Limit. The Payment Limit includes expenses (phones, photo copying, meals and travel etc). Invoices, shall be adequately detailed, based on accurate records, and be in a form reasonably satisfactory to the City. Contractor may be required to provide back-up material upon request.
3. Contractor shall submit timely invoices to the following address:
Attention: City of Richmond, Finance Department - Accounts Payable Project Manager: Department:
PO Box 4046
Richmond, CA 94804-0046
4. All invoices that are submitted by Contractor shall be subject to the approval of the City’s Project Manager, before payments shall be authorized.
5. The City will pay invoice(s) within 45 days after completion of services to the City’s satisfaction. The City shall not pay late fees or interest.
6. A Richmond business license shall be obtained before any payment under this Contract shall be authorized and the business license must be kept current during the term of this Contract for payments to continue to be authorized.
7. All insurance coverage required by this Contract shall be provided by the Contractor before this Contract shall be executed by the City. The insurance coverage must be kept current during the term of this Contract for payments to continue to be authorized.
Winifred Day
Ceres Policy Research
ED Arts and Culture
Winifred Day
1692
For the Contract between the City of
Richmond and
EXHIBIT C
AUTHORIZED REPRESENTATIVES AND NOTICES
1. Notices. All notices, demands, statements, or communications provided for by this Contract shall be in writing and may be delivered by deposit in the United States mail, postage prepaid. Notices to the City shall be addressed to the Department Head and (as delineated below in section 1.1) to the project manager responsible for the administration of or the supervision of the scope of work under this Contract. Notices to the Contractor shall be addressed to the party designated by Contractor (as delineated below in section 1.2). Notice shall be deemed delivered (a) upon personal delivery; (b) as of the fifth business day after mailing by United States certified mail, postage prepaid, addressed to the proper party; or (c) as of 12:00 p.m. on the second business day immediately after the day it is deposited with and accepted by Federal Express, or a similar overnight courier service, addressed to the proper party and marked for next business day morning delivery. For the purposes of this Contract, a "business day" means any day Monday through Friday that is not a holiday recognized by the federal government or the State of California.
1. 1 CITY hereby designates as its Authorized Representative the Project Manager whose name and address are as follows:
City of Richmond
1. 2 CONTRACTOR hereby designates as its Authorized Representative the Project Manager whose name and address are as follows:
Ceres Policy Research
Ceres Policy Research
Winifred Day
Richmond, CA 94804-0046
3534 Rhoda Avenue
Oakland, CA 94602
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EXHIBIT D
GENERAL CONDITIONS
1. Independent Contractor. Contractor acknowledges, represents and warrants that Contractor is not a regular or temporary employee, joint venturer or partner of the City, but rather an independent Contractor. This Contract shall not be construed to create an agency, servant, employee, partnership, or joint venture relationship. As an independent Contractor, Contractor shall have no authority to bind City to any obligation or to act as City's agent except as expressly provided herein. Due to the independent Contractor relationship created by this Contract, City shall not withhold state or federal income taxes, the reporting of which shall be Contractor's sole responsibility.
2. Brokers. Contractor acknowledges, represents and warrants that Contractor has not hired, retained or agreed to pay any entity or person any fee, commission, percentage, gift, or any other consideration, contingent upon or resulting from the award or making of this Contract.
3. City Property. The rights to applicable plans, drawings, reports, calculations, data, specifications, videos, graphics or other materials prepared for or obtained pursuant to this Contract, which, upon request, are to be delivered to City within a reasonable time, shall be deemed assigned to City. If applicable, Contractor shall prepare check prints upon request. Notwithstanding the foregoing, Contractor shall not be obligated to provide to City proprietary software or data which Contractor has developed or had developed for Contractor's own use; provided, however, that Contractor shall, pursuant to Section 15 below, indemnify, defend and hold harmless City from and against any discovery or Public Records Act request seeking the disclosure of such proprietary software or data.
4. Patents, Trademarks, Copyrights and Rights in Data. Contractor shall not publish or transfer any materials, discoveries, developments, concepts, designs, ideas, know how, improvements, inventions and/or original works of authorship resulting from activities supported by this Contract without the express prior written consent of the City Manager. If anything resulting from activities supported by this Contract is patentable, trademarkable, copyrightable or otherwise legally protectable, City reserves the exclusive right to seek such intellectual property rights. Notwithstanding the foregoing, Contractor may, after receiving City's prior written consent, seek patent, trademark, copyright or other intellectual property rights on anything resulting from activities supported by this Contract. However, City reserves, and Contractor irrevocably grants, a nonexclusive, fully paid-up, royalty-free, assumable, perpetual, worldwide license, with the right to transfer, sublicense, practice and exploit said license and the right to make, have made, copy, modify, make derivative works of, use, sell, 1694
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import, and otherwise distribute under all applicable intellectual properties without restriction of any kind said license.
Contractor further agrees to assist City, at City's expense, in every proper way to secure the City’s rights in any patents, trademarks, copyrights or other intellectual property rights relating thereto, including the disclosure to City of all pertinent information and data with respect thereto. Contractor shall also assist City in the execution of all applications, specifications, oaths, assignments, recordations, and all other instruments which City shall deem necessary in order to apply for, obtain, maintain and transfer such rights, or if not transferable, to waive such rights. Contractor shall further assist City in the execution of all applications, specifications, oaths, assignments, recordations and all other instruments which City shall deem necessary in order to assign and convey to City, and any assigns and nominees the sole and exclusive right, title and interest in and to any patents, trademarks, copyrights or other intellectual property rights relating thereto. Contractor further agrees that its obligation to execute or cause to be executed, when it is in Contractor's power to do so, any such instruments or papers shall continue during and at all times after the end of Contractor's services and until the expiration of the last such intellectual property right. Contractor hereby irrevocably designates and appoints City, and its duly authorized officers, agents and servants, as its agent and attorney-in-fact, to act for and in its behalf and stead to execute and file any such applications and to do all other lawfully permitted acts to further the application for, prosecution, issuance, maintenance or transfer of letters of patents, copyright and other registrations. This power of attorney is coupled with an interest and shall not be affected by Contractor's subsequent incapacity.
5. Inspection. Contractor's performance, place of business and records pertaining to this Contract are subject to monitoring, inspection, review and audit by authorized representatives of the CITY, the State of California, and the United States Government.
If the project or services set forth in Exhibit A shall be performed on City or other public property, City shall have the right to inspect such work without notice. If such project or services shall not be performed on City or other public property, City shall have the right to inspect such work upon reasonable notice.
6. Services. The project or services set forth in Exhibit A shall be performed to the full satisfaction and approval of City. In the event that the project or services set forth in Exhibit A are also itemized by price, City, in its sole discretion, may, upon notice to Contractor, delete certain items or services set forth in Exhibit A, in which case there shall be a corresponding reduction in the amount of compensation paid to Contractor. 1695
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Contractor shall, at its own cost and expense, furnish all facilities and equipment necessary for Contractor to complete the project or perform the services required herein, unless otherwise provided in Exhibit A.
7. Records. Contractor shall keep and make available for inspection and copying by authorized representatives of the City, the State of California, and the United States Government, the Contractor's regular business records and such additional records pertaining to this Contract as may be required by the City.
Contractor shall retain all documents pertaining to this Contract for a period of five (5) years after this Contract's termination (or for any further period that is required by law) and until all Federal or State audits are complete and exceptions resolved for this contract's funding period. Upon request, CONTRACTOR shall make these records available to authorized representatives of the CITY, the State of California, and the United States Government.
Contractor shall keep full and detailed accounts, maintain records, and exercise such controls as may be necessary for proper financial management under this Contract. The Contractor’s accounting and control systems shall be satisfactory to City. Contractor's accounting systems shall conform to generally accepted accounting principles and all records shall provide a breakdown of total costs charged under this Contract, including properly executed payrolls, time records, utility bills, invoices and vouchers. The City shall be afforded prompt access to Contractor's records, books, and Contractor shall preserve such project records for a period of at least five (5 years after the termination of this Contract , or for such longer period as may be required by law.
Contractor shall permit City and its authorized representatives and accountants to inspect, examine and copy Contractor's books, records, accounts, correspondence, instructions, drawings, receipts, subcontracts, purchase orders, vouchers, memoranda and other data relating to the project or services set forth in Exhibit A, and any and all data relevant to this Contract at any reasonable time for the purpose of auditing and verifying statements, invoices, or bills submitted by Contractor pursuant to this Contract and shall provide such assistance as may be reasonably required in the course of such inspection. Contractor shall also allow City access to the record keeping and accounting personnel of Contractor.
City further reserves the right to examine and re-examine said books, records, accounts, and data during the five (5 year period following the termination of this Contract; and Contractor shall in no event dispose of, destroy, alter, or mutilate said books, records, accounts, and data in any manner whatever for five (5 years after the termination of this Contract. 1696
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Pursuant to California Government Code § 10527, the parties to this Contract shall be subject to the examination and audit of representatives of the Auditor General of the State of California for a period of three (3) years after final payment under this Contract. The examination and audit shall be confined to those matters connected with the performance of this Contract including, but not limited to, the cost of administering this Contract.
8. Changes and Extra Work. All changes and/or extra work under this Contract shall be performed and paid for in accordance with the following:
Only the City Council or the City Manager may authorize extra and/or changed work. Contractor expressly recognizes that other City personnel are without authorization to either order extra and/or changed work or waive contract requirements. Failure of Contractor to secure the authorization for such extra and/or changed work shall constitute a waiver of any and all right to adjustment in contract price due to such unauthorized work and Contractor thereafter shall be entitled to no compensation whatsoever for performance of such extra and/or changed work.
If Contractor is of the opinion that any work which Contractor has been directed to perform is beyond the scope of this Contract and constitutes extra work, Contractor shall promptly notify City of the fact. The City shall make a determination as to whether or not such work is, in fact, beyond the scope of this Contract and constitutes extra work. In the event that City determines that such work does constitute extra work, City shall provide extra compensation to Contractor on a fair and equitable basis. A change order or Contract Amendment providing for such compensation for extra work shall be negotiated between City and Contractor and executed by Contractor and the appropriate City official.
In the event City determines that such work does not constitute extra work, Contractor shall not be paid extra compensation above that provided herein and if such determination is made by City staff, said determination may be appealed to the City Council; provided, however, a written appeal must be submitted to the City Manager within five (5) days after the staff's determination is sent to Contractor. Said written appeal shall include a description of each and every ground upon which Contractor challenges the staff's determination.
9. Additional Assistance. If this Contract requires Contractor to prepare plans and specifications, Contractor shall provide assistance as necessary to resolve any questions regarding such plans and specifications that may arise during the period of advertising for bids, and Contractor shall issue 1697
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any necessary addenda to the plans and specifications as requested. In the event Contractor is of the opinion that City's requests for addenda and assistance is outside the scope of normal services, the parties shall proceed in accordance with the changes and extra work provisions of Section 8 of these General Conditions.
10. Professional Ability. Contractor acknowledges, represents and warrants that Contractor and its employees are skilled and able to competently provide the services hereunder, and possess all professional licenses, certifications, and approvals necessary to engage in their occupations.
City has relied upon the professional ability and training of Contractor as a material inducement to enter into this Contract. Contractor shall perform in accordance with generally accepted professional practices and standards of Contractor's profession. In the event that City, in its sole discretion, desires the removal of any person employed or retained by Contractor to perform services hereunder, such person shall be removed immediately upon receiving notice from City.
11. Business License. Contractor shall obtain a Richmond Business License before performing any services required under this Contract. The failure to so obtain such license shall be a material breach of this Contract and grounds for immediate termination by City; provided, however, that City may waive the business license requirement in writing under unusual or extraordinary circumstances without necessitating any modification of this Contract to reflect such waiver.
12. Termination Without Default. Notwithstanding any provision herein to the contrary, City may, in its sole and absolute discretion and without cause, terminate this Contract at any time prior to completion by Contractor of the project or services hereunder, immediately upon written notice to Contractor. Contractor may terminate this Contract at any time in its sole and absolute discretion and without cause upon 30 days' written notice to City. In the event of termination by either party, Contractor shall be compensated for: (1) all authorized work satisfactorily performed prior to the effective date of termination; (2) necessary materials or services of others ordered by Contractor for this Contract, prior to receipt of notice of termination, irrespective of whether such materials or services of others have actually been delivered, provided that Contractor is not able to cancel such orders. Compensation for Contractor in such event shall be determined by City in accordance with the percentage of the project or services completed by Contractor; and all of Contractor's finished or unfinished work product through the time of the City's last payment shall be transferred and assigned to City. Additionally, in the event of such termination, the City may proceed with the work in any reasonable manner it chooses.
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13. Termination in the Event of Default. Should Contractor fail to perform any of its obligations hereunder, within the time and in the manner provided or otherwise violate any of the terms of this Contract, City may immediately terminate this Contract by giving written notice of such termination, stating the reasons for such termination. Contractor shall be compensated as provided in Section 12 of these General Conditions; provided, however, there shall be deducted from such amount the amount of damage, including attorney's fees, expert witness fees and costs, if any, sustained by City by virtue of Contractor's breach of this Contract. Additionally, in the event of such termination, the City may proceed with the work in any reasonable manner it chooses.
14. Conflict of Interest. Contractor acknowledges, represents and warrants that Contractor shall avoid all conflicts of interest (as defined under any federal, state or local statute, rule or regulation, or at common law) with respect to this Contract. Contractor further acknowledges, represents and warrants that no City official or employee has any economic interest, as defined in Title 2, California Code of Regulations §§ 18703.1 through 18703.5, with Contractor that would invalidate this Contract. Contractor acknowledges that in the event that Contractor shall be found by any judicial or administrative body to have any conflict of interest (as defined above) with respect to this Contract, all consideration received under this Contract shall be forfeited and returned to City forthwith. This provision shall survive the termination of this Contract for one (1) year.
15. Indemnification.
(a) If this Contract is a contract for design professional services subject to California Civil Code Section 2782.8(a) and Contractor is a design professional, as defined in California Civil Code Section 2782.8(b)(2), Contractor shall hold harmless, defend and indemnify the City, its officers, agents, employees, and volunteers from and against any and all claims, damages, losses, and expenses including attorneys’ fees arising out of, or pertaining to, or relating to the negligence, recklessness, or willful misconduct of the Contractor, except where caused by the active negligence, sole negligence, or willful misconduct of the City. To the fullest extent permitted by law, Contractor shall immediately defend and indemnify the City and its officers, agents, employees, and volunteers from and against any and all liabilities, regardless of nature or type, that arise out of, pertain to, or relate to the negligence, recklessness, or willful misconduct of the Contractor, or its employees, agents, or subcontractors.
Liabilities subject to the duties to defend and indemnify include, without limitation, any and all claims, losses, damages, penalties, fines, and judgments; associated investigation and administrative expenses; defense costs, including but not limited to reasonable attorneys’ fees; court costs; and costs of alternative dispute resolution. Contractor’s obligation to 1699
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indemnify applies unless it is finally adjudicated that the liability was caused by the sole active negligence or sole willful misconduct of an indemnified party.
(b) If this Contract is not a contract for design professional services subject to California Civil Code Section 2782.8(a) or Contractor is not a design professional as defined in California Civil Code Section 2782.8(b)(2), Contractor shall indemnify, defend, and hold harmless the City, its officers, agents, employees and volunteers from any and all claims, suits, or actions of every name, kind and description, brought forth on account of injuries to or death of any person or damage to property arising from or connected with the willful misconduct, negligent acts, errors or omissions, ultra-hazardous activities, activities giving rise to strict liability, or defects in design by Contractor or any person directly or indirectly employed by, or acting as, the agent for Contractor in the performance of this Contract, including the concurrent or successive passive negligence of the City, its officers, agents, employees or volunteers.
(c) It is understood that the duty of Contractor to indemnify and hold harmless includes the duty to defend as set forth in Section 2778 of the California Civil Code. Contractor shall be obligated to defend, in all legal, equitable, administrative, or special proceedings, with counsel approved by the City, the City and its officers, agents, employees, and volunteers, immediately upon tender to Contractor of the claim in any form or at any stage of an action or proceeding, whether or not liability is established. An allegation or determination that persons other than Contractor are responsible for the claim does not relieve Contractor from its separate and distinct obligation to defend under this Section 15. The obligation to defend extends through final judgment, including exhaustion of any appeals. The defense obligation includes an obligation to provide independent counsel if Contractor asserts that liability is caused in whole, or in part, by the negligence or willful misconduct of an indemnified party. (d) The review, acceptance or approval of the Contractor’s work or work product by any indemnified party shall not affect, relieve or reduce the Contractor’s indemnification or defense obligations. This Section 15 survives completion of the services or the termination of this Contract.
The provisions of this Section 15 are not limited by, and do not affect, the provisions of this Contract relating to insurance.
(e) Acceptance of insurance certificates and endorsements required under this Contract does not relieve Contractor from liability under this Section
15. This Section 15 shall apply whether or not such insurance policies are determined to be applicable to any such damages or claims for damages.
16. Safety. Contractor acknowledges that the City is committed to the highest standards of workplace safety. Contractor shall perform all work hereunder in full compliance with applicable local, state and federal safety requirements including but not limited to Occupational Safety and Health Administration requirements, and shall assume sole and complete 1700
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responsibility for the safety of Contractor's employees and any subContractor's employees. If a death, serious personal injury or substantial property damage occurs in connection with the performance of this Contract, Contractor shall immediately notify the City by telephone.
17. Insurance. Insurance requirements are set forth in Exhibit F to this Contract. Contractor shall abide by the insurance requirements set forth in said Exhibit F.
18. Non-Liability of Officials and Employees of the City. No official or employee of the City shall be personally liable for any default or liability under this Contract.
19. Compliance with Laws. Contractor shall comply with all federal, state and local laws, statutes, ordinances, rules and regulations, and the orders and decrees of any courts or administrative bodies or tribunals, with respect to this Contract, including without limitation environmental laws, employment discrimination laws and prevailing wage laws. Compliance under this provision includes compliance with all provisions of the Richmond Municipal Code ("Municipal Code"), including Chapters 2.50, 2.52, 2.56, and 2.60, if applicable.
Contractor acknowledges that under § 2.60.070 of the Municipal Code ("Living Wage Ordinance"), Contractor shall promptly provide to City documents and information verifying its compliance with the Living Wage Ordinance. Also as prescribed in § 2.60.070, Contractor shall notify each of its affected employees with regards to the wages that are required to be paid pursuant to the Living Wage Ordinance.
Contractor shall comply with § 2.28.030 of the Municipal Code, obligating every Contractor or subcontractor under a contract or subcontract with the City for public work or for goods or for services to refrain from discriminatory employment or subcontracting practices on the basis of race, color, sex, sexual orientation, religious creed, national origin or ancestry of any employee, any applicant for employment or any potential subcontractor.
Contractor acknowledges that the City’s Drug Free Workplace Policy, Violence in the Workplace Policy and the Policy Against Workplace Harassment, are available on the City’s website at
http://www.ci.richmond.ca.us/workplacepolicies . Contractor agrees to abide by the terms and conditions of said policies.
20. Limitations upon Subcontracting and Assignment. This Contract binds the heirs, successors, assigns and representatives of Contractor. The Contractor shall not enter into subcontracts for any work contemplated 1701
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under this Contract and shall not assign this Contract, nor any portion hereof or monies due or to become due, without the prior written consent of the City Council or its designee.
Contractor acknowledges that the services which Contractor shall provide under this Contract are unique, personal services which, except as otherwise provided herein, Contractor shall not assign or sublet to any other party without the prior written approval of City, which approval may be withheld in City's sole and absolute discretion. In the event that City, in writing, approves any assignment or subletting of this Contract or the retention of subcontractors by Contractor, Contractor shall provide to City upon request copies of each and every subcontract contract prior to the execution thereof by Contractor and subcontractor. Any assignment by Contractor of any or all of its rights under this Contract without first obtaining City's prior written consent shall be a default under this Contract.
The sale, assignment, transfer or other disposition of any of the issued and outstanding capital stock of Contractor (if applicable), or of the interest of any general partner or joint venturer or syndicate member if Contractor is a partnership or joint-venture or syndicate, which shall result in a change of control of Contractor, shall be deemed an assignment. For this purpose, control shall mean fifty percent or more of the voting power or twenty-five percent or more of the assets of the corporation, partnership or joint-venture.
21. Integration. This Contract constitutes the entire agreement between the parties concerning the subject matter hereof and supersedes any previous oral or written agreement; provided, however, that correspondence or documents exchanged between Contractor and City may be used to assist in the interpretation of the Exhibits to this Contract.
22. Modifications and Amendments. This Contract may be modified or amended only by a change order or Contract Amendment executed by both parties and approved as to form by the City Attorney.
23. Conflicting Provisions. In the event of a conflict between these General Conditions and those of any Exhibit or attachment hereto, these General Conditions shall prevail; provided, however, that any Special Conditions as set forth in Exhibit E shall prevail over these General Conditions. In the event of a conflict between the terms and conditions of any two or more Exhibits or attachments hereto, those prepared by City shall prevail over those prepared by the Contractor, and the terms and conditions preferred by the City shall prevail over those preferred by the Contractor.
24. Non-exclusivity. Notwithstanding any provision herein to the contrary, the services provided by Contractor hereunder shall be non-exclusive, and 1702
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City reserves the right to employ other Contractors in connection with the project.
25. Exhibits. All Exhibits hereto are made a part hereof and incorporated herein by reference; provided, however, that any language in Exhibit A which does not pertain to the project description, proposal, scope of services, or method of compensation (as applicable) , or any corresponding responsibilities of City, shall be deemed extraneous to, and not a part of, this Contract.
26. Force Majeure. Neither party hereto shall be considered in default in the performance of its obligations hereunder to the extent that the performance of such an obligation is prevented or delayed by reason of acts of God, strikes, boycotts, lock-outs, inability to procure materials not related to the price thereof, failure of power, restrictive governmental laws and regulations enacted after the date of this Contract, riots, civil unrest, acts of terrorism, insurrection, war, declaration of a state or national emergency or other reasons of a like nature not within the reasonable control of such party.
27. Time of the Essence. Time is of the essence of this Contract. Contractor and City agree that any time period set forth in Exhibit A represents their best estimates with respect to completion dates and both Contractor and City acknowledge that departures from the schedule may occur.
Therefore, both Contractor and City will use reasonable efforts to notify one another of changes to the schedule. Contractor shall not be responsible for performance delays caused by others, or delays beyond Contractor's control, and such delays shall extend the times for performance of Contractor's work.
28. Confidentiality. Contractor agrees to comply with, and to require its employees, agents and partners to comply with, all applicable State or Federal statutes or regulations respecting confidentially, including but not limited to, the identity of persons served under this Contract, their records, or services provided them, and assures that:
All applications and records concerning any individual made or kept by Contractor or any public officer or agency in connection with the administration of or relating to services provided under this Contract will be confidential, and will not be open to examination for any purposes not directly connected with the administration of such service.
No person will publish or disclose or permit or cause to be published or disclosed, any list of persons receiving services, except as may be required in the administration of such service.
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29. Third Parties. Nothing herein shall be interpreted as creating any rights or benefits in any third parties. For purposes hereof, transferees or assignees as permitted under this Contract shall not be considered "third parties."
30. Governing Law. This Contract shall be construed in accordance with the law of the State of California without regard to principles of conflicts of law.
This Contract is made in Contra Costa County, California, and any action relating to this Contract shall be instituted and prosecuted in the courts of Contra Costa County, California.
31. Nonrenewal. Contractor understands and agrees that there is no representation, implication, or understanding that the services provided by Contractor under this Contract will be purchased or renewed by the City under a new contract following expiration or termination of this Contract, and waives all rights or claims to notice or hearing respecting any failure by City to continue the purchase of all or any failure to continue purchase of all or any such services from Contractor.
32. Claims. Any claim by Contractor against City hereunder shall be subject to Government Code §§ 800 et seq. The claims presentation provisions of said Act are hereby modified such that the presentation of all claims hereunder to the City shall be waived if not made within six months after accrual of the cause of action.
33. Interpretation. This Contract shall be interpreted as if drafted by both parties.
34. Warranty. In the event that any product shall be provided to the City as part of this Contract, Contractor warrants as follows: Contractor possesses good title to the product and the right to transfer the product to City; the product shall be delivered to the City free from any security interest or other lien; the product meets any specifications contained herein; the product shall be free from material defects in materials and workmanship under normal use for a period of one (1) year from the date of delivery; and the product shall be fit for its intended purpose(s). Notwithstanding the foregoing, consumable and maintenance items (such as light bulbs and batteries) shall be warranted for a period of one hundred and eighty (180) days from the date of delivery. All repairs during the warranty period shall be promptly performed by Contractor, at Contractor's expense, including shipping.
35. Severability. In the event that any of the provisions or portions or applications thereof of this Contract are held to be unenforceable or invalid by any court of competent jurisdiction, City and Contractor shall negotiate an equitable adjustment in the provisions of the Contract with a view 1704
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toward effecting the purpose of this Contract, and the validity and enforceability of the remaining provisions or portions or applications thereof, shall not be affected thereby.
36. Authority. City warrants and represents that the signatory hereto (the Mayor of the City of Richmond or the City Manager) is duly authorized to enter into and execute this Contract on behalf of City. The party signing on behalf of Contractor warrants and represents that he or she is duly authorized to enter into and execute this Contract on behalf of Contractor, and shall be personally liable to City if he or she is not duly authorized to enter into and execute this Contract on behalf of Contractor.
37. Waiver. The waiver by City of any breach of any term or provision of this Contract shall not be construed as a waiver of any subsequent breach.
Inspections or approvals, or statements by any officer, agent or employee of the City relating to the Contractor’s performance, or payments therefore, or any combination of these acts, shall not relieve the Contractor’s obligation to fulfill this Contract as prescribed; nor shall the City be thereby stopped from bringing any action for damages or enforcement arising from any failure to comply with any of the terms and conditions of this Contract.
38. Possessory Interest. If this Contract results in the Contractor having possession of, claim to or right to the possession of land or improvements, but does not vest ownership of the land or improvements in the same person, or if this Contract results in the placement of taxable improvements on tax exempt land (Revenue and Taxation Code 107), such interest or improvements may represent a possessory interest subject to property tax, and Contractor may be subject to the payment of property taxes levied on such interest.
39. Performance and Final Acceptance.
Contractor represents that it is experienced, qualified, registered, licensed, equipped, organized and financed to perform the services under this Contract.
Contractor shall perform the services under this Contract with that degree of skill and judgment normally exercised by professional firms performing services of a similar nature in the State of California, and shall be responsible for the professional quality, technical accuracy and coordination of the services it performs under this Contract. In addition to the other rights and remedies which City may have, Contractor shall, at its own expense, correct any services which fail to meet the above standard. 1705
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City shall provide Contractor an opportunity to cure errors and omission which may be disclosed during the review of submittals, with no increase in the authorized Contract Payment Limit. Should Contractor fail to make necessary corrections in a timely manner, such corrections shall be made by the City and the cost thereof shall be charged to Contractor.
If warranted, City shall determine, and Contractor may request such determination, that Contractor has satisfactorily completed performance of this Contract. Upon such determination, City shall issue to Contractor a written Notice of Final Acceptance, after which Contractor shall not incur further costs under this Contract. Contractor shall respond to such Notice of Final Acceptance by executing and submitting to City a Release and Certificate of Final Payment.
40. Survival. The rights and obligations of the parties which by their nature survive termination or completion of the services covered by this Contract shall remain in full force and effect after termination or completion. 1706
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Richmond and
EXHIBIT E
SPECIAL CONDITIONS
The General Conditions are hereby amended to include the following modifications and/or provisions (if applicable):
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EXHIBIT F
INSURANCE PROVISIONS
During the entire term of this Contract and any extension or modification thereof, the CONTRACTOR shall keep in effect insurance policies meeting the insurance requirements specified in the insurance provisions which are attached hereto and incorporated herein by this reference.
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___ Exhibit F
___ Section 8
City of Richmond - Insurance Requirements – Type 1:
Consultants and Contractors
Type 1 – Page 1 of 4
Revised: September 2011
In all instances where a CONTRACTOR or its representatives will be conducting business and/or providing services, the City requires the following MINIMUM insurance requirements and limits.
CONTRACTOR shall procure and maintain for the duration of the contract, agreement, or other order for work, services or supplies, insurance against claims for injuries to persons or damages to property which may arise from or in connection with the performance of the work hereunder and the results of that work by the CONTRACTOR, its agents, representatives, employees or subcontractors. Maintenance of proper insurance coverage is a material element of the contract. Failure to maintain or renew coverage or to provide evidence of renewal may be treated by the City as a material breach of contract.
CONTRACTOR agrees that in the event of loss due to any of the perils for which it has agreed to provide Commercial General Liability insurance, CONTRACTOR shall look solely to its insurance for recovery. CONTRACTOR hereby grants to CITY, on behalf of any insurer providing Commercial General Liability insurance to either CONTRACTOR or CITY with respect to the services of CONSULTANT herein, a waiver of any right to subrogation which any such insurer of said CONTRACTOR may acquire against the CITY by virtue of the payment of any loss under such insurance.
Original, signed certificates and original, separate policy endorsements, naming the City as an additional insured for general liability, as well as a waiver of subrogation for Workers’ Compensation insurance, shall be received and approved by the City before any work may begin. However, failure to do so shall not operate as a waiver of these insurance requirements.
City reserves the right to modify or require additional coverages for specific risk exposures depending on scope of CONTRACTORS work.
Minimum coverage is detailed below. The policy limits of coverage shall be made available to the full limits of the policy.
The minimum limits stated herein shall not serve to reduce the policy limits of coverage of CONTRACTOR.
Minimum Scope of Insurance – the following forms shall be provided and coverage shall be at least as broad as the following:
1. Insurance Services Office Commercial General Liability coverage (ISO Occurrence Form CG 0001) including coverage for bodily and personal injury, property damage, and products and completed operations.
2. Insurance Services Office Automobile Liability coverage (ISO Form CA 0001, Code 1, Any Auto)
3. Original and Separate Additional Insured Endorsements for General Liability (ISO Form CG 20 10 11/85 or its equivalent) with primary and non-contributory language.
4. Workers’ Compensation Insurance as required by the State of California including Employer’s Liability coverage.
5. Original and Separate Waiver of Subrogation for Workers’ Compensation and Builder’s Risk/ Course of Construction Insurance.
6. Builder’s Risk/Course of Construction insurance covering all risks of loss less policy exclusions when the City of Richmond has a financial interest in the property. – (Only required for Construction Contracts involving property)
7. Contractor’s Pollution Liability (if applicable for Construction Contractors) Required Coverage Minimum Limits
Workers’ Compensation and
Employers’ Liability
Statutory limits as required by the State of California including $1 million Employers’ Liability per accident, per employee for bodily injury or disease.
If CONTRACTOR is self-insured, provide a certificate of Permission to SelfInsure, signed by the California Department of Industrial Relations and SelfInsurance. If contractor is a sole proprietor (has no employees) than contractor must sign “Contractor Release of Liability” found at:
http://www.ci.richmond.ca.us/index.aspx?nid=61.
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City of Richmond - Insurance Requirements – Type 1:
Consultants and Contractors
Type 1 – Page 2 of 4
Revised: September 2011
PROJECT COST REQUIRED LIMIT
$0 - $5 million $2 million p/o
$5 million - $10 million $5 million p/o
Over $10 million $10 million p/o
Fireworks $5 million p/o
General Liability
(primary and excess limits
combined)
Includes coverage for bodily injury, personal injury, property damage and products and completed operations. The policy shall not exclude coverage for XCU perils (explosion, collapse, or damage to underground property).
If the policy includes a general aggregate, either the general aggregate shall apply separately to this project, service or location or the minimum required aggregate limit shall be twice the per occurrence limit ($4 million aggregate limit).
Policy shall be endorsed to name the City of Richmond as an additional insured per the conditions detailed below.
Automobile Liability $1,000,000 per occurrence for bodily injury and property damage.
Builders’ Risk/Course of
Construction – Covers property
under construction, repair or
renovation as well as equipment
and materials to be installed.
(Only required for Construction
Projects involving property and
equipment installation.)
Coverage shall include all risks of direct physical loss, excluding earthquake, for an amount equal to the full completed value of the covered structure or replacement value of alterations or additions, including soft costs and business interruption.
If the project does not involve new or major reconstruction, an Installation Floater may be acceptable. For such projects, a property installation floater shall be obtained that provides for the improvement, remodel, modification, alteration, conversion or adjustment to existing buildings, structures, processes, machinery and equipment. The Property Installation Floater shall provide property damage coverage for any building, structure, machinery or equipment damaged, impaired, broken or destroyed during the performance of the Work, including during transit, installation and testing at the City of Richmond’s site.
The City of Richmond shall be named as loss payee as its interest may appear. The insurer shall waive all rights of subrogation against City.
Contractor’s Pollution Liability (if
applicable)
Protects against:
unexpected/unintended release of
pollution resulting from contractors
covered operations such as:
HVAC, paving, carpentry, pipeline
& tank installation, drillers,
remediation contractors,
maintenance, mechanical,
demolition, excavation, grading,
street/road construction,
residential & commercial builders.
Same limits as General Liability.
Required Policy Conditions
A. M. Best Rating A:VII or Better. If the A.M. Best Rating falls below the required rating, CONTRACTOR must replace coverage immediately and provide notice to City.
Additional Insured Endorsement Applicable to General Liability Coverage.
The City of Richmond, its officers, officials, employees, agents and volunteers are to be named as additional insureds for all liability arising out of the operations by or on behalf of the named insured, including but not limited to bodily injury, deaths and property damage or destruction arising in any respect directly or indirectly in the performance of this contract.
ISO form CG 20 10 (11/85) or its equivalent is required. The endorsement must not exclude products and completed operations coverage. If it does, then CG 20 37 (10/01) is also required. 1710
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City of Richmond - Insurance Requirements – Type 1:
Consultants and Contractors
Type 1 – Page 3 of 4
Revised: September 2011
Additional Insured Endorsement
(continued)
SAMPLE Endorsements can be found at
http://www.ci.richmond.ca.us/index.aspx?nid=61
Primary and Noncontributory The contractor’s insurance coverage must be primary coverage as it pertains to the City, its officers, officials, employees, agents and volunteers. Any insurance or self insurance maintained by the City is wholly separate from the insurance of the contractor and in no way relieves the contractor from its responsibility to provide insurance.
Waiver of Subrogation
Endorsement Form
Contractor’s insurer will provide a Waiver of Subrogation in favor of the City for Workers Compensation and Builder’s Risk/ Course of Construction coverage during the life of this contract.
SAMPLE Endorsements can be found at
http://www.ci.richmond.ca.us/index.aspx?nid=61
Deductibles and Self-Insured
Retentions
Any deductible or self-insured retention must be declared to and approved by the City. At the option of the City either the insurer shall reduce or eliminate such deductibles or self-insured retention as respects the City or the CONTRACTOR shall procure a financial guarantee in an amount equal to the deductible or self-insured retention guaranteeing payment of losses and related investigations, claims administration and defense expenses.
Contractor is responsible for satisfaction of the deductible and/or self-insured retention for each loss.
Loss Payable Endorsement (only
required when Builder’s Risk
and/or Course of Construction
Insurance is required.)
Applicable to Builder’s Risk/Course of Construction naming the City of Richmond as Loss Payee.
SURETY BONDS
(If a Public Works/Engineering
Project)
The Contractor shall provide:
1. A Bid bond
2. A Performance Bond
3. A Payment Bond
Umbrella/Excess Liability Policies
If an Umbrella or Excess Liability Policy is used to meet the liability limits, coverage shall be as broad as specified for underlying coverages and cover those insured in the underlying policies.
Claims-Made Policies
If any insurance policy is written on a claims-made form: 1) the retroactive date must be shown, and must be before the date of the contract or the beginning of contract work. 2) Insurance must be maintained and evidence of insurance must be provided for at least five (5) years after completion of the contract of work. 3) If coverage is canceled or nonrenewed, and not replaced with another claims-made policy form with a retroactive date prior to the contract effective date, the Contractor must purchase an extended period coverage for a minimum of five (5) years after completion of contract work.
Subcontractors
CONTRACTOR shall include all subcontractors as insured under its policies or shall furnish to the City for review and approval, separate certificates and endorsements for each subcontractor. All coverage for subcontractors shall be subject to all of the requirements stated herein.
CONTRACTOR agrees to defend and indemnify the City of Richmond for any damage resulting to it from failure of either CONTRACTOR or any subcontractor to take out or maintain the required insurance policies. The fact that insurance is obtained by CONTRACTOR, and/or CONTRACTOR’s subcontractors, will not be deemed to release or diminish the liability of CONTRACTOR, including, without limitation, liability under the indemnity provisions of this contract. Damages recoverable by CITY from CONTRACTOR or any third party will not be limited by the amount of the required insurance coverage.
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City of Richmond - Insurance Requirements – Type 1:
Consultants and Contractors
Type 1 – Page 4 of 4
Revised: September 2011
Verification of Coverage
All original certificates and endorsements shall be received and approved by the City before work may begin. The City of Richmond reserves the right to require complete, certified copies of all required insurance policies including endorsements affecting the coverage at any time.
Original insurance certificates and required policy endorsements shall be mailed, or delivered to the Designated Project Manager for the City of Richmond.
Insurance certificates and endorsements may be faxed to the Designated Project Manager. However, Contractor must mail the original certificates and endorsements to Designated Project Manager once faxed.
Continuous Coverage
CONTRACTOR shall maintain the required insurance for the life of the contract. Should the CONTRACTOR cease to have insurance as required during this time, all work by the CONTRACTOR pursuant to this agreement shall cease until insurance acceptable to the City is provided. In the event that CONTRACTOR fails to comply with the City’s insurance requirements, the City may take such action as it deems necessary to protect the City’s interests. Such action may include but is not limited to termination of the contract, withholding of payments, or other actions as the City deems appropriate.
If services or the scope of work extend beyond the expiration dates of the required insurance policies initially approved by the City, CONTRACTOR must provide updated certificates and endorsements indicating that the required coverage, terms and conditions are still in place. Renewal certificates and updated endorsements shall be mailed to the Designated Project Manager.
Cancellation
CONTRACTOR shall ensure that coverage shall not be cancelled, reduced or otherwise materially changed except after thirty (30) days’ prior written notice has been given to the City.
Reporting Requirements
Any failure to comply with reporting or other provisions of the policies including breaches of warranties shall not affect coverage provided to the City, its officers, officials, employees or volunteers.
Consistent with Public Policy
The insuring provisions, insofar as they may be judged to be against public policy shall be void and unenforceable only to the minimum extent necessary so that the remaining terms and provisions herein may be consistent with public policy and thus enforceable.
1712
Arts and Culture
Richmond General Plan 2030
13 1713
Community Vision
Richmond, California in 2030
The City is recognized as a thriving arts community that celebrates its artists, organizations, programs and events. Strong City leadership, innovative partnerships and active citizenry ensure that arts and culture are woven into all aspects of community life.
Arts-related venues provide enjoyable environments. Works of art are integrated into public places, adding to the City’s attractiveness as a place to live. Richmond’s heritage and rich diversity are evident in its many forms of artistic expression. Longstanding arts institutions are a source of civic pride, attracting both community members and visitors from the region to experience the arts. Residents of all ages enjoy access to meaningful enrichment opportunities that draw upon Richmond’s artistic and cultural resources. 1714
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13 Arts and Culture
Although it is not a state-required element, the City
is committed to supporting and expanding the local
arts community and its contributions to Richmond’s
character and vitality. The Arts and Culture
Element is consistent with the State of California
Government Code (Section 65303) which grants
authority to local jurisdictions to adopt additional
elements to those mandated by state law when they
relate to the physical development of the jurisdiction.1 Richmond enjoys abundant arts, cultural and historic resources. The City boasts dozens of historical landmarks and nationally recognized sites and structures. Strong partnerships with long-standing, local arts institutions provide opportunities for residents
of all ages to engage in creating and experiencing
art. The City is also home to an active community
of arts practitioners. A sampling of local talent is
evidenced in the unique artwork featured later in
this Element (pages 13.13 to 13.17). Richmond
strives to expand its standing as a place where artistic expression and cultural diversity can flourish, and where a multitude of art forms are created, performed, taught and exhibited.
The Arts and Culture Element:
• Describes the City’s arts and cultural resources;
• Highlights key findings and recommendations
based on an existing conditions analysis;
• Defines goals for integrating arts and culture into
the City’s future;
• Identifies policies and implementing actions to
address challenges and articulate opportunities to
nurture arts and culture;
• Provides a summary table identifying lead responsibilities for each implementing action; and • Reviews the existing regulatory framework that
guides arts and culture planning efforts.
Purpose of the Element
The intent of the Arts and Culture Element is to
preserve Richmond’s cultural assets, celebrate heritage and expand opportunities for arts enrichment.
The Element outlines Richmond’s approach to integrating arts and culture into the community to help stimulate the local economy, contribute to livability
and enhance the urban environment. In order to
achieve these aspirations, Richmond will continue to
foster a civic environment where the arts can thrive.
This Arts and Culture Element represents an important step toward legitimizing the arts as an essential component of civic life that merits investment and
consideration in the City’s decision-making processes.
Legal Requirement
The inspiration for this Arts and Culture Element
is the shared belief that the arts provide essential
contributions to the quality of life in Richmond.
Various forms of public art including murals and sculptures can be found throughout Richmond.
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13 Arts and Culture
of the availability of affordable housing and studio
space and the proximity to urban and natural environments.
The following discussion provides a review of
Richmond’s existing arts and cultural resources
including: public art; nonprofit arts and cultural
institutions; cultural facilities; arts education and
program partnerships; and events and festivals.
Public Art
Beginning in the 1940s, the City of Richmond recognized a valuable role for art in public places, and since has acquired an impressive collection of public
art including memorials, sculptures, murals, historical markers, reliefs and decorative panels, tapestries, banners and artist-designed community gardens.
Richmond’s installations are concentrated primarily in the Downtown area with an additional cluster at Marina Bay and other works of art distributed
among the surrounding neighborhoods of Point
Richmond Today
Arts and cultural activities have a direct effect on the daily lives of Richmond residents. The arts engage
people of all ages, revitalize the community and
celebrate Richmond’s cultural diversity. On an interpersonal level, artistic endeavors develop essential skills such as creativity, perception and imagination,
which fuel technology, entertainment and communications industries. The arts provide resources for youth, improve self-esteem and motivation, reduce
absenteeism and promote tolerance and teamwork.
The arts bring people together to celebrate, learn
about and preserve the contributions of diverse
cultures. The local economy can potentially benefit
from arts-related employment opportunities, an
expanded tax base and increased property values.
The City of Richmond enjoys many arts and
culture-related assets. Community arts events and
festivals are held throughout the year in celebration
of history, culture and arts-related themes. The City
has many designated national, state and local historic landmarks and districts. In addition to abundant historic resources, the community takes pride in its
extensive collection of public art. Richmond provides arts and cultural offerings including visual and performing arts education through successful public
and nonprofit institutions. These Richmond-based
institutions provide opportunities for residents of
all ages to perform or experience theater, music and
dance, and to create or view the visual arts.
Home to an active community of arts practitioners,
Richmond is especially attractive to artists because
Public art adds character to public places. Various forms of public art such as murals and sculptures can be found throughout the City.
Richmond, Hilltop Bayview, Parchester and East
Richmond. The collection reflects unique expressions of Richmond’s values and contributes to the cultural backbone of the community.
Public art advances the goals of the City by: adding
to high urban design standards; attracting national
attention to the City’s leadership in the public art
arena; and providing a mechanism to meaningfully
involve citizens in the design of their environment.2,3 Nonprofit Arts and Cultural Institutions
The City’s community-based arts institutions provide innovative programs and activities for both residents and visitors of all ages and abilities. Richmond has five major nonprofit arts and cultural institutions:
• The Richmond Art Center;
• The East Bay Center for the Performing Arts;
• The National Institute of Arts and Disabilities;
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13 Arts and Culture
are in poor condition and in need of maintenance,
seismic retrofit or upgrades. Following is an overview of each institution’s role, programming and facilities.
Richmond Art Center
Founded in 1936, the Richmond Art Center (RAC)
is the Bay Area’s longest established art center. It
is a private nonprofit community center featuring an array of educational programs both at the Art Center’s Downtown facility and throughout
the community. The Center seeks to inspire active
engagement in visual arts for all ages through exhibitions, education and in-school programs.
The Art Center’s well-equipped 25,000 square
foot facility is located in Richmond’s Civic Center.
The facility consists of 6,000 square feet of gallery
space, a sculpture courtyard and classroom and studio space to accommodate instruction in ceramics, drawing, painting, weaving and jewelry-making. The
• The Masquers Playhouse; and
• ArtsChange.
Together these organizations involve around
3,000 participants and attract more than 38,000
audience members each year.4
Annual operating
expenditures of nonprofit arts organizations in
Richmond were estimated at more than 4.7 million dollars in 2006. These organizations generate an estimated 3.4 million dollars for the Richmond
economy and support about 100 full-time equivalent jobs.5 The role and long-term vitality of these
institutions is particularly important in offsetting
reduced opportunities to participate in arts offerings through West Contra Costa Unified School District (WCCUSD) and the City.
Arts face significant financial challenges in meeting their annual operating costs, qualifying for matching grant funding and providing necessary
upgrades to their facilities. Many of these nonprofit organizations operate out of facilities that RAC has an annual budget of about $600,000 and
the Center is supported by individual donors, grants
and the City.
East Bay Center for the Performing Arts
The East Bay Center for the Performing Arts
(EBCPA) is a highly respected nonprofit institution dedicated to ensuring broad community access to high quality arts training. Founded in 1968, the
Center has earned prestigious local and national
awards. Part of EBCPA’s mission is to encourage
people to explore the use of cultural heritage and
personal creativity as vehicles for reconciliation and
social change. The Center offers long-term arts
education programs for all with instruction in distinctive cultural forms of theater, music, dance and multimedia. A dynamic community performance
Nonprofit arts and cultural programs provide a rich array of opportunities for Richmond’s youth to explore their creative abilities through the performing arts. 1717
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13 Arts and Culture
series features concerts, dance recitals, multimedia
presentations, plays and musicals.
The EBCPA’s main facility is a 12,500 square
foot, three-story building located in Downtown
Richmond. This facility is home to administrative
offices, 20 classrooms and performance space that
can accommodate an audience of up to 120. In
2007, EBCPA purchased the building from the City
at a nominal rate with an agreement to rehabilitate
the historic 1924 structure, which is in need of a
seismic and program retrofit. A capital campaign is
underway to complete facility renovations. EBCPA
has an annual budget of about $1,365,939, attracts
20,000-25,000 in attendance to performances and
events each year and serves more than 2,000 students annually.6 National Institute of Arts and Disabilities
This award-winning nonprofit art studio and gallery
provides a unique art program for adults with developmental and physical disabilities. The National Institute of Arts and Disabilities (NIAD) Center
promotes creativity, independence, dignity and community integration. Participants enjoy opportunities to exhibit work both at NIAD’s on-site gallery and
at other exhibitions. These opportunities contribute
to enhanced self-esteem and provide earnings for
personal use. The program fosters socialization and
inclusion both at the Center and on art-related field
trips, and enhances public understanding of artistic
capacities of people of all abilities.
NIAD serves an average of 35 adults each day from
diverse cultural, ethnic and socioeconomic backgrounds. NIAD’s facilities are owned by the organization and in need of renovations estimated to cost approximately $300,000. Their annual budget is
$526,000, most of which comes from the Regional
Center of the East Bay with the remaining derived
from grants and individual donations.
Masquers Playhouse
Masquers Playhouse, Inc., established in 1955, is
the oldest continuously active community theater
in Contra Costa County. The volunteer nonprofit
community theater produces high-caliber plays,
musical productions and other live theatrical events
for the entertainment and cultural enhancement of
the greater Bay Area. The Playhouse provides a creative outlet for amateur theater people and invites community members of all ages to participate in a
full range of theater production responsibilities.
Masquers Playhouse operates a 99-seat theater
which attracts about 12,000 theatergoers annually
and is housed in a historic building in the Point
Richmond neighborhood. The building is owned
The RAC’s Community Gallery offers exhibit space for original work by local artists, students, faculty and community groups.
NIAD provides important art programs for adults with
developmental and physical disabilities.
The Masquers Playhouse produces high-caliber plays, musical productions and other live theatrical events.
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13 Arts and Culture
by the Masquers, but is in need of a seismic retrofit
which is estimated to cost $500,000 to $750,000.
Masquers operates as a nonprofit organization with
an annual budget of $165,000. Ticket sales account
for about 65% to 70% of funds with the rest coming from individual donors and fundraisers.
ArtsChange
The ArtsChange Project has been instrumental in
providing widespread community access to the arts.
ArtsChange creates and installs diversity-themed
exhibitions in the waiting areas of County Health
and Social Service Centers with the goal of bringing educational, arts and cultural programming to these widely utilized public sites. Exhibitions are also shown at venues throughout the City. The project
was launched in 1996 as a joint endeavor of the
Richmond Health Center’s Community Arts and
Diversity Committee and Community Works, a
nonprofit community arts program. Objectives
include: promoting working relationships among
multicultural staff; celebrating the rich diversity of
Richmond; building tolerance and healthy communities; and extending the benefits of the arts to underserved communities. Since its initiation,
ArtsChange has produced more than five exhibits
each year, attracting 10,000 patients, residents and
others annually. ArtsChange operates as a nonprofit
organization with an annual budget of $130,000.
Cultural Facilities
In addition to the facilities that house Richmond’s
arts institutions, the Museum of History and
Richmond’s Memorial Auditorium and Convention
Center are also programmed for cultural activities.
These are further described below. Other community facilities such as libraries and civic buildings are discussed in the Community Facilities and Infrastructure Element.
Richmond Museum of History
The Richmond Museum of History was founded as
a nonprofit organization in 1954 to promote and
facilitate study of Richmond’s history. Collections
housed here include highlights of Richmond’s prehistory, agricultural beginnings, industrial achievements and cultural legacy.
Richmond Memorial Auditorium and
Convention Center
The Memorial Auditorium and Convention Center
is located in the heart of the Civic Center and
owned and operated by the City. The auditorium
plays an important role in the community, providing space for school dances and annual community events. However, as Richmond’s largest performance
venue, the complex is underutilized. The building
has a seating capacity of 3,756 and seven meeting
rooms accommodating up to 480 people in total.
The complex is close to the multimodal BART/
Amtrak transit station with convenient vehicular
access to Interstates 80 and 580. With refurbishment, new management and promotion, the City hopes to maximize use of the Auditorium complex
as an anchor, attracting world-class entertainers and
artists and drawing visitors from beyond the region
to experience the arts in Richmond.
The Richmond Museum of History promotes and facilitates the study of Richmond’s History
The Richmond Memorial Auditorium may help ignite the area as a hub of arts and cultural activities.
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13 Arts and Culture
Arts Education and Program
Partnerships
Arts are a vital part of the educational experience.
Not only do the arts nurture creative thinking and
self-expression, but they can also cater to a broad
range of learning styles. Fine arts and music programs often inspire students who do not respond readily to more academic curriculum or who are at
risk of dropping out of school. Arts enrichment programs for children and adults have several positive benefits such as developing artistic talents, enhancing self-esteem, building critical thinking and social skills and increasing overall motivation to learn.
West Contra Costa Unified School District
(WCCUSD) provides instruction and performance opportunities in instrumental and choral music to over 2,500 students across all grade levels.
The District has one of the most comprehensive
music education programs in the greater Bay Area.
However, because of the severe budget restrictions
faced by the public school system, the District relies
on partnerships with arts organizations to provide
fine arts and drama opportunities in the K-12 curriculum. Thousands of elementary, middle and high school students from the WCCUSD benefit
from excellent arts programs partnerships with the
East Bay Center for the Performing Arts (EBCPA),
Richmond Art Center (RAC) and the San Francisco
Art Institute (SFAI). These partnerships are critical
to infusing arts curriculum into Richmond’s schools.
Richmond Art Center Education Programs
The Richmond Art Center’s (RAC) Education
Programs consist of: on-site classes and workshops;
community projects; the ArtReach outreach program which includes custom-designed Artists in Schools residencies; and artist-led tours of RAC’s
exhibitions for schools and community groups
including hands-on workshops for all participants.
The Artists-in-Schools Program places professional
artists at school sites throughout Richmond to conduct long-term, hands-on workshops reaching over 3,500 students in the West Contra Costa Unified
School District each year. The Center remains committed to sponsoring projects in the community.
It has spearheaded projects such as: a summer art
program at a local housing complex; a large-scale
community mural festival involving 30 local organizations; after-school programs at local community centers; and free-of-charge, hands-on art activities
for children at community festivals such as Cinco de
Mayo and Juneteenth.
East Bay Center for the Performing Arts
Education Programs
The East Bay Center for the Performing Arts
(EBCPA) provides training and classes for community members of all ages at reduced costs or free of charge, and also collaborates with WCCUSD to
provide invaluable on-site public school programs.
Every year, the East Bay Center programs benefit more than 25,000 members of the ethnically diverse and low-income communities in and around
Richmond. The EBCPA’s Art and Public Education
Division offers thousands of art classes at 10 - 15
public school sites, serving approximately 1,200
students each year. Sixty to 70 EBCPA professional
artists/instructors are involved annually in public
education programs, providing student instruction and teacher training workshops. The Center has launched a groundbreaking model project in
three local schools, using an arts-based curriculum
EBCPA provides training and classes for community members of all ages at reduced costs for free of charge. 1720
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13 Arts and Culture
to reach highly at-risk students. Additionally, the
Intensive Summer Institute and Emerging Artist
Fellowship programs provide advanced arts training and leadership opportunities annually for young adults. The excellence of its programs and contributions to arts in the community have earned the East Bay Center for Performing Arts prestigious local
and national awards from organizations such as the
Contra Costa Children and Families Policy Forum,
the Black Filmmakers, the National Endowment for
the Arts and the President’s Committee on the Arts
and the Humanities.
San Francisco Art Institute Partnership: City
Studio
The San Francisco Art Institute (SFAI) is one of the
United States’ oldest and most prestigious private
schools of higher education in contemporary art. In
2005, the Institute partnered with local organization
Opportunity West and the West Contra Costa Unified
School District to offer City Studio, a arts education
program for underserved youth. The program is supported by grants from the James Irvine Foundation and the Walter and Elise Haas Fund, and is designed
for high school juniors and seniors who have little or
no access to arts training in secondary school. Over a
two-year period youth participate in four 14-week projects held locally, led by local artists and distinguished SFAI faculty members. A network of advising and
support services are also provided. Students are invited to participate in two summer intensive sessions held at the San Francisco undergraduate campus. Art material
costs are covered and stipends are provided to cover the cost of travel to and from the San Francisco campus.
Events and Festivals
Cultural events and festivals are socially and economically significant. They provide opportunities to celebrate the City’s rich culture and history. If effectively marketed and executed, events and festivals can serve to attract visitors, bring economic benefits and elevate Richmond’s profile throughout the region.
There are several annual cultural events and festivals held in Richmond that draw attendees from throughout the Bay Area including: North
Richmond Shoreline Festival, Cinco de Mayo
Festival; Fourth of July Festival; Home Front Festival
by the Bay; Juneteenth Festival; Music on the Main;
the Point Richmond Summer Concert Series; Black
History Month; The Art of Living Black Exhibition;
Holiday Lighting Ceremony and Reception; North
Richmond Shoreline Festival; and the October Arts
and Humanities Month Celebration.7
Performances can help attract visitors to Richmond while supporting a tradition of arts in the community. 1721
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Key Findings and
Recommendations
Richmond’s affordability, central Bay Area location, plentiful supply of light industrial parcels and proximity to world-class natural environments
attract professional artists and cultural organizations. Richmond enjoys the benefit of a number of valuable arts institutions that provide high quality arts programming to the entire community. To ensure that this burgeoning arts community thrives,
it is critical that the City builds and maintains its
cultural foundation. Adequate staffing is needed to
meet service commitments and to build partnerships and funding in support of arts and culture. As Richmond is a diverse community, additional priorities revolve around celebrating differences, breaking down barriers to arts program participation and
ensuring widespread opportunities for arts exposure.
Stimulating a healthy arts environment in
Richmond will continue to enhance the City’s identity and provide economic benefits. The economic impact of the arts is substantial. At a national level, studies indicate that America’s nonprofit arts industry generates $134 billion in economic activity every year.8
Cities and counties are finding that nonprofit
arts organizations contribute significantly to state
economic growth and job creation. Studies indicate
that the arts contribute far more to the economy in
income and jobs than they receive in private contributions and public funding.9 Additionally, an assessment of cities and counties, both large and small, that have integrated art into their respective communities revealed that spending on the nonprofit arts (directly and indirectly) supports more than 115,000
California full-time and part-time jobs and adds $1
billion in income for the California economy.10
Public art, capital improvement projects and landscape design can make highly visible contributions to the urban environment, creating more attractive
and inviting communities. Visual and performing
arts can become part of a city’s social fabric, creating enjoyable experiences for dialogue and thought. The
arts can draw communities together through local
events, partnerships and projects that engage a broad
spectrum of citizens. The City of Richmond enjoys
a strong basis from which to grow arts and culture.
The following key findings and recommendations
are derived from existing conditions in Richmond as
well as the community’s vision for the future.
Finding 1: The City has a rich arts and cultural
tradition that contributes to its unique identity –
Richmond seeks to continue to build this image
as a regional center for arts and culture.
Bringing arts to the forefront can positively raise
community perception, build civic pride, improve
quality of life for Richmond residents and cultivate the City’s cultural climate. Particularly in the Downtown area, infill opportunities exist in underutilized buildings that could accommodate independent artists and/or smaller arts organizations that need affordable studio, gallery or production space,
or smaller performance venues. Some areas present
opportunities for developing or retrofitting spaces
for artists’ live/work use. Arts programs and services
can be expanded upon to ensure well-balanced and
equitably distributed offerings. Other opportunities
exist in developing organizational and decision-making tools to guide Richmond’s long-term aspirations.
Richmond can strengthen arts and cultural offerings
by:
• Raising the visibility of Richmond’s assets and
showcasing successful artistic endeavors through
performances, exhibitions, sales and public art
installations;
• Developing incentives to grow the capacity of
local artists and arts
organizations;
• Examining opportunities to integrate live/work
artists studios;
• Providing arts and culturally-based programs and
activities for all ages and abilities;
Local artists can make a significant contribution to economic revitalizaiton.
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13 Arts and Culture
• Breaking down barriers to arts program participation and arts exposure to ensure direct benefits to all community members;
• Developing a solid foundation for decision-making through assessment studies, master planning and a clarified City role in supporting arts and
culture.
Finding 2: Arts and Culture can play a strong role
in revitalization and economic development.
A healthy arts environment can contribute to the
City’s character, long-term revitalization and economic development. Moreover, a thriving arts community can support local job growth and income and attract tourists seeking cultural destinations.
Incorporating public art, improving facades and
identifying new uses for underutilized buildings and
sites will make the City a more attractive place to
live, work and visit. Richmond can also leverage its
multicultural diversity to establish a unique, marketable identity, promote cultural tourism and elevate the City’s profile throughout the region. The City
can enhance the contribution of the arts towards
economic development and revitalization in
Richmond by:
• Exploring the potential for defining focal areas
or districts as cultural, historic and/or arts-related
activity hubs;
• Identifying and assessing potentially catalytic
projects and reuse of underutilized buildings and
infill sites;
• Investing in storefront rehabilitation along key
corridors and housing rehabilitation in neighborhoods; • Incorporating public art throughout the City in
Downtown, along key corridors and gateways, as
well as in neighborhoods outside the City Center;
and
• Highlighting Richmond’s diversity by promoting
culturally relevant public art and culturally-based
programs, projects, retail stores and events.
Finding 3: Richmond benefits from nonprofit arts
institutions that provide high-quality programs
and services, but additional support is needed to
sustain these institutions and ensure their longterm vitality.
Richmond’s nonprofit arts institutions make significant contributions to the community by providing arts and culturally-based programs for participants
of all ages and abilities. The lack of resources available through West Contra Costa Unified School District to fund arts-based curriculum further
elevates the role of the City and nonprofit arts
institutions in maintaining valuable partnerships
and sustaining rich educational arts and cultural
offerings for youth and teens. Institutions such as
East Bay Center for the Performing Arts (EBCPA),
Richmond Art Center (RAC), the National Institute
of Art and Disabilities (NIAD) operate out of facilities that are in need of maintenance, seismic retrofits or other upgrades.
Overall, they face major challenges in meeting annual operating costs, qualifying for matching grant funding and completing necessary facility upgrades
that will allow them to continue to deliver valuable
services and economic benefits to the community.
The City can support the long-term vitality of community-based arts institutions by:
• Creating opportunities, capacities and partnerships to enable local arts entities to thrive; • Helping to identify reliable funding mechanisms
to support financially sound arts institutions that
are able to meet demands for increased programs;
• Developing resource allocation criteria and performance measures to guide City decision-making and to ensure accountability in arts funding distribution; • Pursuing joint-use agreements to maximize use of
existing facilities for expanded programming;
• Strengthening existing partnerships and forging
new partnerships to promote the expansion of arts
and culture; and
• Encouraging local transit planners to improve
public transit connections and access to arts institutions. 1723
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13 Arts and Culture
Goals
GOAL AC1: A Community Strengthened by the Arts
Celebrate diversity and raise social and cultural awareness of Richmond’s citizens and visitors through a variety of artistic programs and forms of expression. Arts can serve as a powerful medium to reflect the unique character, social history and cultural diversity of a place. In addition, arts and culture provide valuable contributions to the lives of Richmond residents. Build on the prestige of successful arts institutions, maximize program participation and arts exposure and enhance projects and programs that offer broad benefits to community members of all ages, cultural backgrounds and abilities.
GOAL AC2: Enhanced Economic Development Opportunities
Harness arts and culture as a key component of community revitalization. Arts and culture can contribute to both community character and economic well-being. The local economy can benefit from employment opportunities, an expanded tax base and increased property values. Weave arts and culture into all aspects of community life to build civic pride and identity, improve quality of life for residents and visitors, raise community perception and cultivate economic development opportunities. 1724
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13 Arts and Culture
Policies and Implementing Actions
A range of policies and implementing actions are outlined below in relation to each of the goals. These policies mandate, encourage or allow certain actions to be pursued throughout the duration of the General Plan. Together they serve as strategic directions for City staff and partners, highlighting where time and resources should be focused.
Each policy may either be correlated with a number of actions, or simply a single key implementing action. Conversely, some actions may support a range of policies. The policies and implementing actions are organized in two parts. First, all goal-related policies are described and each policy description is followed by a list of its associated implementing actions. Then, implementing actions are described in greater detail in the following section. 1725
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13 Arts and Culture
Policy AC1.1 Widespread Exposure to Arts
Promote arts to Richmond residents by incorporating art in widely-utilized public places, reducing barriers to program participation and creating effective outreach for community programs and celebrations. Integrating the arts physically and socially into City life will ensure its continued relevance to and support from the community and establish it as an integral part of Richmond’s identify.
Policy AC1.2 Well-Balanced and Equitably Distributed Programs and Services Nurture creativity and artistic talent in local youth and adults through a rich offering of well-balanced and equitably distributed arts and cultural educational programs and services. A comprehensive understanding of existing resources and community needs will provide a solid foundation for elevating arts and culture in enrichment programs. Conducting research and developing decision-making tools such as citywide needs assessment for recreational facilities, parks, programs and an updated Arts and Culture Master Plan, will help ensure a rich and equitable offering of arts programs, services and facilities. Joint-use agreements, publicprivate partnerships and dedicated City funds will provide resources to further expand programs and services in target areas.
Policy AC1.3 Community-Based Arts Institutions
Support community-based arts institutions that make significant contributions to the Richmond community and expand partnerships and support for arts organizations where feasible to ensure their long-term vitality and continued benefits to the community.
GOAL AC1
A Community Strengthened by the Arts
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13 Arts and Culture
Action AC1.A Arts and Culture Master Plan
Regularly update Richmond’s Arts and Culture Master Plan. The content and level of detail of the Plan should be expanded to:
• Define public art and describe a comprehensive vision for arts and culture in the community; • Identify and prioritize locations for public art;
• Develop guidelines to prioritize support for artists, institutions, programs or projects that increase awareness and visibility of culturally diverse, socially relevant and historic arts in Richmond, and involve citizens in art form expressions related to social and cultural themes;
• Identify priority projects to determine where time, resources and funding should be focused; and • Develop criteria and a clear process for implementing arts-related improvement projects throughout the City.
Action AC1.B Art in Public Places Program
Amend the Art in Public Places Program to ensure that public art projects occur efficiently and in a way that meets citywide objectives. The Art in Public Places Program should be amended to:
• Include private development projects and utilize a percentage of their budgets; • Include parameters in relation to allocation of in-lieu developer fees; • Expand the definition of “public art” to include literary arts; • Extend into neighborhoods and areas outside of Downtown; • Outline specific criteria and selection processes for integrating public works of art; • Describe a mandated process for project implementation that includes coordinating with key City departments and stakeholders, providing a method for appointing representatives to the Public Art Selection Committee and specifying a method of selecting and contracting with artists for the design, execution and siting of public art; • Outline a dedication and disbursement process for the Public Art Projects Account; and • Clarify responsibilities for maintenance of public art.
GOAL AC1
A Community Strengthened by the Arts
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13 Arts and Culture
Action AC1.C Local Arts
Support arts endeavors and institutions. Support targeted grant proposals, public-private partnerships or other mechanisms that could help provide financial assistance toward: core support for general operating costs; facility upgrades; maintenance; arts equipment and supplies; teaching stipends; supplements for reduced or waived student fees; and technological upgrades to expand opportunities to develop technology-based expertise.
See also: ED1.I
Action AC1.D Joint-Use Agreements
Pursue joint-use agreements with West Contra Costa Unified School District, East Bay Regional Parks District, neighboring cities, public agencies, private entities and nonprofit organizations that own and operate facilities within the City. In addition to providing more space for recreational and enrichment programming, strategic partnerships can provide the benefit of shared renovation, development, maintenance and operational costs.
See also: ED1.E, EH1.D, HW1.G, CF2.A and PR1.F.
Action AC1.E Strategic Plan for Arts Organizations
Update the Arts Strategic Plan to address the City’s needs in promoting the role of arts and culture in Richmond. The Plan should outline a solid framework of roles, responsibilities and operating procedures to assist in decision-making. More specifically, the Plan should:
• Clearly define the role of City government and leaders in promoting and supporting arts and culture; • List operating procedures and protocols for communicating between City staff and community arts groups; • Refine arts committee roles and streamline the organizational framework of arts committees; • Identify staff resources to conduct arts coordination and programming, and to build partnerships and funding in support of arts and culture; and
• Identify venues for collaborative programming and information exchange, joint-funding exploration, increased potential for joint-projects and synergy between City departments regarding arts-related interests.
GOAL AC1
A Community Strengthened by the Arts
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13 Arts and Culture
Policy AC2.1 Community Revitalization
Promote arts and culture as a key component of community revitalization. Building a foundation and context for arts and culture is an important aspect of growing arts-related activity in the area. The following types of uses may help to achieve this: a greater mix of building and public space uses; new higher density housing; live/work artists’ studios; expanded entertainment opportunities Downtown and throughout the City; a diversity of venues to showcase the arts; expanded regional shopping and restaurants; and ethnically diverse eateries and marketplaces.
Policy AC2.2 Arts and Culture Identity
Build on the arts and cultural assets of Richmond to establish a positive image and business environment. To strengthen its arts and cultural identity, the City encourages inclusion of multicultural and diversity-themed artistic offerings in new commercial and mixed-use developments; incentives such as affordable studio workspace for local artists and arts organizations; and sponsoring festivals and events to provide opportunities to draw the community together and welcome visitors to share in Richmond’s unique celebrations. Richmond’s unique heritage and strong diversity can be portrayed through theatrical performances, festivals, music, art shows and foods that reflect Richmond’s diverse population.
GOAL AC2
Enhanced Economic Development Opportunities
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13 Arts and Culture
Action AC2.A Culturally-Based Retail
Encourage culturally-based retail establishments and eateries that reflect Richmond’s diversity. Leveraging Richmond’s diversity can establish a unique, marketable identity for the City and promote cultural tourism.
See also: ED2.I
Action AC2.B Artists’ Incentives Program
Consider developing an incentives program to grow the capacity of local artists and arts organizations. Encourage developers and property owners to provide affordable, strategically-located studio workspace and performance and exhibit space in underutilized buildings. Encourage professional exhibitions and art sales. Support local artists as entrepreneurs by connecting them with grant applications and resources to secure support for their work. A web-accessible arts resource directory could provide key information for artists and those interested in arts services. The directory could include information such as lists and contact information for local artists, links to arts grants or grant libraries, grant applications, guidelines for applying for nonprofit and City funding and announcements for upcoming arts-related events.
Action AC2.C Public Art Guidelines
Regularly update public art guidelines and selection criteria to prioritize public art themes that relate to social and cultural themes such as social justice, anti-violence, cultural diversity, history and others. Strengthening and expressing ethnic and cultural identities throughout Richmond is an important source of community pride. Multicultural and diversity-themed arts will help develop diversity as a niche of Richmond’s artistic offerings.
Action: AC2.D Public-Private Partnerships
Initiate conversations to expand existing partnerships and forge new innovative public-private partnerships to foster and promote art opportunities for maximizing funding, maintaining long-term viability of arts programs and creating new opportunities for enhancing arts education and arts programming in the community.
GOAL AC2
Enhanced Economic Development Opportunities
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13 Arts and Culture
Summary of Implementing Actions
The table presented on the following pages is a tool for guiding implementation of the City’s Arts and Culture Element. Organized by the community’s broad goals, the table provides an overview of policies and implementing actions detailed in the previous section. Each action is linked to a designated lead responsible party.
Related policies are identified in the final column.
Goal AC1: A Community Strengthened by the Arts
Action Lead Responsibility Supporting Policies
AC1.A Arts and Culture Master Plan Library Services AC1.1, AC1.2, AC1.3 AC1.B Art in Public Places Program Redevelopment Agency AC1.1 AC1.C Local Arts Library Services AC1.1, AC1.2, AC1.3
AC1.D Joint-Use Agreements City Manager’s Office AC1.1, AC1.2, AC1.3 AC1.E Strategic Plan for Arts Organizations Library Services AC1.1, AC1.2, AC1.3 Goal AC2: Enhanced Economic Development Opportunities
Action Lead Responsibility Supporting Policies
AC2.A Culturally-Based Retail Office of Economic Development AC2.1 AC2.B Artists’ Incentives Program Redevelopment Agency AC2.1, AC2.2 AC2.C Public Art Guidelines Planning and Building Services AC2.2 AC2.D Public-Private Partnerships Redevelopment Agency AC2.1, AC2.2 1731
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13 Arts and Culture
Regulatory Framework
The City currently relies on a range of organizations
and regulatory tools to support and guide arts and
cultural growth in Richmond.
Organizations
A number of City-based and/or City-supported
organizations have been instrumental in the preservation of resources and the growth of arts and culture in Richmond: Richmond Arts and Culture
Division, Richmond Arts and Culture Commission,
Arts Forum and the City Public Art Advisory
Committee. Roles and responsibilities of these
groups are described in more detail below. While
the level of activity in these organizations has varied dramatically over the years as a result of budget constraints, each has played a valuable role in advancing arts awareness and augmenting collaborations among and with the City’s cultural
organizations.
Richmond Arts and Culture Division
The professionally staffed Arts and Culture Division
operates under the umbrella of the Library and
Cultural Services Department. The Division works
as a liaison between organizations, artists, the City
of Richmond and the community to promote the
arts.
Richmond Arts and Culture Commission
The Richmond Arts and Culture Commission
(RACC) was formed by the City Council in 1988,
when the Council and the Mayor appointed 11
City residents to serve a four-year term as unpaid
members. The RACC is funded primarily by the
City of Richmond, receiving project support from
the Richmond Redevelopment Agency, the National
Endowment for the Arts, First Five (Contra Costa
County Children and Families Commission), East
Bay Community Foundation and the Raymond
Family Foundation. The purpose of the Commission
as described in the enabling ordinance is to: advise
the City on public policy relating to the arts; cooperate with existing public and private agencies to develop programs to further the development
and public awareness of the fine and performing
arts reflecting the cultural diversity and historical
resources of the City; facilitate communication and
cooperation among arts groups; develop funding
and resources of the City; disseminate information
concerning the arts and cultural programs; and serve
as a liaison between residents, artists, arts organizations and City government.11 Arts Forum
The Arts Forum, formerly known as the Richmond
Arts Administrators Group (RAAG), was active
from 2001 to 2003. The Forum, spearheaded and
staffed by the City’s Arts and Culture Division,
consisted of executive staff from each of Richmond’s
cultural institutions and nonprofit organizations.
The primary role of the Arts Forum was to convene
City staff with directors of each Richmond-based
arts organization to discuss challenges and potential
collaborations, share grant resources and consider
ways of furthering arts progress in Richmond.12 This
monthly gathering of arts administrators served as
a solid foundation for collaborative programming.
The partnership between the Arts and Culture
Commission and the Arts Forum was critical to
many of the Commission’s accomplishments. The
Forum has not been meeting regularly since 2004
due to lack of funding (http://www.ci.richmond.
ca.us/documentview.asp?DID=118).
City Public Art Advisory Committee
Composed of community representatives, artists
and art professionals, the City’s Public Art Advisory
Committee reviews approved capital improvement
projects each budget year and develops a Public Art
Plan to guide the Percent for the Arts Program.3
The Public Art Plan identifies sites, concepts and
approaches for integrating public art into Capital
Improvement Projects. Once projects are approved
by the Arts and Culture Commission and the City
Council, staff develops project parameters, initiating the artist selection process and coordinating the artist’s work with the work of other professionals
involved in the project (http://www.ci.richmond.
ca.us/index.asp?NID=118).
Plans and Ordinances
Richmond Cultural Master Plan
Richmond’s most comprehensive background document for arts, culture and historic resources is the Cultural Master Plan, prepared by the Arts and
Culture Commission in 1994 and updated in 2002.
The intent of the Master Plan is to focus the City’s
overall activities and programs related to arts, culture and heritage. The original 1994 Cultural Master
Plan included a needs assessment that was not
reevaluated during the 2002 Master Plan Update.
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13 Arts and Culture
The Update focused on organizational development
and strategies for the Arts and Culture Commission
which faced shortages in funding and staffing.12
That document is intended to serve as a work directive for the Arts and Culture Commission for a two to five-year time frame.
Macdonald Avenue Economic Revitalization
Plan
Completed in 2004, the Macdonald Avenue
Economic Revitalization Plan guides long-term
development along Macdonald Avenue. Through
design guidelines, identifying opportunity sites and
economic development strategies, the Plan seeks
to transform Downtown into a pedestrian-friendly
urban village offering products, services, arts and
entertainment that reflect the community’s rich and
diverse heritage.13
The Public Art Plan
The Public Art Plan identifies sites, concepts and
approaches for integrating public art into Capital
Improvement Projects through the Percent for Arts
Ordinance. The Plan is prepared annually and submitted first to the Arts and Culture Commission, and then to the City Council for review and approval. Once projects are approved, staff develops project parameters, initiating the artist selection process and coordinating the artist’s work with the work of other
professionals involved in potential projects.
Percent for Arts Ordinance
The City’s Percent for Arts Ordinance allows funds
to be pooled from several capital improvement projects to locate public art throughout the City and in its underserved neighborhoods. The Ordinance
was adopted in 1997 to ensure the involvement of
artists in City and Redevelopment Agency Capital
Improvement Projects. The program sets aside 1.5%
of eligible Capital Improvement Project budgets into
a Public Art Projects Account to cover costs associated with public art acquisition, siting, maintenance, education programs and other projects approved as
eligible under the Annual Public Art Plan.
Historic Preservation Ordinance
The Ordinance guides the City in protecting and
restoring historic buildings, creating compatibility
with historic districts, acknowledging Richmond’s
industrial historic identity and celebrating the City’s long-standing multicultural background.
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13 Arts and Culture
Notes
1. Official California Legislative Information
Website. http://www.leginfo.ca.gov/cgi-bin/
displaycode?section=gov&group=65001-
66000&file=65300-65303.4.
2. Public Art Sites - Richmond, California.
Photography by Ellen Gailing. February, 2005.
3. City of Richmond, California. “Amendment to
the Art in Public Places Program Ordinance:
Chapter 15.14 of the Code of the City of
Richmond,” 2006.
4. Survey of Richmond arts and culture organizations conducted for General Plan update by consultant team in support of the General Plan
update, 2007.
5. Americans for the Arts. “Arts & Economic
Prosperity Calculator.” http://www.artsusa.org/
information_services/research/services/economic_impact/005.asp.
6. East Bay Center for the Performing Arts. http://
www.eastbaycenter.org/index.php.
7. City of Richmond Arts and Culture
Commission. “Consumer Evaluation
2003.” http://www.ci.richmond.ca.us/index.
asp?NID=104.
8. Americans for the Arts. “Arts & Economic
Prosperity: The Economic Impact of Nonprofit
Arts Organizations and Their Audiences.” 2002.
9. California Arts Council. “The Economic and
Cultural Impact of the Arts in California: Local
Officials Tell Their Communities’ Stories.”
http://www.cac.ca.gov/.
10. KPMG. “The Arts: A Competitive Advantage
for California.” California Arts Council, 1994.
11. City of Richmond Arts and Culture
Commission. “Cultural Master Plan Update,
2002,” City of Richmond. http://www.
ci.richmond.ca.us/documentview.asp?DID=15.
12. Seville, Michele. Informational Interview, City
of Richmond Arts & Culture.
13. BMS Design Group. “Macdonald Avenue
Economic Revitalization Plan: Public Art
Report.” Produced for the City of Richmond
Redevelopment Agency, 2004.
Cover Artwork
1. Left: Mural in Point Richmond by Unknown
Artist
2. Right: Artwork by Keiko Nelson
1734
City of Richmond
Public Art Master Plan
Submitted by
Art Builds Community
August 30, 2023
August 30, 2023 1
1735
ACKNOWLEDGMENTS
Mayor and City Council
Eduardo Martinez, Mayor
Gayle McLaughlin, Vice Mayor (District 5)
Soheila Bana, Councilmember (District 4)
Claudia Jimenez, Councilmember (District 6)
Doria Robinson, Councilmember (District 3)
Melvin Willis, Councilmember (District 1)
Cesar Zepeda, Councilmember (District 2)
Richmond Arts and Culture Commissioners: 2022-2023
Commission Chair Lynson M Beaulieu
Commission Vice Chair Kaelen Van Cura
Former Vice Chair Melissa Kirk
Commissioner Ted Bell II
Commissioner Arleide da Silva Santos
Former Commissioner Tom Herriman
Former Commissioner Emily Leighton
Commissioner Phillip Mehas
Commissioner Melody Kozma-Kennedy
Commissioner Carole Porter
City Staff
Shasa Curl, City Manager
Winifred Day, Arts and Culture Manager
Shane Johnson, City Manager’s Office
Lina Velasco, Director of Community Development
Submitted by:
Art Builds Community
Barbara Goldstein, Project Lead
Quynh-Mai Nguyen, Creative Director, Community Engagement Amanda Rawson, Project Manager, Research Director
Cover Photo Credit
Water is Life, artist Masayuki Nagase, at Ookwe Park, City of Richmond Public Art Collection
August 30, 2023 2
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RICHMOND PUBLIC ART MASTER PLAN
Table of Contents
1. Acknowledgments Page 2
2. Executive Summary Page 5
3. Methodology Page 9
Research, Interviews, Community Engagement, and Timeline Page 9 Surveys and Pop-Up Events Page 10
Focus Groups Page 11
4. Findings Page12
Guiding Principles Page 12
Emerging Themes Page 12
5. Recommendations Page 14
6. Appendices
A. Implementation Plan Page 26
B. Interview List Page 28
C. Focus Group Participants Page 29
D. Focus Group Notes Page 30
E. Councilmember and Mayor Notes Page 33
F. Potential Artwork Locations Page 35
G. Survey Results Page 36
H. Municipal Code Section 6.50 Public Art Program Page 48 I. Public Art Policies and Procedures Page 59
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Vision:
The City of Richmond
supports arts and culture
that celebrate the City, its
people, and their stories.
August 30, 2023 4
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EXECUTIVE SUMMARY
Background
The City of Richmond has integrated public art in its buildings since at least the 1950s including notable projects like Pride and Purpose, the Sargent Johnson enamel mural in the Richmond Memorial Auditorium Lobby. The City has funded art in public places since 1997 through its 1.5% for art program, and through the leadership of the Richmond Arts and Culture Commission (RACC). The City is home to significant permanent artworks that celebrate its history and culture, including artworks on public property and Redevelopment Agency-led projects. RACC has led the public art program, supported exhibits, provided grant funding, and developed arts policy. It has also supported community-based art through its Neighborhood Public Art Mini-Grants, reviewed artbased Love Your Block Mini-Grants, and provided financial support for arts organizations, festivals, and events.
Richmond boasts a strong and engaged community of artists and arts activists, and important community-serving arts institutions such as the Richmond Art Center, NIAD, RYSE, and East Bay Center for Performing Arts. Two cultural plans for the City, in 1994 and 2002, envisioned a cultural arts program that could significantly support and promote all art forms in a variety of ways. And while the arts thrive, the level of City support and funding has not entirely met their needs. However, when the State of California dissolved redevelopment agencies, many capital improvement projects came to a halt, reducing the available funding for public art.
Some of this changed with the advent of the 1% for art in private development. This policy was a RACC initiative, and was adopted in 2017 and revised in 2021 to include detailed procedures. Since its inception, this developer fee has brought over $2 million dollars into the public art fund.
In 2022, RACC issued a Request for Proposals to develop a public art plan to help guide the use of this fund. They selected Art Builds Community (ABC), a women-led Bay Areabased public art planning team, to lead this effort. During the development of the plan, ABC studied City planning documents, toured existing public art, reviewed previous cultural plans, attended RACC and its Public Art Advisory Committee meetings, conducted interviews, focus groups, and public community engagement events. The team learned about the commitment and talent of Richmond’s arts community, the City residents’ appreciation for arts, and opportunities to infuse public art into Richmond’s neighborhoods and business districts. They also learned about the challenges facing Richmond’s artists and the arts community.
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Existing Artwork
Significant projects completed since the inception of the City’s 1.5% for art include the Rosie the Riveter Memorial by artist Susan Schwartzenberg and landscape architect Cheryl Barton, Richmond Identities: Extraordinary Lives/Ordinary People at the Richmond Senior Center by artist Judy Baca, Water is Life at Ookwe Park by Masayuki Nagase, and many others. The artists for each of these works conducted deep community engagement to create their art. The Rosie the Riveter Memorial project included interviews with over 200 original World War II women “home front” workers, to record their oral histories, and spurred the creation of the WWII Home Front National Historical Park and Visitor Center. For Water is Life at Ookwe Park, artist Masayuki Nagase partnered with Ohlone tribal members who guided him in the design, history, and landscaping of the project. Artist John Wehrle is well represented in the City’s collection with his design for underpass entries and several other murals funded by 1.5% of the Redevelopment Agency’s (RDA) capital improvement projects. The RDA also supported an impressive suite of Richmond-focused artworks in the renovated Civic Center Complex. Each of these artworks is part of the City’s collection, and the City is responsible for its care.
Redevelopment Agency (RDA) projects also resulted in public art for the private sector at BART’s parking garage and Metro Walk Transit Village. Beyond the artwork directly commissioned by RACC and RDA efforts, many private businesses have commissioned murals that are a significant element of neighborhood identities. Neighborhood Public Art Mini-Grants have also resulted in community-based public art, including contributing to the development of Harbor 8 Pogo Park and its adjacent Yellow Brick Road, community empowerment arts projects led by artist Toody Maher that includes children’s activities, construction, classes, and artmaking. As new private developmentbased artwork is commissioned, Richmond’s visual landscape will grow along with it.
Opportunities
The opportunity to fund the arts began to grow with the RACC-led 2017 creation of a 1% for art requirement in private development. While the City initiated its 1.5% for art requirement in its own Capital Improvement Projects (CIP) in 1997, the private arts fee employs the arts to beautify and activate commercial and residential development. This fee enables the City to extend the legacy of the RDA of integrating art in public spaces in private development. And, through its ‘in lieu’ option, funds can be employed by RACC to commission arts amenities and activities in City-owned spaces.
Several of the projects in process and on the horizon provide opportunities to integrate art in, or adjacent to, new developments. These include projects such as the ProLogis mixed use development in the Point Richmond area, and their Chef’s Warehouse project on Cutting Boulevard in Point Richmond. Central Avenue will also provide opportunities for artwork development.
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Challenges
The potential to fully plan for the use of the Public Art Fund has not been realized until now. Significant growth of the Public Art Fund since early 2020 occurred concurrently with the Covid-19 pandemic, a change in Arts and Culture staffing, and a reduction in the number of Arts and Culture Commissioners. During the pandemic, RACC meetings became virtual, and the size of the RACC shrunk, with no new commissioners appointed.
By late 2022, the Commission included only five members, and the functions of the Public Art Advisory Committee (PAAC), normally a subcommittee of the Commission, were integrated into the work of the RACC. Concurrently, the City increased its administrative requirements for all contractors to promote greater accountability, making the task of issuing artists’ contracts more cumbersome. The City Manager’s Office and Arts and Culture Division are reviewing contract protocols to evaluate whether changes are needed to accommodate contracts with artists. “Shelter in Place” pandemic rules prevented RACC’s in-person meetings, and inhibited contact between Commissioners, artists, and the public. Some artists grew concerned that the City moved too slowly in implementing projects, although even with a limited number of Commissioners and a fairly new Arts and Culture Division Manager, the RACC continued to execute a full agenda of meetings, grantmaking, project contracts, maintenance of artworks, improvements to the Arts and Culture website, and other arts and culture activities during this period. This misunderstanding resulted from a lack of public real-time participation in the work of the RACC, the technical and equity challenges presented by virtual meetings, and inadequate channels of communication.
While RACC meetings continued during the Covid-19 pandemic, information about their work was not reaching the public. The City’s Arts and Culture website and its public art map were outdated, and information about recent public art projects and grants was not visible. This, along with increased administrative requirements, led to a lack of public confidence in the Arts and Culture Division and a desire for more transparency, challenges that can be remedied by targeted investments, and staff support.
Despite these challenges, work has continued in the public art program. New projects were initiated, conservation of artwork was completed, and new Neighborhood Public Art Mini-Grants and Covid Relief Mini-Grants were awarded. Arts and Culture and other City staff have been actively ensuring that private development funds were collected, and the Public Art Fund has continued to grow. This is money that the City can invest in public art and cultural activities, and it should be thoughtfully expended over time to ensure that all communities benefit, and that the fund is being replenished while it is being expended.
With new resources available, RACC can invest in the future of public art. The following vision and recommendations are offered for consideration:
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Vision
The City of Richmond supports arts and culture that celebrate the City, its people, and their stories.
Mission
The City of Richmond’s public art program commissions artworks that enrich people’s experience of the City, and help drive its healthy development.
Recommendations
Many of the recommendations in this plan reinforce work already being done by RACC and Richmond’s Arts and Culture Division. The purpose of these recommendations is to reinforce, expand, and continue RACC’s successes.
1. Employ the arts to illuminate Richmond’s many cultures and histories.
2. Commission art that activates business districts in Downtown and other neighborhoods.
3. Support art that connects people with nature.
4. Prioritize support of the arts in City buildings and public spaces.
5. Increase grants to arts and cultural programs.
6. Support artists of all ages and backgrounds.
7. Strengthen the Arts and Culture Division and Richmond Arts and Culture Commission.
8. Maintain the City’s public art.
9. Promote Richmond’s public art.
10. Build partnerships with local businesses and regional entities.
11. Update Richmond’s Cultural Plan.
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METHODOLOGY
Research
Research for this plan included interviews with City staff members, City Council members, current and past Arts and Culture Commissioners, and community leaders (Appendix B). The team hosted individual interviews, five community discussions in person and virtually, and mounted pop-up activities at three community events. ABC studied the Cultural Master Plan 1994, Cultural Master Plan Update 2002, the Arts and Culture element of the Richmond General Plan 2030, and documents including community plans, and public art policies, procedures, and guidelines. Site visits throughout Richmond also played a significant role in understanding current public art, neighborhoods, and City assets, including parks, non-profit locations, and ongoing annual events.
Interviews
ABC conducted virtual and in-person interviews with internal and external stakeholders.
The Arts and Culture Manager identified key stakeholders to be interviewed by the consultants throughout the outreach process, including City department heads, business and civic leaders, City Councilmembers, and the Mayor. These conversations provided insight and background on the arts ecosystem in Richmond, funding, and City priorities and processes. They also illuminated community wishes and needs. With the recent election of a new Mayor and City Councilmembers, along with new administrators, there is momentum and energy to re-imagine the future of Richmond’s arts.
Community Engagement and Timeline
Information gathered from interviews, public webinars, and pop-up events helped shape the recommendations that will help guide the future of the public art program in Richmond. The project timeline is as follows:
August – September 2022
Project Initiation
September 2022 – February 2023
Interviews, Focus Groups, and Public Meetings
September 2022 - May 2023
Plan Framework Development and Review
March 2023
Emerging Themes Presented to RACC and Public
June – July 2023
Presentation of Draft and Final Plans to RACC
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Surveys
A public art survey of 14 questions, including multiple choice, open-ended, and demographic questions, was available online between October 2022 to March 2023 (Appendix G). Seventy-five participants completed the survey. Many of the participants proudly identified themselves as residents and artists of Richmond. This was demonstrated in the top three roles they believed public art should uphold for their city:
1. Support the growth of local artists.
2. Provide opportunities for people to experience art that enriches their lives.
3. Promote pride in Richmond.
Pop-up Events
ABC facilitated community engagement activities at three local community events. The 2022 events included the 14th Annual Spirit and Soul Festival in downtown Richmond, the 60th Annual Holiday Arts Festival at the Richmond Art Center, and the 2023 Martin Luther King Jr. Day Celebration and Day of Service at the Greenway Trail. The tabling activities provided opportunities for community members to participate by filling out a survey, signing up for project updates around the public art master planning process, and answering the following prompt questions:
1. What types of public art and programming do you want to see in Richmond?
2. Where do you want to see public art and programming in Richmond? The general outcome of the pop-up events was:
ABC staged one of several artmaking activities at the Annual Holiday Arts Festival event.
In addition to inviting people to complete surveys and answer prompts, participants were encouraged to create art in the moment by finger weaving two communal tapestries. The yarn that they added to the tapestry were color coded to determine the type of public art they wanted to see more of in their city.
There were seven categories:
1. Murals
2. Kinetic Art
3. Functional Art
4. Environmental Art
5. Performances and Events
6. Sound/Digital/Light Art
7. Historical Art
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The table below shows the outcome of the community tapestries. The activity gathered 69 people to collectively complete two completed small tapestry pieces that provided visual and informational insight on the wishes of the community around public art.
Public Art Type Tapestry 1 Tapestry 2 Total Votes
Functional 9 6 15
Environmental 5 8 13
Sound/Digital/Light 4 5 9
Performance/Event 6 5 11
Historic 1 1 2
Kinetic 4 5 9
Murals 4 6 10
Total Participation 33 36 69
Focus Groups
Three focus groups were hosted to facilitate conversation and feedback from individuals who identified as BIPOC (Black, Indigenous, and People of Color), artists, and business owners. The artist focus group held on November 9, 2022 at the Richmond Art Center brought out the most participation with an attendance of 32 people across diverse crafts and disciplines. The BIPOC focus group was held online during the first week of March 2023 across multiple days to fit schedules of different community and cultural leaders that represented hard-to-reach groups from LGBTQIA+, youth, and collectives.
The business focus group was held at the Richmond Mainstreet Initiative office on March 6, 2023, and resulted in the smallest gathering due to heavy weather and time constraints. The notes from these focus groups are in Appendix D.
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FINDINGS
GUIDING PRINCIPLES AND EMERGING THEMES
The following guiding principles and emerging themes emerged from conversations with community, civic and arts leaders, surveys, community events, and focus groups. These principles and themes were extremely consistent, indicating consensus about the future direction of Richmond’s public art.
GUIDING PRINCIPLES
• Prioritize art that celebrates Richmond’s cultures and stories. • Support local artists.
• Make art public.
• Promote community pride.
EMERGING THEMES
Types of Art
• Art that illuminates cultures and histories.
• Changing art.
• Interactive art.
• Placemaking art.
• Artist residencies.
Artwork Locations
• Art in nature: the Greenway, neighborhood parks, and trails. • City buildings.
• Neighborhoods.
• Downtown districts.
• Waterfront.
Artist Support
• Opportunities for young people to practice and learn artistic skills. • Technical assistance for artists.
• Grant support.
• Spaces for artistic creation.
• Simplify grant application process.
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Administration and Procedures
• Encourage new development to include affordable places for artists to work, perform, and exhibit.
• Support Commission capacity building, including annual project planning and budget retreats.
• Add project management and community engagement staff. • Encourage private developers to engage with surrounding communities.
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RECOMMENDATIONS
The following recommendations embody the guiding principles developed during the community engagement process. They are firmly based on the community pride and activism that characterizes Richmond.
Community members, Arts and Culture Commissioners, and key stakeholders shared a common message: RACC does its best work when empowering community members to create and participate in the arts. As such, RACC can build on its existing programs and create new ones that place greater resources directly into the hands of artists and community organizations. RACC can support programs that enhance Richmond’s visual landscape, and engage community members in decision-making about the City’s arts investments, employing public art funds to support artist-initiated work that meets City standards and durability requirements, and stimulating creative placemaking at a grassroots level. This strategy defines the role of City staff and the RACC as facilitating public art rather than acting as gatekeepers.
The following recommendations place an emphasis on community engagement and leadership.
Recommendation 1:
Employ the arts to illuminate Richmond’s many cultures and histories.
Richmond is home to many cultural groups, each with its own story of triumph and trauma. From the time of the Ohlone, Richmond grew around its industries, infrastructure, railroads, and port, attracting waves of newcomers from other parts of the United States and other countries. Their stories add to Richmond’s identity, its arts, and its culture. RACC has sponsored or supported several institutions and projects that explore cultural heritage, and these projects have amplified communities and shared food, art, craft, and traditions among its residents. These programs have ranged from Blossoms and Thorns, an exhibit that explored both the Japanese incarceration and rosegrowing tradition, to Water is Life, at Ookwe Park, which engaged the Ohlone community in its design, and Elm Playlot and the future Harbor 8 Pogo Park projects, artist-initiated parks that provide opportunities and services in the Iron Triangle community. These projects highlight the dignity and achievements of Richmond’s different communities, reinforcing the importance of their histories. RACC can build on these projects by launching a program that places artists “in residence” in communities, whether geographically or affinity based, to create artwork that stimulates civic engagement, and shares their stories with others.
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The RACC has sought to build upon this with its recent large project grants. These grants sought participation by neighborhood councils that wanted to place art in their communities. The first project, Living Room at Kennedy Park, by artists Tiffany Conway and Ari Takata-Vasquez, was awarded in June 2023. Two other communities, Hilltop and Hilltop Green, are potential candidates for future projects. A suite of new public art at Shields Reid Park will also reflect community stories.
• Create an annual Artist-in-Community Residency program. o Develop and launch a Request for Qualifications to create a pre-qualified pool of Richmond-based community-engaged artists working in any media. o Invite communities to apply to host an artist in residence by demonstrating their leadership structure, project goals, and commitment to working with an artist in an open-ended way to develop a project.
o Assist community leaders to select an experienced, Richmond-based artist from a pre-qualified pool, or a qualified artist of their own choosing. o Award selected artists $7,500 for a 3-month’s residency period to learn about the community and develop a project proposal.
o Award up to $150,000 to realize a permanent or temporary project for that community.
• Require private developers to engage surrounding communities for public art input. o Assist developers and their art consultants to connect with community leaders and research community history when developing a plan for on-site artwork.
o Encourage the developer to reach out to community leaders and organizations, artists, and neighborhood councilmembers. o Promote art that enhances public space, providing value to each development and its surrounding neighborhood.
o Encourage developers to include spaces where art can be created and/or presented.
• Expand support for public art projects that include special populations such as senior citizens, youth, and formerly incarcerated individuals through the Safe Return program.
o Encourage artists to apply for NPA grants in partnership with organizations supporting underserved populations.
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Recommendation 2:
Commission art that activates and connects business districts in Downtown and other neighborhoods.
Richmond sprawlsin many directions and hasseveral downtown business districts, large and small. These include business districts in North Richmond, Pt. Richmond, Richmond Annex, Hilltop, Parchester, Shields-Reid, and Marina Bay. Some of these neighborhoods have employed the arts to actively attract pedestrians to their shops, restaurants, and services; other areas would benefit from greater arts investments. Because all downtown districts were impacted by the Covid-19 pandemic, an increase in arts investments could be transformational.
There is one specific business district cluster that will benefit from increased investment in arts activities and amenities in particular: the Downtown arts and business district on Macdonald Avenue, beginning with RYSE at one end to the East Bay Center for the Performing Arts and Richmond Museum of History at the other, and intersected by 23rd Street, home to NIAD (Nurturing Independence through Artistic Development). This district is immediately adjacent to the Civic Center Campus, housing the Richmond Art Center, and close by the Greenway, which acts as the area’s lungs. These intersecting districts will grow to be the heart of Richmond’s cultural life with the help of continued City investment and partnerships with businesses and foundations. • Create a matching grant program for nonprofit organizations to produce programming, and decorative and functional art in partnership with local businesses, artists, and arts organizations to attract people and enhance the public realm.
o Provide grants to nonprofit organizations to commission artist-designed, temporary, permanent, and functional place-based artworks in neighborhood business corridors.
o Launch four to six annual grants to support organizations that develop and maintain art in business corridors.
o Encourage projects that populate empty storefronts and vacant lots. o Commission art that invites interaction (Instagram moments). o Commission artwork gateways at entrances to business districts. • Build partnerships with the City Manager’s Office, Public Works Department, and Recreation and Parks Department to support projects that improve pedestrian safety, create temporary and permanent art parks, and support bike and pedestrian safety.
o Encourage streetscape projects such as banners, artist-designed crosswalks, and seating areas that enliven the pedestrian experience. o Create space for impromptu performances.
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Recommendation 3:
Support art that connects people with nature.
Richmond has a wealth of open spaces ranging from small neighborhood parks to regional parks, the Bay Trail, and the Greenway. In fact, the City has 32 miles of continuous waterfront. While not all open spaces are City property, those that are managed by other entities present significant partnership opportunities. The inclusion of artworks whether historical, freestanding, wayfinding, temporary, or functional, will draw people outdoors and enhance their experiences of nature. • Place art in settings where people enjoy nature, including the Greenway, neighborhood parks, and City trails.
o Continue supporting grants for changing artworks by Richmond and other East Bay artists on the Greenway.
o Create a grant program that includes artist-designed mile markers, crosswalks, and artist-designed seating areas to encourage walking on the Hilltop Loop.
o Strengthen partnership with the City’s parks department to identify key locations, and include art in neighborhood parks.
o Integrate art into the renovation of Boorman Park.
o Partner with regional entities such as the Metropolitan Transit Commission, which manages the Bay Trail, to support projects in open spaces within Richmond, but belong to other governments.
Recommendation 4:
Prioritize support of the arts in City buildings and public spaces. • Promote partnerships to support arts activities and programming on the grounds of the Civic Center Complex. The Civic Center, built in the 1940s and renovated in 2000, is situated around a courtyard and surrounded by lawn areas. Because of its proximity to the Downtown arts district, and its home to the Richmond Art Center, it is the perfect venue for changing art, whether temporary displays, arts fairs, or performing arts. These will both enliven the Civic Center and bring people closer to City government.
Management of the Civic Center Complex open spaces is the responsibility of the Recreation and Parks Division, and arts activities will therefore require sponsorship to implement. Provide matching grants that require nonprofit organizations to seek sponsorship for noontime concerts and performances in the Civic Center Complex courtyard.
o Encourage City Council to begin monthly meetings with a poem curated by Richmond’s poet laureate.
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• Integrate art into City capital construction that welcomes the public – libraries, parks, community centers, etc. Artists can make significant contributions to the City’s capital construction and infrastructure, and can also help promote priorities, including sustainability, public safety, and Vision Zero. Integrating art to communicate city priorities – whether creating streetscape amenities or embedding an environmental message in an artwork, artists can be part of Richmond’s work. The Yellow Brick Road project in the Iron Triangle neighborhood is an excellent example of how art can promote pedestrian safety.
The City requires 1.5% for art to be set aside in its Capital Improvement Project budget. At present, the Arts and Culture Manager is working with the Building and Planning Divisions to review potential funding opportunities in the existing CIP budget. Identifying projects and fully implementing the program speaks to the need for the Arts and Culture Division to have a seat at the table during the early development of the CIP. This will ensure that funding for art enhancement projects can be identified, written into grant applications, and funds can be accumulated to support art in City facilities.
Short Term:
• Continue to review the City’s Fiscal Year 23/24 Capital Improvement budget to identify and request the transfer of 1.5% for art to the Public Art Fund from all eligible projects.
• Identify liaisons in each department with CIP projects, and identify projects to be included in a bi-annual Public Art Work Plan.
• Include visual art in City construction projects, and reinforce City priorities such as traffic calming and environmental stewardship.
• Integrate art into the City’s transportation infrastructure to promote pedestrian and bicycle safety.
• Provide public art funding to significant projects that are funded by an ineligible source.
o Allocate Public Art Funds to include an artist teaching residency that results in a permanent artwork in the Main Library renovations. o Collaborate with the Library Department to commission temporary art on the construction fence during the renovation.
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Recommendation 5:
Increase grants to arts and cultural programs.
The Neighborhood Public Art (NPA) Mini-Grant program provides an opportunity for emerging artists and arts organizations to experiment with new ideas, enhance their communities, and build toward larger projects. It is a model program that enables RACC Commissioners to provide mentorship to artists and learn about their communities.
While the program has produced significant artworks, the grant amounts ranging from $2500 To $9000 are small, and the effort involved in administering them can be challenging for grantees. While the City provides $65,000 in General Fund dollars, the program can be redesigned to provide greater value to communities and a more satisfactory experience for artists.
• Expand the NPA Mini-Grant program to increase grant funding for Mini-Grants and introduce NPA Enhancement Grants that support arts and cultural programming in community settings. Increase the smallest dollar amount for NPA Mini-Grants to $4,999, and focus these grants on support for emerging artists and innovative projects.
• Match the amount of NPA Mini-Grant funding provided by the General Fund with similar dollars from the Public Art Fund.
• Use the Public Art Fund to create a new Public NPA Enhancement Grant category with grants of up to $25,000 for experienced artists or those with a portfolio who can demonstrate that they have successfully completed projects in the past.
o Encourage artists who have received NPA Mini-Grants in the past to apply for larger grants created through this master plan.
• Provide contractor and staff-led in-person and online technical assistance and support to artists developing and applying for projects. o Create brief online video workshops that explain the grant application process and that include frequently-asked questions and answers. o Make video presentations available for viewing on the City’s website. o Create in-person workshops that employ online video and include question and answer periods.
o Offer scheduled appointments with NPA Mini-Grant and Enhancement Grant applicants to review their applications with staff before submission.
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Recommendation 6:
Support artists of all ages and backgrounds.
One of the biggest challenges for artists living in the Bay Area is a lack of affordable places to work and present their work. Equally frustrating is the limited funding to commission new works. The City can mitigate both of these challenges by building partnerships with developers, and devoting resources to employing artists.
In addition to supporting professional artists, Richmond must continue to support its youth artists. Young people are a significant portion of Richmond’s population and an underappreciated resource. Engaging young people in arts activities assists with their academic achievement, mental health, and career paths. Youthful artistic expression also makes places more vibrant. Richmond’s public art program can support these efforts in a variety of ways.
• Encourage new development that includes affordable places for artists to work, perform, or display their work.
o Work with the City Manager’s Office and business associations to incentivize the use of empty retail spaces by artists and arts institutions. o Advocate for the inclusion of artist live/workspace, studios, galleries, and rehearsal space in private development as a means of fulfilling the One Percent for Art in private development requirement.
o Investigate the use of City surplus properties for cultural uses. • Simplify the grant application process.
o Develop online workshops that provide consistently accessible information about applying for grants, responding to RFPs (Request for Proposals),and working with developers.
o Include links in all RFPs and grant material to City forms, such as business licenses, that applicants will need if awarded contracts. o Continue investigating ways to make City contracting and permitting processes more user friendly for artists.
• Invest in the next generation of Richmond artists by supporting arts programs for youth.
o Support local arts organizations to offer free classes and job opportunities to underserved youth.
o Encourage grantees and contractors to build partnerships with schools to support youth-led public art projects.
o Encourage mentorship opportunities in public art projects that provide opportunities for young people to practice and learn artistic skills.
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o Specifically include more interactions with youth in the duties and responsibilities of the Poet Laureate.
o Support a youth poet laureate program that parallels and is mentored by the City Poet Laureate.
o Explore partnerships between local arts organizations and businesses to create and manage designated legal, changing, graffiti art walls. o Continue support for Academy of Art University four-year Presidential Scholarship and summer program.
Recommendation 7:
Strengthen the Arts and Culture Division and Richmond Arts and Culture Commission.
• Add project management and administrative staffto create a fully-functional Arts and Culture Division.
Although Richmond’s public art program began as one element of a full cultural support plan, its Arts and Cultural Division has been under-staffed and under-funded throughout its entire existence. The RACC, a group of motivated and communityoriented volunteers, has been deeply engaged as community experts to recommend and steward arts programs. However, fiscal management of the Arts and Culture Division is not the RACC’s role, and Arts and Culture has not been proactive in growing its financial resources. Tasks such as applying for grants, building partnerships, and monitoring CIP funding would increase arts resources and should be staff driven.
The City’s public art procedures allow a percentage of the fund to be employed to manage the program, and the addition of full-time or contract staff will help grow public art and cultural programming that fully takes advantage of the Public Art Fund, CIP projects, and partnerships.
• Create a new position of Arts and Culture Division Director position that:
o Coordinates with RACC and PAAC to steward the public art program. o Ensures all eligible CIP projects contribute to the fund and/or include art in their designs when appropriate.
o Builds relationships with developers, the business community, and community nonprofit organizations to advance RACC’s mission. o Leads efforts to market public art and the arts in general. o Supervises project management staff.
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• Create a new position of Public Art Project Manager with the following duties:
o Present public art projects to RACC and PAAC for review and approval. o Meet with developers to explain opportunities for on-site art possibilities and expectations.
o Lead online training for developers who wish to integrate art or art spaces into their buildings.
o Manage City-led public art projects, including community engagement, artist selection, and project oversight.
o Support grant application process for artists and arts organizations. o Oversee public art inventory and maintenance program. • Conduct outreach to Richmond artists.
• Provide administrative support for Support Division and Public Art Project managers including:
o Grant application processing.
o Contract management.
o Commission support.
o Purchasing and grant solicitation.
RACC Commissioners are city leaders, building a bridge between communities, the Arts and Culture Division, City Council, and the Mayor. RACC has historically supported arts community-centric projects through their grants program and public art initiatives. It is also a working commission, where members have taken active roles in writing policy, leading projects, joining panels to review proposals and projects, and mentoring artists.
While Commissioners and Arts and Culture Manager were not able to meet community members and artists in person during the Covid-19 pandemic, they continued to work, administering $50,000 in Covid Relief Mini-Grants, as well as NPA Mini-Grants, initiating new public art projects, and providing support for arts organizations and programming. However, the RACC’s meetings were held online and there were occasional technical challenges during the meetings. As a result, its work did not receive much public attention.
No new Commissioners were appointed under the previous administration, and because of the Commission’s reduced size, the PAAC, a subcommittee which normally reviewed physical artwork designs, was folded into the RACC. While this is a departure from RACC’s procedures, it allowed the Commission to continue its functions.
With the return to in-person meetings and the creation of a public art plan, RACC can prioritize its work over the coming years. It is essential that the Commission carefully considers its budget and upcoming projects, and that it expands to meet the challenge of reviewing grants and public art, and advocating for the arts. In rebuilding RACC, the August 30, 2023 22
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City can embrace the recommendations of the Public Art Master Plan, and ensure the wise expenditure of its funds.
• Rebuild the RACC, reactivate its Public Art Advisory Committee, and provide training and support for new Commission members.
o Support the Mayor in recruiting and training a full complement of Commissioners with different skillsets and backgrounds, including those with the skills to participate as Public Art Advisory Committee members. o Provide commissioner training, and annual project planning and budget retreats.
o Create a Commission-building subcommittee to define the characteristics needed in RACC and seek out applicants with those talents. • Convene periodic meetings between Commissioners, staff, and artists to discuss opportunities and issues that have an impact on Richmond’s public art.
Recommendation 8:
Maintain the City’s public art.
Richmond’s public art collection and the arts events that take place in the City contribute to its vibrancy and economic health. The City’s public art collection exceeds 300 individual artworks inside public buildings and outdoors. Public art procedures establish protocols for the artwork inventory which is continually being updated (Appendix I, section on records and files). Public art in the collection demands routine maintenance and occasional conservation. The following recommendations outline steps that can be taken to ensure that Richmond’s art collection is maintained in good condition. • Hire a professional conservator to review all the art in the City’s public art collection, recommend routine maintenance procedures and conservation needs.
• Hire a photographer to complete documentation of permanently-sited artwork in the City’s collection for use on the City’s website. • Hire a registrar to research artwork in the City’s collection, and create a searchable database that includes complete information on each artwork.
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Recommendation 9:
Market Richmond’s public art and arts programming.
Although the RACC continued to award NPA grants and public art commissions in the last three years, there is little that tells that story on the City’s website. While government websites are graphically limited, the stories of Arts and Culture grantees, and the public art collection, can be displayed on the City’s website. Furthermore, the Arts and Culture Division can employ social media to build interest in the art programs supported by the City.
• Hire a contract employee to develop content for the Arts and Culture website to integrate onto the City’s website.
• Update the public art map on the Arts and Culture website to include only public art projects funded by the City and provide consistent accurate information about the artworks.
• Hire a photographer to create professional photographs of all the outdoor artworks in the City collection.
• Add an Arts and Culture calendar that highlights City-funded arts activities taking place each month.
Recommendation 10:
Build partnerships with local businesses and regional entities.
While the RACC and the City’s support for the arts can make a significant contribution to Richmond’s beauty, health, and economic development, partnerships can multiply the impact. When developing ideas for new projects, RACC and Arts and Culture staff can build upon other Richmond assets. These include partnership with new and legacy businesses, nonprofit organizations, Metropolitan Transportation Commission, BART (Bay Area Rapid Transit), and Contra Costa County.
• Work with the Mayor and City Council to identify companies, such as Sims Metals, that can partner with the City to support arts programs and amenities. • Include local nonprofit organizations and businesses in community advisory committees for public art projects to build on their leverage and support. • Reach out to regional entities to learn about projects they are creating in Richmond.
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Recommendation 11:
Update the Cultural Plan.
Richmond’s cultural plan has not been updated since 2001, and Richmond’s General Plan 2030, which includes an Arts and Culture element, was created in 2012. Neither of these plans resulted in adequate resources to support Richmond’s vibrant arts and cultural life.
It is time for the City to update its cultural plan. A new cultural plan that examines opportunities, resources, and needs will become a powerful tool in Richmond’s longterm growth, health, and well-being. This will enable the RACC and the Arts and Culture Division, as part of the City Manager’s Office, to take a more active role in ensuring that artistic activities are a central part of Richmond’s economic development and community-building strategies.
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APPENDIX A: RECOMMENDED IMPLEMENTATION PLAN
Fiscal Year 23-24
Name of Project Public Art
Fund
CIP % for Art Private
% for Art
General
Fund
Budget Notes
Main Library $50,000 $50,000 On-site art and artist
fee for construction
fence art
Kennedy Park Project $100,000 $100,000 City Council
approved 6/20/23
Community Artistin Residence
$15,000 $15,000
Residency Only: Project
in lieu of beginning
new, large
project grants
Downtown Project Grants $100,000 $50,000 $150,000 Requires CIP % for art advocacy
NPA Mini-Grants $25,000 $35,000 $60,000
NPA Enhancement Grants $25,000 $25,000 Initiate program with one new grant
Website Upgrade $30,000 $30,000
Collection Photography $10,000 $10,000
Chef's Warehouse Project $237,000 $237,000
Conservation Assessment $30,000 $30,000
Contract Registrar $50,000 $50,000
Maintenance/Conservation $75,000 $75,000
Project Manager $50,000 $25,000 $25,000 $100,000 Requires CIP % for art advocacy
Totals $560,000 $75,000 $262,000 $932,000
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APPENDIX A (CONTINUED): RECOMMENDED IMPLEMENTATION PLAN Fiscal Year 24-25
Name of Project Public Art
Fund
CIP % for Art Private
% for Art
General Fund Budget Notes
Community Artist in
Residence
$250,000 $250,000 Implementation
Downtown Project Grants $100,000 $50,000 $150,000 Requires advocacy for CIP % for art
NPA Mini-Grants $35,000 $65,000 $100,000
NPA Enhancement Grants $75,000 $75,000
Website Maintenance $15,000 $15,000
Maintenance/Conservation $75,000 $75,000
Project Manager $50,000 $25,000 $25,000 $100,000
Totals $600,000 $75,000 $25,000 $765,000
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APPENDIX B: INTERVIEW LIST
Bryan Alvarez, Director of School Partnerships, East Bay Center for the Performing Arts Jenny Balisle, Former Richmond Arts and Culture Commissioner Soheila Bana, City Councilmember
Lynson M Beaulieu, Chair, Richmond Arts and Culture Commission and PAAC Chris Castanchoa, Building Official
Shasa Curl, City Manager
Deb Dyer, Former member Richmond Arts and Culture and Public Art Advisory Committee Greg Hardesty, Parks and Landscaping Superintendent
Claudia Jimenez, City Councilmember
Shane Johnson, Office of City Manager
Diana Lopez, Former City Librarian
Eduardo Martinez, Mayor
Gail McLaughlin, City Councilmember
Philip Mehas, Current Richmond Arts and Culture Commissioner and PACC Jose Moreno, Parks Supervisor
Andrea Portillo-Knowles, Executive Director, Richmond Main Street Virginia Rigney, Former Public Art Manager
Doria Robinson, City Councilmember
Michele Seville, Former Public Art Manager
Lina Velasco, Director of Community Development
Flo Wiley, Former Chair Richmond Arts and Culture Commission BK Williams, Former Richmond Arts and Culture Commissioner Cesar Zepeda, City Councilmember
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APPENDIX C: FOCUS GROUP PARTICIPANTS
Focus Group Participants
Tarnel Abbott
Bryan Alvarez
Javier Arbowa
Lauren Arrie
Ember Avalos
Katherine Baches
Jenny Balisle
Stella Breslin
Elishes CavnessIII
Deirdre Cerkanowicz
Sarah Chase
Jamie Chreszczyk
Colleen Christie-Putnam
Tiffany Conway
Helen Paulette Cote
Chloe Delafield
Layla Dima
George Doerr
Bernadette Frank
Rebeca G.
Izzy Gallegos
Rebecca Garcia-Gonzalez
Kristen Gates
Archie Held
Terri Hinte
Laura Kamian McDermot
Christina Kenney
Alfonso Leon
Grace Liu
Dan Machink
Tara Mallick
Ulan McKnight
Erin McCluskey Wheeler
Ronnie Mills
Nava Mizrahhi
Desi Mundo
Richard Muro
Kenoli Oleari
Angeline Otis
Ellen Pechman
Andrea Portillo-Knowles
Jamin Pursell
Mary Reid
Virginia Rigney
Doria Robinson
Malik Seneferu
Andres “AJ” Serrano
Michelle Seville
Karen Sharp
Kate Sibley
James Shorter
Reina
Riquelle Small
Paige Tashner
John Wehle
BK Williams
Louise Williams
Linda Woody-Wood
Kristen Zarembab
Minoosh Zomorodinia
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APPENDIX D: FOCUS GROUP NOTES
Artist Meetings: 11/02/22 and 11/14/22
• Remove fees that City requires artists to pay when creating projects. • Improve City Arts and Culture website.
• Create a safe place to create public art.
• Commission interactive public art for everyone.
• Engage young people in arts and culture.
• Provide access for children to travel to Richmond Art Center. • Provide services to connect people to performing arts. • Provide more communication between arts organizations and venues. • Address the need for artists’ workspace.
• Provide LGBTQIA resources.
• Improved awareness, support, and resources for the arts. • Initiate artist advocacy.
• Develop partnerships to support the arts.
• Support the cost of studio space.
Community Meeting: 01/23/23
• Commission public art with natural environmental theme. • Acknowledge the deep creativity in Richmond.
• Commission a kiosk that talks about Indigenous People. • Represent the many cultures in Richmond.
• Provide an arts and culture calendar that is accessible and user friendly. • Establish an arts district.
• Create art about Richmond’s history.
• Place interactive art in parks that tells stories.
• Establish a playhouse in the park with free performances. • Place art in high places that people can see from far away. • Consider art forms beyond visual art.
• Commission public art that engages with youth, seniors, and veterans. • Commission art that shows Richmond’s diversity.
• Show artist at work.
• Place poetry in unexpected areas.
• Employ art to address environmental concerns.
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• Commission art that celebrates community.
• Commission art that celebrates music and the blues.
• Stimulate more buy-in from City departments where artists can work and learn. • Stage performances at Civic Center.
• Commission banners that talk about Richmond.
• Highlight local artists.
• Commission interactive art.
• Simplify the grant process.
• Place art at intersections.
• Streamline the City’s grant application process.
• Initiate a dance festival.
• Update Richmond’s history map.
• Place art in the landscape.
• Employ art therapy to address mental health.
• Commission kinetic sculptures.
• Commission interactive play structures using organic materials. • Create a youth art app.
• Potential artwork locations:
o 23rd Street
o Civic Center
o Iron Triangle
Community Leaders 03/01/23
• Employ art as storytelling that communicates values.
• Stage events that engage imagination.
• Develop space for community authors.
• Engage with alternative art forms that represent different cultures. • Foster local artists.
• Work with the different historically Black, Latino, and Asian communities. • Support art that builds community.
• Support food fairs that bring community together.
• Create barrier-free art spaces.
• Commission popup art throughout the City.
• Potential artwork locations:
o Macdonald Avenue
o local parks
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1765
Business Group Members 03/06/23
• There’s too much red tape involved in working with the City. • Promote greater equity when supporting projects created by community members. • Preserve cultural history.
• Revitalize downtown without gentrification.
• There are micro communities, and all operate in different ways. • Promote safety by connecting downtown areas with creative lighting and signage. • Promote intersectionality both in culture and age.
• Commission gateway and wayfinding for the neighborhoods. • Commission art signage at Market Square Mall.
• Downtown is the last to get attention.
• Support marketing.
• There are a lot of performing artists in Richmond.
• Create a nonprofit rate for permitting.
• Use projection artwork to provide a source of lighting. • Integrate art in architecture.
• Support music in parks.
• Art will stimulate business.
• Embed art in sidewalks.
• Potential locations:
o Macdonald Avenue
o Market Square Mall
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APPENDIX E: MAYOR AND CITY COUNCILMEMBER NOTES
Mayor and City Councilmembers
• Commission artwork that helps to advance traffic safety, such as artistic crosswalks. • Employ art to enhance busy traffic corridors, parkways, and medians. • Engage youth artists in developing art addressing environmental issues such as air quality. • Support the creation and maintenance of public art.
• Publicize Richmond’s public art.
• Build equity by commissioning art in all areas of Richmond. • Engage community members and youth in creating public art. • Embed art in all the City’s work.
• Place art at bus stops and on buses.
• Promote artmaking at all community events.
• 39% of Richmond’s residents are foreign born. Employ art to honor and share the immigrant experience including their connection to the land, and to the City, to build community. • Connect residential and business areas through art.
• Initiate poetry nights and workshops.
• Place art at schools.
• Art is more than murals. Place performing art spaces in vacant lots. • Place art in places where people go regularly, whether walking their dog, or where people work. • Art can be a major force in changing society.
• Art should convey a message about ideas that are socially important. • Support music and performing arts.
• Build a partnership with Sims Metal.
• Create an iconic bridge at 23rd Street.
• Enlist the imagination of Richmond’s artists.
• Install art to help activate neglected parks.
• Potential artwork locations:
o Crescent Park playground.
o Richmond Annex.
o Marina Bay.
o Park off the beaten trail on the other side of Chevron Refinery at Point Molate.
August 30, 2023 33
1767
o Nystrom School.
o Right off the freeway before Richmond San Rafael bridge with great views. o Civic Center Plaza and outside the Main Library.
o Bay Trail.
o The Greenway.
o The South Side and at Pullman Apartments.
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1768
APPENDIX F: POTENTIAL ARTWORK LOCATIONS
Potential Artwork Locations
The following locations and location types were suggested in focus groups, pop-up events, interviews, and community meetings:
General Locations
• Parchester
• Richmond Annex
• Marina Bay
• Bay Trail
• The Greenway
• The South Side
• Iron Triangle
• 23rd Street
• Macdonald Avenue
• North Richmond
• On buildings
• Parks and trails
• In neighborhoods
• On the waterfront
Specific Places
• Crescent Park Playground.
• Park off the beaten trail on the other side of Chevron Refinery at Point Molate. • Nystrom School.
• Civic Center Plaza and outside the Main Library.
• Pullman Apartments.
• Miraflores Greenbelt.
• Boorman Park.
• Greenway Gap Closure near Temple Avenue.
• Right off the freeway before Richmond San Rafael bridge with great views.
August 30, 2023 35
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Culturally Diverse
74.7%
Industrial
10.7%
Neighborly
9.3%
Close to Nature
5.3%
Q1. WHAT IS THE FIRST
THING THAT COMES TO
MIND WHEN YOU THINK
OF RICHMOND?
75 out of 75 people answered this question
Neighborhoods
34.7%
On BUildings
25.3%
Parks & Trails
14.7%
Other
14.7%
Near City Hall
9.3%
Waterfront Q2. WHERE WOULD YOU 1.3%
LIKE TO SEE PUBLIC ART IN
RICHMOND?
75 out of 75 people answered this question
Everywhere x3
Everywhere, especially retail zones
All of the Above x6
Filming Locations
Other:
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Murals Sculptures Environmental Art Events/Performances Historical Art Interactive/Kinetic Projections/Digital Art Sound Art Other
Types of Public Art
50 40
30 20
10 0
Q3. WHAT TYPE OF ART WOULD YOU LIKE TO SEE IN
PUBLIC PLACES? (CHOOSE 3)
75 out of 75 people answered this multiple choice question.
All artistic forms of expression
All types x6
Murals
Mosaics
No more murals.
Films
Other:
Street art (Reparation sign by city hall
& Urban Tilth community street
drawings)
All of the above - varied art forms
would be ideal
Cultural & Performance
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Q4. WHAT ARE SOME PLACES YOU'VE VISITED WHERE THE
ARTS LEFT A LASTING IMPRESSION?
75 out of 75 people answered this open-ended question. These answers have been displayed exactly how participants have written in their answers.
New Orleans location art functions SF Art Museum
San Francisco
Richmond Art Center, Point Richmond, City Museums, Galleries, Schools, Libraries, Museum stores, Institutions, Sculptural gardens, Louvre online, small neighborhood murals and large building murals Point Richmond
Palace of Fine Arts dome RYSE's new large mural inside their open area Gaudi's Sagrada Familia and Parc Güell Also check out this: https://vimeo.com/99576151?
embedded=true&source=video_title&owner=9705102 and this: https://www.youtube.com/watch? v=2lXh2n0aPyw
Richmond Art Center, Legion of Honor, DeYoung Museum, etc SF light projections /Craneway Oakland Symphony /dance and sculpture at Richmond Ferry terminal/Diego Rivera murals/SF MOMA /Burning Man sculptures at PT. Molate Point Richmond
The RYSE Center
San Francisco Mission District
San Francisco Hearts and murals, Miami Beach Lifeguard Stations, Paris Museums Boston, Chicago, place where preserving history is a priority and reflected in the public art Chicago
Pt Richmond
Europe, Mass, NY City, The Hudson Valley NY, New Mexico, LA, SF, and many towns I've not visited in the US that are expanding art in public space
Point San Pablo Harbor and Nantes, France
The housing near Richmond BART. Recent subsidized buildings. Point Richmond Banners including Washington School students' banners, much more, Rosie the Riveter art.
RAC, Arts of Point Richmond exhibits, local murals
San Francisco
Richmond Art Center, art at Richmond Ferry Terminal
Communities in which wall murals on buildings are created by and speak the voices of the community members - all over the world I've seen such murals, and Richmond stands tall on this score.
Richmond Art Center
Oakland (Jingletown), SF (South of Market, Near Minnesota, all over), Treasure Island Viet Nam Memorial, DC Ground Zero Memorial, NY Sculptures on Crissy Field SF Richmond Ferry Terminal sculpture Wave sculpture on south side of Buchanan St. at entrance to Albany Asheville, NC; Fort Collins, CO, Anchorage, AK
NYC subways and other public transit stations, murals in many different neighborhoods APPENDIX G: RICHMOND PUBLIC ART MASTER
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Q4. WHAT ARE SOME PLACES YOU'VE VISITED WHERE THE
ARTS LEFT A LASTING IMPRESSION?
75 out of 75 people answered this open-ended question. These answers have been displayed exactly how participants have written in their answers.
business section of Point Richmond
Point Richmond art displays and banners
Paris
Richmond Art Center
All the art I’ve experienced has left a lasting impression of some kind, but I am especially moved and changed by art I encounter in unexpected places, art made by people who are not concerned about fame, who aren’t building a “brand”, and who create because they must and they can Chicago for large public sculpture. Silver Spring MD for fountains that kids play in.
Santa Fe, New Mexico
The Richmond Marina, City Hall, The Plunge, The Richmond Bart Transit Center, Street Art and murals, RAC, city tunnels and overpasses
Las Vegas
New York City
Ferry building/murals
RAC, city hall street activism art “reparations”, “BLM”, mural by the factory & under the bridge to the marina The Mission Murals in San Francisco
Davis, CA and San Pablo Harbor
Paris, Mexico City, Los Angeles, murals in Exeter, CA
Iceland, Paris
Richmond Art Center, City murals, City Hall, Richmond Marina, Ferry Landing, Street trash bins, Bridge Storage & Art Space
Point Richmond
Richmond RYSE Center
Richmond Ferry, murals in SF, Black Panther murals in Oakland Point Richmond Taking it Outdoors Project
NYC subway stations
DC/New York/Vienna/Zurich
Philadelphia, NYC, Los Angeles, Telluride, CO Denver, Seattle, Flagstaff, AZ, Santa Fe, NM Street art/murals alleyways in the Mission District in SF, murals in Oakland celebrating pride for the city Rosie the Riveter Richmond Ferry Terminal (love it) Sather Gate on UC Berkeley Campus Richmond Art Center Vietnam Memorial DC Signage for Pt Richmond at Cutting and Gerrard Blvd The murals on buildings in Oakland, Pompidou in Paris
Pittsburgh, PA has great museums and public art Brooklyn and Baltimore have great art scenes.
Highline in NYC, Crane Cove Park in SF, Sutro Baths/lands end NIAD Art Center
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Q4. WHAT ARE SOME PLACES YOU'VE VISITED WHERE THE
ARTS LEFT A LASTING IMPRESSION?
75 out of 75 people answered this open-ended question. These answers have been displayed exactly how participants have written in their answers.
Oakland
Mombasa Kenya East Africa
San Francisco, Albany Bulb Murals, downtown Oakland, and beyond, Burning Man, New York City, EuropeAmsterdam-https://www.ndsm.nl/en/practical-information/ Straat Museum Portugal Murals London Oakland, Chicago, Seattle
I am Speaking, Are you Listening - Legion of Honor Brick House - NYC Any Jenny Holzer Hot Dog Bus - NYC I Lift My Lamp Beside the Golden Door- NYC Hidden Garden - Mosaic Steps - SF Andy Goldsworthy - Presidio, SF - spire and wood line Ruth Asawa Fountain - SF Language of the Birds - Chinatown, SF Urban Tilth Gardens
NYC subway stations
Hollywood
Philadelphia
RYSE Center mural
Downtown Knoxville (sculptures) Downtown Oakland (sculptures + murals) Route 66 (playful, themed stores and sites) Barcelona (Gaudi's amazing architecture) Denver (BIG sculptures that were surprising in public venues)
n/a
Mission District San Francisco, Sculpture Trail Sonoma County, Field of Lights in Paso Robles Museums, murals in SF Mission District, outdoor sculptures on the Embarcadero, sculpture gardens at various museums
Richmond art center - whale painting
Murals on the Richmond Greenway
Oakland
RACC, East Bay Center for Performing Art, RYSE, Richmond Rainbow Pride, Open Studios, Art of Black Diaspora, local film festivals and screenings.
New York, Mexico City
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Q5. WHERE DO YOU LIKE TO TAKE VISITORS WHEN THEY VISIT
RICHMOND?
75 out of 75 people answered this open-ended question. These answers have been displayed exactly how participants have written in their answers.
N/A
Kaleidoscope Coffee
Point Richmond, Richmond Art Center,
Waterfront
Point Richmond Marina
East Bay Center for the Performing Arts
RYSE Center Richmond Art Center the
waterfront
parks
Point Richmond, Rosie the riveter, Miller
Knox Park/ Marina Bay/ Nichol Knob/ Pt.
Molate
Point Richmond, Marina Way
walking/bike path
Miller/Knox
Point Richmond
Rosie the Riveter, the Marina Waterfront
Pt. Richmond, Marina
Point Richmond
Downtown Pt. Richmond, out to RYC
Richmond Art Center, Point Richmond,
Rosie the Riveter, San Pablo Harbor.
Parks, Bay Trail
Point Richmond
Craneway and waterfront
San Francisco by the Richmond Ferry
Point Richmond, Miller-Knox Regional
park and trails, Bay Trail,
The Marina Waterfront, the Rosie
Museum, and the Greenway
Bay Trail
Pt. Richmond, Pt Molate, Richmond Art
Center, Rosie, Ferry Waterfront, Miller
Knox, Point Pinole,
Keller Beach, Rosie the Riveter, San
Pablo Harbor, NIAD Art Center
Pt Richmond historic district--charming
surprise Miller Knox Park and Ferry Point
Rosie the Riveter Park, waterfront and
museum
Point Richmond
Regional parks, smaller ethnic
restaurants
Lara
Point Richmond, Rosie the Riveter/Ford
Plant area
Waterfront, Point Richmond, Crane Way
Richmond Art Center
Point Richmond, Miller/Knox Park and
Point Pinole Regional Shorelines, Point
Molate (especially when there are
interesting installations), the Richmond
Art Center, NIAD, events at the
Craneway, the Richmond/San Rafael
Bridge...
Rosie the Riveter Visitor Center. East
Brothers Brewery
Rosie, Miller Knox, the Point
The Transit Hub, RAC, Rosie the Riveter
Museum, Point Pinole, Richmond Marina,
City Hall, The Ford Building
Waterfront and hiking trails. Also 23rd
street for food and mural spotting
Pt. Richmond
Marina/art center/ factory bar/plunge
RAC, El Tucan, Catahoula, Armistice,
Keller Beach area
Along the Bay Trail and to the Richmond
Art Center
Restaurants and bars in neighborhood
or on waterfront
Richmond Art Center
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Q5. WHERE DO YOU LIKE TO TAKE VISITORS WHEN THEY VISIT
RICHMOND?
75 out of 75 people answered this open-ended question. These answers have been displayed exactly how participants have written in their answers.
Local Regional Parks - Alvarado Park,
Point Pinole, The Marina, Rosie the
Riveter Museum, Ford Building,
Richmond Art Center, Richmond Transit
Hub (to see mural), Point Molate
Pt Richmond & Rosie the Riveter
Museum
Bay trail, Wildcat/Alvarado Parks,
Breweries, Rosie Museum
Pt Molate, Miller Knox Park, Dotson
Marsh, Point Pinole
Miller Knox Park/ the Assemble
Complex/ Pt. San Pablo
Regional Parks, ethnic restaurants, 23rd
St, Marina
Unity Park; Rosie National Park &
Sculpture; AOPR displays all around
Point Richmond and at Lara's; Wall
sculpture at Bart Parking lot; Bridge Arts.
Murals all around Richmond. Richmond
Museum of HIstory.
Civic Center driving tour of murals Rosie
the Riveter Monument (and Visitor
Center) Richmond Art Center
Waterfront Eel Grass Sculpture (by ferry
terminal)
Point Pinole Regional Shoreline, Point
Isabel, Marina Bay Trail, Wildcat Canyon,
Catahoula Coffee
Rosie the Riveter
Ferry area
Point San Pablo, the Marina, the Bay
Trail, Shimada Friendship Park, East
Brother and Armistice brewing, The
Factory Bar and El Tucan Tacos, the
ferry (to SF), NIAD Art Center
Craneway Pavilion, Miller Knox Park, Point
Molate, Bay Trail
Point Richmond
The Marina
Keller Beach
Black Star Pirate BBQ Wild Cat Canyon -
Alvarado Park Richmond Art Center
Craneway Pavilion and surrounding area
Miller/Knox Regional Shoreline Point
Richmond
Robots and Butterflies mural, Rich City
Rides, the Greenway
Point Richmond waterfront, Richmond Art
Center, NIAD Art Center, Wildcat Canyon,
The Factory Bar
N/A
Regional parks and ethnic eateries and
neighborhoods
Craneway/ Golden Gate Bistro/ My
Penthouse
Sculpture at the Ferry Terminal
RYSE, Shoreline, 23rd street
Craneway Bay Trail, Point Pinole, Miller Knox
El Garage The Factory Bar
n/a
Downtown in the Point, places along the
bay, trails
The Bay Trail in Marina Bay, Wildcat Canyon
Regional Park, Crest Drive (Rd?) above Pt.
Richmond, the hills to see the view.
Sailing
Waterfront
CoBiz Ferry, MC bookstore, Richmond Art
Center
RACC
Restaurants
APPENDIX G: RICHMOND PUBLIC ART MASTER
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Q6. WHERE DO PEOPLE TEND TO GATHER TO CELEBRATE
SPECIAL EVENTS IN RICHMOND?
75 out of 75 people answered this open-ended question. These answers have been displayed exactly how participants have written in their answers.
Not sure
Kaleidoscope coffee, waterfront
Richmond Art Center, Point Richmond
Art Stroll, Lara's Restaurant,
Kaleidoscope Cafe
Point Richmond Street Fairs
I don't know.
Richmond Art Center
Parks
I don't know
The RYSE Center
Little Louie's, Sao Karn, Miller Knox Park
Civic Center, Nevin Park, Craneway
Pt. Richmond, Marina
I don’t know
downtown Point Richmond
Point Richmond Music Festival, The
Masquers.
Downtown Point Richmond
Many places
Civic Center, Pt. Richmond, Nevin Park
and more recently select
neighborhoods
Marina Bay
Music events and Art strolls in Point
Richmond
Many sections of town - depending on
your community - I live on --Marina Bay
but I've participated in events all over
the City.
Point Richmond
Pt. Richmond especially on Music days,
July 4, etc.
Pt. Richmond summer music concerts
Craneway Waterfront Rosie the Riveter
Park and Museum
Point Richmond
Schools, houses of worship, streets like 23rd
for Cinco de Mayo and music festivals
Parks, Civic Center
Craneway, City Hall Plaza
Downtown PR, parks
Nicholl Park, Civic Center, Pt Richmond
Miller/Knox Park
23rd Street
Miller Knox Park
Alvarado Park, Point Pinole, The Marina,
Restaurants and Bars, Miller Knox
Bridge Storage and art space
outdoors
Alverado Park/ Marina
Keller Beach “kayaktivism” & BBQ, Urban
Tilth
At the Marina for fireworks, At the Civic
Center
My home!
Nicholl Park, Keller Beach, Richmond Art
Center, Miller/Knox
Nicol Park
Richmond Parks, Local eateries, Local Halls
and Salons for rent
Parks
Parks, breweries, bars, restaurants
Bridge Arts Storage, Miller Knox Park, Nicholl
Park
Miller Knox Park
Nicholl Park, City Hall, Marina
Pt Richmond; Unity Park; Downtown -
Mainstreet; Craneway
I'm not sure--depends on the event. If it's a
personal special event, I think there's a
paucity of options.
APPENDIX G: RICHMOND PUBLIC ART MASTER
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Q6. WHERE DO PEOPLE TEND TO GATHER TO CELEBRATE
SPECIAL EVENTS IN RICHMOND?
75 out of 75 people answered this open-ended question. These answers have been displayed exactly how participants have written in their answers.
Not sure- I’d like to know!
Craneway Pavilion Civic
Ferry area
The bars and breweries in Richmond
(Armistice, East Brother, The Factory
Bar) Also the parks - Shimada, Point
Pinole, Huntington Park
Marina Park, Lucretia Edwards Park,
Miller Knox Park
Downtown
CoBiz
Keller Beach
Their homes parks streets parking lots
restaurants bars Craneway Civic
Auditorium
Harbour
Not sure
Parks and Community Centers
Parks like Nicholl, neighborhood
centers/central areas
Richmond Yacht Club
No special place
RYSE, East Bay Center for the Arts
Miller Knox - family stuff Big Park on
MacDonald (Juneteenth) Smaller Parks -
PowWows Marina Bay Park - BBQs Picnics -
Pride
olive garden
parks, restaurants
Craneway Pavilion, Miller Knox Park, Civic
Center Plaza
Point Richmond events
Civic Center Plaza
CoBiz Richmond Art Center
Civic Center, The Factory Bar, Riggers Loft,
Catahoula’s,
I don’t know
APPENDIX G: RICHMOND PUBLIC ART MASTER
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A
13.1%
B
12.7%
C
9.1%
D
8.4%
E
7.6%
F
6.7%
G
6.2%
H
5.8%
I
5.6%
J
4.9%
K
4.4%
L
4%
M
4%
N
3.8%
Q
1.6%
Q7. WHAT DO YOU THINK IS THE ROLE OF PUBLIC ART
IN RICHMOND (CHOOSE 6)
75 out of 75 people answered this multiple choice question.
LEGEND:
Support the growth of the local arts
community
Provide opportunities for people to experience
art that enriches their lives
Promote pride in Richmond
Bring a sense of whimsy and delight to
everyday spaces
Position Richmond as an arts
destination
C
A
B
Help build and reinforce the City of
Richmond's identity
Anchor community gathering places
Help build and reinforce distinct
neighborhood identities
Open up conversations about issues
facing the community
Encourage economic development
Enhance identity of community institutions
and civic buildings
Support tourism
Other
Draw attention to the natural environment &
environmental issues facing Richmond
E
Create community interaction and
strengthen social networks and connections
Welcome people to Richmond
Explore and provide information about
facets of Richmond's history
D
F
H
G
I
K
J
L
N
M
P
Q
O
All of the above x2
support local artists
with D, help build and reinforce the city of Richmond's identity...as a safe place for Black and Brown families to feel safe, prosper, and express their creative freedom. I kind of don't want to draw a lot of outside attention to Richmond. I would rather that we strengthen and empower our communities internally to avoid gentrification. If Newsom passes that reparations bill and provides money to Black families, security for Black businesses, a Black studies program in schools, etc it would allow Black families to keep their homes in Richmond and more to move (back) in.
How can this art be cultivated and held within the Black and Brown Richmond families and become a becon of wealth and history for our normally underserved communities?
provide jobs, especially for youth
Please research Chicago's Pullman neighborhood and then look at ours. There's lots of work to be done.
Make Richmond more beautiful
OTHER:
APPENDIX G: RICHMOND PUBLIC ART MASTER
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Resident
37.7%
Artist
32.7%
Employed in Richmond
10.7%
Business Owner
10.1%
Other
8.8%
Q8. PLEASE TELL US
ABOUT YOURSELF
74 out of 75 people answered this multiple
choice question
Series 1
0 10 20 30 40
Richmond / 94801
El Sobrante / 94803
Richmond / 94804
Richmond / 94805
San Pablo / 94806
Pinole / 94564
Piedmont / 94611
Mexico / 97807
Vallejo / 94590
Oakland / 94605
Oregon / 89503
Q11. ZIP CODE
75 out of 75 people answered
this question
APPENDIX G: RICHMOND PUBLIC ART MASTER
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65+
45.8%
35-44
22%
Decline to State
11.9%
55-64
10.2%
25-34
5.1%
45-54
3.4%
Under 18
Q12. AGE RANGE 0%
59 out of 75 people answered this multiple
choice question
APPENDIX G: RICHMOND PUBLIC ART MASTER
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1781
Richmond, CA Code of Ordinances
1/11
(a)
(b)
(1)
(2)
(3)
(4)
(5)
(A)
Chapter 6.50 - PUBLIC ART PROGRAM
6.50.010 - Definitions.
For purposes of this chapter, the following definitions shall apply:
"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, performances, commissions, exhibition record, publications, and production of artwork. For the purposes of this chapter, "artist" shall not include: (i) persons primarily working in the professional fields of architecture, engineering, design or landscaping; (ii) an employee or relative of the private development project architect, landscape architect, engineer or project manager; (iii) any person with a business interest in a private development project or with respect to individuals or entities serving as project architects, landscape architects, engineers or project managers; or (iv) a relative of or anyone with a financial interest with respect to an individual or entity serving on an art selection panel for the private development project. "Artwork" that may be used to satisfy the requirements of this chapter includes, but is not limited to, the following:
Sculpture. Of any material or combination of materials; freestanding, wall-supported, suspended, mounted, installed, kinetic, electronic, or mechanical.
Murals or paintings. Made of any material or variety of materials including traditional or non-traditional materials and means.
Earthworks, neon, glass, organic materials (i.e., fiber, clay, wood, etc.), mosaics, photographs, prints, books, literary and performing arts, calligraphy, found objects, any combination of media, including audio, video, film, DVD, holographic or computergenerated technologies, or other genres currently known or which may come to be known at the sole discretion of the City.
Artwork may be permanent, temporary, fixed, or portable; may be an integral part of a building, facility, or structure; and may be integrated with the work of other design professionals.
For the purposes of this chapter, the following, unless specified or designed by an artist, are not considered artwork:
Reproductions, by mechanical or other means, of original artworks; however, limited editions controlled by the artist, or original prints, cast sculpture, or photographs, may be included.
APPENDIX H: MUNICIPAL CODE
SECTION 6.50 PUBLIC ART PROGRAM
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Richmond, CA Code of Ordinances
2/11
(B)
(C)
(D)
(E)
(c)
(d)
(e)
(f)
(g)
(h)
Decorative, ornamental, or functional elements that are not designed by an artist.
Elements generally considered to be components of architecture or landscape design, such as vegetative materials, pools, paths, benches, receptacles, fixtures, planters, etc., which are not designed by an artist.
Art objects that are mass-produced, ordered from a catalog, or of standard design (such as benches or fountains), directional items or other functional elements such as graphics, signage, or maps.
Corporate logos.
"Arts and Culture Manager" means the City of Richmond's Arts and Culture Manager, or a designee of the Arts and Culture Manager, who is the head of the Arts and Culture Division in the Richmond City Manager's Office, Economic Development. "Building development costs" means the construction costs as declared on all private development project building permit applications, and as accepted by the City's Building Official, but shall not include costs solely attributable to design fees, land acquisition costs or the cost of off-site improvements required as a condition of approval. Costs incurred and/or attributed to compliance with the identification and/or mitigation of seismic hazards, environmental conditions, including hazardous or toxic materials, or retrofitting for solar energy or other energy-saving facilities relating to existing structures shall not be included in calculating a project's building development costs. In the case of phased projects, the building development costs of the project for purposes of this chapter shall be determined based upon the total projected costs for all phases combined, but will be payable prior to issuance of building permits.
"Building permit applications" includes, but is not limited to, all grading, building, landscaping, plumbing, mechanical, and electrical permit applications for the private development project. "City capital improvement projects" means any capital improvement project, construction project, or tenant improvement project with a budget or anticipated costs of $300,000.00 or more, including any acquisition, leasing, rental, construction or remodeling of any building, structure, park, utility, street, sidewalk, or parking facility, or any other type of capital project or any portion thereof within the geographical limits of the City, paid for wholly or in part by the City or by any board, commission, agency or department of the City. "City property" means any property owned by the City of Richmond, which may include, but is not limited to, city-owned buildings, facilities, structures, plazas, and parks. For purposes of this chapter, this definition shall not include the City's right-of-way. "Commission" or "Arts and Culture Commission" means the City of Richmond Arts and Culture Commission (and by extension the Public Art Advisory Committee, a subcommittee of the Richmond Arts and Culture Commission), established under Chapter 3.59 of the City's FINAL August 30, 2023 49
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"Designated public art space" means a rotating art gallery, open to the public free of charge and/or at least 500 square feet of space within the private development project, to be made available to the public for the primary use of arts and cultural programming. "On-site publicly accessible art" or "on site art" means artwork by an artist that is on or incorporated into a private development project and that is in a location that is accessible to and available for use by the general public during normal hours of business operation consistent with the operation and use of the premises.
"Performing arts" means art that is performed on city property (other than in the city's rightof-way) which may include, but is not limited to, vocal and instrumental music, dance and theatre, pantomime, and/or sung verse, as further discussed in the Public Art Policies and Procedures.
"Permanent artwork" means public art intended to remain or remaining for one year or more in its installed location.
"Private developer" means any person or entity that is financially and legally responsible for the planning, development and construction, or maintenance and operation of a private development project.
"Private development" means a building project that is funded by private funds, except where the private developer is in partnership with the City.
"Public art" means any artwork installed on, placed in, or integrated into or about publicly accessible places, which shall include, but not be limited to:
City-owned property, buildings, or facilities;
City parks, or other areas designated as a public area, lobby, or public assembly area; The site of a City capital improvement project;
Private development project that is located in a place accessible to the general public for two weeks or more;
Non-city property if the artwork is installed or financed, either wholly or in part, with city funds or grants procured by the City.
"Public Art Master Plan" or "Master Plan" means a plan which identifies specific public art projects to be accomplished with the City's public art allocations. "Public Art Program" means a program of the City Manager's Office, Economic Development, Arts and Culture Division addressing matters of public art in the City and administered by this Chapter 6.50 of the Richmond Municipal Code.
"Public Art Projects Account" means a separate account established in the City Treasury established under Section 6.50.040 below.
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"Public Art Policies and Procedures" means the public art policies and guidelines adopted by the City Council, consistent with this chapter.
"Selection panels" means ad-hoc panels assembled for specific public art projects. The role of the selection panel is to assist the Public Art Program in identifying qualified artists to be considered for a public art project commission. A selection panel shall be comprised of a minimum of three members, shall always be an odd number, and shall include at least one artist or arts professional (curator, educator, etc.) and one representative of the neighborhood in which the artwork will occur.
"Structure" means a building designed and constructed for human occupancy. "Temporary art" or "temporary installation" means public art to be placed on city property (other than the City's right-of-way) for less than one year, and may include visual artworks, projections, digital media, virtual reality, lights, sounds, and other artistic media. ( Ord. No. 08-21 N.S. , § II, 5-18-2021)
6.50.020 - Public art appropriation for City capital improvement projects.
Percent Allocated and Applicability. All City capital improvement projects, including all City bond measure projects and all other City capital projects funded from outside granting authorities, shall contribute an amount equal to one and one-half percent of the total development costs of the City capital improvement project, to be set aside for public art. A non-comprehensive list of City capital improvement projects subject to this requirement is included in the City's Public Art Policies and Procedures. If the project is deemed ineligible for this public art appropriation, the City's Finance Director and any other participating bodies, including but not limited to other City departments and funding agencies, must submit a letter of explanation to the Commission explaining why the project has been deemed ineligible, or why funds must be restricted to a specific site.
Method of Calculation. For purposes of calculating the public art appropriation required in subsection (a), the total development costs of a City capital improvement project may include, but is not limited to, any and all construction costs, architectural and engineering fees and site work expenses. The total development costs of a City capital improvement project shall not include any budgeted costs of real property acquisition, demolition and financing, or any salaries and benefits of public employees supporting a City capital improvement project.
If any applicable law or the source of funding (such as, for example, FEMA) with respect to any particular City capital improvement project prohibits or restricts the use of funds for the arts, such funds shall be excluded from the total cost for the purpose of calculating the expenditure for arts.
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Nothing in this section is intended to prohibit the City Council from adopting an ordinance or resolution establishing a public art appropriation for any project otherwise excluded from this policy or setting the public art contribution for any project at greater than one-half percent of the City capital improvement project budget.
( Ord. No. 08-21 N.S. , § II, 5-18-2021)
6.50.030 - Public art contribution requirement for private development projects.
Applicability. This section applies:
In all zoning districts in the City;
To all new commercial structures;
To all new industrial structures;
To all new residential projects of ten or more dwelling units; and To all construction of building additions, and/or renovations and/or tenant improvements exceeding $500,000.00 in building development costs.
Contribution Requirements. Any private developer subject to this section shall satisfy the City's private development public art contribution requirement pursuant to the requirements of this section and the Public Art Policies and Procedures. A private developer may satisfy the City's public art contribution requirement by one of the following methods:
Include on-site publicly accessible art valued at one percent of the building development costs as further provided in Section 6.50.030(c) below; Pay an in-lieu contribution of one percent of the building development costs to the City's Public Art Projects Account as set forth in Section 6.50.030(d) below; or Include a designated public art space by special process as set forth in Section 6.50.030(e) below. For subsections (1) and (3) above, approval from the Arts and Culture Commission is required prior to obtaining a building permit for the private development project. In special cases, with the written permission from the Arts and Culture Manager, private developers who intend on adding onsite art but are not able to seek public art approval prior to obtaining building permits may place one percent of building development costs into an escrow account in the Public Art Projects Account, as further provided in the Public Art Policies and Procedures. For subsection (2), in-lieu contribution fees shall be paid at the same time as other fees due at building permit issuance for the private development project.
On-Site Publicly Accessible Art. A private developer may satisfy the requirements of this chapter by constructing or installing on-site art valued at one percent of the building development costs of the applicable private development project, adjusted as described in subsection (2) below.
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Method of Calculation. For purposes of budgeting and planning for on-site art, an initial estimate of the onsite art contribution shall be calculated based on estimated building development costs at the time of application for entitlements. The on-site art contribution shall be finally determined based on the building development costs determined at the time the building permit application for the private development project is submitted. If the market value of the on-site art is greater than the art contribution provided in this subsection (c), the City shall have no obligation to refund the excess amount. If expenditures do not utilize the entire amount provided in this subsection (c), the remainder shall be deposited into the Public Art Projects Account.
Eligible Expenditures. In satisfying the public art contribution requirement of this section, a private developer may only expend costs on the selection, acquisition, purchase, commissioning, design, fabrication, placement, installation, exhibition of the on-site art, or as further detailed in the Public Art Policies and Procedures. Additionally, the one percent private development public art contribution shall include a required administrative costs fee to the Arts and Culture Staff and Community Development staff for administrative costs associated with the on-site art project, as further provided in the Public Art Policies and Procedures.
Planning and Review Process. A private developer shall comply with all application, planning, and meeting requirements for on-site art as further provided in the Public Art Policies and Procedures.
Compliance with Laws. On-site art shall be subject to, and shall comply with, all applicable City ordinances and laws and regulations of other governmental agencies. Prior to construction of the on-site art, the private developer shall identify and secure all applicable permits from the City's Community Development Department, Planning and Building Divisions, the City's Public Works Department, and other affected City divisions and departments.
Additional Requirements for On-Site Art. The private developer shall comply with any and all additional requirements or guidelines for on-site art as further provided in the public art policies and procedures.
In-Lieu Contribution. A private developer may satisfy the requirements of this section by electing to pay an in-lieu contribution fee to the City as set forth herein.
The in-lieu contribution fee shall amount to be one percent of the building development costs.
Time of Payment of Contribution. The in-lieu contribution fee shall be paid at the same time as other fees due at building permit issuance for the private development project.
The in-lieu contribution fee shall be deposited into the Public Art Projects Account as further provided in the Public Art Policies and Procedures.
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Additional Requirements for In-Lieu Contribution. The private developer shall comply with any and all additional requirements or guidelines for the in-lieu contribution fee as further provided in the Public Art Policies and Procedures.
Designated Public Art Space by Special Process.
A private developer may satisfy the requirements of this section by special process and review by the Public Arts Advisory Committee and approval by the Commission, by:
Dedicating space within the private development project to be used as a rotating art gallery, free of charge and/or with the private developer and/or property owner's provision, that will be generally open to the public during regular business hours; or Designing and committing at least 500 square feet of space within the private development project, to be made available to the public for the primary use of arts and cultural programming.
Expenditures for satisfying the City's public art contribution requirement under this section shall amount to at least one percent of the building development costs. If the expenditures do not utilize this full amount, the remainder shall be deposited in the Public Art Projects Account. If the expenditures are greater than this one percent amount, the City shall have no obligation to refund the excess amount.
Additional Requirements for Designated Public Art Space. The private developer shall comply with any and all additional requirements or guidelines for a designated public art space as further provided in the Public Art Policies and Procedures.
Inspection and Final Approval. Before a certificate of occupancy is issued or final inspection is approved for the private development project, the Arts and Culture Manager shall inspect and confirm that either: (i) on-site art has been installed in accordance with the requirements in this chapter, the Public Art Policies and Procedures, and the Commission's approval; or (ii) an in-lieu contribution fee has been paid in full in compliance with this chapter; or (iii) a special process and review by the Public Arts Advisory Committee has been completed and approval from the Commission has been obtained for a designated public art space on the private development project site. In addition, before a certificate of occupancy is issued or final inspection is approved, the Arts and Culture Manager shall confirm that the private developer has executed and recorded a covenant as required by subsection (g) below.
Covenant; Recordation. If a private developer chooses to satisfy the requirements of this chapter by installing on-site art pursuant to subsection (c) or by providing a designated public art space pursuant to subsection (e), the private developer shall also ensure that a declaration of covenants, conditions and restrictions shall be recorded against the private development project property, binding on all successors and assigns, in favor of the city, and in a form approved by the City Attorney. The declaration shall include: (i) the property owner's obligation to protect the onFINAL August 30, 2023 54 1788
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site art or designated public art space from destruction or damage, and to provide all necessary maintenance of the on-site art or the designated public art space, in compliance with all maintenance requirements in the Public Art Policies and Procedures; (ii) the property owner's obligation to ensure that the on-site art or designated public art space is accessible to the public as required by this chapter; and (iii) any other terms reasonably necessary to implement this chapter.
Ownership of On-Site Art or Designated Public Art Space. The on-site art or a designated public art space shall be the property of the private developer and/or the private development project site property owner, or any successor(s) in interest of the property. The on-site art or designated public art space shall not be sold or transferred other than to a subsequent successor in interest of the private development property site. As such, the ownership of the on-site art or designated public art space will be transferred with the property.
Penalties. In addition to other fines or penalties provided by state or municipal law, the City may revoke or suspend any discretionary permit granted to any owner or private developer who violates the provisions of this chapter, or may, by legal action, seek recovery of the applicable inlieu contribution. ( Ord. No. 08-21 N.S. , § II, 5-18-2021)
6.50.040 - Public art funds.
Public Art Projects Account Funds. The Public Art Projects Account is a non-general fund account into which will be deposited funds as contemplated by Section 6.50.020 above from City capital improvement projects, and in-lieu contribution funds as contemplated by Section 6.50.030 above from private development projects, together with such other funds as the City Council may from time to time appropriate for expenditures related to public art in the City and any gifts or grants received by the City for the purpose of acquiring, creating, installing or maintaining public art.
Procedures and Payments into Public Art Projects Account.
Except as provided in subsection (c) below, no board, commission, agency or department of the City shall permit or cause work to be commenced on any City capital improvement project prior to depositing the amount required by Section 6.50.020 into the Public Art Projects Account. The requirements of this section shall apply to City capital improvement projects, whether or not a final inspection or a certificate of occupancy is required for the project.
In-lieu contributions from private development projects shall be deposited into the Public Art Projects Account at the same time as other fees due at building permit issuance for the private development project and in accordance with the Public Art Policies and Procedures.
Public Art Master Plan. The Arts and Culture Manager, with the advice of the Arts and Culture Commission, shall develop a Public Art Master Plan. Within 30 days after approval of the City's annual operating budget by the City Council, the Finance Director shall submit the authorized FINAL August 30, 2023 55
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annual budget for City capital improvement projects to the Arts and Culture Manager, specifying the total appropriation dedicated to the "Richmond Public Art Projects Account" for the current fiscal year. Based upon this submission, the Arts and Culture Manager, with the advice of the Arts and Culture Commission and based on any meetings with project managers of City capital improvement projects, shall update the public Art Master Plan and shall submit this Public Art Master Plan update to the City Council for its approval within six months of the date of approval of the City's annual operating budget. The funds placed into the Public Art Projects Account shall be administered by the Arts and Culture Manager in accordance with the Master Plan as approved by the City Council. The Master Plan shall reflect the policies established by this chapter with respect to City capital improvement projects.
Use of Public Art Projects Account Funds. Funds from the Public Art Projects Account may be used in accordance with the Public Art Policies and Procedures.
Review of Disbursements. Each proposed appropriation for the City's Public Art Program and each disbursement from the Public Art Projects Account shall receive the prior review and/or advice of the Public Art Advisory Committee and Arts and Culture Commission.
Additional Funding. The Arts and Culture Manager shall explore on a continuing basis the availability of funds for the City's Public Art Program from such organizations as the National Endowment for the Arts, the California Arts Commission, and other public and private agencies. ( Ord. No. 08-21 N.S. , § II, 5-18-2021)
6.50.050 - Artwork on the City right-of-way.
No person or entity shall install, or cause to be installed, artwork on the City's right-of-way, including but not limited to streets, curbs, pavements or sidewalks within the City. This section shall not apply to the agents, servants, and employees of the City acting under the expressed designated authority of the City. ( Ord. No. 08-21 N.S. , § II, 5-18-2021)
6.50.060 - Artwork on City property.
Ownership of Artwork on City Property. All artwork, including design elements, and other objects acquired and funded by the City pursuant to this chapter shall be acquired in the name of the City of Richmond and title shall vest in the City of Richmond. Copyright shall be maintained by the artist.
The criteria and process for identifying and selecting public art to be installed on City property is further provided in the Public Art Policies and Procedures.
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( Ord. No. 08-21 N.S. , § II, 5-18-2021)
6.50.070 - General rules for public art.
Inventory of Public Art. The Arts and Culture Manager shall maintain a detailed record of all public art in the City, including site drawings, photographs, designs, names of artists, and names of architects, whenever reasonably feasible.
Recognition. The Arts and Culture Manager shall attempt to give appropriate recognition to the artists in publicity and promotion regarding public art, whenever reasonably feasible.
Database of Artists. The Arts and Culture Manager shall maintain a database of artists available for public art projects.
Private Sites for Public Art. No Artwork financed or installed either wholly or in part with City funds or with grants procured by the City shall be permanently installed on privately owned property without a written agreement between the City and the owner of the private property, specifying the proprietary interests in the artwork, binding the owner to the City's general rules for public art, and specifying other provisions deemed necessary or desirable by the City Attorney.
Consultation with the Artist. Installation, maintenance, alteration, refinishing, and moving of public art shall be done in consultation with the artist, whenever reasonably feasible and in the City's sole discretion.
( Ord. No. 08-21 N.S. , § II, 5-18-2021)
6.50.080 - Role of Arts and Culture Manager, Arts and Culture Commission, and City Council in artistic matters for Public Art Program.
Recognizing that professional expertise is necessary and desirable in artistic matters, such as the selection of artists and the selection of artwork, the final approval of all designs and plans for artwork under the City's Public Art Program shall be made by the Commission (or by City Council under limited circumstances as provided in the Public Art Policies and Procedures), and not by any other City board or commission. In addition, it is the policy that:
Decisions on artistic matters will be made by the Arts and Culture Manager and the Commission;
The City Council will not exercise its independent judgment on artistic matters except for as provided in the Public Art Policies and Procedures;
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Unless the City Council determines to exercise its independent judgment as provided above, sketches, designs, photographs, precise plans, art examples, and similar items on artistic matters will not be transmitted to the City Council as a matter of course in conjunction with projects before the City Council; and
The City Council will refer questions, suggestions, requests, complaints, and similar items pertaining to the Public Art Program to the Arts and Culture Manager and the Commission for their review and response.
( Ord. No. 08-21 N.S. , § II, 5-18-2021)
6.50.090 - Implementing guidelines.
The City Council authorizes the Arts and Culture Manager, with the advice of the Arts and Culture Commission, to establish procedures and guidelines to administer this chapter, including procedures for selecting sites, artists and artwork. Such guidelines shall include the Public Art Policies and Procedures, adopted by the City Council, consistent with this chapter. ( Ord. No. 08-21 N.S. , § II, 5-18-2021)
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Public Art Policies and Procedures
“Richmond at Dusk” by Rob Badger. Color Photograph, Archival Ink on Paper 19 x 58" Richmond, CA
City Manager’s Office, Economic Development
Arts and Culture Division
May 4, 2021
Updated July 16, 2021 to reflect change in meeting times and fix spacing on Exhibit A APPENDIX I: PUBLIC ART POLICIES AND PROCEDURES
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Contents
I. BACKGROUND AND PURPOSE....................................................................................................................5 II. PUBLIC ART IN PRIVATE DEVELOPMENT PROJECTS ..................................................................................5 A. Application Submittal ...........................................................................................................................5 B. Administrative Costs Fee ......................................................................................................................6 C. On-Site Art Project Management Options............................................................................................6 D. Review Process and Material Checklists for On-Site Publicly Accessible Art .......................................7
1. Meeting with Arts and Culture Manager......................................................................................7
2. Selection of On-Site Art Project Management Option .....................................................................7
3. PAAC Preliminary Review..............................................................................................................7
4. Additional PAAC Meetings............................................................................................................7
5. PAAC Final Review.........................................................................................................................8
6. Richmond Arts and Culture Commission Approval.......................................................................8
7. City Council Information Item and/or Approval of Contracts.......................................................9
8. Final Steps.....................................................................................................................................9 E. Special Delayed Option for On-Site Art Contribution and Designated Public Art Space ......................9 F. Eligible and Ineligible Expenditures for On-Site Publicly Accessible Art.............................................10 G. Criteria for PAAC Review of On-Site Art.............................................................................................11 H. Designated Public Art Space by Special Process.................................................................................11 I. Compliance with City laws and ordinances..........................................................................................12 J. Maintenance of On-Site Art and Designated Public Art Space............................................................12 K. Relocation of On-Site Art or Designated Public Art Space..................................................................12 L. Ownership of On-Site Art or Designated Public Art Space..................................................................13 M. Modification to or Removal of On-Site Art or Designated Public Art Space .....................................13 N. City Inspection of On-Site Art or Designated Public Art Space ..........................................................13 O. In-Lieu Contribution ...........................................................................................................................14 P. Public Art In Private Development Process Chart and Payment Schedule – On-Site Art, In-Lieu Contribution, Designated Public Art Space.............................................................................................14 III. PUBLIC ART ON CITY PROPERTY.............................................................................................................14 A. Ownership of Artwork on City Property .............................................................................................14 B. Criteria for selecting or acquiring of Public Art on City Property .......................................................14 C. Criteria for the Site Location of Public Art..........................................................................................15 D. Public Art Reviewing Bodies (Selection Panels, etc.)..........................................................................16 FINAL August 30, 2023 60
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1. Selection Panels: .........................................................................................................................16
2. Ad-hoc Advisory Committees: ....................................................................................................17 E. Selecting Artists and Artwork for Public Art for City Property............................................................17
1. Methods of Selecting Artists and Artwork......................................................................................17
2. Artist Recruitment Methods...........................................................................................................17
3. Artist Selection Criteria ...................................................................................................................18
4. Artist and Artwork Selection Procedures........................................................................................18 F. Public Art Project Management..........................................................................................................20
1. Inter-Agency Procedures ................................................................................................................20 G. Maintenance, Removal, and Deaccession of Public Art on City Property..........................................21 IV. PUBLIC ART GIFTS AND LOANS ..............................................................................................................21 A. Conditions Governing the Donation of Artwork to the City of Richmond......................................21 B. Review and Acceptance Criteria for Donated or Gifted Artwork ...................................................22 C. Conditions of Acceptance of Gifted or Donated Artwork...................................................................22 D. Conditions Governing the Exhibition of Artwork on City Property ....................................................22 1 .Materials to be submitted by Artwork Lender: ..............................................................................22
2. Lender’s Agreements......................................................................................................................23 E. Acceptance of Monetary Gifts for the Acquisition of Artwork ...........................................................23 V. RECORDS AND FILES FOR PUBLIC ART PROJECTS ...................................................................................23 VI. CITY CAPITAL IMPROVEMENT PROJECTS APPRORPIATION FOR PUBLIC ART........................................24 VII. Neighborhood Public Art Mini-Grants..................................................................................................24 A. Background.........................................................................................................................................24 B. Purpose ...............................................................................................................................................24 C. Eligible Art Forms................................................................................................................................25 D. Eligibility Criteria for Applicants.........................................................................................................25 VIII. PERFORMING ARTS AND TEMPORARY ARTWORK ..............................................................................26 A. Types of Performing Arts and Temporary Artwork Considered .....................................................26 B. City’s Goals for Performing Arts in the City ....................................................................................26 C. Requirements for Performing Arts and Temporary Artworks........................................................26 D. Procedures and Program Management..........................................................................................27
1. Artwork Proposed by a Private Individual/Organization ................................................................27
2. Artwork Proposed by the City.........................................................................................................27
3. Selection Criteria for Performing Arts and Temporary Artworks...................................................28 FINAL August 30, 2023 61
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IX. PUBLIC ART FUNDS ................................................................................................................................29 A. Public Art Project Account..................................................................................................................29 B. Sources of Public Art Project Account Funds......................................................................................29 C. Use of Public Art Project Account Funds ............................................................................................29 D. Ineligible Use of Public Art Project Account Funds ............................................................................30 X. EDUCATION AND OUTREACH..................................................................................................................31 EXHIBIT A Public Art in Private Development Application Form ................................................................32 EXHIBIT B Waiver and Release of VARA, CAPA, and other Artists’ Rights..................................................33 Exhibit C: Public Art in Private Development Process Chart.......................................................................34 Exhibit D: Public Art in Private Development Payment Chart ....................................................................35 FINAL August 30, 2023 62
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I. BACKGROUND AND PURPOSE
The City of Richmond’s Public Art Program aims to enliven and beautify the City environment and create community pride for City residents by encouraging and promoting awareness of the City’s rich racial, ethnic, social, and cultural diversity as expressed through visual, literary, performing, and design arts.
Moreover, the intent of the City’s Public Art Program is to create a diverse and stimulating cultural environment for citizens of, and visitors to, the City of Richmond, and to promote greater economic vitality through the aesthetic enhancement of the City’s public spaces, thereby making Richmond a more attractive environment for regional and local businesses. In addition, the Public Art Program aims to increase public access to works of art in Richmond by imposing certain requirements on Private Development Projects.
In recognition of the value of Public Art, Richmond’s City Council adopted Chapter 6.50 of the Richmond Municipal Code, “Public Art Program” (hereinafter referred to as the Public Art Program Ordinance). The abbreviations, phrases, terms and words used in these Public Art Policies and Procedures will have the same meanings assigned to them in Chapter 6.50 of the Municipal Code.
The purpose of this Public Art Policies and Procedures document is to is to establish requirements, policies, procedures and standards for Public Art in the City consistent and in furtherance of the underlying Public Art Program Ordinance.
II. PUBLIC ART IN PRIVATE DEVELOPMENT PROJECTS
As required by Section 6.50.030 of the Public Art Program Ordinance, Private Developers subject to the requirements of the Chapter are required to provide 1% of the Building Development Costs as a public art contribution in one of three ways:
(1) by including On-Site Publicly Accessible Art as further provided in RMC Section 6.50.030 (C); (2) by paying an in-lieu contribution fee as set forth in RMC Section 6.50.030 (D); or (3) by dedicating a Designated Public Art Space by special process as set forth in RMC Section
6.50.030 (E).
The following section shall provide details into the application and review process for meeting these requirements.
A. Application Submittal
Private Developer applicants shall use the Public Art in Private Development Application Form, attached hereto in Exhibit A. The applicant will have to indicate whether they choose to provide On-Site Publicly Accessible Art, pay the in-lieu contribution fee to the Public Art Projects Account, or if they are interested in completing the special process and review for providing a Designated Public Art Space.
Private Developer submits the Application Form to Arts and Culture Manager within 60 days of submitting the Planning Application. Public Art approvals for Private Development Projects shall be obtained as early as possible in the project application process.
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B. Administrative Costs Fee
Regardless of which of the three options the Private Developer chooses to satisfy the 1% Private Development art contribution requirement (i.e. On-Site Art, in-lieu contribution fee, or Designated Public Art Space), five percent (5%) of the required Private Development art contribution amount (i.e. 5% of 1% of the Building Development Costs) shall be paid to the City as an administrative costs fee. The administrative costs fee shall be divided up and used by the Community Development Department (2%) and the Arts and Culture Division (3%) for administrative costs associated with the Private Development art contribution.
For On-Site Art and Designated Public Art Space, the 5% administrative costs fee payment shall be submitted alongside all other fees due at building permit issuance. For the in-lieu contribution option, the administrative costs fee will be paid as part of the total in-lieu contribution alongside all other fees due at building permit issuance.
C. On-Site Art Project Management Options
A Private Developer may choose from the following On-Site Art project management methods to assist in the selection, installation and project management process:
1. Delegate On-Site Art project management process to the City of Richmond Arts and Culture Staff. If the Private Developer chooses this option, they shall pay the City an additional project management fee of fifteen percent (15%) of the required Private Development art contribution amount (i.e. an additional 15% of the 1% of the Building Development Costs). The Private Developer shall pay five percent (5%) of the required 1% art contribution amount to the Arts and Culture Staff and Community Development staff to cover the administrative costs fee described above in Subsection (B). The Private Developer shall pay the City the full 1% art contribution amount and the additional 15% project management fee to an escrow account within 30 days of signing a project management agreement between the City and the Private Developer. This payment shall initiate the City’s project management of all phases of the project on behalf of the Private Developer. The City will be responsible for all aspects of the projects, including negotiating and entering into contracts with the Artists.
2. Employ a private art consultant whose services would be used to solicit or identify Artists that meet the City’s criteria for Public Art. The art consultant may also manage the On-Site Art selection and installation process from start to finish. The fee for the use of an art consultant may not be included in the City’s required 1% art contribution amount. The Private Developer shall pay five percent (5%) of the required 1% art contribution amount to the Arts and Culture Staff and Community Development staff to cover the administrative costs fee described above in Subsection (B). The Private Developer shall have separate contracts with the art consultant and Artists.
3. Although not recommended, the Private Developer may directly propose an Artist or On-Site Art.
The Private Developer shall pay five percent (5%) of the required 1% art contribution amount to the Arts and Culture Staff and Community Development staff to cover the administrative costs fee described above in Subsection (B)
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D. Review Process and Material Checklists for On-Site Publicly Accessible Art
1. Meeting with Arts and Culture Manager
Private Developer applicants must first meet with the Arts and Culture Manager within 60 days of submitting an application to the Planning Department for the Private Development Project, and submit a Public Art in Private Development Application Form (in compliance with Subsection (A) above) prior to the preliminary review by the Public Art Advisory Committee (PAAC). At this meeting, the Private Developer will get more detailed information on the process, resources available, and discuss the possible types of Artwork that the Private Developer is interested in commissioning.
2. Selection of On-Site Art Project Management Option
The Private Developer shall select one of the On-Site Art Project Management Options as noted in Section II.C above as soon as possible and inform the Arts and Culture Manager.
3. PAAC Preliminary Review
A preliminary review meeting with PAAC is required and will take place within 90 days of the City’s receipt of the Public Art in Private Development Application. The Private Developer applicant shall submit all required application materials, as further provided below, for the preliminary review meeting with PAAC. PAAC meets on the 2nd Thursday of the month at 7:00 pm. The meetings are held on Zoom and were held at the Point Molate Conference Room, 450 Civic Center Plaza, 2nd Floor prior to the COVID-19 pandemic. Meetings may resume in this room after the COVID-19 pandemic.
Applicants must submit the following materials electronically one week prior to the PAAC preliminary review meeting to the Arts and Culture Manager:
1. A written summary of the On-Site Art project: this should include the approximate art budget, the art selection plan and consultant, timeline for the project, and an overview of the development.
2. PDF files of the overall site and existing drawings.
3. A PDF of the powerpoint presentation of the project that will be given at the meeting.
4. Name and contact information for the person who will be presenting the project to the Commission.
Items 1-3 above will be distributed to PAAC in advance of the preliminary review meeting. The Private Developer applicant will have 15 minutes to present the project to PAAC. PAAC will then have the opportunity to ask questions and make recommendations regarding the possible placement of Artwork, types of Artwork or Artists that may be appropriate to the site, and point out areas of concern.
Preliminary review is not an action item with an approval, but an opportunity for the applicant to get input that will help make the final Artwork more successful.
4. Additional PAAC Meetings
The Private Developer applicant may return to PAAC additional times before PAAC’s Final Review if PAAC input would be beneficial for the project, however it is not required. It is highly recommended that the Private Developer applicant’s art consultant stay in close contact with the City’s Arts and Culture staff or that the applicant utilizes the City’s Arts and Culture staff to manage the process.
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5. PAAC Final Review
Once the Private Developer applicant has met with the Arts and Culture Manager, submitted a Public Art in Private Development Application Form, and completed a Preliminary Review with PAAC, the applicant may submit all required materials for the Final Review by PAAC. Private Developer applicants must submit the following materials electronically one week prior to the Final Review PAAC meeting to the Arts and Culture Manager:
1. A written summary of the art selection process (how the Artwork(s)/ Artist were selected).
2. Samples of the Artist’s previous work and a resume.
3. Description of the proposed Artwork, including dimensions, materials, method of construction.
4. Detailed drawings or photographs of the proposed Artwork, including a rendering in-situ.
5. A rendering showing the Artwork, along with the locations for any lighting, the identification plaque, and other elements included in the proposal associated with the art installation.
6. A detailed timeline for installation of the On-Site Art and an itemized budget, including installation, Artist fees, art consultant fees.
7. A maintenance plan for the On-Site Art in compliance with Section II. J below, detailing how often and in what manner the Private Developer plans to conserve and maintain the On-Site Art in good condition. If feasible, the Private Developer shall include any specific maintenance instructions from the Artist.
8. A VARA/CAPA waiver signed by the Artist. (See Exhibit B). Artist shall maintain copyright.
Items 1-7 will be distributed to PAAC in advance of the meeting. The Private Developer applicant will have 20 minutes to present the art plan to PAAC. PAAC will then have the opportunity to ask questions and make recommendations regarding the On-Site Art and point out areas of concern. Final review is an action item requiring PAAC to either approve or deny the Public Art in Private Development proposal, and provide a recommendation to the Richmond Arts and Culture Commission.
6. Richmond Arts and Culture Commission Approval
Once a Private Developer applicant has the recommendation from PAAC, the applicant must then obtain approval of the Artwork proposal from the Richmond Arts and Culture Commission. No presentation is required for Arts and Culture Commission approval.
The Arts and Culture Commission meets on the 4th Thursday of every month at 7:00 p.m. The meetings are held on Zoom. Prior to the COVID-19 pandemic, meetings were held at 450 Civic Center Plaza, Richmond Conference Room. Meetings may resume in this room after the COVID-19 pandemic.
In general, the Commission shall reject the PAAC’s recommendation for the selection of an Artist, Artwork, or design proposal only if there are compelling reasons to do so. Compelling reasons shall be limited to if the Commission determines and substantiates that the Artwork or design proposal: (i) constitutes a public safety threat; (ii) presents long-term maintenance problems; or (iii) creates a negative image or depiction of Richmond’s residents, visitors, or neighborhoods.
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7. City Council Information Item and/or Approval of Contracts All approved On-Site Art projects will go to City Council as an information item.
City Council shall approve any contracts over $10,000 related to Public Art on Private Development, and shall authorize the City Manager to enter into such contracts on behalf of the City. This may be the case if a Private Developer chooses to use the City as the project manager for the On-Site Art, as the City would be responsible for contracting directly with the Artist.
In general, the City Council shall reject the Commission’s recommendation for the selection of an Artist, Artwork, or design proposal only if there are compelling reasons to do so. Compelling reasons shall be limited to if the City Council determines and substantiates that the Artwork or design proposal: (i) constitutes a public safety threat; (ii) presents long-term maintenance problems; or (iii) creates a negative image or depiction of Richmond’s residents, visitors, or neighborhoods.
8. Final Steps
At the City’s sole discretion, physical artwork may require stamped engineering drawings and permits and have specific insurance requirements, environmental review and a plan to obtain permits.
Once the Artwork application has been approved by the Arts and Culture Commission, the Private Developer may submit the building permit for the Private Development project.
Prior to construction or installation of the Public Art, the Private Developer applicant shall identify and secure all applicable permits from affected City divisions and departments.
The Artwork and required identification plaque must be installed as approved by the PAAC and Arts and Culture Commission, and verified by the Arts and Culture Manager prior to the issuance of any Certificate of Occupancy or Final Inspection for the Private Development project.
E. Special Delayed Option for On-Site Art Contribution and Designated Public Art Space Private Developers who are interested in commissioning On-Site Art but are not able to complete the process in the required timeline described in Section II.D, may request permission from the Arts and Culture Manager to place the non-refundable public art contribution (1% of Building Development Costs of the Private Development) in an escrow account pursuant to special instructions from the Arts and Culture Manager. This will satisfy the 1% for Public Art in Private Development requirement contingent on the commissioning of On-Site Art within a reasonable time frame. Developers who place their money in an escrow account are able to acquire building permits prior to receiving approval from the Public Art Advisory Committee and Commission for Public Art in Private Development proposal. Affordable housing developments are more likely to be granted permission to place the Public Art contribution in an escrow account. By placing the money in the escrow account after selection of the On-Site Art option, the Private Developer will also have automatically selected the On-Site Art Project Management Option Section II.C.1 to delegate the project management process to the City of Richmond Arts and Culture Staff. In this case, the Private Developer shall pay the City the full 1% art contribution amount and the additional 15% project management fee to an escrow account within 30 days of signing a project management agreement between the City and the Private Developer.
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Designated Public Art Space in a delayed, yet still reasonable, timeline. In the case that permission is granted, an agreement must be signed between the City and the Private Developer detailing the specific condition(s) and requirements for the development of the Designated Public Art Space.
F. Eligible and Ineligible Expenditures for On-Site Publicly Accessible Art Eligible Expenditures. For On-Site Publicly Accessible Art, a Private Developer may only expend costs associated with the selection, acquisition, purchase, commissioning, design, fabrication, placement, installation or exhibition of the On-Site Art. At the City’s sole discretion, eligible expenditures may include:
1. Artist fees;
2. Labor costs for assistants, materials, and contracted services required for design, fabrication, engineering and installation of the On-Site Art;
3. Any required permit or certificate fees and reasonable business and legal costs directly related to the On-Site Art;
4. Communication, utilities, insurance and other indirect costs associated with the creation but not the operation of the On-Site Art;
5. Transportation of any On-Site Art to the Private Development site;
6. Preparation of the Private Development site specifically required for the On-Site Art, such as fabrication of platforms or pedestals;
7. Costs associated with the installation of the On-Site Art;
8. Mountings, anchorages, containments or other materials necessary for installation of the On-Site Art;
9. Five percent (5%) administrative costs fee paid to the City;
10. A plaque or plaques identifying the On-Site Art; and
11. Contingency fund for unplanned expenses; no more than 10% of the total art contribution amount.
Ineligible Expenditures. Expenditures that are ineligible to be counted toward the On-Site Publicly Accessible Art contribution include:
1. Labor of assistants, materials, and contracted services not required for design, fabrication, engineering and installation of the On-Site Art;
2. Promotional materials or activities for any Artist, the On-Site Art, the Private Development project, the Private Developer or other parties involved in the Private Development project;
3. Opening, dedication or other costs of events for the On-Site Art, Artist, Private Developer or Private Development;
4. Services, materials, utilities or other expenses associated with the ongoing operation or maintenance of the On-Site Art;
5. Land costs or any other costs associated with the Private Development that are not part of and solely attributable to the On-Site Art; and
6. Any art consultant fees if a Private Developer chooses to employ a private art consultant for project management
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G. Criteria for PAAC Review of On-Site Art
The Public Art Advisory Committee will evaluate the submitted On-Site Art project proposal based on the following criteria:
1. Context. Artwork must be compatible in scale, materials, form and content with their surroundings. Consideration shall be given to the architectural, historical, geographical, and social/cultural context of the proposed site;
2. Artistic Quality. Quality shall include excellence in the Artwork’s craftsmanship, originality in conception and integrity of materials used;
3. Media. All forms of media may be considered. Artwork may be portable, permanently affixed, or incorporated in the design and/or function of a public space;
4. Permanence. For permanent Artwork, due consideration shall be given to the Artwork’s structural and surface soundness, and to inherent resistance to theft, vandalism, weathering, and excessive maintenance or repair costs;
5. Public Safety. All Artwork or design elements shall be evaluated to ensure their compliance with public safety laws, regulations or requirements;
6. Diversity. The Public Art Program recognizes the cultural, racial, ethnic, and social diversity of Richmond’s population, as well as that of the greater Bay Area, and shall incorporate diversity in every aspect of the Program. PAAC may realize this goal as follows:
• Achieving an equitable distribution of commissions and acquisitions from Artists who represent Richmond’s multi- ethnic, multi-cultural population. • Commissioning Artwork throughout Richmond’s various neighborhoods. • Emphasizing and encouraging the acquisition of Artwork which include a wide variety of styles, scale, and media.
• Encouraging community participation in the Public Art process, when appropriate. • Encouraging the exploration and understanding of new and experimental art forms as well as established and traditional art forms.
7. Feasibility. Before a Public Art proposal is given final approval, it shall be evaluated for its feasibility relative to:
• The project budget and its estimated timeline.
• Convincing evidence that the Artist can complete the Public Art project on time and within the proposed budget.
• Approval of the project by the appropriate City agencies, relative to safety, maintenance, and code requirements.
9. Visibility and accessibility of On-Site Art:
• Compliance with any American Disabilities Act (ADA) requirements.
10. Engagement or interactive elements.
H. Designated Public Art Space by Special Process
Private Developers interested in creating a Designated Public Art Space, as described in RMC
6.50.030.E Designated Public Art Space by Special Process, must follow the following process after submitting the application described in Section II.A above.
Private Developers shall meet with the Arts and Culture Manager within 60 days of submission of the Planning Application with a preliminary proposal of the Designated Public Art Space. If the Arts and Culture Manager determines the proposal meets the requirements of the Public Art Program (RMC FINAL August 30, 2023 69
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6.50.030.E), the Private Developer will receive instructions on documentation and requirements for next steps.
I. Compliance with City laws and ordinances
On-Site Art and Designated Public Art Space is subject to, and shall comply with, all applicable City ordinances and laws and regulations of other governmental agencies. Prior to installation or construction of the On-Site Art or the Designated Public Art Space, the Private Developer shall identify and secure all applicable permits from affected City divisions and departments. Below are links to some applicable departments:
● Planning (Community Development Department)
● Building (Community Development Department)
● Public Works
J. Maintenance of On-Site Art and Designated Public Art Space The Private Developer and/or property owner of the Private Development project site, shall be responsible for the ongoing and regular maintenance to preserve the On-Site Art or Designated Public Art Space in good condition. As provided in Section 6.50.030 (G) of the Municipal Code, the Private Developer shall ensure that a declaration of covenants, conditions and restrictions is recorded against the Private Development project property site, in favor of the City, and it shall include the property owner’s maintenance obligations as required herein. If and when the Private Development Project site is sold, the maintenance obligations shall be transferred to the new property owner.
The Private Developer and/or the property owner, shall maintain the On-Site Art following any special instructions provided by the Artist, and shall promptly perform any and all necessary repairs to the satisfaction of the City. The obligation to maintain and preserve the On-Site Art or a Designated Public Art Space includes the obligation to take reasonable steps to protect the On-Site Art or Designated Public Art Space against destruction, damage or modification.
The City shall not be responsible for any maintenance of the On-Site Art or a Designated Public Art Space.
If the Private Developer and/or property owner fails to maintain the On-Site Art or Designated Public Art Space within 90 days of notice from the City, the City may perform all necessary repairs and maintenance, and the Private Developer and/or property owner shall be responsible for reimbursing the City for such costs. If the Private Developer and/or property owner fails to reimburse the City, the City may impose a lien against the real property.
K. Relocation of On-Site Art or Designated Public Art Space The Private Developer and/or property owner of the Private Development project site shall maintain the On-Site Art and/or Designated Public Art Space in the location approved by the Arts and Culture Commission. The Private Developer and/or property owner may submit a written request to the Arts and Culture Commission to relocate the On-Site Art and/or Designated Public Art Space within the Private Development project site.
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If the Private Development project or the Private Development project site where the On-Site Art and/or Designated Public Art Space is located is sold, the On-Site Art and/or Designated Public Art Space must remain at the location approved by the Arts and Culture Commission. The Private Developer and/or property owner may not remove the On-Site Art and/or Designated Public Art Space from the site.
In the case where the Private Development project is to be demolished, the Private Developer and/or the property owner must relocate the On-Site Art and/or Designated Public Art Space to another publicly accessible permanent location approved in advance by the Arts and Culture Commission.
L. Ownership of On-Site Art or Designated Public Art Space The On-Site Art or a Designated Public Art Space shall become the property of the Private Developer and/or the property owner, and successor(s) in interest. On-Site Art or a Designated Public Art Space shall not be sold or transferred other than to a subsequent successor in interest of the property. As such, the ownership of the On-Site Art, along with any maintenance obligations, will be transferred with the property.
M. Modification to or Removal of On-Site Art or Designated Public Art Space If the Private Developer and/or property owner wishes to sell, deaccession, modify or remove the OnSite Art or Designated Public Art Space from the project site approved by the Arts and Culture Commission, the Private Developer and/or property owner must notify the Arts and Culture Manager a minimum of 90 days before the intended date to remove the On-Site Art or Designated Public Art Space.
They must receive prior approval from Public Art Advisory Committee and the Richmond Arts and Culture Commission before doing so. The Private Developer and/or property owner will be required to replace any sold or deaccessioned On-Site Art with an alternative Artwork of equivalent or greater value, as determined in the sole discretion of PAAC and the Commission. In the alternative, and with prior approval of the City, the Private Developer can choose to pay an in-lieu contribution fee in accordance with the Public Art Program Ordinance.
Private Developers and/or property owners shall be solely responsible for complying with all requirements of the Visual Artists Rights Act (VARA), and the California Art Preservation Act (CAPA). As provided in Section II. D (5) above, the Private Developer shall obtain a signed copy of a VARA/CAPA waiver from the selected Artist prior to the installation or creation of the On-Site Art, as provided in Exhibit B.
Private Developers and/or property owners agree that the City has an absolute right to require the Private Developer, Artist, and/or property owner to change, modify, remove, relocate, repair, or restore the On-Site Art, or portions of the On-Site Art, where it is in the public’s best interest.
N. City Inspection of On-Site Art or Designated Public Art Space On reasonable advance notice, City staff shall have the right to inspect the On-Site Art or Designated Public Art Space to ensure compliance with all City requirements.
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O. In-Lieu Contribution
In-lieu of On-Site Art or Designated Public Art Space, a Private Developer may pay an in-lieu contribution of 1% of the estimated Building Development Costs to the City’s Public Art Projects Account. Private Developers submit the payment alongside all other fees due at building permit issuance. No presentations to the Public Art Advisory Committee or meeting with the Arts and Culture Manager will be required. To verify that it has been paid, the Arts and Culture Manager shall sign the building permit card. The Arts and Culture Manager confirms the receipt of contribution to the Public Art Projects Account in-lieu of providing On-Site Art or Designated Public Art Space prior to the final Certificate of Occupancy issuance or Final Inspection approval.
P. Public Art In Private Development Process Chart and Payment Schedule – On-Site Art, In-Lieu Contribution, Designated Public Art Space
The Public Art in Private Development Process Chart can be seen in Exhibit C and the Public Art in Private Development Payment Schedule chart can be seen in Exhibit D.
III. PUBLIC ART ON CITY PROPERTY
The procedures, requirements, and policies in this section apply to Public Art purchased or commissioned to be placed on City Property with resources from the Public Art Projects Account.
A. Ownership of Artwork on City Property
All Artwork, including design elements, and other objects acquired for or by the City, and/or funded by the City, pursuant to this section, shall be acquired in the name of the City of Richmond and title shall vest in the City of Richmond. All Public Art placed on or in City Property, either by gift, donation, or City funds, shall be owned by the City. Copyright shall be maintained by the Artist.
B. Criteria for selecting or acquiring of Public Art on City Property Criteria to be used by PAAC and Selection Panels (as defined below) for the acquisition of Public Art, shall include, but not be limited to, the following:
1. Context. Artwork must be compatible in scale, materials, form and content with their surroundings. Consideration shall be given to the architectural, historical, geographical, and social/cultural context of the proposed site;
2. Artistic Quality. Quality shall include excellence in the Artwork’s craftsmanship, originality in conception and integrity of materials used;
3. Media. All forms of media may be considered. Artwork may be portable, permanently affixed, or incorporated in the design and/or function of a public space. Temporary exhibits or installations may also be considered for commissions;
4. Permanence. For permanent Artwork, due consideration shall be given to the Artwork’s structural and surface soundness, and to inherent resistance to theft, vandalism, weathering, and excessive maintenance or repair costs;
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6. Diversity. The Public Art Program recognizes the cultural, racial, ethnic, and social diversity of Richmond’s population, as well as that of the greater Bay Area, and shall incorporate diversity in every aspect of the Program. PAAC and the Commission may realize this goal as follows:
• Achieving an equitable distribution of commissions, acquisitions, and temporary exhibitions from Artists who represent Richmond’s multi- ethnic, multi-cultural population.
• Commissioning Artwork throughout Richmond’s various neighborhoods. • Emphasizing and encouraging the acquisition of Artwork which include a wide variety of styles, scale, and media.
• Encouraging community participation in the Public Art process, when appropriate. • Encouraging the exploration and understanding of new and experimental art forms as well as established and traditional art forms.
7. Feasibility. Before a Public Art proposal is given final approval, it shall be evaluated for its feasibility relative to:
• The project budget and its estimated timeline.
• Convincing evidence that the Artist can complete the Public Art project on time and within the proposed budget.
• Approval of the project by the appropriate City agencies, relative to safety, maintenance, and code requirements.
8. Visibility and accessibility of Artwork:
• Compliance with any American Disabilities Act (ADA) requirements.
9. Engagement or interactive elements;
C. Criteria for the Site Location of Public Art
Prior to recommending a site for a Public Art project, the Arts and Culture Manager, in collaboration with appropriate City agencies, the Public Art Advisory Committee, and the Commission, shall evaluate the proposed Public Art site using the following factors:
1. Visibility and public access.
2. Public safety.
3. Interior and exterior traffic patterns.
4. The relationship of the proposed Public Art project to the site’s existing or future architectural features and to its natural features.
5. The function and uses of the facility or site.
6. The nature of the site’s surrounding neighborhood and potential impact of the Public Art project on residences or businesses.
7. Future development plans for the area which may affect the Public Art project.
8. The relationship of the proposed Public Art project to existing works of art or design elements within the site’s vicinity.
9. The proposed Public Art project’s impact on the surrounding environment.
10. The social or cultural context of the proposed Public Art or design element relative to the site and its surrounding environment.
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D. Public Art Reviewing Bodies (Selection Panels, etc.) In addition to PAAC and the Arts and Culture Commission, Selection Panels and/or Ad-hoc Advisory Committees may be assembled to review certain projects, as further provided below.
1. Selection Panels: Selection panels are ad-hoc panels assembled for specific projects. The role of the selection panel is to assist the City in identifying qualified Artists to be considered for a Public Art project. The number of panelists and the composition of the panel appointed for projects will depend upon the size, location, and complexity of each project. In general panels shall comprise a minimum of three persons from the categories listed below. There shall be an odd number of voting members on the panel to remove the possibility of a tie. a) Voting Members
(1) At least one Artist or arts professional (curator, educator, etc.) (2). At least one representative of the neighborhood in which the artwork will occur. b). Non-voting advisors.
(1). Includes members of the design team, such as the project architect The Arts and Culture Manager shall recommend panelists and shall submit these recommendations to the PAAC for review. Selection of panelists shall be made based on an analysis of the following:
• Experience in implementing or administering Public Art projects; • Knowledge of current trends and issues in Public Art; • Knowledge of local, regional and national arts;
• Experience and interest in working with Richmond’s multi-cultural community; • Ability to assess the creativity, design skills, and problem-solving abilities of Artists under review;
• Knowledge of materials and methods of fabrication used in Public Art projects and an ability to assess their appropriateness to a particular site; • Ability to represent a particular neighborhood or area of Richmond in which the Public Art will be sited;
• Ability to work cooperatively and effectively in a panel process.
To expedite the recruitment and approval of panelists, City staff may develop a list of qualified panelists.
Any persons who would receive financial gain from the selection of Artists or Artworks are ineligible to serve on a Selection Panel. Any Artist selected to serve on the Selection Panel is precluded from having his/her work considered for any Public Art project during his/her time of service. Previous PAAC or Commission members who have served in the past two years may not serve on a Selection Panel.
In general, panelists shall be compensated for their time reviewing application materials and attending panel meetings. Compensation shall be paid at the rate of $100 per day, or $50 per half FINAL
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day. City employees and members of the PAAC and the Commission shall not be compensated for participation in the review and selection process.
2. Ad-hoc Advisory Committees: For certain Public Art projects, PAAC may elect, in its sole discretion, to establish an ad-hoc “advisory” committee. An advisory committee is an ad hoc group which provides staff and Artists with information regarding the physical parameters of the site, the site’s users or audience, the social, historical, or cultural history of the neighborhood where the Public Art will occur, and other types of information which may assist the Artist in preparing a design proposal.
Advisory Committee members shall be identified through existing community organizations and by referrals from other agencies, public or private, which are familiar with the neighborhood in which the Public Art project will occur. The Advisory Committee will represent residents or facility or site users who will be most affected by the Public Art project and who can provide the Artist with useful information in the development of their project. The Advisory Committee, as a whole, does not retain the right to vote, and should neither advise nor influence the Selection Panel during their deliberations. However, one or more Advisory Committee members may serve on a Selection Panel if requested by the PAAC to do so, if eligible as described in Section III.D.1 above. The Advisory Committee may consist of one or more of the following persons:
1.The design architect, if selected.
2.The project manager or designee from the City agency collaborating on the project.
3.Other design team members, if appropriate.
4.A member of the Public Art Advisory Committee.
E. Selecting Artists and Artwork for Public Art for City Property
1. Methods of Selecting Artists and Artwork
Artists may be selected for Public Art projects by one of the following methods as determined by the Arts and Culture Manager:
1. Direct selection: Artist(s) or completed Artwork(s) chosen directly by the Public Art Advisory Committee or by a Selection Panel.
2. Limited competition or invitational: Artists are invited by the Public Art Advisory Committee or by a Selection Panel to submit proposals, a completed Artwork, or otherwise participate in a Public Art project.
3. Open competition: any Artist is eligible to participate, subject to limitations established by the Public Art Advisory Committee.
2. Artist Recruitment Methods
1. Direct Recruitment: The City may utilize direct recruitment methods to solicit qualified Artists for a project. Direct recruitment shall be defined as the direct solicitation of qualified candidates by means of direct mailings of the RFQ or RFP, or through phone contact with Artists, arts organizations, galleries or other sources for the purpose of soliciting names of Artists to be considered for a project.
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2. Competitive Processes: For competitive projects, the City shall develop a Request for Qualifications (“RFQ”) or a Request for Proposals (“RFP”). The RFQ or RFP shall be disseminated as widely as possible through local media, the arts media, and through direct mailings to Artists and arts organizations. The RFQ or RFP shall include the following information. • A description of the Public Art project, including its goals; the project parameters, including the site’s physical description, potential approaches to the project, and any physical or legal restrictions which may apply to the project.
• The Artist’s potential scope of work.
• Application procedures, including materials requested, eligibility factors, and timelines. • Selection procedures (if appropriate).
• Criteria for the selection of Artist(s) and Artwork(s). • Project budget.
• A Request for Proposals shall include an honorarium for the Artists to further develop the art concept design proposal.
3. Artist Selection Criteria
In general, any Artist may be considered for a Public Art purchase or commission. Specific eligibility requirements will be established by the Arts and Culture Manager at the initiation of each project and will be described on the RFQ/RFP. In general:
1. Artists will be considered for commission on the basis of their professional qualifications, as demonstrated by past work, relevant professional experience, the appropriateness of a specific proposal to the project goals and parameters, and the probability that the Artist can successfully complete the project given the proposed timeline or budget. Artwork or proposals submitted by the Private Development Project architect and/or members of the design team, and Artists who are members of or family members of the Arts and Culture staff, the PAAC, Commission, or the City Council, shall not be accepted. If a past member of PAAC, the Commission, or City Council wishes to propose Artwork, there must be at least a minimum of two years between serving on such governing bodies and consideration of Artwork or proposals.
2. Artists shall not receive more than two commissions from the City of Richmond in any fiveyear period, nor shall Artists receive more than one commission in consecutive years. These restrictions shall apply to individual Artists, Artists who are commissioned as part of a team, and/or any Artists who will receive credit for any commissioned project.
3. Artists may be selected on a regional or national basis. Though preference may be given to Richmond-based Artists for any given project, the Public Art Program shall encourage a wide diversity in style, scale and media in Public Art, and encourages the exchange of ideas and creative talent from all Artists.
4. Artist and Artwork Selection Procedures
1. Pre-Screening: The Arts and Culture Manager, and designated City staff, shall pre-screen Artist applications, and evaluate them relative to the minimum candidate criteria and qualifications outlined in the RFQ or RFP. City staff shall then present the slate of qualified candidates for review to a Selection Panel, as described below.
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2. Selection Panel Review: The Selection Panel shall meet under the following process:
(a) The Selection Panel (and Ad-hoc Advisory Committee, where applicable) shall review the pre-screened lists of Artist applications. Along with the candidates recommended for review by the Arts and Culture Manager, the Selection Panel will receive a list of all project applicants. Panelists may request to review any Artist previously eliminated by the staff if they believe that the Artists on the pre-screened list do not meet the stated minimum qualifications.
(b) City staff shall issue written instructions to panelists detailing the duties and responsibilities related to the project before the first panel meeting. (c) The Selection Panel shall review credentials, proposals, and/or materials submitted by Artists.
(d) The Selection Panel shall recommend to the Public Art Advisory Committee: an Artist or Artists to be commissioned for the Public Art project; an Artist or Artists to develop a design proposal for the Public Art project; or recommend an Artist or Artists whose existing work is to be selected for the Public Art project. In the case where an Artist or Artists have been asked to prepare a specific design proposal, the Selection Panel shall re-convene to review the proposals and shall select the Artwork following the same procedures as outlined in steps (a)-(c) above. If a consensus cannot be reached by the Selection Panel, then a vote shall be taken, with the majority carrying the decision. Panelists shall each have one vote, and no Panelist shall have the right of veto. (e) The Selection Panel shall have the option of making no selection. In the event that no selection is made, the PAAC shall determine whether to: (1) initiate a new selection process; (2) revise the Public Art project; or (3) abandon the project. (f) The Selection Panel’s recommendation shall be recorded by the Arts and Culture Manager in the form of a written record to the Public Art Advisory Committee. If PAAC approves of the Selection Panel’s recommendation, then the selected Artist’s application will be given formal approval by resolution of the PAAC. If PAAC rejects the Selection Panel’s recommendation, then an alternative process for project development will be determined.
(g) If PAAC approves of the Selection Panel’s recommended Artist application, PAAC shall forward a recommendation to the Arts and Culture Commission for final approval. The Commission shall review and approve or reject the PAAC’s recommendation. If the Commission rejects PAAC’s recommendation, the Commission will provide a written report to the PAAC with the reasons for the rejection. PAAC shall then determine whether to: (1) revise or modify the project; (2) initiate a new review and selection process; or (3) abandon the project.
(h) For Public Art projects over $10,000, the Commission shall forward approved Artist applications to City Council for final approval. If the City Council accepts the Commission’s recommendation, City Council shall approve the selected Artist’s proposal by means of a formal resolution authorizing the City to enter into contract with the selected Artist(s). If the City Council rejects the Commission’s recommendation, the PAAC shall determine whether to: (1) revise or modify the project; (2) initiate a new review and selection process; or (3) abandon the project.
3. Commission and City Council’s Review: In general, the Commission and the City Council shall reject the PAAC’s recommendation for the selection of an Artist, Artwork, or design proposal only if there are compelling reasons to do so. Compelling reasons shall be if the Commission or FINAL August 30, 2023 77
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Council determines and substantiates that the Artwork or design proposal: (i) constitutes a public safety threat; (ii) presents long-term maintenance problems; or (iii) creates a negative image or depiction of Richmond’s residents, visitors, or neighborhoods.
4. Modified Panel Review: For some projects, such as those with budgets of $50,000 or less, or where time is of the essence in recruiting, selecting, and commissioning an Artist, the PAAC shall retain the option of:
(a) Selecting one or more Artists to work on the project through direct invitation. (b) Developing a short list of qualified Artists to present to a Selection Panel and/or convening a Selection Panel comprised of a staff representative, a representative of the client agency or facility, and one guest panelist. This panel will review the short list of qualified Artists and select one or more Artists for the Public Art project.
F. Public Art Project Management
1. Inter-Agency Procedures
1. The Arts and Culture Commission will negotiate a contract with the selected Artist and with other consultants as necessary, for the purchase or design, fabrication, and installation of the Public Art. Contracts will be executed by the City Manager, or their designee. The contract between the City and the Artist may include, but is not limited to: scope of services, insurance, Artist’s rights, indemnifications, the Artist as an independent contractor, removal or modification of the Public Art, risk of loss, and title.
2. Disbursements from the Public Art Projects Account shall be made only after authorization from the Arts and Culture Commission.
3. On-site activity related to the installation of the Public Art will be coordinated between the Arts and Culture Manager and the appropriate City official(s) within the Department having jurisdiction over the site and/or construction.
4. In the case of sites under development, the appropriate City official(s) within the applicable Department will coordinate the concurrent site development and the Public Art installation in the most efficient manner possible.
5. In the case of existing sites, staff and the appropriate City official(s) shall oversee and facilitate the installation of the Public Art. In such cases, the cost of necessary site alteration or restoration shall be borne by the Public Art Program unless otherwise agreed upon by the appropriate City official(s).
6. Unless otherwise agreed, routine maintenance of the Public Art shall be the responsibility of the Department having jurisdiction over the site where the Public Art is located. Routine maintenance shall include such tasks as dusting, sweeping, and other such activities.
Extraordinary maintenance and/or conservation of the Public Art shall be the responsibility of the Arts and Culture Manager on behalf of the Arts and Culture Commission. No City agency or Department shall be responsible for the conservation of Public Art, and no conservation or repair work shall be performed by the applicable department without the prior written consent of the Arts and Culture Commission.
7. Any proposed Public Art, which is deemed by the Commission and the applicable Department head to require extraordinary operations or maintenance on the part of the host Department, shall be subject to review by the applicable Department head. The Arts and Culture Manager, in consultation with other
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Public Art collection and shall determine appropriate budgets and procedures for the care and maintenance of the collection.
8. In general, the applicable Department staff and consultants hired by the Department in connection with a development project which includes a Public Art project shall not receive additional compensation for time spent in connection with the implementation of Public Art projects. However, where a specific technical or professional task is performed by such staff or consultant(s), solely in connection with the Public Art, and where the task is necessary to the execution or installation of the Public Art, and where it is not feasible to include it as the responsibility of the Artist under the terms of the Public Art Program, such Departmental staff and/or consultants may receive compensation for work performed provided that reimbursement is requested prior to establishment of the project budget and is approved by the appropriate City departments.
G. Maintenance, Removal, and Deaccession of Public Art on City Property The City of Richmond is responsible for the maintenance and conservation of Public Art on City Property, unless otherwise agreed to with the Artist. When reasonable, the City may consult with the Artist(s) on how to properly maintain and conserve the Public Art.
The City of Richmond reserves the right to remove, relocate, deaccession, or replace any of the Public Art on City Property. The City may remove or replace Public Art if the Public Art: no longer retains its physical integrity or authenticity; the Public Art is damaged or of no value; the Public Art is no longer relevant or appropriate; the City can no longer properly preserve and maintain the Public Art; or for any other reason in the City’s sole discretion.
All Artists selected to create and install Public Art on City Property shall be required to sign the VARA/CAPA waiver provided in Exhibit B of this document. Artist shall maintain copyright.
IV. PUBLIC ART GIFTS AND LOANS
The following section provides a process for the review of proposed gifts and loans of Artwork to the City of Richmond, and for the placement, care, and preservation of such Artwork.
A. Conditions Governing the Donation of Artwork to the City of Richmond Potential donors of Artwork must submit the following information and materials to the City prior to gifting or donating Artwork:
1. Digital images of the Artwork which depict it from all sides;
2. A written description of the Artwork, including dimensions (height, width, depth and weight), materials used, and any frames, backings, mounts or anchoring systems to be used in the installation of the Artwork;
3. A site plan which identifies and describes the proposed site for the Artwork and which accurately depicts the Artwork in relationship to the surrounding environment;
4. A written description and/or drawing of the proposed method of installation and a timeline for the transportation and installation of the Artwork;
5. An estimated cost for transporting and installing the Artwork (to be done at donor’s expense, unless otherwise agreed to by the City);
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installation of the Artwork;
7. A VARA/CAPA waiver signed by the Artist. (See Exhibit B).
The Arts and Culture Manager will review the materials and, if the information is complete, will forward them to the Public Art Advisory Committee for review. The PAAC shall determine the feasibility of the proposed donation and shall forward a recommendation to the Arts and Culture Commission for review. If the Commission recommends acceptance of the proposed Artwork, a recommendation will be made to the City Council for final approval and acceptance of the Artwork.
B. Review and Acceptance Criteria for Donated or Gifted Artwork Proposed gifts of Artwork shall be evaluated on the following criteria:
1. An analysis of the relationship of the proposed Artwork to its proposed location, and its relevance to its primary audience;
2. An evaluation of the Artwork’s aesthetic quality, relative to its form, materials and craftsmanship;
3. The availability and appropriateness of an acceptable site for the Artwork;
4. An analysis of the financial impact of the proposed gift on the Public Art Program, including costs related to the insuring of the Artwork and to any long-term maintenance or conservation costs;
5. An analysis of the impact of the proposed gift on other City departments, to include any routine operations or maintenance requirements.
C. Conditions of Acceptance of Gifted or Donated Artwork
1. The Public Art Advisory Committee and the Arts and Culture Commission encourage clear and unrestricted gifts to the City of Richmond. Any conditions or restrictions attached to a gift or loan must be represented to the Public Art Advisory Committee for review and to the City Council for approval. No Artwork will be accepted with conditions deemed unacceptable by the Public Art Advisory Committee, Commission, or the City Council, nor will any Artwork be accepted with an attribution or circumstance guaranteed in perpetuity.
2. A legal document of transmittal, transferring title or loan of the Artwork, and defining the rights and responsibilities of all parties, must accompany all gifts of Artwork.
3. The City of Richmond requires the donor to obtain a signed copy of the VARA/CAPA waiver (attached hereto in Exhibit B) from the Artist of the donated Artwork.
D. Conditions Governing the Exhibition of Artwork on City Property This section applies to Public Art that has been provided or loaned to the City free of charge for the City to exhibit temporarily on City Property.
1 .Materials to be submitted by Artwork Lender:
Persons or organizations requesting to temporarily exhibit Artwork in or on City-owned property must submit the following to the Arts and Culture Manager:
1. Photographs, digital images, and/or slides of the Artwork to be exhibited.
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from the City agency with jurisdiction over the site which approves the proposed loan of the Artwork in that location.
3. A written description and/or drawing of the proposed method of installation and a timeline for the transportation and installation of the Artwork.
4. A VARA/CAPA waiver signed by all Artist(s) of the exhibited work. (See Exhibit B).
2. Lender’s Agreements:
When exhibiting Artwork on City Property, the Artwork lender (hereinafter the “Lender”) shall enter into a written agreement with the City, as approved by the Arts and Culture Manager. As detailed in the agreement with the City, the Lender shall at a minimum agree to the following:
1. Unless otherwise agreed to in writing by the City, the Lender shall be responsible for all costs associated with the transportation, installation, de-installation, and insuring of the Artwork.
2. Upon removal of the Artwork, the Lender must return the site to its original condition and remove any debris caused by or resulting from the exhibition of the Artwork. Such debris includes, but is not limited to, any parts or materials from the Artwork which have been purposefully or not purposefully removed from the body of the Artwork.
3. Unless otherwise agreed to in writing by the City, the Lender must agree to exhibit the Artwork at his/her own risk and to bear the expenses of any losses or damages to the Artwork. The Lender must agree to indemnify, defend, and hold harmless the City and its employees, volunteers, and agents, from any and all liabilities, claims, demands, actions, damages, losses, and costs, in any way arising from or related to the Artwork, or the Lender and/or Artist’s acts or omissions related to the Artwork. Additionally, the Lender shall include such indemnification requirements in any agreements between the Lender and the Artists, and ensure that the Artist(s) indemnifies the City and its employees, volunteers, and agents, from any and all liabilities and/or for any damages or losses to the Artwork.
4. The Lender must agree to produce and display an educational label for display next to or near the loaned Artwork.
5. The Lender must agree to remove the Artwork within three days’ notice from the City to do so if the Artwork becomes damaged or destroyed and/or becomes a danger or visual impediment to the public, and/or for any other reason in the City’s sole discretion.
6. The Lender must obtain a signed VARA/CAPA waiver (as provided in Exhibit B) for any Artist(s) whose Artwork will be included in the exhibition on City Property.
E. Acceptance of Monetary Gifts for the Acquisition of Artwork Proposed monetary gifts or donations to the City for the purpose of acquiring Artwork shall be referred to the Arts and Culture Commission for review. All recommendations on the acceptance or rejection of proposed gifts of money shall be referred to the City Council for final approval and acceptance.
V. RECORDS AND FILES FOR PUBLIC ART PROJECTS
The Arts and Culture Manager shall, to the best of their ability, maintain records of each Public Art project, whether on City owned property or on private property. The records shall include, but not be limited to, the following:
1. Contract(s) with the Artist(s) and consultants participating in the Public Art project.
2. Records of City Council, Commission, and Public Art Advisory Committee actions bearing on the project.
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3. Interdepartmental agreements relating to the siting or implementation of the project.
4. Correspondence, announcements, memoranda, and publicity information relating to the project.
5. Records of all billings made in connection with the project.
6. All proposals submitted and other visual or written materials relating to the Artist’s design or method of execution as they are submitted or become available.
7. Digital image(s) of the Public Art.
VI. CITY CAPITAL IMPROVEMENT PROJECTS APPRORPIATION FOR PUBLIC ART
As required by Section 6.50.020 of the Public Art Program Ordinance, all City Capital Improvement Projects (CIPs), including all City bond measure projects and all other City capital projects funded from outside granting authorities, shall contribute an amount equal to one and one-half percent (1.5%) of the total development costs of any Capital Improvement Project, to be set aside for Public Art. CIPs subject to this requirement shall include, but are not limited to, buildings, shelters, parking garages and lots, restrooms, small structures, parks, medians, landscaping, plazas, gateways, bridges, walls, tunnels, and street and road construction.
Salaries and benefits of public employees supporting CIPs may not be included in the CIP budget when calculating the City’s 1.5% appropriation amount.
VII. Neighborhood Public Art Mini-Grants
The Neighborhood Public Art Mini-Grant program (“NPA program”) is administered by the Arts and Culture Commission. It is funded through the City of Richmond General Fund. An application is released each year by the Arts and Culture Commission.
A. Background
The Neighborhood Public Art Mini grants are designated to stimulate arts and culture in the Richmond community, help emerging Artists of all ages and ethnicities, and fund local visual, literary and performing arts projects. Since 2010, the NPA program has been coordinated by the Arts and Culture Commission, and has engaged hundreds of community membersin art projects all over the City of Richmond.
B. Purpose
What an NPA Mini-Grant does:
• Provideslocal Artists/non-profit arts organizations/communitymembers with funding for their art projects.
• Assists applicants with meeting deadlines, making budgets, and contract compliance. • Builds community and enables the Artists to pass on their skills by participating in the grants.
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• Helps emerging Artists to pass on their skills to others: “each one, reach one, teach one”.
C. Eligible Art Forms
• Visual Arts: paintings, graphics, ceramics, mosaic, crafts,sculpture, murals, etc. • Performing Arts:spoken word, music, dance, theater, etc. • Literary Arts: Written fiction, non-fiction, poetry, prose,short stories, etc.
D. Eligibility Criteria for Applicants
Eligible: Richmond residents and Richmond-based arts organizations may apply as individuals, as a team with partners, or as a non-profit arts organization. Licensed "non-profit" organizations may serve as fiscal agentsfor individual mini grants. If someone is already engaged in a creative project and needs additional funding, they are eligible to apply for a NPA Mini-Grant. If anyone has received more than two NPA grants, the City requests that they please consider partnering with an emerging Artist to apply.
Ineligible: "For-profit" (corporate entities) do not qualify for this NPA Mini-Grant. City of Richmond employees, and/or a relatives of a Commissioner or any appointed official, may not apply for this grant, as this relationship represents a conflict of interest.
E. Grant Funding
Final awards will be disbursed in two parts. The first payment will be paid upon signing the contract and the second payment will be paid upon successful completion of the funded project.
F. Selection Process
All proposals received by the deadlines, will be reviewed for completeness and adherence to proposal submission guidelines. Proposals found to be eligible will be reviewed by the Arts and Culture Commission and ranked according to an established review process, using the established review criteria. Pre-qualified candidates will then be invited to make a presentation to the Arts and Culture Commission. From that group, the Arts and Culture Commission will identify a smaller group of semifinalists, and after a final review, a group of finalists, who will be offered mini grant awards. Incomplete applications will not be evaluated.
G. Grant Duration
Once grantees have been selected, contracts with the City will be prepared and awarded. Projects must be concluded no later than the end of the fiscal year.
Upon completion of each project, and for their final payment, Artists will be required to report back to the Arts and Culture Commission with a written summary and photos as evidence of the process and FINAL August 30, 2023 83
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completion and results of their creativity. Each awarded project will be assigned a liaison from the Arts and Culture Commission to assist and support the awardee through each step that will lead to a successful project.
H. Additional Requirements
Any Artist who receives awarded funds, but is unable to provide evidence of completion of milestones (50% complete and 100% complete) will be asked to return the funds.
Any Artist who receives awarded NPA grant funds, shall credit the City of Richmond, and the Richmond Arts and Culture Commission as a sponsor for their public art project i.e. mural, social media, etc. A high resolution City of Richmond logo and the Richmond Arts and Culture Commission logo will be provided to each awardee to be used on all written and other published media associated with their project.
VIII. PERFORMING ARTS AND TEMPORARY ARTWORK
The City intends to activate publicly-owned spaces in parks, plazas, streetscapes, and other City-owned property by encouraging performing arts and temporary artworks. Performing arts and temporary artworks enliven communities, provoke conversations and refresh the public realm. Performing arts may be funded by the City through the Public Arts Project Account, the City’s General Fund, and/or by private individuals or organizations. The City may initiate performing arts, or individuals or community organizations may initiate or request City consideration of performing arts.
A. Types of Performing Arts and Temporary Artwork Considered All approaches and media may be considered by the City, in its sole discretion. Performing arts may include, but are not limited to, vocal and instrumental music, dance and theatre, pantomime, and/or sung verse to be performed on City Property (other than in the City’s right-of-way). Temporary public art is defined as any art, including visual artworks, projections, digital media, virtual reality, lights, sounds, and other artistic media, to be placed on City Property (other than the City’s right-of-way), that is not intended to be permanent and is not made a part of the permanent public art collection.
B. City’s Goals for Performing Arts in the City
1. To encourage the temporary placement of thought-provoking, innovative works of high artistic merit that connect people to place;
2. To contribute to Richmond's sense of identity and pride;
3. To build on Richmond's identity as a diverse community and a center for innovation;
4. To engage Artists in projects that stimulate and encourage community interaction;
5. To create pilot projects in potential locations for permanent artworks;
6. To provide opportunities for emerging and established Artists.
C. Requirements for Performing Arts and Temporary Artworks Temporary artworks and performing arts on any City Property may only be permitted if the City Department responsible for that site is willing to allow the temporary placement of art.
Any physical Artwork included as part of the Performing Arts and/or Temporary Artwork must be constructed to withstand outdoor placement during the City-designated display period. Temporary Artworks and Performing Arts must not create a nuisance in the community where the Artwork is FINAL August 30, 2023 84
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proposed, especially when employing light or sound. Artwork must not present any public safety hazards or violate City laws or codes. Physical artwork selected for temporary placement may require stamped engineering drawings and permits and have specific insurance requirements as approved in advance by the City. Additionally, environmental review may be required. All Temporary Artworks must be removed by the Artist after prior notice from the City or at an agreed upon time with the City. The Artist must restore the site to its original condition upon completion of the display.
D. Procedures and Program Management
The City may include the commission of City-funded Performing Arts and Temporary Artwork projects in its Public Art Master Plan as discussed in the Public Art Program Ordinance.
1. Artwork Proposed by a Private Individual/Organization If Performing Arts or Temporary Artwork is being proposed by a private individual or organization, such individual or organization shall submit a proposal to the Arts and Culture Manager.
The proposal shall include the following information:
• The proposed location(s) for the art;
• The Artist’s resume;
• The type of artwork and a written narrative describing the artwork; • A minimum of two photographs of the work, if applicable; • Where applicable, a description of the construction materials and methods of fabrication and anchoring details;
• A signed VARA/CAPA waiver from any Artist participating in the proposed artwork (as provide in Exhibit B herein).
Projects proposed by private individuals or organizations will be evaluated by Arts and Culture staff for compliance with City standards and requirements and overall program goals. Where appropriate, the Arts and Culture Manager may convene a review panel and/or forward the proposal to the Public Art Advisory Committee for recommendation and Richmond Arts and Culture Commission for approval.
2. Artwork Proposed by the City
For Performing Arts or Temporary Artwork proposed by the City, such projects may be selected through an open Request for Proposal (RFP) process, or by limited invitation, or by a curatorial process that invites Artist proposals. The RFP or invitation typically will indicate the available sites for art placement, the duration of the display, and the City's requirements for insurance, liability, safety, etc. At its discretion, the Arts and Culture staff may convene a panel to review proposals.
The City shall enter into a contract with a selected Artist that shall include, but not be limited to: the Artist’s scope of services; the cost for design, fabrication, installation, maintenance and de-installation of commissioned temporary artwork or performing arts, or a fee for the loan and maintenance of preexisting artwork; indemnification requirements; the Artist as an independent contractor; a signed VARA/CAPA waiver (as provide in Exhibit B herein).
The City may contract for the services of guest curators or non-profit arts organizations to select and curate Performing Arts and Temporary Artworks. When a contracted arts organization or curator is chosen by the City to implement the Performing Arts or Temporary Artworks, the City's Arts and Culture FINAL August 30, 2023 85
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Manager must be included in the Artist selection process as well as on the project team that reviews design development and implementation.
3. Selection Criteria for Performing Arts and Temporary Artworks In general, the City may consider, but is not limited to, the following selection criteria when reviewing proposals for Performing Arts and Temporary Artworks:
• Artistic merit-the individual Artist or organization demonstrates high quality or promise through its artistic history and accomplishments;
• Appropriateness of the proposed artwork to site and goals articulated for the project; • Community engagement or impact- The proposed public presentation is appropriate to the project goals and feasible in its potential to share the work with a defined Richmond audience; • Feasibility and/or durability;
• The Artist’s goals and processes for the proposed artwork are clearly defined, demonstrate originality, clarity and depth of concepts;
• Cultural Equity Impact - Demonstrated ability of the proposed artwork to support Richmond’s diverse cultural traditions and values, including capacity to support the City’s underserved communities;
• Visibility and accessibility of the performing art or temporary artwork, and compliance with any American Disabilities Act (ADA) requirements.
• Compliance with City codes and any all public art requirements and missions.
4. Review Process for all Performing Arts and Temporary Artworks The Arts and Culture Commission will review and approve, deny, or suggest revisions to Performing Arts and Temporary Artwork proposals. City Council approval must also be obtained for any Temporary Artworks or Performing Arts projects that are funded through the Public Art Projects Account over $10,000. In general, the City Council shall reject the Commission’s recommendation for the selection of an Artist, Artwork, or design proposal only if there are compelling reasons to do so. Compelling reasons shall be if the City Council determines and substantiates that the Artwork or design proposal: (i) constitutes a public safety threat; (ii) presents long-term maintenance problems; or (iii) creates a negative image or depiction of Richmond’s residents, visitors, or neighborhoods.
Temporary and Performing Arts based projects of less than 24-hour duration may be reviewed and approved by the Arts and Culture Manager.
5. Acceptance Conditions
1. The City reserves the right to manage City Property including the removal of the Artwork, for reasons that include but are not limited to matters of public safety, or where Temporary Artwork or Performing Arts elements have been left on City property beyond the agreed terms, or is damaged beyond repair.
2. If an Artwork is not completed within the timeline originally approved by the Arts and Culture Commission, or if changes in content, materials, form, presentation, or financing of the artwork occur, the artwork must be reviewed again by the Arts and Culture Manager and Arts and Culture Commission.
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enter into an agreement with the City for the duration of the display that outlines the maintenance responsibilities and agreement to remove the work at the agreed upon conclusion of the display, leaving the site in its original condition or better.
4. Neither the Arts and Culture Commission, nor the City of Richmond, nor any of its agents, will be held liable for any damage or state of disrepair of a Temporary Artwork or any Performing Arts elements or props.
5. The Artist(s) agree to indemnify, defend, and hold harmless the City of Richmond, and its employees, agents, and volunteers, from and against any and all liabilities, claims, demands, actions, damages, losses, and costs, in any way arising from or related to the approved Performing Arts or Temporary Artwork, or the Artist(s) acts or omissions related to the Performing Arts or Temporary Artwork.
6. Documentation
Artists shall assist the Arts and Culture Manager to collect or create documentation that includes the following information:
• Photographs or other documentation of the installed Temporary Artwork or the Performing Arts.
• Mention and/or reviews of the Performing Arts or Temporary Artwork in local press.
IX. PUBLIC ART FUNDS
A. Public Art Project Account
As provided in the Public Art Program Ordinance, the Public Art Project Account is established and maintained by the City for the purpose of funding public art programming consistent with the Public Art Program Ordinance and the Public Art Policies and Procedures.
B. Sources of Public Art Project Account Funds
Public Art Project Account funds shall be comprised of the following:
1. In-lieu contribution fees for Private Development Projects (as discussed in Section II herein);
2. Appropriations collected from City Capital Improvement Projects (as discussed in Section V herein);
3. Monetary donations and gifts to the City for Public Art use;
4. Any other appropriation amounts from the City.
C. Use of Public Art Project Account Funds
Approximately two-thirds of the funds in the Public Art Project Account shall be used for any fees and/or costs directly related to the selection of Artists or Artwork, for the fabrication and installation of Public Art, and for costs associated with displaying and identifying the Public Art. More specifically, Public Art Projects Account funds in this category may be used for, but are not limited to, the following:
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2. To purchase or commission Artwork or design elements created by Artists to enhance Richmond’s public spaces and to be placed on City property;
3. Any costs associated with the placement, installation, and display of Public Art;
4. Any costs related to the selection of Artists or Artwork;
5. Selection panelist fees (not including City of Richmond staff or PAAC or Commission members);
6. To establish, create, install, or maintain a designated Public Art space that is generally open to the public during regular business hours, and which may be used as a rotating art gallery, free of charge, or as a designated space to be used for the primary purpose of arts and cultural programming. This does not include those items which contribute to the asset base and normal operating expenses of a resident agency, such as a city museum or gallery, or a private cultural institution.
Approximately one-third of the remaining Public Art Project Account funds shall be used as follows:
1. To maintain, conserve, repair, or relocate already existing and installed Public Art or design elements in the City;
2. To fund any staffing, administrative, and/or contingency costs for the implementation of the Public Art Program;
3. To defray such other expenses which are, or may become, an integral part of the Public Art Program, including community education and outreach, documentation, publicity, or promotion.
D. Ineligible Use of Public Art Project Account Funds
Public Art Project Account funds may not be used for the following:
1. Directional elements such as super-graphics, signage, or color coding except where these elements are integral parts of a Public Art project or are executed by Artists in unique or limited editions;
2. Art objects which are mass produced and of standard design, such as playground equipment or fountains;
3. Reproduction, by mechanical or other means, of original Artwork, except in cases of film, video, photography, printmaking or other media arts;
4. Decorative or functional elements that are designed by the building architect or landscape architect;
5. Landscape architecture, except when deemed to be an integral part of an Artist’s work and relevant to a project under consideration;
6. Those items which contribute to the asset base and normal operating expenses of a resident agency, such as a city museum or gallery, or a private cultural institution;
7. Artwork acquired through third party owners, such as private collectors or auction houses;
8. Architects’ fees, except in such cases where the public art component significantly changes a project architect’s scope of services
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X. EDUCATION AND OUTREACH
In order to stimulate and encourage public awareness of the visual arts, the Arts and Culture Commission will, to every extent possible, initiate events and activities designed to provide a greater understanding of Public Art in the City. The activities and events may include, but are not limited to, the following:
1. Conferences, symposia, workshops, Artists’ lectures, Public Art tours;
2. Development of cooperative programs with educational and arts institutions and community organizations;
3. Regular distribution of promotional and publicity packets, to include press releases, public service announcements, and public art newsletter;
4. Educational material written specifically for Richmond schools at appropriate levels for elementary, middle and high school students.
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EXHIBIT A Public Art in Private Development Application Form fPublic Art in Private Development Application Form
To Be Completed by Private Developer (Applicant) and Submitted to Arts and Culture Manager As required by the Public Art Program Ordinance in Section 6.50.030 of the Richmond Municipal Code, Private Developers subject to the requirements of the Chapter are required to provide 1% of the Building Development Costs (as defined in Chapter 6.50 of the RMC) as a public art contribution in one of three ways:
(1) by including On-Site Publicly Accessible Art as further provided in RMC Section 6.50.030(C); (2) by paying an in-lieu contribution fee as set forth in RMC Section 6.50.030 (D); or (3) by designating a Public Art space by Special Process as set forth in RMC Section 6.50.030 (E).
Development Address: Estimated Building Development Costs (Labor And Materials):
Estimated Development Size (Square Feet):
Applicant / Architect Name: Owner Name:
Address: Address:
Phone: Phone:
Email: Email:
Final Building Development Costs will be confirmed at the time of the Private Development Building Permit application. Should the final Building Development Costs (labor and materials) submitted for the purpose of Building Permit application indicate a higher amount, then the 1% fee will be based on the higher Building Development Costs.
1% of Estimated Building Development Costs: $ _________________________ Please choose one of the following options:
A. Inclusion of On-Site Publicly Accessible Art
B. Payment of in-lieu contribution
C. Designating a Public Art space by special process
Applicant Signature: _______________________ Date: _______________ For City of Richmond Arts and Culture Manager Use Only:
Building Permit Number:
_________________________
Date of Building Permit Issuance:
__________________
Requirement Satisfied with Option A, B, or C:
_________
Signature Date
FINAL
___________________ _________
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EXHIBIT B Waiver and Release of VARA, CAPA, and other Artists’ Rights Waiver and Release of VARA, CAPA, & Other Artists’ Rights In consideration for the City of Richmond (the “City”) selecting ________________________ (the “Artist”) to create artwork for a public art project as further described below (the “Artwork”), the Artist hereby acknowledges and agrees, on behalf of himself or herself, and his or her organization, employees, agents, and/or volunteers, to the following:
VARA/CAPA Release and Waiver
Artist hereby waives any and all rights Artist may have with respect to the Artwork (as further described below) under the federal Visual Artists Rights Act of 1990 (17 U.S.C. sections 106A and 113(d)), the California Art Preservation Act (Cal. Civil Code sections 987 et seq.), and any other local, state, federal or international laws that convey rights of the same nature as those conveyed under 17 U.S.C. § 106A, Cal. Civil Code § 987 et seq. The provisions of this paragraph shall apply to modify Artist’s rights of attribution and integrity as set out in the Visual Artists Rights Act, 17 U.S.C §§ 106A and 113(d) (“VARA”), the California Art Preservation Act, Cal. Civil Code §§ 987 and 989 (“CAPA”), and any rights arising under United States federal or state law or under the laws of another country that convey rights of the same nature as those conveyed under VARA and CAPA, as against the City of Richmond, its officers, officials, employees and agents. The City has the absolute right to change, modify, destroy, remove, relocate, move, replace, transport, repair or restore the images of the Artwork.
Title of Artwork or Public Art Project: ______________________________________________ Location Of Artwork or Public Art Project:___________________________________________ Description of Artwork or Public Art Project:
______________________________________________________________________________ ______________________________________________________________________________ Artist Name/Organization: _______________________
Artist’s Address: _______________________________________________________________ _______________________________ ___________________
Artist Signature:
FINAL
Date:
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Exhibit C: Public Art in Private Development Process Chart On-Site Art
Arts and Culture Commission Approval:
After PAAC approves the proposal, the Commission must
approve it. No presentation is required for Commission
approval.
Designated Public Art Space by
Special Process
In-lieu Contribution
Developer pays
public art
contribution to
Public Art Projects
Account alongside
other fees due for
Private Development
project building
permit issuance. To
verify that it has
been paid, the Arts
and Culture Manager
signs the building
permit card.
Private Developer submits the Public Art in Private Development Application Form to Arts and Culture Manager within 60 days of submitting the Planning Application and selects option below.
Meet with Arts and Culture Manager within 60 days of
submitting Planning Application to discuss the process.
Selection of On-Site Art Project Management Option:
1. Delegate On-Site Art project management to the City of Richmond Arts and Culture Staff
2. Employ a private art consultant
3. Private Developer may directly propose an Artist or On-Site Art (Not recommended)
PAAC Preliminary Review (See Section II.D.3 for specific details): Private Developer presents summary of project, site drawings, etc to PAAC within 90 days of submitting Public Art in Private Development Application form
Additional PAAC Meetings if preferred by Private Developer PAAC Final Review (See Section II.D.5 for specific details):
Applicant presents art plan with description of proposed artwork, samples of Artist’s previous work, detailed drawings or photographs, rendering showing the artwork, a timeline for installation, maintenance plan, CAPA/VARA Waiver, etc
City Council Information Item and/or Approval of
Contracts: All On-Site Art will go to City Council as an information item. City Council shall approve any contracts over $10,000 related to Public Art in Private Development Meeting with Arts and Culture
Manager within 60 days of
submitting a Planning Application
with preliminary proposal
If Arts and Culture Manager
determines preliminary
proposal meets requirements
of Public Art Program, the
Private Developer will receive
instructions on documentation
and requirements for next
steps.
Final Steps: Once Artwork application has been approved, Private Developer may apply for building permit. Private Developer shall identify and secure all applicable permits prior to construction or installation of Public Art. Arts and Culture Manager shall verify prior to issuance of Certificate of Occupancy or Final Inspection that Artwork and required identification plaque were installed as approved by PAAC and Commission
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Exhibit D: Public Art in Private Development Payment Chart On-Site Art – Project
Management by City of
Richmond
-5% of public art
contribution is for City’s
administrative costs, plus
an additional 15% of
public art contribution
required for project
management costs
- City enters into
contracts with Artists
On-Site Art – Project
Management by Art
Consultant
- 5% of public art
contribution is for City’s
administrative costs
- Developer enters into
contracts with art
consultant and Artist
Designated Public Art Space
by Special Process
- 5% of public art
contribution is for City’s
administrative costs
In-lieu Contribution
-Developer pays public art
contribution to Public Art
Projects Account
-5% of public art contribution
is for City’s administrative
costs
The developer shall pay
the City the full public art
contribution and project
management fee to an
escrow account within
30 days of signing a
project management
agreement between the
City and the Private
Developer. This payment
shall initiate the City’s
project management of
all phases of the project
on behalf of the Private
Developer.
The 5% administrative
costs fee payment shall
be submitted alongside
all other fees due at
building permit issuance
If the expenditures do
not utilize the full public
art contribution, the
remainder shall be
deposited in the Public
Art Projects Account.
The 5% administrative
costs fee payment shall
be submitted alongside
all other fees due at
building permit issuance
If the expenditures do
not utilize the full public
art contribution, the
remainder shall be
deposited in the Public
Art Projects Account.
Payment must be
submitted alongside all
other fees due at building
permit issuance.
Private Developer Selects Option Below
Private Developer Submits Application
FINAL August 30, 2023 93
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‘Richmond Renaissance’ Vision Ignited
By Janis Hashe Mar 26, 2024
STREET ART One Of Richmond’s Many Murals—This One On Rich City Rides Bike Shop. (Photo By Ratha Lai) Imagine walking up Richmond’s Macdonald Avenue, from the RYSE Center to the Richmond Museum of History & Culture, and seeing “asphalt art”—open studios and galleries, maybe even a live theater performance in Civic Center Plaza. Long-disused buildings bustle with shops, restaurants and live/work spaces.
That’s part of the vision of a group of city residents planning the proposed Richmond Arts Corridor, which would also include 23rd Avenue from Macdonald up to the NIAD Art Center. A March 1 Zoom conference announced the plan’s progress. “We see this as igniting a ‘Richmond Renaissance,’” said chair of the steering committee, BK Williams, describing the participation of key anchor organizations including RYSE, the East Bay Center for the Performing Arts, the Richmond Art Center, the Richmond History Museum and NIAD, alongside many individual artists and arts groups.
The concept, she said, would connect multiple communities, bring in new businesses and green jobs, and attract both residents and visitors to a renewed downtown.
In a phone interview, Williams said that although the concept of an arts “district” had been discussed for years in Richmond, it was only a year ago that the partnerships really coalesced. The longtime Richmond resident is a filmmaker whose documentary Against Hate, about how the vitriol directed against former Richmond City Council member Jovanka Beckles, who is lesbian and biracial, led her to connect with many city officials and artists.
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Williams noted that other Richmond and Contra Costa County organizations, artsfocused and otherwise, have also expressed support for the project. “[All the partners involved] are being asked to work together for the first time,” she said,“and the response has been,‘We’ve wondered why we haven’t been asked before now.’” The Richmond Arts Corridor has received a $250,000 grant from the city for use in developing a master plan, and secured the ongoing support of current Richmond City Council members Claudia Jimenez, Melvin Willis and Cesar Zepeda. The group has an initial fundraising goal of $2 million, with an ultimate goal of $15 million to realize the full vision, expected to take five to eight years. Talks have begun with multiple potential donors.
Michele Seville, now an advisor for the project, served as Richmond’s arts & culture manager for 15 years. Although in 2021 the city passed an ordinance that “authorizes the allocation of one and one-half percent of all eligible City Capital Improvement Project (CIP) costs with budgets in excess of $300,000 for the acquisition of public artwork,” calculated each fiscal year, Seville understood the red tape involved in accessing these funds.
She also knew the artists and the city officials involved. When the time came to present the request for initial funds to the city council, she helped make the case for the arts as an economic driver, in part by pointing out how converting empty buildings along the corridor could open up studio and gallery spaces for artists, who could then help pay for their spaces by offering free workshops and performances. “There are successful models like this,” Seville said.
These same converted buildings could also house restaurants and other businesses. “We envision no dead spaces,” Williams said. She added that proposals such as AB 2881— introduced by Bay Area Assemblymember Alex Lee in February—that would build “social housing,” in which higher-income buyers subsidize lower-income units, could potentially be tapped to create live-work artists’ spaces.
Realizing that the Richmond Arts Corridor proposal required more professional assistance, group members reached out to Ratha Lai, founder and CEO of Critical Impact Consulting. Already well known in Richmond through previous positions with the Sierra Club and the Asian Pacific Environmental Network, Lai did not take much persuading to contribute expertise to the Arts Corridor plan. “[T]his is a timely moment to establish something positive,” he said.
His first suggestion was “not to try and do everything all at once.” There needed to be strategic planning, marketing support and the development of leadership roles, “creating a democratic structure for the organization,” he said. The plan needed to include civic engagement, with multiple discussions with community members on what 6/12/24, 9:25 PM ‘Richmond Renaissance’ Vision Ignited
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they would like to see. All of these ideas have been fully embraced by the original organizers.
Lai is also involved in the fundraising aspect. A fiscal sponsor, San Francisco’s Independent Arts & Media, has been secured and local funders such as the Zellerbach Family Foundation have been approached. Lai coined the term “Richmond Renaissance” to capture the spirit of the project.
The development timeline for the near future includes a year of community engagement and the following year creating some of the less costly parts of the proposal, such as banners and some of the asphalt art, and possibly some pop-up events or exhibits. Then, tackling issues such as renovation of the civic auditorium, which currently lacks modern lighting and sound suitable for many types of events. The visioning will continue, Lai said.
“The city is dedicated and committed to the Arts Corridor by releasing an RFP for community engagement, as well as a promise to find more funding to help with the corridor. This all is new funding, as Richmond already has the Arts & Culture Commission, which has its own projects as well,” he said.
All three interviewees were asked,“What do you see as the major benefits to average Richmond residents who are not artists?”
Seville replied,“Bring people outdoors to participate in the arts. It will be visually beautiful and also traffic-calming.”
The corridor would be BART-accessible and would bring people from all over the area into the city, benefiting local businesses, Lai said. “It will be empowering,” he added. “It would strengthen the safety net in our community. The need for services in Richmond is huge,” Williams said. “Everyone would be able to walk down the corridor safely … it will be a place people want to come to. There will be mentoring for kids, showing them the possibilities of an arts-based career. We see artists-in-residence in the school and doing classes in the youth detention center.” The dream is evolving, they said, and the will exists to make it reality. 6/12/24, 9:25 PM ‘Richmond Renaissance’ Vision Ignited
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