Art Builds Community with Gail M. Goldman Associates
2023
DRAFT
TABLE OF CONTENTS
1. EXECUTIVE SUMMARY 3
2. BACKGROUND 6
3. RESEARCH 10
FINDINGS AND
EMERGING THEMES
4. 15
5. VISION, MISSION, GOALS 20
6. RECOMMENDATIONS 22
7. IMPLEMENTATION 40
8. APPENDICES 42
1. Definitions
2. Implementation Grid
3. Core Questions
4. Survey Responses
5. City Art Collection Assessment
6. Location Map
7. Sample Temporary Artwork Policy
8. Sample Cultural Arts Program Job Descriptions
9. Sample Deaccession of Art Policy
10.Sample Gifts, Loans, and Exhibitions of Art Policy
11. Sample Memorials Policy and Guidelines
12.Sample Artist and Artwork Selection Guidelines
13. Sample Percent for Art Ordinance Amendment
14. Sample Developer Guidelines
15.Benchmark Cities
16.Sample Work Plan Template
17.Acknowledgements
TABLE OF CONTENTS 2
DRAFT
EXECUTIVE SUMMARY Image: "Our South
City," mural detail by
artist Sirron Norris,
Gardiner Park Playlot,
South San Francisco.
1. EXECUTIVE SUMMARY 3
DRAFT
The City of South San Francisco (City) has been commissioning public artworks and producing arts programming for more than 30 years. Unlike the City and County of San Francisco to the north, South San Francisco is not a prominent venue for large cultural institutions. It is, instead, a city whose population enjoys more participatory experiences: attending classes, festivals, and events, and celebrating the City’s history and cultural diversity.
Led by an engaged Cultural Arts Commission and City Council, South San Francisco has built a public art collection that is varied in medium, form, and style. The City also produces and hosts numerous arts classes, exhibits, and events through its Parks and Recreation Department, often with the support of local institutions and businesses.
The opportunity for the City to build its public art collection and add funds to programming improved dramatically in 2020 with the creation of a percent for art requirement on private development. This new funding source acted as the stimulus for initiating formal planning for the next five to ten years of public art and cultural programming.
In addition to new funding, the City’s 2022 General Plan, Shape South San Francisco, recognized the need to create an “arts and makers” district in Lindenville, an industrial area on the south side of the City. This arts district has the potential for being a hub for creative entrepreneurs and a public venue for showcasing arts and culture.
Art Builds Community (ABC) was hired by the City of South San Francisco in May 2022 to develop a Public Art Master Plan (Plan) to guide arts planning on a long-term basis. Their work included extensive research into existing community plans, site visits, individual interviews, focus groups, and public outreach events.
These contributed to the development of the following vision and recommendations.
VISION
South San Francisco is a welcoming place for people seeking opportunities to create, participate in, and experience arts and culture.
Image: "Our South City," mural detail by artist Sirron Norris, Gardiner Park Playlot, South San Francisco.
1. EXECUTIVE SUMMARY
1. EXECUTIVE SUMMARY 4
DRAFT
RECOMMENDATIONS
The following recommendations emerged from research and outreach conducted during the planning process. They consolidate and address recurring themes:
1. Commission art that reflects South San Francisco's diverse histories and cultural heritage.
2. Promote healthy living and reasons to experience the outdoors by including art in parks and along trails.
3. Support South San Francisco as a regional destination with its own distinct creative character.
4. Support artists and creative entrepreneurs.
5. Install temporary or permanent artwork in key locations, such as defining “gateways” to South San Francisco.
6. Promote arts and cultural activities as job creators and drivers of economic development.
7. Address the long-term need for artist studio space, equipped workshops, performance, and exhibit spaces in the design of Lindenville and, in the short term, in other locations.
8. Fund community arts classes and performances.
9. Provide dedicated staff to enable implementation of the Plan.
10. Clarify the roles and responsibilities of the Cultural Arts Commission.
11. Document and maintain the artwork in the City’s public art collection.
12. Amend the existing percent for art ordinance to increase the private development contribution to the Cultural Arts Fund and include the addition of 1% percent for art in new municipal construction projects.
13. Identify a funding source to support the presentation of performing arts and performing arts classes in the Lindenville Arts District and other community settings.
14. Build funding partnerships and collaborations with other agencies.
1. EXECUTIVE SUMMARY | Recommendations 5
DRAFT
BACKGROUND
Image: "ONE," by artist
Marco Cochrane, at the
entrance of a biotech private
development that faces
Highway 101.
2. BACKGROUND 6
DRAFT
CONTEXT
South San Francisco, or South City as it is called by its residents, is unique in its topography, location, and its name. Although people from outside the Bay Area naturally associate it with the famous city to its north, South San Francisco is neither part of San Francisco nor does it resemble that city in building types, urban configuration, or demographics. South San Francisco includes a combination of industry, residential neighborhoods, a transportation corridor, and major roadways. It is bisected by El Camino Real and two freeways that both divide and serve it.
Adjacent to the San Francisco Airport, South San Francisco is a hospitality hub that serves the biotech industries and regional travelers. To the west are its residential neighborhoods and Grand Avenue, a charming historic main street. On its eastern border, it enjoys a spectacular trail and marinas on the San Francisco Bay. To the north is Sign Hill and the San Bruno Mountain State and County Park. All these factors play a role in who and how the arts can serve in the City.
The arts have been rooted in South San Francisco for many years with arts and cultural events developed and coordinated by the Parks and Recreation Department. In 1994, the City created its Cultural Arts Commission (CAC) with a mission “to encourage and promote cultural arts and activities in the community and act as an advisory body to the City Council on matters pertaining to the arts and cultural affairs” (Ord. 1142).
2. BACKGROUND | Context
7 2. BACKGROUND
Image (Right): "Wind Harp," by artists Lucia and Aristides Demetrios, Wind Harp Park, South San Francisco.
DRAFT
Since its inception, the CAC has guided City leadership in the development of programs and the purchase and placement
of publicly accessible artworks. The CAC also has been an advocate and supporter of arts programming within the Parks and Recreation Department. These activities have been led for more than 23 years by a part-time Cultural Arts Specialist who has grown the City’s arts and cultural offerings. Her duties include initiation and support for art events, public art projects, art gallery exhibits, web page management, marketing, and facilitation of CAC meetings.
In November 2020, the potential for public art in South San Francisco changed dramatically with the creation of a private percent for art requirement. The effort, spearheaded by former Councilmember Karyl Matsumoto, stated that 1%
of construction costs for commercial development be set aside for the acquisition of qualifying public art in publicly accessible locations within the development site or to contribute in-lieu monies valued at 0.5% of construction costs into the Cultural Arts Fund. The planned purpose of the ordinance was to
encourage growth of public art in South San Francisco, and it defines public art with the broadest lens: support for free and accessible art of all disciplines in public spaces.
In 2022, the City issued a Request for Proposals to create a Public Art Master Plan, in part to guide the expenditure of expected percent for art in-lieu contributions into the Cultural Arts Fund. The scope included an inventory of the existing public art and art programs, an analysis of current and forecasted needs, the creation of a potential arts district and implementation strategies for implementing the plan.
The City and the CAC selected Art Builds Community (ABC) with Gail M. Goldman Associates as its consultants to develop the Plan.
2. BACKGROUND | Context & Purpose of Plan 8
PURPOSE OF PLAN
The City defined the purpose of its Public Art Master Plan as a document that would establish clear goals, policies, and objectives and provide guidance for the CAC, City Council, and City staff for the development, improvement, and enhancement of the City’s public art and arts and culture programs. The Plan is designed to be a long-term guide for the City of South San Francisco’s arts and cultural programs that establishes a foundational pathway to strengthen the City’s unique, regional identity from the present to the future.
Image: "SSF The Industrial City," by City Engineer George A. Kneese, Sign Hill Park, South San Francisco.
DRAFT
TIMELINE AND METHODOLOGY
ABC worked to develop this plan with the City Department of Parks and Recreation staff and the CAC’s Strategic Vision Committee from April 2022 to September 2023. They completed several site visits to South San Francisco, interviewed City staff and key stakeholders, and hosted community-specific discussions and events to seek input. ABC also studied City planning documents to identify potential partnerships and locations for public art projects and programs.
South San Francisco residents, workers, and visitors provided key input on the Plan. Information gleaned from interviews, focus groups, community meetings, and pop-up events helped shape recommendations that will guide the future of the arts in South San Francisco.
2. BACKGROUND | Timeline and Methodology 9
Image: Artist Focus Group, Municipal Services Building, South San Francisco.
April 2022
Project Initiation
May 2022 – March 2023
Monthly Meetings with Department of Parks
and Recreation Staff, Stakeholder Meetings
and Interviews
July 2022 – October 2022
Community Engagement Pop-ups
August 2022 – November 2022
Focus Groups and Public Meetings
August 2022 – January 2023
Strategic Vision Committee Check-in Meetings
September 2022 - December 2022
Survey
December 2022 – August 2023
Plan Framework Development and Review
September 2023
Plan Framework Adoption
The timeline was as follows:
DRAFT
RESEARCH
3. RESEARCH 10
Image: Community
members at the
Concert in the Park,
Orange Memorial
Park, South San
Francisco.
DRAFT
RELATIONSHIP TO
PLANNING GOALS
The research into City priorities included interviews with City staff, tours of South San Francisco, and an overview of the City’s planning goals. During the past few years, the City of South San Francisco has commissioned several planning studies that can have a direct bearing on arts and culture. These plans assisted ABC in identifying locations for art, understanding the City’s values and its municipal aspirations, and tailoring its recommendations. ABC reviewed these documents and
conducted follow-up interviews with City staff and their planning consultants. The documents included:
• Bicycle Master Plan
• Centennial Way Trail Master Plan
• Commission on Racial and Social Equity Master Plan
• Orange Memorial Park Master Plan
• Parks and Recreation Master Plan
• Pedestrian Master Plan
• SSF Cultural Arts Public Art Plan Guidance
• SSF General Plan
• Legislation Details for Lindenville Specific Plan
3. RESEARCH | Relationship to Planning Goals 11
3. RESEARCH
Image: Public art consultants Art Builds Community engaging with community members at Concert in the Park at Orange Memorial Park, South San Francisco.
The public art component of the Plan was influenced by
the CAC’s Public Art Plan Guidance, a detailed document compiled by the CAC that was guided by over 150 responses to a community survey. In addition, ABC participated in workshops on the development of the Lindenville Plan,
providing input on the Arts and Maker District
recommendation from the City’s General Plan.
DRAFT
COMMUNITY OUTREACH
Community outreach for the Plan included stakeholder meetings, focus groups, a bilingual survey in English and Spanish, and public pop-up events during which ABC used a series of core questions to identify recurring themes (Appendix 3). These activities began in June 2022 and continued through the end of November 2022.
Stakeholder Meetings
ABC met with City staff members, the CAC, school district staff, and private developers to hear how their activities support or interact with the arts. Developers also were asked about their experience integrating art into their new construction projects in South San Francisco and other cities.
Focus Groups
ABC conducted three in-person and three virtual focus
group meetings. Artists, developers, local leaders, and education administrators participated and provided input about community needs and priorities.
Surveys
ABC published a survey in English and Spanish on the City’s website and in print at community engagement pop-ups. ABC and City staff developed core questions for the survey specific to South San Francisco. There were 190 people who participated in the survey and whose responses helped inform the recommendations in this Plan (Appendix 4).
3. RESEARCH | Community Outreach 12
Image (top): Community members at the "Day of the Dead" art exhibit, Municipal Services Building, South San Francisco.
Image (bottom): Community members at the Concert in the Park, Orange Memorial Park, South San Francisco.
DRAFT
Pop-Up Community Events
ABC identified existing community events where pop-up
engagement activities could be hosted. The four selected were:
Movie Night in the Park, Concert in the Park, Handcrafted with Love (art exhibit), and Day of the Dead (art exhibit). Participants contributed to the planning process by completing surveys, responding to prepared prompts, identifying preferred artwork themes, mapping potential artwork and performance locations, and participating in hands-on art-making activities. More than 200 people participated in these activities (Appendix 6).
Casita South City
Casita South City was a pop-up community art project inspired by the movie Encanto, the featured film at Movie Night in the Park. In the movie, Casa Madrigal is a casita, a little house, filled with wonder and magic inspired by the supernatural powers of each member of the Madrigal family. Community members were asked to explore what makes South San Francisco their magical home by responding to the following questions:
• If Casita South City had art as a magical power, what would the Casita look like?
• What magical power does the City of South San Francisco have?
3. RESEARCH | Community Outreach 13
Image: Youth participants showcasing their drawings from the Casita South City art activity during “Movie Night in the Park” at Martin Elementary School, South San Francisco.
More than 60 adults and children participated in drawing and writing their thoughts in response to the prompt. The culmination of feedback from the activity presented a variety of interests and themes including, safe and walkable streets; love for the city’s free transportation services; opportunities to learn about the environment and nature; recycling and litter prevention to help keep their neigborhoods beautiful, opportunities for creative expression, and more accessible programs like “Movie Night in the Park.” DRAFT
South City Tapestry
South City Tapestry was a pop-up community weaving project that engaged community members in adding yarn to an evolving artwork in response to the following question:
What types of public art or art programming do you want to see in South San Francisco?
Participants were given six public art categories with public art examples to consider: kinetic/interactive, historical, murals, functional, environmental, light/digital/sound, and performance /events. The category they chose determined the yarn color that they added to the loom. The culminating artwork became a visualization of community priorities. More than 160 participants engaged in this interactive art project at Concert in the Park and Day of the Dead events. The following list below represents the participant’s top public art priorities from both events:
• Performance / Events
• Functional Art
• Kinetic / Interactive Art
• Light / Digital / Sound Art
• Environmental
Public programming, intereactive art experiences, and public art in communities that help enhance everyday life and public safety remain a consistent interest for community members across all three pop-ups. Interesting takeaways from the community engagement process include a high interest from youth participants advocating for historical art that represented the histories and stories of their city and culture.
3. RESEARCH | Community Outreach 14
Image (top): A family posing next to the South City Tapestry after weaving in their votes for public art during “Concert in the Park” at Orange Memorial Park, South San Francisco.
Image (bottom): Community members stop by the activity table to learn about the different categories of public art during “Concert in the Park” at Orange Memorial Park, South San Francisco.
DRAFT
FINDINGS AND
EMERGING THEMES
4. FINDINGS AND EMERGING THEMES 15
Image: Community
members dancing at
Concert in the Park,
Orange Memorial Park,
South San Francisco.
DRAFT
Information gleaned throughout the research and community engagement processes was evaluated by ABC. Input that was frequently repeated resulted in the following findings and emerging themes:
FINDINGS
• Public art and arts programming can contribute to the amount and quality of public activities in South San Francisco. • Public art in private development requires a transparent process and guidelines, as well as management by professional Cultural Arts Program staff (Appendix 13).
• Parks and public spaces are priority locations for public art. • South San Francisco-based artists need studio, exhibition, and performance space.
• A designated arts district that includes venues for exhibitions and performances can support the creative community and provide arts and cultural experiences for the public.
4. FINDINGS AND EMERGING THEMES | Findings 16
4. FINDINGS AND
EMERGING THEMES
Image (right): Community
member at the "Day of the
Dead" art show, Municipal
Services Building, South
San Francisco.
DRAFT
EMERGING THEMES
• Commission art that reflects South San Francisco’s many histories and cultural heritage and meet its diversity
aspirations.
- Empower community members to develop and implement
arts activities and events in their own neighborhoods.
- Encourage youth to participate in arts activities that engage them with their communities and promote civic
pride.
• Promote healthy living and reasons to experience nature by including art in parks and trails.
- Integrate art with environmental education to reflect and amplify the City’s sustainability goals.
- Create places where people can gather for celebrations and cultural festivals.
- Commission art that invites interaction.
- Commission art that promotes walkability and a sense of safety in residential areas.
• Make South San Francisco a regional destination for art. - Support platforms for impromptu and unexpected
opportunities for changing or temporary art and
performances.
- Nurture the local arts community by establishing a venue where artists can create, gather, exhibit, and perform
their work.
4. FINDINGS AND EMERGING THEMES | Emerging Themes 17
- Establish branding and marketing support to promote SSF as a regional arts destination with its own unique and
differentiating character.
• Commission iconic artwork in key locations including
Westborough Boulevard and Grand Avenue.
• Create a formal framework for integrating art in City construction projects.
- Ensure that the Cultural Arts Fund has sufficient funding to support public art and other arts initiatives.
- Fully staff the Cultural Arts Program.
• Recognize and support arts and cultural activities as significant contributors to the economy.
- Connect arts and culture to the City’s economic
development goals.
- Create a measurement framework protocol to track
outcomes.
- Feature arts activities and education in the City’s
marketing efforts.
- Promote cultural tourism.
DRAFT
4. FINDINGS AND EMERGING THEMES 18
Image: "American Dog," by artist Dale
Rogers, 2009, Centennial Way, South
San Francisco.
COLLECTION ASSESSMENT
ABC visited and reviewed the outdoor public art in the City’s collection to assess its general condition and placement. This plan recommends conducting a formal condition assessment of existing public art, completing routine maintenance and conservation on that work, reassessing placement of some artworks, and considering deaccession of others in the
collection (Appendix 9).
DRAFT
ARTS DISTRICT
The General Plan called for creating an arts district in Lindenville, the neighborhood located in the southern portion of South San Francisco and bordered by US Route 101 to the east, the City of San Bruno and Centennial Way Trail to the south, Fir Avenue and Magnolia Avenue to the west, and Railroad Avenue to the north.
The General Plan specifically identifies the Lindenville area as an “important opportunity to add housing adjacent to the downtown transit-rich core and support a creative arts and maker community.” After the adoption of the General Plan, the City hired Raimi + Associates to develop the Lindenville Specific Plan which is scheduled to be completed in September 2023.
Image: An example of an arts district called River Arts District in Asheville, North Carolina.
4. FINDINGS AND EMERGING THEMES | Arts District 19
ABC consulted with Raimi +Associates and informed them of community support for a centralized arts and culture destination.
The vision statement developed for the Lindenville Specific Plan describes the needs identified during community outreach.
Community engagement by ABC and Raimi + Associates
confirmed the desire for an inclusive neighborhood where artists and other creative entrepreneurs could live, work, and thrive. The Lindenville Specific Plan presentation to the City Council in February 2023 included the following elements:
• Mixed use residential development.
• Space for creation and preservation.
• Parks accessible by walking.
• Identifiable arts and cultural district.
• Creative industries on the ground floor.
• Green streets.
• Daily amenities, such as food and commercial sports.
• Regionally important industrial uses and local jobs and modern industrial spaces.
Both the Lindenville Specific Plan and this Public Art Master Plan address community desire to preserve parts of South San Francisco’s history while creating opportunities for people to support the local creative economy. It is anticipated that the Lindenville Arts and Makers District will evolve over time and DRAFT
incorporate recommendations from this Plan.
VISION, MISSION,
AND GOALS
5. VISION, MISSION, AND GOALS 20
Image: This image shows
San Jose Taiko drumming
group sharing their culture
to the community during a
perfromance in Japantown,
San Jose, CA.
DRAFT
The vision, mission, and goals for the Plan derive from guidance provided to ABC by the Cultural Arts Commission and the outcome of public engagement. The CAC’s streamlined mission is supported by expanded goals that reflect its priorities.
VISION
South San Francisco provides its residents and visitors with bountiful opportunities to create, participate in, and experience arts and culture.
MISSION
The City of South San Francisco Cultural Arts Commission supports, promotes, and protects community interest and diversity in art, culture, and creative expression.
GOALS
• Connect and build community among local artists of all ages and backgrounds.
• Encourage and support artist education and development. • Improve the City’s visual environment.
• Engage the arts to support economic development.
• Build an art collection that captures interest and reflects the City’s diversity.
• Celebrate culture through exhibitions and events in all forms.
5. VISION, MISSION, AND GOALS 21
5. VISION, MISSION,
AND GOALS
Image: Example of an arts festival, an artist sells her art at the San Jose Made Craft Fair, San Jose, CA.
DRAFT
RECOMMENDATIONS Image: Youth Mariachi Group
at Orange Memorial Park,
South San Francisco.
6. RECOMMENDATIONS 22
DRAFT
PROGRAMMING
Recommendation 1:
Commission art that reflects South San Francisco’s
diverse histories and cultural heritage.
South San Francisco, like many Bay Area cities, has a diverse and growing population. Dating back to the Ohlone who settled the area thousands of years ago, the City has been home to successive waves of immigrants who continue to be welcomed into the community.
South San Francisco facilitates cross cultural understanding through its support of various public events. Its cultural diversity is reflected in celebrations such as Día de Muertos, Lunar New Year, Fiestas Patrias, Asian American Pacific Islander Month, Diwali, and Pride. The City provides support and resources for these celebrations, including logistical and financial help. To that end, support for new and continuing arts activities can continue to build on South San Francisco's diversity.
• Grow arts and cultural programs that are welcoming,
accessible, diverse, and inclusive.
6. RECOMMENDATIONS | Programming - Recommendation 1 23
- Ensure that events are accessible to people with
disabilities, include translation for non-English speakers, and are available to participants at no charge.
• Build on the City’s existing support for cultural celebrations by increasing funding and logistical support.
• Create a festival grant program to support organizations producing unique festivals and public events.
- Provide arts activation grants that empower neighborhoods to develop and implement arts activities and events.
- Focus on grants that activate Common Greens, neighborhood parks, and walkable residential areas.
• Encourage youth to develop a sense of civic pride by engaging them in community-centric arts and cultural activities.
- Create a youth docent program for public art.
- Create a pilot program on the Centennial Way Trail that engages youth from the adjacent Boys and Girls Club and nearby high schools in artist selection panels and as artwork stewards. This program can be a model for other areas of the City where youth can engage with public art.
6. RECOMMENDATIONS
The following recommendations were informed by ABC’s research into South San Francisco’s planning documents, community outreach, and best practices in the public art field. The purpose of the recommendations is to guide the CAC in developing its annual and longer-term expenditures and work plans. The recommendations are organized in three categories: Programming, Administration, and Funding.
DRAFT
Image: This image captures art opportunity panels along Centennial Way Trail.
Recommendation 2:
Promote healthy living and reasons to experience the
outdoors by including art in parks and trails.
One of South San Francisco's most appealing features is its park system, trails, waterfront, and views from its hills. Environmental and interpretive artworks and nature oriented gathering places can draw people to explore these parks and trails.
• Integrate art with environmental education to reflect and amplify the City’s sustainability goals.
• Commission art that illustrates Indigenous, geologic, botanical, cultural, and historic elements in parks and trails.
6. RECOMMENDATIONS | Programming - Recommendation 2 24
• Create visually engaging places where people can gather for celebrations and cultural festivals.
• Commission art that invites interaction, including music, sound, and tactile art.
• Relocate and commission environmentally oriented art at Centennial Way Trail.
• Commission temporary and permanent pedestrian-oriented art in residential areas to promote walking and a sense of safety. - Artist-designed crosswalks
- Little neighborhood libraries or museums
- Banners
- Utility boxes
DRAFT
Image: The Outside Art Project at Coal Drops Yard at Kings Cross in London is an example of outdoor temporary gallery exhibitions that can support local artists.
Recommendation 3:
Support South San Francisco as a regional destination
with its own distinct creative character.
South San Francisco has its own unique cultural identity, traditions, history, and institutions. While it is not a destination for any formal arts experiences like theatres, museums, and concerts, the City has a suburban, walkable, and neighborly atmosphere in its residential areas and a corporate and safe urban feel in its commercial zone.
Art can be an active means of bringing the two parts together by providing opportunities for art installations and performances that reflect diverse communities. As the City grows its creative workspaces, its arts and creative activities will become a more visible part of its identity. Community members and City planning documents suggested a variety of locations where arts and creative activities can thrive.
• Support platforms for impromptu and unexpected opportunities for changing or temporary art and performances.
- Create designated busking zones and a permitting process to support them.
- Initiate a revolving sculpture program.
- Explore potential locations for these activities including:
◦ Neighborhood parks
◦ Transit Center at Karyl Matsumoto Plaza
◦ Point San Bruno Knoll (Wind Harp)
◦ Oyster Point
◦ Grand Avenue Breezeways
• Create an annual summer festival at Oyster Point that attracts tech workers and locals.
6. RECOMMENDATIONS | Programming - Recommendation 3 25
• Nurture creativity by establishing a place where artists can practice, gather, exhibit, and perform their work.
- Include potential locations in the Lindenville Specific Plan being developed by Raimi + Associates.
- Commission a study of existing building opportunities. - Consider a City lease of unused commercial or institutional space to accommodate community arts activities including practice and performance rooms, classrooms, and studios. • Commission public art in public-facing spaces in business districts and in open spaces where the City does not currently have projects planned.
- Waterfront
- Neighborhoods, e.g., crosswalks, historic markers, utility boxes, banners, including community-generated projects. - Trails
DRAFT
Image: Performing arts class through the
South San Francisco Civic Ballet operated by
the Parks and Recreation Department.
Recommendation 4:
Support artists and creative entrepreneurs.
Cultural life depends on nurturing a community of artists from all backgrounds and disciplines. There are many artists living and working in South San Francisco who could contribute more to the life of the area if there were more places for them to highlight and share their work. While the City has hosted quarterly art exhibits in its Municipal Services Building for many years, it can support and promote new venues to display artists’ work. Arts and culture will become a greater part of South San Francisco's identity as it grows its community of artists and creative entrepreneurs. • Encourage the CAC to sponsor an ongoing series of artist get-togethers to promote stronger community ties and
opportunities for artists to share their activities and resources.
• Engage artists in the development and implementation of the Lindenville Arts and Makers District.
• Build and manage a fully equipped community arts center where artists and arts groups can practice, perform, and display their work (see Recommendation 7).
• Provide dedicated gallery/museum space for continuous displays of art including changing exhibitions and artworks from the City's permanent collection.
6. RECOMMENDATIONS | Programming - Recommendation 4 26
DRAFT
Image: Boys and Girls Club of North San Mateo County Mural Project by Precita Eyes Artists, South San Francisco.
Recommendation 5:
Install temporary or permanent artwork in key locations.
Public art installations, whether permanent or short-term, can take the form of gateways, placemaking elements, and district markers.
Artworks that are properly scaled and located will contribute to South San Francisco’s reputation as an arts destination. Currently, many of South San Francisco's most interesting artwork displays are also its best kept secrets. Promoting these artworks and commissioning new ones will elevate South San Francisco's arts profile.
• Improve access and seating on Point San Bruno Knoll
surrounding the Wind Harp, i.e., build a partnership with Genentech to improve access to the park and provide
weekend parking for park visitors.
• Consider relocating select artworks from Orange Memorial Park Sculpture Garden to more visible and appropriate
locations (see Recommendation 11.)
• Commission artwork for key locations including Westborough Boulevard median, Grand Avenue breezeway, and El Camino Real entrance to South San Francisco (See Locations Map in Appendix 6).
• To ensure that the placement and implementation
of temporary art is consistent with the standards for
commissioning permanent artwork, adopt a policy
and procedures for the consideration, location, and
installation of temporary art on City-owned property
(Appendix 7).
6. RECOMMENDATIONS | Programming - Recommendation 5 27
DRAFT
Image: Newly renovated South San Francisco Caltrain Station (2022).
Recommendation 6:
Promote arts and cultural activities as job creators
and drivers of economic development.
Activities that bring people together to share cultural experiences are vital in this post-pandemic, climate-anxious age. South San Francisco has nurtured an environment that draws people, supports local businesses, and makes the City an attractive place to work, live, and play. It has been demonstrated that free participatory arts activities, interactive installations, placemaking art, and performance spaces contribute to the economy and provide a sense of well-being. New funding sources present an opportunity to expand the arts into a greater variety of spaces.
• Expand cultural experience elements in all City investments in parks, arts, transit, and libraries by creating new opportunities for busking, temporary art and changing exhibitions.
• Integrate public art and activities into the design of parks, the development of pedestrian plans, the new Civic Campus and its surroundings, the waterfront, and at developments adjacent to the Caltrain Station.
• Feature arts activities and education in City marketing efforts. • Work with the hospitality industry to advertise cultural activities, including music, art, and culinary experiences to business travelers.
• Offer skill-building classes and industrial arts workshops that provide training in materials, processes, and applications that lead to workforce development in trades, design and technology.
6. RECOMMENDATIONS | Programming - Recommendation 6 28
DRAFT
Image: This image shows “Moment San Jose,” a micro retail storefront underneath a parking structure in San Jose, CA Recommendation 7:
Address the need for art spaces in the
design of Lindenville.
The Planning Division of the City’s Economic and Community Development Department was in the initial stages of creating the Lindenville Specific Plan during the development of this Public Art Master Plan. The Lindenville Specific Plan is intended to be a comprehensive planning and zoning tool for this industrial area south of the downtown area. The two plans have a common interest in supporting the creative community and providing arts and culture resources to the community.
ABC worked with the Lindenville Specific Plan team to explore potential opportunities for a South San Francisco Arts District.
Feedback received during community engagement identified a variety of needs. Repeatedly, community members cited the priority
6. RECOMMENDATIONS | Programming - Recommendation 7 29
need for a community arts venue. An arts district in Lindenville can simultaneously support the creative community with innovative arts programming while preserving the cultural and historical significance of South San Francisco in the following ways:
• Encourage developers to activate the ground floor of new developments for creative uses including exhibition venues, performance spaces, classrooms, and community workspaces that can accommodate tools, equipment, and materials.
• Zone Lindenville to encourage affordable live/workspace for creative entrepreneurs.
• Include public art as an element of design and construction in all Lindenville infrastructure and private development.
• Solicit proposals from artists and arts organizations to produce events and exhibitions in Lindenville’s public spaces, increasing South San Francisco’s visibility as an arts destination.
DRAFT
Image: Youth Art Shows are a program of the Cultural Arts in South San Francisco.
Recommendation 8:
Fund arts classes and performances.
South San Francisco provides significant opportunities for people of all ages to participate actively in arts activities. However, there is inadequate space for performances and the demand for classes exceeds the availability of spaces. The need for a community arts space was identified in both the 2015 Arts and Recretion Master Plan and the 2022 General Plan. While this need will be partially addressed with the opening of the new Library | Parks and Recreation Center in Fall 2023, demand is likely to outstrip supply.
• Fund a citywide cultural plan to survey demand and
participation in cultural events and to identify areas of need.
• Increase the annual allocation of funding for classes and performance space.
• Identify areas of need such as drop-in creative studio space and expanded evening and weekend class offerings.
• Offer creative studio space on a drop-in and/or reserved basis. • Expand offerings and times to accommodate wider interests and availability outside of business hours.
6. RECOMMENDATIONS | Programming - Recommendation 8 30
DRAFT
ADMINISTRATION
Recommendation 9:
Provide dedicated staff to enable implementation
of the Plan.
South San Francisco has excellent arts programming staff in the Parks and Recreation Department who have built solid arts programming over the last 30 years. The program has been supervised and supported by various managerial positions over the years.
Currently, there is one .75 Full Time Equivalent Cultural Arts Specialist designated to manage all arts and cultural programs, and events. Responsibilities of the position include coordinating art exhibitions, publicizing arts and culture activities, planning and implementing special projects, fundraising, and preparing materials and attending Cultural Arts Commission meetings, among other duties. The demands on staff and need for specialized staff will increase as the Cultural Arts Fund grows and opportunities arise to commission permanent and changing public artworks and to fund programming. The ambitions of this Plan are centered on South San Francisco’s desire to employ the arts as a key element of its growth.
As such, staff are required—whether permanent or contractual—to work with City staff and the CAC to plan and implement its arts investments, conduct community engagement, and manage arts projects.
Dependable and knowledgeable administration of South San Francisco's Cultural Arts Program is essential to achieve the goals and objectives outlined in this document. For the public art component specifically, most of the day-to-day work is administrative, can be complex, and challenging, requiring specialized expertise. To that end, public art administrators should have good knowledge of art history, contemporary
6. RECOMMENDATIONS | Administration - Recommendation 9 31 art, public administration, community relations, contract negotiation, project management, public education, and collection maintenance.
Public art management requires an unusual complement of knowledge and skills to work successfully with community members, artists, architects, engineers, building contractors, elected officials, City staff, and other technical professionals.
The following new staffing, in addition to the current Cultural Arts Specialist, is recommended to ensure professional and successful implementation of the goals and objectives of the Cultural Arts Program and its anticipated growth over the next five years (Appendix 8):
Full Time Cultural Arts Program Supervisor
Under the direction of the Parks and Recreation Department, the Cultural Arts Program Supervisor is accountable for management level administrative work directing program operations, staff, projects, budget, and complex tasks in support of the Cultural Arts Commission mission, goals, policies, and objectives.
Full Time Cultural Arts Program Public Art Coordinator
It is the responsibility of the Cultural Arts Program Public Art Coordinator to assume the pivotal role of overseeing the implementation of the public art ordinance, working with all stakeholders, and guiding the process including the artist and artwork selection; artwork design, fabrication, and installation; maintenance, gifts, loans, and deaccession of artwork; and marketing and social media.
Part Time Collection Specialist
The Cultural Arts Program Collection Specialist manages the public art collection inventory, tracks maintenance and repairs, and produces content for educational and promotional materials.
DRAFT
Recommendation 10:
Clarify the roles and responsibilities of the
Cultural Arts Commission.
Under the leadership of then mayor Jack Drago, the CAC was appointed by the City Council in 1994. It has guided the development and growth of cultural arts with CAC Commissioners often assuming multiple roles, including supporting events, and coordinating artist selection, a role that would normally be coordinated by staff and adjudicated by peer panels. Refining the roles and responsibilities of the CAC will enable it to function as policymakers and stewards of the Plan.
Notably, the CAC reflects the demographics of South San Francisco, and it is important that it continue to do so. In addition to cultural diversity, the CAC should continue to include members with diverse backgrounds and expertise in the arts, including individual artists in the visual, performing, literary, and media arts, educators, patrons, curators, historians, and others with professional qualifications and experience or knowledge of a particular field of the arts.
In general, the duties of an arts and culture commission include the following:
• Establish and approve the Cultural Arts Program mission, and curatorial and programmatic goals, policies, and
guidelines.
• Review and act on Artist/Artwork Selection Panel
recommendations for Cultural Arts Fund projects.
• Review and approve recommendations for maintenance
and conservation of artwork, deaccession of artwork, and acceptance of artwork gifts and loans, in accordance with each respective policy.
6. RECOMMENDATIONS | Administration - Recommendation 10 32 • Develop an Annual Cultural Arts Work Plan outlining specific public art projects, locations, and budgets for submission to the City Council.
• Serve as the key advocacy body for the City’s Cultural Arts Program.
• Acknowledge artists’ rights under the federal Visual Artists Rights Act (Pub. L 101-650 title VI, 17 U.S.C. § 106A) and the California Art Preservation Act (Cal. Civil Code §§ 987 and 989).
The following recommendations aim to reinforce and clarify the role of the Cultural Arts Commission as identified in above:
• Revise South San Francisco, California Municipal Code, Title 2 Administration, Chapter 2.80 Cultural Arts
Commission by reinforcing and clarifying the role of the Cultural Arts Commission as policymakers and advocates. • Expand expertise among CAC commissioners to include arts industry-related knowledge.
• Create an Annual Cultural Arts Work Plan.
DRAFT
6. RECOMMENDATIONS | Administration - Recommendation 10 33 An Annual Cultural Arts Work Plan is a valuable tool for charting current and future arts and culture projects and programming. This serves to inform City policymakers, staff, and the public about arts and culture activities and opportunities available.
Planning for long-range and near-term projects needs to be balanced.
To ensure operational consistency and accountability, the CAC and Cultural Arts Program staff will annually identify new projects to be initiated within that fiscal year and provide a status report on current and completed projects. The Annual Cultural Arts Work Plan should be updated each fiscal year and include the following components:
• Eligible municipal percent for art projects and other arts and culture projects and programs to begin within the following one-year period.
• Budget and funding sources for each project.
• Status of the Cultural Arts Fund as well as anticipated new funding from private development percent for art in-lieu contributions.
• Location of each project and identification of community partners. • Estimated timeline for project initiation and completion. • Projects currently funded and in progress with estimated project completion dates.
DRAFT
Recommendation 11:
Document and maintain the artwork in
the City’s public art collection.
Over the past 30 years, the City has acquired its visual artwork collection in a variety of ways and without a clear strategy or vision for its collection. The collection includes 41 permanently sited artworks and an unknown number of small-scale artworks displayed indoors. The current database does not include all the details of how artworks were acquired, their dates of acquisition, media, date of creation, and artist name. In addition, some artworks are missing onsite identification plaques and others are not included on the City’s interactive art map.
This information is needed as the City grows and refines its collection.
The bulk of the City’s sculpture collection is exhibited in the Orange Memorial Park Sculpture Garden in a designated landscaped area.
The award-winning sculpture garden was the vision of City leaders and Cultural Arts Commissioners and was landscaped to display sculpture. The artworks in the sculpture garden are mostly in good condition, with some exceptions; however, the quality of the work is inconsistent (Appendix 5). Some artworks were created by professional artists and others are more amateur and ad hoc in nature. Over the years, the space has become cramped and has no room to grow as it is located in a narrow strip of the park in between the parking lot, bocce and tennis courts, and public restrooms.
Outside of the sculpture garden, the scale of specific artworks need reconsideration. For example, “Millennium” by James Russell, while positioned in a median as a visual gateway, is under-scaled for an artwork located in the middle of a multi-laned arterial road. More intimate works, like the “Our South City” mural at Gardiner Park, and “American Dog” at Centennial Way Dog Park serve a more useful purpose as they reinforce a sense of place.
Image: "Electric Slide," by artist Pokey Park, located in Orange Memorial Park Sculpture Garden, South San Francisco.
6. RECOMMENDATIONS | Administration - Recommendation 11 34 DRAFT
“Wind Harp,” the most iconic work in the collection, is on the Point San Bruno Knoll at the center of the Genentech campus. It is difficult to find, and there is limited parking nearby. While it is in good condition, it deserves greater public access.
Regarding the condition of the entire collection, outdoor artworks that are exposed to the elements and human contact need routine maintenance and occasional conservation. That said, some artworks, such as the “Doors of Avignon,” are in such deteriorating condition that deaccessioning them from the collection may be the most practical solution.
The City’s interactive art map is incomplete and includes both City-owned and privately-owned artworks. ABC has identified the current condition of each artwork shown on the map, in addition to its date and location, when known (Appendix 5).
To properly document and manage the collection of artworks, the following actions are recommended:
• Contract with a professional curator to assist in relocation of some artworks from Orange Memorial Park to places where they will be more visible and therefore more appreciated.
- New Library | Parks and Recreation Center
- Centennial Way Trail
- Neighborhood playgrounds and parks
• Relocate and commission environmentally oriented art at Centennial Way Trail.
• Update the public art database to include recent mural installations and to ensure that the database includes
the name of artists, name of artworks, date of artwork
installations, media, and acquisition information including costs.
6. RECOMMENDATIONS | Administration - Recommendation 11 35 • Include digital copies of artists' contracts in the public art database, and update it annually to insure that artists' contact information is up to date.
• Contract with a professional art conservator to create an assessment and maintenance plan for all artworks in the City’s collection; fold these recommendations into the public art database.
• Provide funding for and conduct annual routine maintenance of all artworks.
• Prioritize and conduct conservation of artworks that need repair.
• Adopt policies and procedures for the deaccession of artwork and for gifts, loans, artwork memorials, and exhibitions of artwork on City property to meet industry standards for effective public art collection management (Appendix 9, Appendix 10, and Appendix 11).
• Deaccession artworks whose condition is poor and whose maintenance or repair cost exceeds its original cost or its value to the community.
• Create an on call list of artwork conservators and fabricators who can repair and maintain artwork as needed.
DRAFT
FUNDING STRATEGIES
While the City has created a percent for art in private development ordinance, it is not written in a way that will result in a significant Cultural Arts Fund that matches the ambitions of this Plan. To that end, the ordinance should be amended, and other funding strategies explored to ensure and sustain funding in the Cultural Arts Fund.
There are several basic funding strategies the City can employ to fund the arts:
Recommendation 12:
Amend the existing percent for art ordinance to increase the private commercial development contribution to the
Cultural Arts Fund and include the addition of 1% percent for art in new municipal construction projects.
• Require all private commercial developers of new construction with building permit valuations of $250,000 or more who opt for onsite art to allot 1% of building permit valuation costs to on-site art of which 25% of the 1% is deposited into the Cultural Arts Fund. • Require all private commercial developers of new construction with building permit valuations of $250,000 or less to contribute the full 1% to the Cultural Arts Fund.
• Consider a feasibility study to residential projects over a certain number of units in the percent for art in private development.
The City of South San Francisco City Council adopted a percent for art in private development ordinance in November 2020 specifying that 1% of construction costs for commercial projects/
6. RECOMMENDATIONS | Funding Strategies - Recommendation 12 36 developments be set aside for the acquisition of qualifying public art in publicly accessible locations within the development site or to contribute in-lieu monies valued at 0.5% of construction costs into the Cultural Arts Fund. The intent of this requirement was to build discretionary funding for public art and cultural arts projects throughout South San Francisco by growing the resources available through the Cultural Arts Fund.
In practice, the private developers in South San Francisco with whom the consultants spoke are enthusiastic about art and therefore prefer spending the 1% public art allocation for on-site artwork. To ensure and sustain funding in the Cultural Arts Fund, it is recommended that every development project be required to contribute 25% of the 1% public art allocation to the Cultural Arts Fund and that any development project with a Building Permit Valuation of $250,000 or less be required to contribute the full 1% to the Cultural Arts Fund since the percent for allocation is not enough to cover artist fees, materials, fabrication, and maintenance of a substantial artwork.
The current economic climate for private residential housing precludes the addition of a City-required percent for art fee.
However, residential developers are strongly encouraged to include artwork in publicly accessible locations in new development projects.
Implementation of this ordinance will be the responsibility of the Cultural Arts Program staff. To ensure consistency and transparency, implementation guidelines for private developers and staff need to be adopted (Appendix 12).
• Add 1% for art in new municipal construction projects to the DRAFT
percent for art ordinance (Appendix 13).
6. RECOMMENDATIONS | Funding Strategies - Recommendation 12 37 Require the allocation of 1% of the construction budget for eligible Capital Improvement Program (CIP) projects of $250,000 or more for public art.
The City of South San Francisco is eager to expand its commitment to public art and take a leadership role in providing sustainable funding to support the arts as an element of the City’s development and revitalization. The most predictable way of funding art on City property is through the City’s CIP budget. The purpose of the percent for art calculation is to establish a consistent source of funding that is tied to the City’s growth. Public art funded by this method becomes integral to the City’s placemaking and economic development goals.
Implementation of the percent for art in CIP projects will be the responsibility of the Cultural Arts Program staff, who will manage the artist selection processes and oversee the design, fabrication, installation, and maintenance of the artwork on City-owned property.
Cultural Arts Program staff will have the authority to pool CIP percent for art funds and use them to supplement the percent for art budget of another CIP project. On a case-by-case basis, an increase to a public art budget allows for a larger and more impactful artwork for the site and community. It also provides an opportunity for equitable distribution of artworks throughout the City
Review and approval of artists and artwork for CIP construction projects of $250,000 or more will be the responsibility of the Cultural Arts Commission in accordance with Chapter 4 in the Municipal Code.
Establishing and maintaining consistent standards and practices for the selection of artists and artwork is critical to a successful public art program. Adopting guidelines for this purpose will encourage the highest level of creative engagement while furthering the mission and goals of the Cultural Arts Program (Appendix 12).
Image: "Tabula," by artist Charles Gadeken, 2016, located in Palo Alto is an DRAFT
example of public art in a private development project.
6. RECOMMENDATIONS | Funding Strategies - Recommendation 13 38 Recommendation 13:
Identify a funding source to support the presentation of performing arts and performing arts classes in the Arts District and in community settings.
There is clearly an interest in the performing arts, which requires facilities, classes, and funding. The City could undertake a citywide comprehensive cultural plan to identify need, opportunity, funding sources, and partnerships. Potential funding sources include:
Community Benefit Agreements
The City of South San Francisco can require specific community benefits such as performing arts spaces, shared studio and exhibit spaces in special districts such as Lindenville. These facilities can be phased in over time.
Tax Districts and Public Development Authorities
The City may also choose to employ a Mello Roos tax district or a Public Development Authority to fund the creation of a community arts facility in Lindenville or another appropriate location.
Transient Occupancy Tax
There is a natural nexus between travel and the arts, and an economic benefit in retaining travelers who are staying in South San Francisco hotels. Dedicating a portion of a transient occupancy tax to the artist will support activities that encourage visitors to remain in South San Francisco to attend arts events and spend their dollars in the City.
Admissions Tax
Admissions taxes are levied on tickets for sports, arts, movies, or other ticketed events. These taxes can be used to support live arts and entertainment events.
Parking Meter Fees
When the City creates fees for parking, whether at meter or in parking garages, a portion of these fees can be earmarked to support performing arts events and spaces.
Image: The Pleasanton Firehouse Arts Center attracts
visitors from throughout the Bay Area to attend events
like the Lunar New Year celebration.
DRAFT
6. RECOMMENDATIONS | Funding Strategies - Recommendation 14 39 Recommendation 14:
Build funding partnerships and collaborations
with other agencies.
Building a robust arts program works best when it includes partnerships with organizations that share the goal of creating a city that works for all its residents, visitors, and workers. Potential partners include:
Downtown Property Owners Business Improvement District (PBID) PBIDs are established specifically to create amenities and services that directly support the cleanliness, safety, and liveliness of business districts. PBID funds can be used to support arts activities.
San Mateo Office of Arts and Culture
The County of San Mateo’s Office of Arts and Culture offers several grants that can support nonprofit arts organizations in South San Francisco.
Schools and Community Colleges
South San Francisco can build partnerships with local schools and community colleges to support the creation and performance of free and accessible arts activities on their campuses, and within the City buildings and parks. The mural program at Skyline College that has created work in South San Francisco is an excellent model for this.
Tech companies Corporate Social Responsibility (CSR) Programs Most corporations include CSR programs that are designed to provide funding or other resources to support community-based activities.
These resources can be employed to support free and accessible arts programming.
Image: The San Jose Downtown Association PBID supports local high school artists with their Downtown Arts program that exhibits their art throughout downtown.
DRAFT
IMPLEMENTATION
7. IMPLEMENTATION 40
DRAFT
7. IMPLEMENTATION 41
7. IMPLEMENTATION
Short term, mid-term, and long-term implementation goals for each action identified above are listed in an Implementation Plan (Appendix 2). These goals were prioritized based on the immediate availability of funding, the ease of implementation, and the need to demonstrate success early in the development of South San Francisco’s public art plan. The chart includes potential partners and potential funding sources. It is complemented by an Annual Work Plan template in Appendix 16.
DRAFT
8. APPENDICES
1. DEFINITIONS 43
2. IMPLEMENTATION PLAN 44
3. CORE QUESTIONS 49
4. SURVEY RESULTS 50
CITY ART COLLECTION
ASSESSMENT
5. 66
6. LOCATION MAP 74
SAMPLE TEMPORARY
ARTWORK POLICY
7. 75
SAMPLE GIFTS, LOANS,
EXHIBITIONS OF ART POLICY
10. 87
SAMPLE CULTURAL
ARTS PROGRAM JOB
DESCRIPTIONS
8. 79
SAMPLE DEACCESSION
OF ART POLICY
9. 81
SAMPLE MEMORIALS POLICY
AND GUIDELINES
11. 91
SAMPLE ARTIST AND ARTWORK
SELECTION GUIDELINES
12. 95
SAMPLE PERCENT FOR ART
ORDINANCE AMENDMENT
13. 99
SAMPLE DEVELOPER
GUIDELINES
14. 111
15 BENCHMARK CITIES 119
SAMPLE WORK PLAN
TEMPLATE
16. 123
17. ACKNOWLEDGEMENTS 124
8. APPENDICES 42
DRAFT
1. Artist: A practitioner of the creative arts, recognized as such by critics and peers, with a body of work including commissions, exhibitions, sales, publications, and collections.
2. Arts District: An arts district is an urban area intended to create a critical mass of places of cultural consumption such as art galleries, theatres, music venues, art studio workspaces, and public spaces for performing arts.
3. Artist Selection Panel: The artist selection panel functions in an ad hoc capacity and is responsible for reviewing artist submittals for publicly funded art projects and making recommendations of finalists to the Cultural Arts Commission.
4. Conservation: The cleaning, preserving and occasional repairing of works of art by a professional conservator.
5. Creative Entrepreneur: A person working in the creative sector such as visual art, design, music, media, literature, or performance who demonstrates business success in their creative field.
6. Cultural Arts Fund: A separate account into which all monies generated from the private development percent for art and from other donations of money are deposited and may be expended on public art and arts and culture activities and projects.
7. Deaccession: The procedure for the removal of an artwork owned by the City and the determination of its future disposition.
8. Design Professional: An individual working in the field of graphic design, landscape architecture, architecture, industrial design, or related fields.
9. Municipal Percent for Art: Dedication of funds from a jurisdiction’s qualifying Capital Improvement Program (CIP) projects towards the development of public art.
10. Permanent Art: Artwork intended to stay in position for long periods with a predetermined lifetime of more than one year to centuries.
11. Private Development Percent for Art: Dedication of funds from a private development project required by the jurisdiction for public art on the development project site or the in-lieu contribution of funds to the Cultural Arts Fund.
12. Public Art: Artwork created by an artist in a public place fully accessible seven days a week on private property or on land or in a building owned by the City; encompasses all cultures through the broadest possible range of expression, media, and materials; may be permanent, fixed, temporary or portable; and may be an integral part of a building, facility, structure, or landscape.
13. Routine Maintenance: Activities required to conserve, repair, or preserve the integrity of the artwork and setting within which the artwork is located. Routine maintenance means the basic day-to-day care of the artwork.
14. Temporary Art: Artwork that has a predetermined lifetime ranging between a few hours to several years.
APPENDIX 1. DEFINITIONS: KEY TERMS
APPENDIX 1. DEFINITIONS: KEY TERMS 43
DRAFT
Implementation of this plan requires both cultural arts funding and in-kind and financial partnerships with businesses, community organizations and the City's own departments.
SHORT TERM: UP TO 2 YEARS
APPENDIX 2. IMPLEMENTATION | Short Term: Up to 2 Years 44 APPENDIX 2. IMPLEMENTATION PLAN
RECOMMENDATION PARTNERS POTENTIAL
FUNDING
Increase funding and logistical support
for existing festivals
Provide grants to activate neighborhood parks
with art
Provide little neighborhood libraries or museums
Commission art on utility boxes
Commission temporary artwork at Point San
Bruno Knoll (Wind Harp)
Sponsor series of artist get-togethers
Engage artists in the development of Lindenville
Arts and Makers District
Work with City departments to integrate public art
and activities into the design of new construction and
general and specific plans, including Lindenville
Cultural Organizations,
Corporate Support
Neighborhood Organizations
Neighborhood Organizations
Genentech
Open Studios
Open Studios,
Arts Organizations
Neighborhood Organizations
Public Works Department,
Capital Projects, and
Planning Division
Cultural Arts Fund
Cultural Arts Fund
Cultural Arts Fund
Cultural Arts Fund
General Fund
General Fund
Cultural Arts Fund
General Fund
PAGE
REF.
23 23
24 24
27 26
29 28
DRAFT
APPENDIX 2. IMPLEMENTATION | Short Term: Up to 2 Years 45 Zone Lindenville to encourage
affordable live/workspace
Create annual allocation of funding for
classes and performance space
Hire full time Culture Arts
Program Manager
Hire full time Cultural Arts Program Public
Art Coordinator
Revise South San Francisco, CA Muni Code
regarding role of Cultural Arts Commission
Create Annual Arts Work Plan
Adopt Deacession Policy and Gifts, Loans,
Memorials, and Exhibition Policy
Amend the existing percent for art ordinance
Developers, City Attorney,
Planning Division
Cultural Arts Commission
City Manager
Cultural Arts Commission,
City Council, City Attorney
Cultural Arts Commission
Cultural Arts Commission,
City Council, City Attorney
City Manager
City Manager, City Attorney
General Fund
Cultural Arts Fund
General Fund,
Cultural Arts Fund
General Fund
General Fund
General Fund
General Fund,
Cultural Arts Fund
General Fund
29 30
31 31
32 41
35 36
Create developer incentives to activate creative
uses of the Lindenville development
Developers, City Attorney,
Planning Division
General Fund 36-27
RECOMMENDATION PARTNERS POTENTIAL
FUNDING
PAGE
REF.
SHORT TERM: UP TO 2 YEARS
DRAFT
MID TERM: 3-5 YEARS
APPENDIX 2. IMPLEMENTATION | Mid Term: 3-5 Years 46
Create a festival grant program
Provide grants to activate Common Greens with art
Include students from the Boys and Girls Club/local
high schools on artist selection panels for artwork
on the Centennial Way Trail
Commission artist-designed crosswalks
Commission artist-designed banners
to enhance neighborhood identity
Commission temporary artwork at the
Transit Center at Karyl Matsumoto Plaza
Commission temporary art at Grand Avenue
breezeways
Commission art along the waterfront
Cultural Organizations,
Corporate Support
Neighborhood Organizations
Schools, Boys and Girls Club
Neighborhood Organizations
Transit Center at Karyl
Matsumoto Plaza
Chamber of Commerce
Public Works Department
Corporate Support
Cultural Arts Fund
Cultural Arts Fund
General Fund
Cultural Arts Fund
Cultural Arts Fund
Cultural Arts Fund
CIP Percent for Art
Cultural Arts Fund, Bonds
23 23
24 24
24 25
25 25
RECOMMENDATION PARTNERS POTENTIAL
FUNDING
PAGE
REF.
DRAFT
MID TERM: 3-5 YEARS
APPENDIX 2. IMPLEMENTATION | Mid Term: 3-5 Years 47
Commission art along the trails
Improve access and seating on Point San Bruno
Knoll (Wind Harp)
Relocate select artwork from Orange Memorial
Park Sculpture Garden to more visible locations
Commission artwork for El Camino Real
entrance to South San Francisco
Hire a part time Cultural Arts Program Collection Manager Create a public art database
Create an assessment and maintenance plan for all
City-owned artworks
South San Francisco Planning
Division
Genentech
Cultural Arts Commission
City Manager
Cultural Arts Commission
Cultural Arts Commission,
City Council, City Attorney
Cultural Arts Commission
General Fund
Cultural Arts Fund
General Fund,
Cultural Arts Fund
General Fund
General Fund
Cultural Arts Fund
General Fund,
Cultural Arts Fund
25 27
27 35
31 35
35 RECOMMENDATION PARTNERS POTENTIAL
FUNDING
PAGE
REF.
DRAFT
LONG TERM: 6-10 YEARS
APPENDIX 2. IMPLEMENTATION | Long Term: 6-10 Years 48
Provide grants to activate walkable
residential areas
Create a youth docent program for public art
Create annual summer festival at Oyster Point
Establish a centralized artists' work, exhibition,
and performance space
Commission artwork for Westborough
Boulevard median
Commission artwork for Grand Avenue
breezeway
Fund a city-wide cultural plan
Neighborhood Organizations
Schools, Boys and Girls Club
Corporate Support
Cultural Arts Commission
Chamber of Commerce
City Manager
Developers
Cultural Arts Fund
General Fund
Cultural Arts Fund
Cultural Arts Fund, Bonds
Cultural Arts Fund, Bonds
Cultural Arts Fund
Cultural Arts Fund, Bonds
25 23
26 25
27 27
30 RECOMMENDATION PARTNERS POTENTIAL
FUNDING
PAGE
REF.
DRAFT
The following questions were asked during the community engagement phase during interviews, focus groups, community meetings, and pop-up events.
1. What are a few words that describe the character of South San Francisco?
2. Where would you like to see arts and cultural activities take place in South San Francisco?
3. What types of public art or art programming do you want to see in South San Francisco?
4. What are some locations in South San Francisco that would benefit from more arts and culture?
5. What are some places you’ve visited where the arts left a lasting impression?
6. Where do you like to take visitors when they come to South San Francisco?
7. Where do people tend to gather in South San Francisco? APPENDIX 3. CORE QUESTIONS 49
APPENDIX 3. CORE QUESTIONS
DRAFT
Q1. What is the first thing that
comes to mind when you think
about South San Francisco?
APPENDIX 4. SURVEY RESULTS | Q1 & Q2 50
APPENDIX 4. SURVEY RESULTS
Q2. Where would you like to see
public art and cultural activities
take place in South San Francisco?
A. Bio Tech Oriented - 35.7%
B. Culturally Diverse - 34.8%
C. Neighborly - 23.9%
D. Close to Nature - 5.2%
E. Other - 0.4%
A. Parks and Trails - 23.9%
B. Downtown - 23.5%
C. Neighborhoods - 21.4%
D. On Buildings - 17.1%
E. Waterfront - 14.1%
DRAFT
Q3. What types of art would you like to
see in public places? (top three)
APPENDIX 4. SURVEY RESULTS | Q3 51
A. Murals - 17.4%
B. Festivals - 13.3%
C. Sculptures - 12.2%
D. Dance, Theater, and Music Performances - 12.4%
E. Historical Art - 11.9%
F. Environmental Art - 11%
G. Kinetic / Interactive Art - 8.1%
H. Sound Art - 5.4%
I. Digital Art / Projections - 5%
J. Poetry Readings - 3%
K. Other - 0.3%
DRAFT
• Museums honoring various cultural
artists and traditions.
• Gardener Park
• Florida
• Chicago, mission district sf, historic
market square (San Antonio, TX),
New York
• Botanical garden and Japanese Tea
Garden, SFMOMA
• Nashville, Austin
• Barcelona (Gaudi works) & all
Spain, Egypt, Greece, Paris, French
Riviera & all France, London,
Venice.
• I love the large chrome sculpture
on Westborough Ave near the
280 onramp. Also, the Dragon on
the corner near the library and
the country club. The art walk at
Orange Memorial Park is lovely,
too.
• Museums
• Presidio/Legion of Honor, Cantor
Museum, New York, Barcelona,
Shanghai
• Washington D. C.
APPENDIX 4. SURVEY RESULTS | Q4 52
Q4. What are some places you’ve visited
where the arts left a lasting impression?
Opened-ended responses have been consolidated and presented how they were submitted by participants.
• Orange Memorial Park,
Westborough and Orange,
Junipero Serra and Hickey
• France, Germany, New Mexico,
Arizona
• Atlanta, Ga, New Orleans, The
Mission-SF
• Painted electric boxes, tree
landscaping, public benches,
and parks
• Globally = Finland, Australia
Locally = SF, Seattle, NY
• Downtown - blight
• De Young, Texas State Capital,
Austin Building
• A park mural, museum
• Dragon sculpture on
Westborough
• Light shows against building in
Germany
• City Hall
• Orange Memorial Park
• San Francisco
• Parks, Museums
• Many (Washington DC)
• Murals on hotel on Grand
• Palace of Fine Arts, Prado in
Spain, Louvre in Paris
• Havana, Cuba
• National Museum of Mexican Art
• San Jose, Ca, Arizona
• None in SSF
• Downtown San Bruno’s mural
• SF and Portland
• 1Tower Place, Orange Memorial
Park. Millenium Sculpture
(Westborough/Juniper Serra)
• Kakaako neighborhood in
Honolulu, HI. #powwow
worldwide art festival.
• Japan
• Asian Art Museum
• GG Park
• Art studios
• Philadelphia
• Eugene, Oregon. SF murals
• Art on Utility boxes, Orange
Memorial Park, Municipal
building exhibits. Some murals on
Grand Avenue-would like to see
more new murals on buildings.
• Orange Memorial Park sculpture
garden
• Berlin, Paris, Amsterdam
• Italy, Washing DC, San Francisco
• Netherlands; Mission District in
San Francisco
• Balmy Alley in the SF mission,
mural art in Hawaii, Portland and
Austin
• Techshop (I think that was the
name) - a warehouse in Redwood
City (which, sadly is closed now)
that offered space and resources
for artists of every discipline - 3D
printers, spaces for digital artists,
forges, meeting spaces, craft
supplies. California Art Supply
Co. - a great, local, inclusive art
supply store who encourage
artists to use their backyard
space for art meetups. Provides
a safe space for everyone.
• Lobby at Stanford hospital, SSF
Atrium
• Museum of Modern Art, de Young
Museum, Festivals
• SSF Museum
• Europe/ RWC
DRAFT
APPENDIX 4. SURVEY RESULTS | Q4 53
• The de Young, Legion of Honor.
Asian Art Museum in San
Francisco. The presentations by
Asian Art Museum staff at the
SSF library.
• Mexico. Many large cities put
an emphasis on public art.
You see several sculptures and
statues and murals in several
public spaces.
• I love the sculpture garden
in Orange Memorial Park
(excluding the handful of ones
better suited on a small scale
in porcelein and sitting on a
doily in your grandmother's
house. I LOVE the sculptures
placed sporatically throughout
the city.
• SFO, The Spiral Jetty (Utah)
• Legion of Honor
• Louvre
• Art Museum
• Library, Oyster Point
• Chrome sculpture on
Westborough at Junipero.
Cement horse across from
Smart and Final.
• Atlanta GA, the Mission
Districts murals, various
universities
• Golden Gate Park, Union
Square exhibits
• Assuming this refers to places
in SSF, the Orange Memorial
Park Sculpture garden/path is
a favorite spot.
• Seattle, Carmichael,
San Francisco, San Jose
• Parks and trails. Programs
at the MSB building.
• Not in SSF, but SF’s Balmy
Alley is by far one of the most
striking places I’ve visited.
• San Francisco, Walnut Creek,
San Jose
• Downtown Intersections
• Downtown S.F. (Hearts)
• San Francisco - Mission / Avila
Beach Pismo
• Downtown
• The Louvre
• Chicago
• Women’s Building in SF
• Haven't been out much but
hydrants, and other painted
things in SSF.
• Sculptures by tennis courts
Orange Memorial Park
• New York, San Francisco Haight
Street
• Mission district murals,
Switzerland Zurich
• Madrid, Europe has lots of
public art
• San Francisco
• Mission SF
• Italy, England, France
• Mission District
• Golden Gate Park
• de Young, Filoli, Street art
• Fioli, Botanical Gardens, Urban
architecture
• On Van Ness Ave, SF Human
head looks like egg
• SF MOMA, The Louvre
• Helsinki Finland. art is very
much integrated into the urban
fabric. It is kid friendly, it is
beautiful, it is engaging.
• On Oahu my cousin showed me
an area that has lots of muralsspecifically a street that has a bunch of murals/art done by
a bunch of artists. It attracts
people to visit it and support
local businesses, but also is
so pretty and just adds to the
beauty of the area!
• The San Francisco Asian Art
Museum
• Palace of Fine Arts, Stanford
cactus garden, and Anderson
collection
• Sedona, AZ
• Mural buildings, public places
like SSF bart
• France, Sausalito
• Murals in Daly City,
San Francisco parks, murals
all over Los Angeles
• The American Visionary Art
Museum is a museum in
Baltimore that features the
work of untrained artists.
https://www.avam.org/
Q4. What are some places you’ve visited
where the arts left a lasting impression?
Q4 responses continued. Opened-ended responses have been consolidated and presented how they were submitted by participants.
DRAFT
APPENDIX 4. SURVEY RESULTS | Q4 54
• The island of Oahu, Hawaii
is full of murals everywhere.
Portland and Seattle also have
a lot of public art.
• Christmas festivals in Europe.
Street food/vendors closures in
NOLA.
• In public places, such as
buildings or walls.
• Newport Beach Art in the Park;
Artwork along SF Embarcadero;
SF alley artwork
• Municipal Services Building
• San Francisco - also love the
sculptures that SSF has created
along Westborough Blvd
• Seattle
• In other cities where cultural
focused diversity is fully
embraced, celebrated and
supported through traditional
music, performances, foods
and local artists/businesses
are also highlighted and able
to sell artwork/products.
• Rome, Italy
• EUROPE
• San Francisco, Paris, London,
Morocco, Tokyo, Mexico City,
Milan
• SFO airport
• Mission District, Balmy Alley in
SF, public art all over Mexico
City
• Portland, OR; NYC
• The Box Shop in SF, deYoung
Museum, Legion of Honor
• San Francisco SOMA
• Little Island in NYC--a metal
"grate" that you walk on that
plays music.
• Children's artwork featured
near the water, I think Pacifica
Pier?
• Downtown San Francisco, Slow
Streets in San Francisco
• Orange Memorial Park has a
mini trail with sculptures.
• Orange Memorial Park, near the
bocce courts
• San Francisco Mission District
• The deYoung. The Asian Art
Museum in San Francisco.
Legion of Honor.
• SSF Civic Ballet performances
at SSFHS & ECHS theaters,
Orange Memorial Park
sculptures, Dragon sculpture
by Main Library, Art on utility
boxes
• Oslo, Norway. Murals on many
city buildings, a large sculpture
hiking park in the city.
• The High Line with its various
sculptures.
• The South City Armstrong
Brewery mural on Grand Ave.
The art on the utility boxes near
Grand Ave. Cultural murals
on the historic Hotel on Grand
Ave. Mural at SSF Caltrain
Station. Flame sculpture at
Orange Memorial Park Pool.
• Palo Alto, Redwood City, Rome
• Junipero Serra & Westborough;
Atrium of 33 Arroyo; both
Public Libraries; Wall of SSF
Lumbar; Orange Memorial Park;
E. Grand
• 33 Arroya
• Museums, theaters
• San Francisco mosaic tiles
steps, painted electrical boxes
• Burlingame - Redwood City
• Chicago, Portland, Seattle
• Burning Man; Europe
• The City
• Burlingame - Redwood City
• Chicago
• Murals and museums in SF
Q4. What are some places you’ve visited
where the arts left a lasting impression?
Q4 responses continued. Opened-ended responses have been consolidated and presented how they were submitted by participants.
DRAFT
APPENDIX 4. SURVEY RESULTS | Q5 55
Q5. Where do you like to take visitors
when they come to South San Francisco?
Opened-ended responses have been consolidated and presented how they were submitted by participants.
• Marina/Oyster Point
• Orange Memorial Park, Grand
Avenue, Oyster Point
• In the new park and rec/library
building.
• Restaurantes, Bocce ball courts
• Orange Memorial Park, walk
by the bay (Oyster Point area),
downtown during holidays.
• I like take them on the Sign Hill,
but unfortunately most of the
trails are not well maintained.
So it is not so easy to walk
around except for few points.
• Sign Hill, Hula Hoops restaurant
• Only thing to see is filigree
sculpture on South Spruce
next to old Railroad Tracks &
trail that replaces them. That
is a beautiful sculpture. Often
also point out the sculpture at
Westborough & Junipero Serra.
• Walking trail - Sign Hill
• Sign Hill
• Little Lucca, cafes, interesting
restaurants
• City hall, downtown, waterfront
• To San Carlos
• I love 47 Hills it is a SSF gem
and I take people there and
tell people about it. I love the
industrial setting and area, the
historic Quonset hut buildings
and seeing the trains traveling
by and planes taking off. I
would also show them beautiful
City Hall on Grand Avenue. I
wish there was better lighting
and shopping on Grand Avenue
though. The waterfront is a
really nice walk. The walk over
by Sign Hill is nice but hard to
find.
• Used to be downtown before
the developers took over with
our city officials blessings.
• San Francisco
• Out of town
• Our house - friendly
neighborhood and parking.
• Not downtown. Maybe a
coastal drive.
• Golden Gate Park or maybe
Sign Hill during the holidays.
• Too much blight downtown
• Culinary
• Buon Gusto For Dinner, La
Tapatia
• Our school, (Monte Verde),
Parks
• Dog Park
• Grand and Oyster Point
• My house? downtown SF is
sketchy and seems unsafe
• Sign hill. Oyster point.
• Waterfront/Oyster Point;
downtown restaurants; Sign Hill
• Marina
• If it’s during winter holidays it’s
downtown.
• Downtown South San Francisco,
and Centennial Way
• To Orange Memorial Park, Sign
Hill, City Hall.
• Grand Street downtown
• Oyster Point, Wind Harp
• The libraries, Oyster Point,
downtown
• Hiking, restaurants. Japanese,
Filipino and Mexican food.
• Downtown, Oyster Point Trail,
Orange Memorial Park & trails.
• South San Francisco Sign Hill,
Oyster point
• Bay Trail
• The park and hiking with good
views
• Ben Tre, The food is delicious.
There is nowhere else to go for
culturally enhancement in SSF.
We end up in San Francisco for
cultural interest.
• Take to the marina for the
vistas, or Brisbane Pier.
• No where it isnt safe
• Unfortunately my visitors have
grown up around here.
• Oyster Point and the libraries
• Actually, no place is appealing
unless they want to watch
developments being
constructed or sitting in
traffic congestion.
• Food spots. But nothing
memorable stands out.
• Sign Hill trails
DRAFT
APPENDIX 4. SURVEY RESULTS | Q5 56
Q5. Where do you like to take visitors
when they come to South San Francisco?
Q5 responses continued. Opened-ended responses have been consolidated and presented how they were submitted by participants.
• Downtown SSF for the great
eats
• The pier
• Grand Ave, Old town- close to
shore
• Waterfront Bay Trail
• To Oyster Point, the Ferry
Building, Thai Satay, Cafe 382
• I don't have visitors because of
Covid.
• Parks and downtown
• Grand Street, a quick bio-tech
tour (HATE the recent Oyster
Point development that
destroyed the quaintness of the
boats, etc.), Orange Memorial
Park and the dog park - plus
the 12 minute drive to the
OCEAN!
• I take visitors to the sculpture
garden in Orange Memorial
Park or for a walk at Oyster
Point.
• All over Bay Area
• Bay Trail, Sweeney Ridge
• Orange Memorial Park, Trails
• Orange Memorial Park, Oyster
Point, Grand Ave.
• Parks, Oyster Point, Grand
Avenue
• Bertolucci’s but you built over
it…to San Francisco or down the
Peninsula
• The wind tower out in the
industrial area.
• Oyster Point Harbor
• Restaurants on Grand Ave
• Broadway, Oyster Point
• Waterfront
• Parks
• First time here
• Peninsula Area
• Daly City
• Downtown Grand Ave
• Home
• Restaurants in SSF
• Oyster Point, Raymonds Bread,
See's Candy
• Grand Ave/ Raymonds Bread
• Waterfront
• SF, Downtown SSF
• Restaurants
• My parents house, Downtown,
Oyster Point
• Orange Memorial Park,
downtown
• Oyster point/ SSF Mountain
• parks and restaurants
• The parks, the local businesses,
library
• Linear Park, downtown (Grand)
• Sign Hill. Or if they are
children, Orange Memorial
Park.
• Out of South San Francisco
• San Francisco Golden Gate
Bridge
• Sign Hill Centennial trail
Public parks, Orange
Memorial Park
• To San Fransisco. Sometimes a
nearby park in SSF
• Just moved here, so don't know
yet
• Walking on trails. Spruce
Cafe and Night Market.
But honestly, to cuter more
charming cities nearby.
• Sign Hill, San Bruno Mountain,
local parks, downtown
• Wind Harp, Sign Hill, See's Candy,
Little Lucca, Las Trancas
• Orange park or local
restaurants.
• Dine at various restaurants
• Restaurants Downtown
Waterfront
• Orange Memorial Park, Sellick
Park, Buri Buri & Grand Avenue
area
• Eat on Grand Ave.
• San Francisco, Napa
• Restaurants, The Point,
neighborhood
• Plymire-Schwartz house
• Sign Hill, See's, Raymond's,
Orange Memorial Park
• I don’t. We end of going to SF.
I wish the downtown was more
cleaned up and developed with
more restaurants, interesting
shops, and coffeehouses.
• Downtown for coffee/food. The
waterfront near Oyster Point.
Sign Hill.
DRAFT
APPENDIX 4. SURVEY RESULTS | Q5 57
Q5. Where do you like to take visitors
when they come to South San Francisco?
Q5 responses continued. Opened-ended responses have been consolidated and presented how they were submitted by participants.
• Unfortunately, many visitors
all of all ages make it a point
of expressing dissatisfaction in
what SSF offers, from eateries,
downtown and a lack of tourist
attractions, plus mention of
a now bare Sign Hill. Orange
Memorial Park does not offer
much. Only nice area is oyster
point marina, but it does not
have trees and the area that
is filled with trees always has
garbage cans that are
overfilled and not emptied
(Brisbane stretch is very clean
with no garbage or overfilled
garbage cans). El Camino
has nothing to offer either for
shopping or entertainment.
• Costco is the most requested
place! We usually go to SF (GG
Park) or Pacifica (beach and
trails).
• Orange Memorial Park,
Westborough Park,
Westborough Square
• My home
• Parks, farmers market.
• Waterfront ll
• Bio-tech, downtown • To the wind organ, to Sign Hill
• Basque cultural center • Are you kidding? There is
nothing to see in SSF. The best
thing is the fog rolling over the
top of San Bruno Mountain.
• Waterfront, trails, Orange
Memorial Park (but under
construction)
• Local cafes/restaurants on
Grand Ave. and Spruce,
Centennial Way to walk the
path.
• Centennial trail, downtown
restaurants and events at
Orange Park.
• Downtown and to the various
neighborhood restaurants. We
do need an iconic park.
• Grand Ave (La Tapatia, cafe
352, Cable Car Cafe, Antigua
Cafe, City Hall Park, etc),
Oyster Point, and Sign Hill
• Half Moon Bay, Fort Funston • Local restaurants • Grand Avenue, Old Town - close to shore
DRAFT
APPENDIX 4. SURVEY RESULTS | Q6 58
Q6. Where do people tend to gather to celebrate
special events in South San Francisco?
Opened-ended responses have been consolidated and presented how they were submitted by participants.
• Morelos Hall, or Orange Park,
also Bocce Ball courts
• Orange Memorial Park, event
halls, downtown
• I have no idea!!!
• Places where there is a lot of
space - Orange Memorial Park
• In Sausalito
• 47 Hills on Linden Ave. There
is a lack of good restaurants.
Too many mediocre fast food
chains.
• For me and my family, other
local municipalities with less
destruction.
• Restaurants
• Parks. Community streets?
• Need community center
• Rent out halls. As we are
underserved as a community.
We are only involved when City
wants to raise tax or push a
bond on the residents
• In the park
• Fernekes Building, Fort
McKinley, Municipal Building
Hall.
• Basque Cultural
Center/Dominics
• Parks, Westborough & Orange
• Recreation Center
• The Parks
• Not sure...No place
• Orange Memorial Park and the
Municipal Building
• Downtown and so which other
areas in SSF were more lively
and welcoming. Businesses in
outskirts need to do a facelift
to their buildings. A little paint
goes a long way.
• West Orange Memorial Park,
and in front of City Hall
• At their schools, Orange
Memorial Park, City Hall.
• Basque Club, Conference
Center
• Downtown city hall, All souls
church hall, SSF Women's
Club, Orange Memorial Park.
We need more Hall for special
events.
• Municipal building and Elks
Lodge
• Their homes. There are no
parks in my neighborhood to
host events. I live in Sunshine
Gardens.
• They gather at the
J.Fernekes Bldg. Or
Westborough Recreation
Center, Orange Memorial
Park
• At their homes
• Orange Memorial Park is the
only park big enough.
• The parks, there are very few
restaurants big enough for a
crowd,
• Orange Memorial Park, Alice
Peña Bulls Community Center,
• Orange Memorial Park, Grand
Avenue
• Orange Memorial Park, that one
hall along Westborough, maybe
home if it's big enough.
• The city
• Basque Cultural Center,
Orange Memorial Park,
Conference Center(?) not
since Covid
• In their homes, I would think.
• Grand Avenue
• No idea. Only aware of events
in the park.
• Restaurants and parks
• Parks, Downtown
• Orange Memorial Park, Buri
Buri park
• Parks? I live near Alta Loma
Park
• Various parks
• Orange Memorial Park, Grand
Ave/City Hall
• Buri Buri Park, Orange
Memorial Park, Basque Cultural
Center
• Orange Memorial Park, Terra
Bar and other halls that are
rented via SSF.
• Restaurants
• On Grand or Westborough
roads
DRAFT
APPENDIX 4. SURVEY RESULTS | Q6 59
Q6. Where do people tend to gather to celebrate
special events in South San Francisco?
Q6 responses continued. Open-ended responses have been consolidated and presented how they were submitted by participants.
• Orange Memorial Park, Basque
• Orange Memorial Park/ Grand
Ave
• Conference Center
• At home. Maybe a picnic in
Orange Memorial Park.
• Churches, cemeteries,
anywhere with nature
• Usually in popular parks or
restaurants
• I don’t know
• Parks, bowling alley (children's
parties), places with larger
reservable sections like Fort
McKinley, La Perla, and Basque
Cultural Center
• Public parks
• Downtown or at a park.
• At homes or parks
• Orange Memorial Park, City
Hall
• Orange Memorial Park, Joe
Fernekes Building, Municipal
Services Building
• Since covid - people tend to
gather outdoors at the parks -
Westborough Park is somewhat
user friendly if there wasn't
a whole section only open to
rental - not a very good use of
the space in this park.
• Family used to gather for bbq
parties at Orange and Avalon,
but now go to San Bruno
because of better parks (tables,
playground and shaded trees).
Many friends/family also use
halls at other cities for bigger
events too because there are
too many restrictions and police
required in SSF.
• Community center and Orange
Park.
• Most events seem to occur
downtown and Orange
Memorial Park.
• Martin Elementary ballpark,
Grand Ave.
• SF because we don’t have much
to offer yet in SSF.
• Hotel, Santo Cristo Hall,
or Basque
• Parks but it should also include
streets!
• City hall, high school theaters
• I suppose at home with their
families.
• Orange Memorial Park, MSB,
Grand Avenue, Terra Bay,
Basque Cultural Center
• State Room, Orange Memorial
Park and other public parks,
Paradise Valley Boys and Girls
Club
• Family-style Restaurants (e.g.
Jack's in San Bruno, Millbrae
Pancake House)
• Municipal Services Building
• Restaurants, Orange Memorial
DRAFT
Park, neighborhood parks
Q7. What do you think is the role of public
art in South San Francisco? (Choose six)
APPENDIX 4. SURVEY RESULTS | Q7 60
A. Support the growth of the local arts
community
B. Provide opportunities for people to
experience art that enriches their lives
C. Bring a sense of whimsy and delight to
everyday spaces
D. Promote pride in South San Francisco
E. Welcome people to South San Francisco
F. Help build and reinforce the City of South
San Francisco’s identity
G. Create community interaction and
strengthen social networks and
connections
H. Anchor community gathering places
I. Draw attention to the natural environment
and environmental issues facing the
community
J. Help build and reinforce distinct
neighborhood identities
K. Explore and provide information about
facets of South San Francisco’s history
L. Position South San Francisco as an arts
destination
M. Support tourism
N. Enhance the identity of community
institutions and civic buildings
O. Open up conversations about issues
facing the community
P. Encourage economic development
DRAFT
Q8. Please tell us about yourself
APPENDIX 4. SURVEY RESULTS | Q8 - Q9 61
Q9. Please tell us your age
A. Resident - 87.37%
B. Business - 1.05%
C. Employed in South San Francisco - 5.26%
D. Visitor - 6.32%
DRAFT
Q10. How did you hear
about this survey?
APPENDIX 4. SURVEY RESULTS | Q10 62
Q11, Q12, and Q13 have been
omitted to protect the privacy
of personal information from
participants.
DRAFT
Q14. Would you like to add anything else?
Open-ended responses have been consolidated and presented how they were submitted by participants.
APPENDIX 4. SURVEY RESULTS | Q14 63
• Thank you.
• I would like to see murals
that reflects the different
communities of South San
Francisco, especially the Latino
community
• I have performed Flamenco at
various arts and music events
in other communities. Hopefully
SSF can host something similar
soon.
• Pacifica has a thriving arts
community. You may want to
look into what the Art Guild of
Pacifica has done in the last 25
years!!!
• Arts project is a great idea to
make SSF distinct vs. all the
other neighboring towns in the
peninsula (and not another
mall/shop/commercial district).
• The quality of life in SSF has
deteriorated dramatically in the
last 40 years!
• Why does "Too little, too late
come to mind?" The residents
want our city back.
• We are underserved and
forgotten as a community.
Council is not connected or
understand our community.
Your survey is a dog and pony
show it's already been decided
what is going to be. Just being
honest city hall don't like!!
• I am a born and raised south
city local artist and would love
to see the city grow with more
Public Art, Art and Wine
Festivals/Popups and
opportunity for local artist.
• More musical arts!! Please!
Bring in School of Rock to SSF.
• Clean up our town.
• South City needs to remember
her roots - conserve and protect
our open space, celebrate the
history pre biotech.
• Enjoy driving by and seeing art
such as structures and utility
box murals. Would love to see
more murals and art structures
around SSF.
• Great exhibit
• I would love to contribute my
art to SSF!
• It would be nice to have more
walkable big parks. it means
more condense buildings so that
we have more space for bigger
parks.
• SSFHS Folklorico is an art. They
should perform more around
SSF throughout the year.
• Already receive news from
Parks and Rec. Living in SSF for
cat least 28 years.
• Thanks for helping make South
San Francisco a fantastic place
to live through promoting art
and culture here. Fantastic!
• There are several areas of SSF
that NEED CLEANUP- Some
are Caltrans responsibility
-all are very visible. Double
parking/unattended vehicles
on GRAND AVE esp between
11am & 2pm & 4pm & 6pm.
• The fact that you have
something on the ballot to
provide 1% of housing for
people who only make
$102,000 as "low-rent" shows
how insanely out of touch you
are. You will destroy this city.
• There is a black hole of cultural
and outdoor activities in SSF.
There is no type of activities
to keep families here, to enjoy
after work or on weekends.
This city is incredibly dull.
Not even good shopping. Burlingame has good shopping,
San Bruno has a great park
with sports, San Mateo has
great downtown ambiance
and food. Daly City has access
to beaches, mountains and
shopping, even Colma has it
Historical area . SSF has none
of that. The schools are not
equally represented. There is
great opportunity with location
that is being squandered.
Think Big!!!
• The playgrounds need to be
better maintained. There isn't
any open space available to
residents on the east side of
ECR in District 1. There should
be more art & exercise
equipment along Centennial
Way.
• Thanks for all the work you do
to help make our city better.
DRAFT
Q14. Would you like to add anything else?
Q14 responses continued. Open-ended responses have been consolidated and presented how they were submitted by participants.
APPENDIX 4. SURVEY RESULTS | Q14 64
• 2 street art sculptures are the
only art in SSF. We could use
more and different art. We
can’t move away from the lack
of art. We need it. We don’t
have any murals or paintings
only old photos of the historical
past of SSF. We need color
design marble with granite
rocks. The new Civic Campus
is an eyesore. No one likes
the design, it lacks aesthetic
appeal. I don’t know what it
will look like or look forward to
its completion. I will attend the
grand opening but it will only
be because my tax dollars are
paying for it.
• I don't see how to direct an
arts program for this city since
it has lost its way with the
direction it has taken, leaving
the residents, who built this
city, behind for the biotech/
corporations.
• I already receive email from the
City of South San Francisco,
Parks & Recreation Department.
• Looking forward to see the
changes!
• If ssf is known to host many of
the biotech companies it would
help to see more community
collaboration, where maybe
they could commission the
artist that would be creating
the mural. Also think that if
local artists (within San Mateo
county we’re commissioned -
in addition to ssf artists) would
enhance and connect to a
larger county identity.
• More photo experiences
• I really appreciate the city's
appreciation of the arts, and
sponsorship of events.
• I'd love to see more safe spaces
for art meetups/gatherings in
the city.
• Centennial trail needs art
to combat the negative and
encourage beautiful things in
our community such as art,
nature and neighborhoods.
• Thanks for asking. Let's bring
a world class artist to town
to paint a mural - I have just
the person, who is in the Met's
Museum of Art American
Narrative Collection, had
an HBO Emmy winning
documentary about him, was
the featured painter in Martin
Scorceses film in the trilogy
New York Stories (plus Woody
Allen and Francis Copolo) and
now a new award winning
documentary is making the film
festival circuit. Just an idea, off
the cuff. I LOVE South City!
• I think it would be wonderful
if the city presented some of
this information to the schools,
creating flyers and just hanging
them at schools would be good
to get more feedback!
• I would love it if there were
art classes and more activities
downtown. Most of the classes
seem to be near Orange Park
and it’s inconvenient to get
there without a car.
• I LOVE the work you are doing!
Keep it up!! So so important!!!
• All kinds of art; we need more!
• Senior Newsletter
• How about some more online
art shows?
• I appreciate how such a small
community is very supportive
of the arts.
• How about if those giant blue
gas tanks on El Camino across
from Little Luca were painted
to look like a Mommy and baby
whale? It would be better than
two ugly gas tanks on a very
unattractive block. Or what
about a mural on the wall
overlooking the Trader Joe’s
parking lot? Or more garden
spaces? So many ugly eye
sore parts of the city could be
helped by basic gardening/
landscaping. Or making
downtown a place where
music/performing arts can
actually happen?
DRAFT
Q14. Would you like add anything else?
Q14 responses continued. Open-ended responses have been consolidated and presented how they were submitted by participants.
APPENDIX 4. SURVEY RESULTS | Q14 65
• More parks should be the goal.
I love all the housing being
built but please don't forget
additional parks for all the new
residents to come together and
enjoy the city.
• As an artist, and after meeting
Michael DeNatale and learning
how progressive SSF is
about art in the city, I'm very
impressed. If I needed to find
affordable housing, this city
would be the first place I'd look.
• It would be nice to spread
similar enhancements made to
Orange Memorial Park to other
neighborhood parks. I enjoy the
dog park, walkways, gardens
and art surrounding the tennis
courts.
• SSF is vibrant and looking to
the future but enjoying the long
history.
• I wish SSF would plant more
trees and promote more open
spaces for nature.
• Shuttles to park on event days
• I heard about this from the
Mayor's summary emails which
are very helpful. I would love
to see art - like the utility boxes
designs where you drive and
walk everyday without having
to go to special areas to see
these art installations.
• Supporting all arts - music,
dance, artwork, performances,
poetry will help tremendously.
thanks.
• We live in a neighborhood with
no park, a dingy shopping
center, and the only available
open space is a construction
zone. Not happy to be living
here right now. Art with lipstick
on a pig.
• South San Francisco needs
more public art on streets to
promote that streets are for
people, not cars.
• We need Speed limit signs on
Galway and Greendale.
• Bring on the art. Beautify,
interactive, conversational
pieces, historical, architectural,
digital all of the above and
more.
• I like SSF a lot. I am starting
to see a lot more trash in this
amazing city, which saddens
me. Buri Buri is an amazing
school teaching my children
about the environment and
how much we need to help,
so it is distressing to see so
much garbage piling up in
neighborhoods and streets.
• I live in Daly City. I’ve been
noticing over recent years the
works of art that have been
placed around SSF. Also, the
lovely upkeep of the median
strips. It’s a pleasure to drive
through SSF and see the
changes happening.
• Let’s not force the issue of
art fitting into SSF, that it be
about its history, etc. Let it
have a unifying theme but be
interesting enough to provoke
thought. Keep it simple so
the open spaces will retain its
grandiose.
• Thank you for thinking about art
and public spaces. SSF is such
a beautiful city and we need to
find a way to make it a world
class city. A great place for this
arts district can start by the
Caltrain station and that entire
corridor to promote tourism and
visitors on the weekends when
the whole oyster point area is
empty of office workers.
• Please clean up Grand Ave!!!!!
It is a mess and embarrassment.
All the art can not make up for
the mess that is grand ave!!!
• Would like to see more public
space for artists (ex. studios,
galleries, performance space).
A theater for live performances
would be wonderful!
• SSF is rich with bio/tech
businesses. Ie. Genentech -
would like to see interactive
science related art/sculptures
to reflect the advancement we
have here.
DRAFT
PERMANENT ARTWORK
APPENDIX 5. CITY ART COLLECTION ASSESSMENT | Permanent Artwork 66 APPENDIX 5. CITY ART COLLECTION ASSESSMENT
# TITLE ARTIST DATE LOCATION
PRIVATE OR
PUBLIC
Alta Loma Park Community
Mural Project
Amir Saber Esfahani and Skyline
Community College Mural Class
30 2022 Alta Loma Park Public
American Dog Dale Rogers Installed
June 2009
Centennial Way
Dog Park
1 Public
Best Friends Corinne Hartley Installed
December 2002
Orange Memorial Park
Sculpture Garden
2 Public
3 Boys and Girls Club Mural Precita Eyes Mural Artists 2011 201 West Orange Ave Public California Butterfly
Illustrations
MaryAnn Nardo 2012 Library | Parks and
Recreation Center
Public
(access to be
determined)
4 Centennial Cascade Designed and constructed by
Parks and Public Works
Departments
Made in honor of
the City's 100
Birthday - 2008
Orange Memorial Park
Sculpture Garden
5 Public
Centennial Way Bridge
Mural
Amir Saber Esfahani and Skyine
Community College Mural Class
41 2023 Mission Road Public
Children's Center Mural Community members and
Dennis Crossland
1999 Gene Mullin Community
Learning Center
6 Private
Conflict Diptych
(Chaos | Harmony)
Ron Burgess 2017 Library | Parks and
Recreation Center
Public
(access to be
determined)
CONDITION
Good condition, needs routine
maintenance.
Good condition; needs routine
maintenance to area around the
art.
Good condition, needs
routine maintenance.
Good condition, needs
routine maintenance.
Good condition indoors.
Water pump unused/off due to
drought, Conservation needed
or deaccession.
Good condition, needs
routine maintenance.
Poor condition, Very Faded -
Conservation needed or
deaccession.
35 Good condition, indoors
The number associated with each artwork is the number identi ed on the City website map.
DRAFT
APPENDIX 5. CITY ART COLLECTION ASSESSMENT | Permanent Artwork 67 # TITLE ARTIST DATE LOCATION
PRIVATE OR
PUBLIC
Doors of Avignon John Pugh Dedication
November 14, 1997
Breezeway on Grand
Avenue
Private building
with public
access
8 Electric Slide Pokey Park Created - 2010 Orange Mermorial Park Sculpture Garden
38 Public
Eternal Flame Chuck Thompson Dedication
November 11, 1969
9 Orange Memorial Park Public
Evohelix Roger White Stoller Created - Oct 2011,
Install - Nov 2011,
Dedicated - Jan 2012
Centennial Way at South
Spruce Ave
Public
10 Heavy Load Corinne Hartley Installed
December 2002
Orange Memorial Park
Sculpture Garden
11 Public
Helping Hands Design by former: Mayor Karyl
Matsumoto; Public Works Director
Terry White; Cultural Arts
Commissioner Shane Looper,
Fabricated by City Staff
Installed
2013
Orange Memorial Park
Sculpture Garden
12 Public
Joy, Laugh,Fun Share
Alta Loma Park
Childrens Tiles
Lolly DeEleanora,
SSF Park and Recreation
Childcare Division
2014 - 15 Alta Loma Park
Playground
32 Public
Human Glyph
Series (A)
Bill Vielehr 2010 Orange Memorial Park
Sculpture Garden
13 Public
Crucible of Light Chapel Installed
September 2009
Fernekes Bldg.
Orange Memorial Park
Public
CONDITION
Poor condition, Faded, damaged &
missing elements. Conservation,
replacement or deaccession.
Good condition, needs routine
maintenance.
Poor condition, tiles missing,
conservation needed or deaccession.
Good condition, has required past
conservation for surface rusting/
mottling. needs routine maintenance.
Good condition, needs routine
maintenance.
Good condition. Needs maintenance. View partially obscured by a tree.
Good condition, needs routine
maintenance.
Good condition, needs routine
maintenance.
Poor condition, broken crown,
resurfacing consideration -
Conservation needed.
7 PERMANENT ARTWORK
DRAFT
APPENDIX 5. CITY ART COLLECTION ASSESSMENT | Permanent Artwork 68 # TITLE ARTIST DATE LOCATION
PRIVATE OR
PUBLIC
Millenium James Russell Dedication
Nov 5, 1999
Westborough Blvd
at Junipero Serra Blvd
14 Public
Our South City Sirron Norris 2021 Gardiner Park Playlot Butler & Gardiner Street
28 Public
Obelisk Bruce Gueswel Installed / Dedicated
2004
15 Orange Memorial Park Public
Pictorial History of South
San Francisco
16 Carlota Espinoza 1985 220 Linden Avenue Private
Ponder (Yin & Yang) Keith Bush Loan Dedicated
May 2004
Orange Memorial Park
Sculpture Garden
17 Public
Popsicles CR Gray Dedicated
August 2018
34 SSF Caltrain Station Public
31 Prometheus Gives Fire to Man Nicolai Larsen 2009 Orange Pool Public Safehaven Jane DeDecker Dedicated
September 2002
Orange Memorial Park
Sculpture Garden
18 Public
Randy’s Reef Randy Speller 2009 Orange Pool 1 West
Orange Avenue
40 Public
Salmon's Shadow Wes Horn Created - 2012
Installed / Dedicated -
Sept. 2015
Orange Memorial Park
Sculpture Garden
Public
CONDITION
Good condition, needs routine
maintenance.
Good condition, needs routine
maintenance.
Good Condition; Needs maintenance
surrounding the artwork, view from
sculpture park partially obscured by
trees.
Good condition, needs routine
maintenance.
Good condition, needs routine
maintenance and repairs to
base of seated figure (Yang).
Repaired in 2022 Good condition,
needs routine maintenance.
Good condition, needs routine
maintenance.
Good condition, needs routine
maintenance.
Good condition, needs routine
maintenance.
Good condition, needs routine
maintenance.
19 PERMANENT ARTWORK
DRAFT
36 untitled (45" metal sphere) Ivan McLean 2015 Maple & Lux Public SSF Library WPA Indoor
Art Collection
various 1929 - 1941 Orange Memorial
Library
39 Public
Slices of Heaven CR Gray Dedicated
August 2018
Orange Memorial Park
Sculpture Garden
29 Public
APPENDIX 5. CITY ART COLLECTION ASSESSMENT | Permanent Artwork 69 # TITLE ARTIST DATE LOCATION PRIVATE OR
PUBLIC
Stainless Sphere 84 Ivan McLean Created - 2013
Installed / Dedicated
- Sept. 2015
Orange Memorial Park
Sculpture Garden
21 Public
Stone Horizon Bruce Beasley Dedicated
September 2006
Orange Memorial Park
Sculpture Garden
22 Public
Synapse III & IV (diptych) Ron Burgess 2011 Library | Parks and Recreation Center
23 Public
Torque Robert Ellison Dedication -
December 2008
South San Francisco
BART Station
24 Public
Whimsical Windows Guided Imagery Design
and Productions
1999
Dedicated - January
2000
Grand Dental Care,
500 Grand Avenue
Private
building with
public view
25 Wild Poppies in the Twilight Rain Shannon Amidon Created - 2013 Installed - 2015
South San Francisco
Conference Center
26 Public
Sign Hill Letters City Engineer
George A. Kneese
Permanent
construction /
installation -
April 1929
Sign Hill Park |
Ridgeview Court
Public
Good condition, needs routine
maintenance.
Condition & Existence - To
be determined.
Except for minor chipping, good
condition, needs routine maintenance.
CONDITION
Good condition, needs routine
maintenance.
Good condition, needs routine
maintenance.
Good condition indoors.
Good condition, dull surface consider
recoat, needs routine maintenance.
Poor condition, Faded & damaged
elements, needs major conservation,
replacement or deaccession.
Good condition, needs routine
maintenance.
Good condition, needs routine
maintenance.
20 PERMANENT ARTWORK
DRAFT
WPA Mural Victor Arnautoff 1940 South San Francisco Post Office Linden Avenue
37 Public
APPENDIX 5. CITY ART COLLECTION ASSESSMENT | Permanent Artwork 70 # TITLE ARTIST DATE LOCATION
PRIVATE OR
PUBLIC
Windswept Brian F. Russell Dedicated
August 2018
Relocation to new Library |
Parks and Recreation Center
planned garden
33 Public
Wind Harp Lucia & Aristides Demetrios Constructed - 1967 Acquisition
by SSF - 1996
Grandview Drive near
Genentech
Private /
Public
Condition - To be determined.
CONDITION
Repaired in 2023 from damage
due to vehicle collision.
Good condition, needs routine
maintenance.
27 PERMANENT ARTWORK
DRAFT
Sister Cities Finny Balboa
Tiffany Von Walter
2019, Utility Box
Mural Project
South Spruce Avenue
& Centennial Way
16 Public
Loving Life Paula Claudine
Hobson-Coard
2016, Utility Box
Mural Project
South Spruce Avenue &
Huntington
Public 9
Native Plants of SSF Marina Krauss 2019, Utility Box
Mural Project
13 Hillside & Linden Avenue Public
APPENDIX 5. CITY ART COLLECTION ASSESSMENT | Temporary Artwork 71 # TITLE ARTIST DATE LOCATION
PRIVATE OR
PUBLIC
Artwork for All
Seasons
Justin Yuen 2013, Utility Box
Mural Project
1 Grand Ave & Airport Blvd Public
Beauty of the Sea Jessica Chavez 2013, Utility Box
Mural Project
Oyster Point Blvd &
Airport Blvd
2 Public
Flower Bush Pichai Pongsasaovapark 2014, Utility Box
Mural Project
3 Camaritas & Hickey Blvd Public
Brighter Days Charlene Casuga 2019, Utility Box
Mural Project
15 Westborough & Gellert Public
Speak, Hear, See No Evil Jessica "Tootsie" Madrid 2013, Utility Box Mural Project
Linden Ave and Baden Ave Public
Good condition, needs routine
maintenance.
Good condition, needs routine
maintenance.
Good condition, needs routine
maintenance.
CONDITION
Temporary, Faded & Graffiti-will need
conservation or deaccession.
Temporary, Faded-will need
conservation or deaccession.
Temporary, Good condition, needs
routine maintenance.
Good condition, needs routine
maintenance.
Temporary, faded, will need
conservation or deaccession.
4 TEMPORARY ARTWORK
DRAFT
APPENDIX 5. CITY ART COLLECTION ASSESSMENT | Temporary Artwork 72 # TITLE ARTIST DATE LOCATION
PRIVATE OR
PUBLIC
Through the Wind Nicolas Serrano 2016, Utility Box
Mural Project
Grand Avenue &
Magnolia
10 Public
Untitled Manuel Catania 2016, Utility Box
Mural Project
11 Baden & Maple Avenue Public
Untitled Kalief Brown 2016, Utility Box
Mural Project
17 Gateway Blvd Public
Straight Out of SSF Grace Furci / SSFUSD
Adult Transition
2016, Utility Box
Mural Project
Mission Road &
Evergreen Avenue
Public 12
Squirrel in the Tree /
Ladybugs at Work
Darleen Hoffman 2014, Utility Box
Mural Project
Linden Ave and
Baden Ave
5 Public
Tree of Life Helen Cole and Kids &
Art Foundation
2014, Utility Box
Mural Project
Hillside Blvd and South
San Francisco Drive
Public
CONDITION
Good condition, needs routine
maintenance.
Good condition, needs routine
maintenance.
Good condition, needs routine
maintenance.
Good condition, needs routine
maintenance.
Temporary, Faded & Graffiti - will
need conservation or deaccession.
Temporary and will need
conservation or deaccession.
6 TEMPORARY ARTWORK
DRAFT
APPENDIX 5. CITY ART COLLECTION ASSESSMENT | Temporary Artwork 73 # TITLE ARTIST DATE LOCATION
PRIVATE OR
PUBLIC
Untitled - Nature Images Megan Pagano 2019, Utility Box Mural Project
14 Chestnut & Hillside Avenue Public
Untitled-Surrealist images
of nature in Northern
California
Kalief Brown 2014, Utility Box
Mural Project
Chestnut Ave and
Mission Rd
8 Public
Untitled - Images of
Pinwheels
Tina Long 2013, Utility Box
Mural Project
Westborough Avenue &
Galway Drive
Public
CONDITION
Good condition, needs routine
maintenance.
Temporary and will need
conservation or deaccession.
Temporary and will need
conservation or deaccession.
7 TEMPORARY ARTWORK
DRAFT
APPENDIX 6. LOCATION MAP 74
APPENDIX 6. LOCATION MAP
This heat map was created through the collected feedback from participants who were asked to identify locations and opportunities for public art in the City of South San Francisco. Participants were given 3 stickers to place on a map during the community engagement pop-ups. The orange circles represent locations where participants placed their sticker. The larger orange circles as well as overlapping circles represent an area on the map where multiple participants identified as an area/neighborhood of high interest for public art investment.
MAP LEGEND
Identified
Locations for
Public Art
City Boundary
Park
Water
Main Roads
DRAFT
1. PURPOSE
1.1 This Temporary Artwork Policy is intended to activate publicly owned spaces in parks, plazas, streetscapes, and other City-owned property.
Temporary artworks enliven communities, provoke conversations, and refresh the public realm. Temporary art is commissioned through the City of South San Francisco (City) Cultural Arts Program.
1.2 Temporary artworks may be funded by the City or by private individuals or organizations. The City may initiate temporary artworks or individuals and community organizations may request City consideration of community-initiated temporary art projects.
1.3 The Temporary Artwork Policy establishes criteria and guidelines for the consideration and installation of temporary artworks on City-owned property. These procedures are intended to ensure a consistent approach to placing art in the public realm.
2. GOALS
2.1 To encourage the temporary placement of thought-provoking, innovative works of high artistic merit that connect people to place.
2.2 To contribute to South San Francisco's sense of identity and pride.
APPENDIX 7. SAMPLE TEMPORARY ARTWORK POLICY 75
2.3 To build on South San Francisco's identity as a diverse community and a global center for innovation.
2.4 To engage artists in projects that stimulate and encourage community interaction.
2.5 To create pilot projects in potential locations for permanent artworks.
2.6 To provide opportunities for emerging and established artists.
3. DEFINITIONS
This policy applies wherever temporary artwork is proposed for placement on property owned or controlled by the City.
3.1 Temporary Public Art: any art, including visual artworks, performances, projections, digital media, virtual reality, and other artistic media, that is not intended to be permanent and is not made a part of the permanent public art collection.
3.2 Temporary artwork has a predetermined lifetime ranging between a few hours to several years.
APPENDIX 7. SAMPLE TEMPORARY
ARTWORK POLICY
DRAFT
APPENDIX 7. SAMPLE TEMPORARY ARTWORK POLICY 76
4. PUBLIC ART PROJECT TYPES AND
ARTWORK CONSIDERATIONS
Temporary artworks are allowed on any City-owned property provided that the City Department responsible for that site is willing to allow the temporary placement of art.
4.1 Temporary art may include display of existing works of art as well as artworks and art experiences that are created specifically for the site.
4.2 All approaches and media for public art shall be considered.
These include sculpture, light, social practice/community art, performance, sound, projection art and other artistic media.
4.3 Physical artworks must be constructed to withstand outdoor placement during the City-designated display period.
4.4 Temporary artworks and experiences must not create a nuisance in the community where the artwork is proposed, especially when employing light or sound.
4.5 Artwork must not present any public safety hazards or violate City laws or codes.
4.6 Physical artwork selected for temporary placement may require stamped engineering drawings and have specific
insurance requirements, and environmental review may be required.
4.7 All temporary artworks must be removed by the artist, who must restore the site to its original condition upon display completion.
5. PROCEDURES
5.1 Artist Selection Options
The Cultural Arts Program staff may issue a Request for Proposals (RFP) to solicit artists to develop original project proposals or submit pre-existing artwork to be loaned to the City.
5.1.1 The Cultural Arts Program may enter into a contract with the artist that includes the artist's cost for design, fabrication, installation, maintenance, and de-installation of commissioned temporary artwork or pay a fee to the artist for the loan and maintenance of pre-existing artworks.
5.1.2 The City may contract for the services of guest curators or non-profit arts organizations to select and curate temporary artworks.
5.1.2.1 When a contracted arts organization or curator is recommended by the Cultural Arts Commission to implement the temporary artworks, the Cultural Arts Program staff must be represented in the artist selection process as well as on the project team that reviews design development and implementation.
5.1.2.2 The Cultural Arts Program staff shall employ a list of available sites for soliciting proposals. The RFP or invitation typically shall indicate the available sites for art placement, the duration of the display, and the City's requirements for insurance, liability, safety, etc.
5.2 Review and Approval
Projects proposed by individuals or arts organizations shall be evaluated by Cultural Arts Program staff for compliance with City standards and requirements as well as consistency with the 2023 Public Art Master Plan and overall Cultural Arts Program goals.
DRAFT
APPENDIX 7. SAMPLE TEMPORARY ARTWORK POLICY 77
5.2.1 Review Panel
Cultural Arts Program staff may convene a review panel to shortlist the proposals before forwarding them to the Cultural Arts Commission for review and selection.
5.2.2 Criteria
5.2.2.1 Artists or commissioning organizations submitting artwork for consideration shall submit the following
information:
• Artist's resume.
• A minimum of two photographs of the work.
• A written narrative describing the artwork.
• In the case of physical artworks, a description of the construction materials and methods of fabrication and
anchoring details.
• Estimated value of physical art.
• Asking price (if sales are allowed).
5.2.2.2 Selection criteria shall be defined in advance by the Cultural Arts Program staff based on the goals articulated in the annual Cultural Arts Work Plan. In general, selection criteria shall include:
• Artistic merit.
• Appropriateness to site and goals articulated for the project.
• Community engagement and representation.
• Feasibility and durability.
• Hazard mitigation.
• Compliance with City codes.
5.2.3 Approval
5.2.3.1 The Cultural Arts Commission shall review and
approve, deny, or suggest revisions to temporary artwork proposals.
5.2.3.2 Temporary and performance-based projects of less than 24-hour duration may be reviewed and approved at
staff level.
6. CONDITIONS
6.1 The City reserves the right to manage its own property including the removal of the artwork, for reasons that include, but are not limited to, artwork that poses a public safety risk, has been left on City property beyond the agreed terms, or is damaged beyond repair.
6.2 If an artwork is not completed within the timeline originally approved by the Cultural Arts Commission, or if changes in content, materials, form, presentation, or financing of the artwork occur, the artwork must be reviewed again by the Cultural Arts staff and Cultural Arts Commission.
6.3 In accepting a temporary artwork, the City requires that the responsible parties enter into an agreement for the duration of the display that outlines the maintenance responsibilities and agreement to remove the work upon conclusion of the display, leaving the site in its original condition or better.
DRAFT
APPENDIX 7. SAMPLE TEMPORARY ARTWORK POLICY 78
6.4 Neither the Cultural Arts Commission, nor the City, nor any of its agents, shall be held liable for any damage or state of disrepair of a temporary artwork.
7. DOCUMENTATION
Artists shall assist Cultural Arts Program staff in collecting and/or creating documentation that includes the following information:
• Photographs or other documentation of the installed work. • Mention and/or reviews of the artwork in local press.
DRAFT
In addition to the Cultural Arts Specialist, the following job descriptions should be considered for the hiring of additional staff that will support the public art program.
1. CULTURAL ARTS PROGRAM
SUPERVISOR (FULL TIME)
Under the direction of the Parks and Recreation Department, the Cultural Arts Program Supervisor is accountable for management level administrative work directing program operations, staff, projects, and complex tasks in support of the Cultural Arts Commission mission, goals, policies, and objectives:
• Plans, manages, and oversees the daily functions, operations, and activities of the Cultural Arts Program.
• Plans, organizes, oversees, coordinates, and reviews the work of staff performing duties related to performing arts, visual arts, public art, literary arts, media arts, and instructional programs. • Participates in the development and implementation of goals, objectives, policies, and priorities for the Cultural Arts Program. • Recommends appropriate service and staffing levels.
• Develops and manages the Cultural Arts Program budget including the Cultural Arts Fund and monitors expenditures; conducts research and prepares projections.
APPENDIX 8. SAMPLE CULTURAL ARTS PROGRAM JOB DESCRIPTIONS 79 APPENDIX 8. SAMPLE CULTURAL ARTS
PROGRAM JOB DESCRIPTIONS
• Develops and manages the preparation of grant proposals; supervises the implementation of grant-funded programs and services.
• Plans and executes strategic marketing plans and promotional activities for all arts events and programs.
• Communicates with City departments to ensure success in coordination of all cultural activities.
• Manages all relations and staff support to the Cultural Arts Commission and associated constituent groups.
• Prepares and reviews presentation materials submitted for City Council review.
• Makes presentations to business and neighborhood groups, City Boards and Commissions, City Council, and the public and represents the Cultural Arts Program at various meetings. • Stays abreast of latest trends and innovations in cultural arts and studies their applicability to City needs.
DRAFT
APPENDIX 8. SAMPLE CULTURAL ARTS PROGRAM JOB DESCRIPTIONS 80
2. CULTURAL ARTS PROGRAM PUBLIC
ART COORDINATOR (FULL TIME)
It is the responsibility of the Cultural Arts Program Coordinator to assume the pivotal role of guiding the public art process and coordinating the efforts of a multitude of participants. To ensure that each project’s full potential can be realized, the Cultural Arts Program Public Art Coordinator must adopt the following responsibilities:
• Oversee the percent for art budget, including regular meetings with the appropriate City department to assess project eligibility for current and projected Capital Improvement Program projects. • Manage the interests and needs of a varied range of stakeholders, including the City of South San Francisco’s departmental staffs, City Council, Cultural Arts Commission, and various panels, private developers, peer professionals, community members, and others. • Coordinate public information and community outreach, including the Cultural Arts Program website.
• Be knowledgeable about the range of artistic possibilities and familiar with local and national resources in the field. • Facilitate the artist and artwork selection and approval processes. • Represent and defend the interests of the artist and the intended artwork from the beginning to the end of a project, while at the same time understanding and balancing the competing interests and needs of all the other participants in the public art process. • Prepare for public art controversy. In the event that it occurs, develop proactive systems for distributing information, responding to the media, and activating supporters.
• Manage the design, fabrication, and installation of public artwork. • Anticipate, plan for, and implement the complex layers of competing schedules, information requirements, budgets, and programmatic needs.
• Negotiate contract agreements and develop consensus
around highly complex issues and situations.
• Oversee the documentation, care, and maintenance of the City of South San Francisco’s public art collection, as well as the deaccessioning of artwork.
• Administer the donation of artwork gifts to the City from private individuals, collectors, artists, foreign cities, or countries.
3. CULTURAL ARTS PROGRAM
COLLECTION SPECIALIST (PART TIME)
• Manage public art collection inventory and data.
• Schedule and track collection maintenance and repairs. • Maintain records.
• Maintain artwork insurance policies.
• Produce content for educational materials, collateral, DRAFT
signage, maps, and tours.
1. PURPOSE
The Cultural Arts Program staff manages and maintains the City of South San Francisco’s (City) collection of artwork for the benefit of South San Francisco citizens.
1.1 This policy shall govern removal, disposal, and destruction of artworks in the collection of the City. This policy applies to permanent artworks in the City's collection that are intended to stay in place for long periods and that have a predetermined lifetime of one year or more.
1.2 Removing an artwork from the collection (deaccessioning) is a sensitive matter and needs to be managed according to clear criteria.
The policies outlined below are subject to periodic review by the Cultural Arts Commission (CAC).
1.3 Except in the case of a safety emergency, no artwork in the collection shall be deaccessioned until the policies set forth below have been observed.
2. POLICY
2.1 Any proposal for removal or destruction of an artwork shall be submitted to Cultural Arts Program staff and reviewed by the Cultural Arts Commission according to the policies and procedures contained APPENDIX 9. SAMPLE DEACCESSION OF ART POLICY 81
herein; review shall be deliberate and independent of political pressures, fluctuations in artistic taste, popularity, and public opinion.
2.2 Deaccession shall be a seldom-employed action that is taken only after issues such as artists' rights, public benefit, censorship, copyrights, and legal obligations have been carefully considered, including such rights under the Visual Artists Rights Act (Pub. L 101-650 title VI, 17 U.S.C. § 106A) and the California Art Preservation Act (Cal. Civil Code §§ 987 and 989). The final decision with respect to deaccession of artworks owned by the City shall rest with the Cultural Arts Commission.
2.3 At regular intervals, the condition of the City's artwork collection shall be evaluated by the Cultural Arts Program staff or professional fine art conservator and reported to the Cultural Arts Commission with any recommendations for deaccession.
3. DEFINITIONS
For purposes of this Policy, the following definitions apply.
3.1 Artist: An individual generally recognized by critics and peers as a professional practitioner of the visual arts as judged by the quality of the professional practitioner's body of work, educational background and experience, past public commissions, sale of works, exhibition record, publications, and production of Artwork.
APPENDIX 9. SAMPLE DEACCESSION
OF ART POLICY
DRAFT
APPENDIX 9. SAMPLE DEACCESSION OF ART POLICY 82
3.2 Artwork: Works in any style, expression, genre, and media created by an Artist and owned by the City in the permanent collection, whether functional or non-functional.
3.2.1 Artwork may be stand-alone and integrated into the architecture, landscaping, or other site development if such are designed by an Artist as defined herein.
3.2.2 The following are not considered Artwork:
3.2.2.1 Reproductions, by mechanical or other means of
original Artwork, except in cases of film, video, photography, printmaking, theater, or other media arts;
3.2.2.2 Art objects that are mass produced (excluding artistcreated, signed limited-edition works), ordered from a catalog, or of a standard design, such as playground sculpture or fountains; and
3.2.2.3 Directional or other functional elements such
as signage, supergraphics, color coding, or maps
unless specifically designed as artworks.
3.3 Deaccession: The procedure for the removal of an Artwork owned by the City and the determination of its future disposition.
3.4 Deaccession Notification: A written letter or email to the artist or donor referencing the applicable condition(s) of the Artwork and describing reasons why the deaccession review needs to be undertaken.
4. GUIDELINES
Any Artwork owned by the City shall be eligible for deaccession except an artwork accompanied by verified legal stipulations that it may not be. During the review process, the artwork shall remain accessible to the public in its existing location unless it poses a threat to public safety.
4.1 Artwork may be reviewed for deaccession at any time by Cultural Arts Program staff or CAC members. Review also may be initiated by the Artist regarding the Artwork she/he created, by that Artist's designated heir(s), or by legally recognized representative(s).
4.2 Artwork may be considered for review toward deaccession if one or more of the following conditions apply:
• The condition or security of the Artwork cannot be reasonably guaranteed.
• The Artwork requires excessive maintenance or has faults of design, materials or workmanship, and repair or remedy is impractical or unfeasible.
• The Artwork has been damaged or has deteriorated, and repair or remedy is impractical or unfeasible.
• The Artwork's physical or structural condition poses a threat to public safety.
• The Artwork is proved to be inauthentic or in violation of existing copyright laws.
• The Artwork is not, or is only rarely, on display because the City lacks a location for its display;
• As applicable, the Artwork has exceeded its expected lifespan, as defined in the contract agreement with the artist for the commission or acquisition of the artwork.
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• No suitable site is available for relocation or exhibition, or significant changes in the use, character, or design of the site have occurred which affect the integrity of the artwork. • Changes to the site have significantly limited or prevented the public's access to the artwork;
• The site where the work is located is undergoing privatization. • Deaccession is requested by the artist.
• If there are more than three permanently installed works on public display in the City, Cultural Arts Program staff may recommend to the Cultural Arts Commission that the City retain only a representative selection of that artist's work. • If the artwork has been lost, stolen, or is missing, the Cultural Arts Commission may approve formally deaccessioning it from the collection while retaining a record in the collection database showing that the work has been deaccessioned.
5. DEACCESSION CRITERIA
In addition to the condition and security of the artwork as stated above, the review criteria for Deaccession Requests include, but are not limited to:
5.1 Artistic Excellence: Qualifications and professional reputation of the Artist; craftsmanship, conceptual content, style, form.
5.2 Value of Artwork: Determined by a professional appraiser, if available.
5.3 Relationship To Existing Collection of Artwork: Style, form, scale, diversity, quantity, quality, longevity, and compatibility with the existing collection of Artwork and goals of the Public Art Program.
5.4 Availability of City Support: The availability of necessary funding for conservation, maintenance, and/or repair; exhibition and storage space; real property for sitting Artwork; and staff support.
5.5 Relationship to Site: Accessibility, public safety, and social, cultural, historical, ecological, physical, and functional context of the Artwork in relation to the site, both existing and planned.
5.6 Legal Considerations: Issues related to liability, insurance, copyright, warranties, ownership, theft, vandalism, loss, indemnification, and public safety. The City Attorney shall review the recommendation of the Public Art Program staff and CAC to determine whether there are any known legal restrictions that would prevent deaccessioning the object. The City Attorney's approval must be obtained prior to deaccessioning an object.
5.7 Timing: Safety or hazard emergencies, relevant construction schedules, and the allowance of sufficient time for a normal review process.
5.8 Acquisition Process: Method by which the Artwork was acquired and accessioned into the collection of artwork (i.e., donation, loan, commission).
5.9 Community Feedback: Community feedback about the Artwork, its site, and its condition solicited via a publicly noticed meeting or placed on the agenda of the CAC.
5.10 Restrictions: Any recognized restrictions associated with the Artwork.
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6. PROCEDURES
6.1 Deaccession Request
6.1.1 Deaccession shall begin with a formal Deaccession Request which can be initiated by the Cultural Arts Commission, by Cultural Arts Program staff, the artist, the artist's designated heirs or legally appointed representative.
6.1.2 The Deaccession Request shall be submitted to Cultural Arts Program staff and shall describe the applicable condition(s) outlined in the Guidelines above, and the reasons why the deaccession review should be undertaken.
6.1.3 A Deaccession Request must also contain information about the requester's relationship to the Artwork and stake in deaccessioning the Artwork.
6.1.4 Deaccession Requests shall be reviewed by Cultural Arts Program staff, who shall make every reasonable effort through a Deaccession Notification to contact the artist who created the Artwork named in the Deaccession Request, and any other known parties with a vested interest in the artwork and shall comply with any applicable state or federal notice requirements.
6.2 Review and Approval Process
6.2.1 When Artworks are proposed for deaccession, Cultural Arts Program staff shall place the matter on the Cultural Arts Commission agenda for an initial review of the reasons deaccessioning is being considered and to gather comments on the deaccession proposal. At a subsequent Cultural Arts Commission meeting, Cultural Arts Program staff shall then present a deaccession recommendation.
6.2.2 In presenting the Deaccession Request, Cultural Arts Program staff shall provide all available relevant corresponding materials to the Cultural Arts Commission, including, but not limited to:
• Artist's name, biographical information, samples of past artwork, and resume.
• A written description and images of the Artwork.
• Artist's statement about the Artwork named in the
Deaccession Request.
• A description of the selection/acquisition process and related costs implemented when the Artwork was selected.
• If available, a formal appraisal of the Artwork provided by a qualified art appraiser.
• Information about the origin, derivation, history, and past ownership of the Artwork.
• A warranty of originality of the Artwork as evidenced by artist’s signature on the Artwork and/or the contract
agreement for the commission or acquisition of the
Artwork signed by the artist.
• Information about the condition of the Artwork and the estimated cost of its conservation provided by a qualified visual arts conservator.
• Information about and images of the artwork's site.
• Information about how community feedback about the
Artwork was collected and the outcome of that feedback. • Feedback from the Director of the City department
responsible for operating and maintaining the Artwork
site.
• A detailed budget for all aspects of conservation,
maintenance, repair, installation, operation, insurance, storage, and City staff support.
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• The artist's contract with donor or comparable legally binding document with Proof of Title, if applicable.
• Deed of gift restrictions, if any.
6.2.3 The Cultural Arts Commission shall approve, with or without conditions, or reject the Deaccession Request based on the Deaccession Criteria described in this policy.
7. METHODS OF REMOVAL
The deaccessioned artwork shall be removed from the collection through methods administered by the Cultural Arts Program staff.
7.1 Opportunity for Artist to Purchase Artwork
7.1.1 In all cases, the artist or the artist's designated heir(s), or legally recognized representative(s) shall be given, when possible and within a reasonable time frame, the opportunity to purchase the Artwork for the fair market value as determined by a qualified art appraiser.
7.1.2 If the Artwork is determined to be of negligible value, the artist shall be given the opportunity to claim the Artwork at the Artist's own cost.
7.2 Methods of Removal
When the Artist does not purchase or claim the deaccessioned Artwork, the City, at its discretion, may use any of the following methods to remove the Artwork:
7.2.1 Sale
7.2.1.1 Proceeds from the sale shall be deposited in
the Cultural Arts Fund. Written acknowledgement to
place revenues from the sale of deaccessioned Artwork
in the Cultural Arts Fund must be obtained from the
City Manager. Public notice regarding the sale shall
be provided on the City website, at a publicly-noticed
meeting and in any other manner required by law.
7.2.1.2 The Artist/donor shall be given the right of first refusal to reacquire the work at fair market value, original price, or nominal value, depending on the recommendation of the Cultural Arts Commission.
• The cost of removal of the work may be reflected in the amount set.
• Sell the work through a dealer.
• Sell the work through sealed bidding or public auction.
7.2.2. Trade or Exchange: Trade or exchange of a
deaccessioned Artwork for another by the same Artist.
7.2.3. Donation: Donation of deaccessioned Artwork to
a non-profit organization, institution, or agency.
7.2.4. Destruction: This method is appropriate in the
following instances:
• The entire Artwork has been damaged or has deteriorated, and repair or remedy is impractical or unfeasible.
• Most of the Artwork has been damaged or has deteriorated, and repair or remedy is impractical or unfeasible, and any remaining intact parts of the Artwork are deemed to have negligible value, and the artist is not willing to claim the remaining parts at the Artist's own cost.
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• Public safety considerations support destroying the Artwork. • Every effort to locate the Artist, kin, or donor has failed. • The Cultural Arts Commission and the Cultural Arts Program staff determines that no other method of implementation is feasible.
7.3 Profits
7.3.1. When possible, the method for removing the Artwork from the collection shall be selected based on the highest reasonable price that may be received.
7.3.2. Any profits received by the City through the sale, trade, or auction of a deaccessioned Artwork shall be deposited into the Cultural Arts Fund.
8. IMPLEMENTATION
8.1 If a deaccessioned Artwork is sold or exchanged, Cultural Arts Program staff shall implement any legal requirements for compensating the artist, including the California Resale Royalties Act (Civil Code section 986) which entitles artists to a royalty payment upon the resale of their art.
8.2 Cultural Arts Program staff shall remove acquisition numbers and labels from the Artwork and coordinate its physical removal from the City's collection.
8.3 Cultural Arts Program staff shall report on the sale or exchange of Artwork at the next regularly scheduled meeting of the Cultural Arts Commission, following receipt of all funds or the completion of the sale, exchange, or donation.
8.4 Cultural Arts Program staff shall transmit a report informing City Council of the removal of the Artwork from the City's collection.
8.5 Cultural Arts Program staff shall maintain a Deaccession File that includes individual files on each deaccessioned Artwork. These files shall include all documentation regarding the Artwork.
9. EXCEPTIONS
9.1 Artworks may not be sold, traded, or donated to current employees of the City of South San Francisco, their business partners, or their immediate family members. Current elected officials, CAC members, their business partners, and their immediate family members may not buy, receive, or own any Artwork which has been deaccessioned from the collection of Artwork.
9.2 Nothing in these guidelines shall limit the City's ability to take appropriate action to protect public health and safety in an emergency.
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APPENDIX 10. SAMPLE GIFTS, LOANS, AND EXHIBITIONS OF ARTWORK ON CITY-OWNED PROPERTY 87 APPENDIX 10. SAMPLE GIFTS, LOANS,
AND EXHIBITIONS OF ARTWORK ON
CITY-OWNED PROPERTY
1. BACKGROUND
Private individuals and agencies may occasionally offer works of art as gifts or loans to the City of South San Francisco (City) or desire to exhibit art owned by those individuals or agencies on public property. Similarly, individuals or groups may also wish to propose a public art project that would be temporarily or permanently installed on City property.
1.1 These gifts, loans, and exhibitions are an important part of the City's growing art collection and its presence in the public realm. The City has established policies and procedures for any unsolicited gifts, loans, or exhibition proposals for the following reasons:
• Maintain the quality of the public art collection.
• Ensure that artworks are sited in the most suitable locations. • Ensure that there are adequate funds to protect, maintain, preserve, and conserve works of art on public property. • Evaluate works for quality, safety, durability, and
maintainability.
1.2 The Cultural Arts Commission is responsible for reviewing all gifts, loans, and exhibitions proposed byindividuals, organizations, and neighborhood and community groups. The Cultural Arts Commission may choose to include non-voting ex-officio members, such as conservators or curators, as needed.
1.3 The Cultural Arts Commission may accept and shall comply with the terms and conditions of gifts, loans, and exhibitions of the artwork so long as acceptance of the same entails no expense for the City beyond ordinary care and maintenance, in which case the Cultural Arts Commission makes a recommendation to the City Council for acceptance.
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2. DEFINITIONS
Artwork Gifts and Loans
• Unrestricted Gift: The gift of a work of art to the City without any restrictions placed on where it is sited.
• Restricted Gift: The gift of a site-specific work of art to the City.
• Loan: The loan of a work of art to the City, with or without restrictions on where it is sited.
2.1 Exhibitions/Artwork
2.1.1 Temporary Exhibition/Artwork: A proposed exhibition or work of public art installed temporarily on City property for two years. Proposals may be site-specific or not.
2.1.2 Permanent Exhibition/Artwork: A proposed exhibition or work of public art installed permanently on City property for 10 years or more. Proposals may be site-specific or not.
2.1.3 Exhibition of Privately Owned Art on Public Property:
A proposed exhibition of art not owned by the City and that is borrowed by the owner of the artwork for display on City property.
2.2 Monetary Gift:
Cash gift contributed to the Cultural Arts Fund.
3. REVIEW PROCESS
The Cultural Arts Commission shall review each gift, loan, and exhibition proposal based on the criteria established below. This includes artwork that may have been part of a previously juried exhibition.
3.1 Individuals or groups shall be required to submit the relevant application and supporting materials when proposing a gift, loan, or exhibition of artwork to ensure that all criteria are addressed.
3.2 In addition to the following, the Cultural Arts Commission may require other support materials such as text verbally describing artwork, specifications, structural and engineering drawings, models, and presentation drawings.
3.2.1 Artistic Merit
Does the artwork have strong artistic merit? Criteria include but are not limited to:
• Durability and craftsmanship in fabrication.
• Relationship of artwork to other works in the City art collection.
• Appropriateness of artwork scale to the proposed site. • Appropriateness of artwork to other aspects of its
surroundings, and artist's credentials and recognition.
3.2.2 Provenance
Does the owner have clear title to the artwork to make the legal gift?
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3.2.3 Site: What type of site is proposed for the artwork? Siting criteria include but are not limited to:
• Written evidence that location of artwork on the proposed site has been approved by the City department charged
with oversight of that site.
• If an artwork is designated in a neighborhood plan,
is the proposed artwork consistent with the plan
recommendations, and have community members
approved of its proposed placement?
• If the artwork is proposed for a site of regional
significance (e.g., a regional park, an arterial route, a major civic building), does its scale and aesthetic
quality merit a prominent location?
3.2.4 Relationship to the City’s Collection as a Whole
How is the proposed gift compatible or incompatible with the City’s public art collection? Criteria for compatibility include but are not limited to:
• Does the artwork contribute to the diversity and breadth of the City’s collection?
• Is the artist's work already adequately represented in the City’s collection?
3.2.5 Safety, Maintainability and Feasibility
Artworks must be structurally sound, durable, and resistant to vandalism, weathering, and excessive maintenance/repair costs and should not threaten the public's safety. Applicant must provide the following information for Cultural Arts Commission review:
• Adjacent/surrounding site conditions if applicable
• Dimensions
• Materials
• Colors
• Power, plumbing, or other utility requirements
• Construction/installation method
• The fabricator or contractor is qualified to install the work and carries adequate insurance to meet City requirements. • Evidence the art shall not pose a threat to public safety.
4. GUIDELINES
The Cultural Arts Program maintains records of all artwork on City property and oversees their maintenance. However, funds to maintain artworks in the City’s collection are limited.
4.1 Donors may be required to sign a maintenance agreement or establish a maintenance endowment to ensure that the artwork can be cared for adequately.
4.2 Funds provided for maintenance are deposited into the Cultural Arts Fund and earmarked for that purpose. Typically, a maintenance fund consists of 10% of the value of the artwork.
5. PROCEDURES
5.1 Proposed gifts, loans, and exhibitions should first be referred to the Cultural Arts Program staff who shall assist individuals in identifying the appropriate application that must be submitted for review. Any questions regarding the application should be referred to the Cultural Arts Program staff.
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5.2 Completed and signed applications and supporting materials, including images or a maquette or rendering of artwork(s), should be submitted to Public Art South San Francisco, and reviewed by Cultural Arts Program staff for completion.
5.3 The Cultural Arts Commission shall review applications and supporting materials according to the criteria outlined above and determine whether they shall recommend accepting or rejecting the proposal. The Commission may attach conditions to its recommendations for acceptance or rejection of proposals.
5.4 If a specific site is recommended for placement of the donated or loaned work or exhibition of private art on public property, the Commission shall review the proposed site. The site shall also need to be approved by the appropriate City department under whose jurisdiction the artwork site is located. If a site has not been proposed, Cultural Arts Program staff shall work with the applicant to identify an appropriate location for the work of art or exhibition.
5.5 If the City chooses to accept a proposal, Cultural Arts Program staff shall work with individuals or groups on contracts, timelines, and installation of artwork(s).
5.6 If the artwork for exhibition has yet to be fabricated, the Cultural Arts Program staff must be kept informed of the fabrication process with progress updates and scheduled studio visits.
5.7 If the Cultural Arts Commission approves the exhibition of private art on public property, the owner of the private art must execute an agreement with the City whereby, among other things, the owner assumes liability for personal or property damage arising from the exhibition of that private art on public property.
6. PROCEDURES
Donors may contribute monetary gifts to the Cultural Arts Fund. At the discretion of the Cultural Arts Commission, these funds may be used for maintenance of the collection, the acquisition of artwork, arts programming, and program administration, among others.
If the donor proposes a specific project or commission, the above procedures must be followed.
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APPENDIX 11. SAMPLE MEMORIALS POLICY AND GUIDELINES 91
APPENDIX 11. SAMPLE MEMORIALS POLICY
AND GUIDELINES
1. INTRODUCTION
1.1 The City of South San Francisco (City) may occasionally decide to install permanent memorials on its property to commemorate persons or events of note, or to otherwise convey the City’s position on various topics (referred to as government speech). The City seeks to establish a standard measure for review of prospective donated memorials The placement of memorials shall be limited to circumstances of the highest community-wide importance, both to maintain the significance of such memorials and to minimize conflicts with the active and variable use of public spaces to ensure that only objects of the highest standard of excellence are accepted.
1.2 The following policy for the acceptance of memorials defines the types of donations that the City shall accept and establishes criteria for review and acceptance of these objects. The following types of projects are considered in this policy:
1.2.1 The gift of a newly commissioned memorial to be located permanently on City property or public right of way.
1.2.2 The offer by a donor to organize a public competition that shall result in the gift or loan of a memorial to be located permanently or temporarily on City property.
2. POLICY
2.1 This policy provides a framework for review and approval of prospective memorials. The City of South San Francisco shall only accept memorials that are of the highest quality. Memorials must meet the subject criteria outlined below. In order for the City to accept donations of memorials, it must first determine that there is an identified space for exhibition on City of South San Francisco property or within City facilities.
2.2 The City shall not accept memorial objects that are unlimited reproductions or are mass-produced. These memorial donations differ from public artworks commissioned or acquired under the City’s Capital Improvement Program.
3. DEFINITIONS
3.1 Memorials: are markers, statues, and other similar permanent installations to express government speech, as further described in this policy, and which are installed by the City of South San Francisco on City property, or which are accepted by the City and installed on City property with City permission. Memorials may be in various forms including:
3.1.1 Plaques
3.1.2 Sculpture
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3.1.3 Fountains
3.1.4 Other forms of memorials as determined by the City Manager
3.2 Artwork Memorials: are memorials that are designed by an artist. Memorials may be designed by artists in collaboration with members of allied fields such as architecture, engineering, landscape architecture, or graphic design.
4. MEMORIALS AND GOVERNMENT
SPEECH
4.1 The City has established the following considerations for the topic of memorials:
4.1.1 The placement of memorials shall be limited to circumstances of the highest community-wide importance, both to maintain the significance of such memorials and to minimize conflicts with the active and variable use of public spaces.
4.1.2 Memorials should convey a powerful connection between South San Francisco, its natural setting, and its history.
4.1.3 Memorials should recognize significant circumstance, events or people or provide information on topics approved by the City Council as set forth below:
4.1.3.1 The contributions of individuals or groups who made a substantial impact upon the City;
4.1.3.2 The history of South San Francisco or of the United States;
4.1.3.3 Historical, natural, or cultural influences on South San Francisco; or
4.1.3.4 Local innovation or creativity that has contributed to South San Francisco’s growth and prosperity.
4.1.4 The City does not permit the installation of memorials to living persons, and usually a minimum of five years between an event and its commemoration is recommended, to allow for sufficient historical perspective.
4.1.5 The City may decide, in its sole discretion, to reject a proposal for a memorial and/or may determine the appropriate site for any and all City memorials.
5. PROCEDURES FOR ACCEPTANCE
OF MEMORIALS
5.1 Application Process
5.1.1 Potential gifts of memorials must be submitted to the City Manager for initial review. If the memorial is determined to be an artwork memorial, it shall be transmitted to the Cultural Arts Program staff who shall initiate a review and approval process.
Cultural Arts Program staff shall respond to all donor inquiries and advise donors of the process for review and approval based on this determination.
5.1.2 Gifts of memorials may not be offered for a specific site.
Before offering a permanently sited memorial, the donor must submit an initial request for placement consideration to the City Manager. Once a potential site has been identified, the donor must submit a site plan demonstrating the relationship of the memorial to the proposed location and include color photographs of the site.
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5.1.3 For gifts of memorials, the completed application must be accompanied by:
5.1.3.1 A letter from the donor stating the purpose of the memorial and its responsiveness to the criteria stated above.
5.1.3.2 A model, color photographs, or a color rendering of the proposed memorial. If the work is three-dimensional, multiple views are required.
5.1.3.3 If the memorial is an artwork, the completed application additionally must include:
5.1.3.3.1 A professional assessment of the artwork’s
condition conducted by a fine arts conservator and
accompanied by maintenance requirements.
5.1.3.3.2 The artist’s resume.
5.1.3.3.3 Information of the artwork’s context, provenance, and history (e.g., where it has been shown, who owned it, etc.); and
5.1.3.3.4 A letter of authentication from the artist or the artist’s estate.
5.1.3.4 Evidence that there are sufficient funds available for the fabrication, installation, and ongoing care of the memorial.
5.2 Review and Evaluation
5.2.1 Step 1. Department Review
The Director of the City department with jurisdiction of the location where the artwork is proposed shall review the proposed memorial to determine whether there is an appropriate location for its permanent placement and to determine whether the memorial meets the topic criteria identified in this policy. If the memorial is not determined to be an artwork memorial, City Management staff shall employ criteria listed in section 5.2.2.3 below.
5.2.2 Step 2. Cultural Arts Program Review of Artwork
Memorials
5.2.2.1 Cultural Arts Program staff shall review applications for donations of artwork memorials for completeness, evaluate the prospective donation, and make written recommendations for review and approval by the Cultural Arts Commission. If staff determines that the donation is not feasible, the donor shall be notified in writing.
5.2.2.2 If the Cultural Arts Commission has approved a site for the memorial, then Cultural Arts Program staff shall consult with the City department responsible for that site to develop a community outreach plan.
5.2.2.3 If necessary, staff may appoint an ad hoc arts advisory panel of three to five arts professionals to review the proposed memorial and make recommendations to the Cultural Arts
Commission based on the following criteria.
5.2.2.3.1 Artistic Excellence
Donated artwork memorials should reflect the highest
standards of excellence and represent diversity of art
forms and artists, while excluding reproductions that
are unlimited editions and art objects that are
mass-produced.
5.2.2.3.2 Professional Credentials of the Artist
Artist’s resume should demonstrate the breadth of
professional work through solo and group shows,
collections, publications, and education.
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5.2.2.3.3 Appropriateness to the Site
Donated memorials should be compatible with the
proposed site’s architecture, landscape, and/or
surrounding area.
5.2.2.3.4 Maintenance Requirements
The memorial should be in good condition with a recent
conservation report detailing routine maintenance
instructions. The materials used in the creation of the artwork must last in a public, non-archival setting
suitable for both indoor and outdoor exhibition and
must be resistant to vandalism.
5.2.2.3.5 Maintenance Endowment
The donor must demonstrate the ability to provide a
maintenance endowment sufficient for the ongoing
care of the memorial.
5.2.2.3.6 If the memorial requires siting but no suggested site is specified by the applicant, the Cultural Arts Program staff, after determining the work to be appropriate for placement on City property, may consult with other City departments and then suggest locations to the Cultural
Arts Commission for review.
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APPENDIX 12. SAMPLE ARTIST AND ARTWORK SELECTION GUIDELINES FOR MUNICIPAL PUBLIC ART PROJECTS 95 APPENDIX 12. SAMPLE ARTIST AND
ARTWORK SELECTION GUIDELINES
1. ARTIST SELECTION GOALS
The overarching goal of artist selection is to acquire artwork of the highest quality. Success depends on selecting an artist whose skill, experience, style, commitment to collaboration and community facilitation skills match the project’s needs. The specific goals of the selection process are to:
1.1 Encourage the highest level of creative engagement and vibrant thinking in creating free-standing or site-integrated artworks.
1.2 Select an artist or artists whose existing public artworks or past collaborative efforts have maintained a high level of quality and integrity.
1.3 Further the mission and goals of the Cultural Arts Program and the City of South San Francisco (City).
1.4 Identify the optimal approach to public art that is suitable to the demands of the particular project.
1.5 Select an artist or artists who will best respond to the distinctive characteristics of the site and the community it serves.
1.6 Select an artist or artists who can work successfully with the project design team.
1.7 Ensure that the selection process represents and considers the interests of all parties concerned, including the public, the arts community, and the City.
2. ARTIST SELECTION PANEL
The Artist Selection Panel functions in an ad hoc capacity and is responsible for reviewing artist submittals for publicly funded art projects and making recommendations of finalists to the Cultural Arts Commission.
2.1 The Artist Selection Panel is selected by the Cultural Arts Program staff on a project-by-project basis and ideally is comprised of at least three arts professionals selected based on expertise in public art, artists with public art experience, and arts management professionals, a representative of the project design team, the client City department, and at least one panel member representing the community in which the artwork will be located.
2.2 Cultural Arts Commission members may serve on the panel as community members or arts professionals, if appropriate, or may participate on the artist selection panel as observers.
Panel recommendations shall be based upon consensus.
2.3 The Artist Selection Panel is customized to each qualifying Capital Improvement Program project (CIP) valued at $60,000 or DRAFT
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3. METHODS FOR ARTIST SELECTION
3.1 Criteria
The Cultural Arts Commission, in consultation with Cultural Arts Program staff, defines the method for artist selection for each project, considering the nature and needs of the specific project, including:
• Project goals;
• Size of the budget available for artwork;
• Interest in working with emerging and/or established artists; • Geographic restrictions on artists’ eligibility;
• Preferences concerning the nature of the artwork
(i.e., medium, form); and
• Potential locations for the work and limitations or opportunities presented by the site.
3.2 Options for Artist Solicitation
There are several standard methods of artist selection that may be used:
3.2.1 Request for Qualification (RFQ)
3.2.1.1 Request for Qualifications (RFQ) can be an effective and efficient method to issue a Call for Artists. RFQs require minimal expenditures of time and money from artists. RFQs primarily rely upon examples of an artist’s previous work and typically include an artist’s vita, selected references, and a statement of interest about the project. When RFQs are written thoughtfully and applicants’ materials are subsequently reviewed, considered, and evaluated by arts professionals and the commissioning organization, a short list of qualified artists to interview for a proposed project may be easily accomplished.
3.2.1.2 The outcome of this process creates opportunities for in-person interviews or offering a reasonable fee to compensate for the development of conceptual ideas for the project.
The RFQ process does not anticipate that artists prepare, or present specific ideas based on limited information provided in the Call. Instead, conceptual artwork proposals for the project are developed only after learning more about the project through site visits and interactions with project personnel and constituent interests. It is expected that short listed artists be compensated for travel expenses when invited to an interview.
3.2.2 Request for Proposals (RFP)
3.2.2.1 If the design process is sufficiently advanced and a context has been established to which the artists can respond, each of the finalists may be asked to develop a preliminary artwork proposal. Request for Proposals (RFP) can be an effective way to consider and evaluate the appropriateness of an artist when a limited number of artists are invited to participate in a selection process, the criteria for selection is explicit and uniform, and there is an honorarium paid to the artist for each submission. Commissioning bodies recognize that artists will not have sufficient time and information to develop site specific proposals that are informed by substantial client interaction unless the proposals and competition affords at least four to six weeks of preparation time.
3.2.2.2 Proposals are requested only when the commissioning agency is prepared to consider the proposal as a conceptual DRAFT
APPENDIX 12. SAMPLE ARTIST AND ARTWORK SELECTION GUIDELINES FOR MUNICIPAL PUBLIC ART PROJECTS 97 approach to the project and not the final design. The
commissioning body must pay each artist a fee for time
and materials for the development of the proposals. All proposal materials are returned to those artists not selected for the project and the commissioning agency recognizes that all ideas presented for the project, including copyright, belong to each artist.
3.2.3 Open Competition
In an open competition, any artist may submit her/his credentials, subject to requirements established by the Public Art Program.
The Call for Artists must be sufficiently detailed to permit artists to determine whether their work is appropriate for consideration.
An open competition allows for the broadest range of possibilities for a site and can bring in new, otherwise unknown, and emerging artists. This method sometimes discourages established artists who prefer to respond to limited competitions and to be directly selected for projects
3.2.4 Limited Competition
In a limited competition, three or more artists are preselected and invited to submit qualifications. Limited competitions are more appropriate for projects with extremely aggressive schedules, where there is consensus around an artist or list of artists to be considered, and where a high-level or specific type of expertise is required for the project. The list of preselected artists can be developed by the Cultural Arts Commission with input from the Public Art Program staff; local, national, and international arts professionals; project partners; and a curator or consultant advising on the projects.
3.2.5 Direct Selection
Direct selection is a method that is most often used in private development projects, although developers may choose to select an artist through other methods described here. On occasion, an artist for a municipal public art project may be chosen directly by the Cultural Arts Commission. Direct selection may be appropriate on projects where an urgent timeline, limited budget, or specific project requirements exist.
3.2.6 Direct Purchase
At times, the Cultural Arts Commission may elect to recommend a direct selection in which it contracts with a specific artist for a particular project. This may occur for any reason, but generally is used when circumstances surrounding the project make either an open or limited competition unfeasible (i.e., project timeline, community or social considerations, client demand) or a specific artwork is needed due to the exacting nature of the project.
3.3 Evaluation Criteria
3.3.1 General Questions to Consider when
Commissioning Public Art
• Is the artwork of a high quality?
• Does the artist have experience or demonstrate a level of excellence?
• Does the artwork celebrate some aspect of the uniqueness of South San Francisco?
• Have potential safety and security issues been assessed? • Has the artist identified ongoing maintenance needs?
• Has there been a consultation to ensure that design of the project meets requirements of the Americans with
Disability Act?
• How does the artwork relate to the City’s overall collection? DRAFT
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3.3.2 Artist Qualifications
The Cultural Arts Commission will use the following criteria to review the selection of artists for the acquisition of artwork:
• Meets the definition of artist, as defined in the Percent for Art Ordinance.
• Demonstrates artistic excellence, innovation, and originality as represented in past work and supporting materials.
• Shows capacity for working in artwork media and with concepts appropriate to the project goals and site.
• Demonstrates interest and capability in creating public artwork in collaboration with the Cultural Arts Program, project design team (if applicable), and other project partners.
• Demonstrates experience in successfully completing works of similar scope, scale, budget and complexity, or ability to articulate how he or she would be able to bring the necessary artistic and technical skills to this project.
• Demonstrates interest in and understanding of the project. • Is available to perform the work in a timely and professional manner.
• If applicable, demonstrates a cohesive team.
3.3.3 Criteria for Evaluating Artist Concept and Schematic Proposals
The Cultural Arts Commission will use the following criteria to review Artist Concept Proposals:
• Clearly responds to the project goals.
• Meets the definition of artwork as defined by the Public Art Ordinance.
• Demonstrates excellence in aesthetic quality, workmanship, innovation, and creativity.
• Demonstrates appropriateness in scale, form and is of materials/media suitable for the site.
• Demonstrates feasibility in terms of budget, timeline, safety, durability, operation, maintenance, conservation, legal and ethical issues related to possession and use of proposed artwork, security, and/or storage and siting.
• Builds the diversity of the City’s public art collection.
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APPENDIX 13. SAMPLE PERCENT FOR
ART ORDINANCE
ORDINANCE 1613-2020
AMENDMENT TO: ORDINANCE AMENDING TITLE 8 OF THE SOUTH
SAN FRANCISCO MUNICIPAL CODE
WHEREAS, State law provides that cities have the responsibility to use the powers vested in them to regulate the aesthetic conditions of the community; and
WHEREAS, on October 14, 2020, City Council amended Chapter
20.300 of the South San Francisco Municipal Code to repeal and reserve Section 20.300.007(K), eliminating the option for some property owners seeking to intensify the use of their properties to make a contribution to the Cultural Arts Fund in lieu of meeting City landscaping requirement; and
WHEREAS, the City of South San Francisco is dedicated to supporting, promoting, and protecting community interest and diversity in art, culture, and creative expression; and
WHEREAS, the City of South San Francisco is dedicated to improving infrastructure, economic development and cultural diversity through acquisition and exhibition of public art; and
WHEREAS, cultural and artistic resources enhance the quality of life for individuals living in, working in, and visiting the City, and artwork should be included in private and public development projects to inspire civic pride amongst its residents, strengthen the City's regional identity by enhancing public spaces, giving character to neighborhoods and business districts, and providing numerous opportunities for people to experience visual art; and
WHEREAS, City Council desires to amend the South San Francisco Municipal Code to establish a public art requirement for specified non-residential private and public development projects; and WHEREAS, City Council desires that the public art requirement applies to any new non-residential private and public development project and that it requires such projects to contribute public art with a value of at least one percent (1%) the amount of construction costs; and WHEREAS, City Council desires that in-lieu of contributing public art, the public art requirement will allow for the payment of an in-lieu fee into a public art fund at the value of one-half percent (.5%) of the amount of construction costs; and
WHEREAS, the City of South San Francisco Municipal Code Title 8 is written to provide for the Health and Welfare of the City, and WHEREAS, the City Council desires to amend Title 8 of the City of South San Francisco Municipal Code to amend Chapter 8.76 "Public Art" to require a public art contribution, or in the alternative a payment of an in-lieu fee, for new non-residential development projects; and
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WHEREAS, the action taken by this Ordinance has no potential for physical effects on the environment because it does not commit the City to any particular public art project. Furthermore, it involves the adoption of an in-lieu fee imposed by the City, which is a fee that may be used for future projects, and all future projects will be fully evaluated in full compliance with the California Environmental Quality Act ("CEQA") when enough physical details regarding said projects are available to pem1it meaningful CEQA review (See CEQA Guidelines, Section 15004(b)(l)). Therefore, approval of the fee is not a "project" for purposes of CEQA, pursuant to CEQA Guidelines, Section 15378(b)(4); and, even if considered a "project" under CEQA, is exempt from CEQA review pursuant to CEQA Guidelines Section 15061(b)(3) because it can be seen with certainty that there is no possibility that approval of the public art requirement and in-lieu fee may have a significant effect on the environment.
NOW, THEREFORE, THE CITY COUNCIL OF THE CITY OF SOUTH SAN FRANCISCO DOES HEREBY ORDAIN AS FOLLOWS.
SECTION 1. Findings
The City Council finds that the foregoing recitals are true and correct and are incorporated into the Ordinance by this reference.
SECTION 2. Amendments to the Municipal Code
Chapter 8.76 ("Public Art Requirement") is hereby amended to Title 8 of the South San Francisco Municipal Code to read as follows:
Chapter 8.76
8.76.010 Purpose.
8.76.020 Definitions.
8.76.030 Public art requirement.
8.76.040 In-lieu fee option.
8.76.050 Exceptions and Waivers.
8.76.060 Use of public art fund.
8.76.070 Administration.
8.76.010 Purpose.
This chapter authorizes the establishment of guidelines, procedures, and standards for the integration of public art into new development projects.
8.76.020 Definitions.
For the purpose of this chapter, the following words and phrases are defined as follows:
A. Annual Cultural Arts Work Plan: a document developed annually by the South San Francisco Cultural Arts Commission with project and funding recommendations that shall be
presented to the City Manager and City Council.
B. Artist: a practitioner of the creative arts, recognized as such by critics and peers, with a body of work including commissions, exhibitions, sales, publications, and collections.
For the purposes of this Chapter, "artist" shall not include:
(j) persons primarily working in the professional fields of architecture, engineering, design or landscaping; (ii) an employee or relative of the development project architect, landscape architect, engineer or project manager; (iii) any person with a business interest in a 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 development project.
C. Building Permit Valuation: those construction costs as declared on all building permit applications for new
construction but shall not apply to costs solely attributable to tenant improvements. Building permit applications shall include, but not be limited to, all building, plumbing, mechanical and electrical permit applications for the
project.
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D. Municipal Construction: any construction project of any new City building or facility, renovation of any existing City building or facility, transportation improvement projects, parks, and other above-ground structures, such as bridges, (OPTION:
parks and facilities only) that are financed wholly or in part by funds appropriated by the City Council. For this section's purposes, below-ground sewer and drainage projects are not applicable.
E. Cultural Arts Commission: the City of South San Francisco commission that advises the City Council on public art policies, procedures, and expenditures from the Cultural Arts Fund.
F. Cultural Arts Fund: a separate account into which all monies generated under this policy, derived from gifts or donations for cultural arts, shall be deposited.
G. Developer: the person or entity that is financially and legally responsible for the planning, development, and construction of any development project who may, or may not, be the owner of the subject property.
H. Guidelines: the document adopted by the Cultural Arts Commission that includes standards and procedures for the implementation and administration of Public Art in accordance with this ordinance.
I. In-Lieu Contribution: the amount equal to the percentage of building permit valuation required by this section.
J. Maintenance: activities required to conserve, repair, or preserve the integrity of the artwork and setting within which the artwork is located. Routine maintenance means the basic day-to-day care of the artwork.
K. Permanent Public Art: artwork intended to stay in position for long periods with a predetermined lifetime of more than one year to centuries.
L. Public Art: artwork created by an Artist is in a public place on private property, or on land or in a building owned by the City and encompass all cultures through the broadest possible range of expression, media, and materials and that may be permanent, fixed, temporary or portable, may be an integral part of a building, facility, structure, or landscape. These may include:
1. Media: Paintings, sculpture, light, sound, electronic, video, media-based, time-based, and computer-generated.
2. Style: Functional, realistic, abstract, community-based, and process-oriented; permanent and temporary.
The artwork can include artistic elements of the overall architecture or landscape design if created by an Artist.
3. Genre: Fine art, craft, folk art, performance art. For reference, performance art is an art form in which a
performance is presented within a fine art context,
usually in collaboration with other interdisciplinary
artists. The performance may be live or via media
and the performer may be present or absent.
M. Public Art Project: the cost for the administration, development, acquisition, and installation of the public art CIP projects required by this chapter.
N. Private Development Project: any commercial or
non-residential private sector development that requires the issuance of a building permit by the City of South San Francisco.
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O. Public Art Project Plan: a narrative statement submitted to the Public Art Program by the private developer or City department under whose jurisdiction the Public Art project is located indicating how the development will meet the requirements of this ordinance for on-site artwork. A Public Art Project Plan shall be submitted at the concept and final design stages of the project.
P. Public Place: an area on private or public property that is dedicated as freely accessible without restriction to and available for use by the public for twenty-four (24)
hours per day / seven (7) days a week.
Q. Temporary Public Art: artwork that has a predetermined lifetime ranging between a few hours to several years.
8.76.030 Public Art Requirement.
A. Private Development
1. Every private development project, as defined in this chapter, shall provide qualifying public art with a value equal to not less than one percent (1%) of the Building Permit Valuation for acquisition and installation of public art on the development site.
2. If a development project consists of both residential and non-residential developments, then only the Building
Permit Valuation for the non-residential portions of the project shall be used for the valuation of public art as required herein. Further, if a development project involves rehabilitation, renovation, remodeling, or improvement of an existing building, the project shall only be subject to the requirements of this chapter if it creates a net increase in square footage of the existing building.
3. Every private development project shall be required
to deposit an amount equal to 25% of the minimum
1% for art allocation to the Cultural Arts Fund.
4. For projects with a Building Permit Valuation of
$250,000 or less, the full 1% is paid into the
Cultural Arts Fund.
5. For large development projects more than one
hundred million dollars ($100,000,000) of Building
Permit Valuation, the percent for art allocation will
be .5% of Building Permit Valuation or as directed by
the approved Development Agreement.
6. Any development subject to the requirements of this
chapter may elect to make a public art contribution
payment in an amount not less than one-half of one
percent (.5%) of the Building Permit Valuation into the Cultural Arts Fund, in lieu of acquisition and installation of public art on the development project site. The in-lieu contribution payment must be made before issuing a
building permit.
7. A developer may incorporate public art into the
development that has a value lower than the 1%
or Building Permit Valuation and pay a public art
in-lieu contribution to the Cultural Arts Fund for
one-half of one percent (.5%) of the remaining
balance.
8. If an owner or developer chooses to incorporate
public art into the development that has a value
higher than the 1% of Building Permit Valuation,
the development project does not qualify for fee
credit or other reimbursement.
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9. Qualifying on-site artwork includes the following:
a. Sculpture: Free standing, wall supported or suspended, kinetic, electronic or mechanical in material or
combination of materials;
b. Murals or portable paintings: In any materials or variety of materials, with or without collage or the addition of nontraditional materials and means;
c. Earthworks, neon, glass, mosaics, photographs,
prints, calligraphy, any combination of forms of media, including sound, film, holographic, and video systems,
hybrids of any media and new genres;
d. Standardized fixtures such as grates, streetlights,
signage, and other design enhancements, as are
rendered by an artist for unique or limited editions;
and
e. Any other qualifying forms of on-site public art as
determined by the Cultural Arts Program staff.
10. The following types of objects and elements may not be used to satisfy the requirements of this chapter:
a. Art objects that are mass-produced of standard design such as playground equipment, benches, or fountains.
b. Decorative or functional elements or architectural
details, which are designed solely by the building
architect as opposed to an Artist commissioned for
this purpose, working individually or in collaboration
with the building architect.
c. Landscape architecture and landscape gardening,
except where these elements are designed by an Artist
and are an integral part of the work of art by an Artist. d. Directional elements such as super graphics, signage, or color coding, except where these elements are integral
parts of the original work of art or executed by an Artist in unique or limited editions.
e. Logos or corporate identity.
11. Acquisition and installation of qualifying public art shall comply with the following:
a. The property owner, or property owner's designee as
designated in writing, shall acquire qualifying public
art pursuant to the requirements of this chapter.
b. The creator of public art shall be an Artist who is not a member of the project architect, engineering, or
landscape architect firm.
c. Public art shall be installed on the development site in a visible and freely accessible location from a public
right-of-way.
d. The installation complies with all applicable building code requirements including structural safety
requirements.
12. The property owner, or the property owner's designee as designated in writing, shall maintain, or cause to be maintained, in good condition the public art continuously after its installation and shall perform necessary repairs and maintenance to the satisfaction of the City.
a. The maintenance obligations of the property owner
shall be contained in a covenant and recorded against
the property by the applicant.
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b. Title to all artworks required by and installed pursuant to this chapter shall be passed to the successive
property owners of the development.
c. Each successive property owner, or property owner's
designee, shall be responsible for the custody,
protection, and maintenance of such works of art.
13. If, for any reason, the property owner, or property owner's designee, chooses to remove any public art
installed pursuant to this chapter, the city must be
notified in advance and the property owner, or property owner's designee, shall replace the public art pursuant to the following requirements:
a. When and if the development project is sold, the public art must remain at the development and may not be
claimed as the property of the seller or removed from
the site.
b. If the development is to be demolished, the developer must relocate the public art to another publicly
accessible permanent location approved in advance
by the Public Art Program staff.
c. If the developer desires to deaccession, sell or remove the art from the site, the owner shall give prior notice to the artist or artist’s representative and the City by providing written notice to the Cultural Arts Program
staff no less than 90 days before the intended action.
The owner must receive prior approval from the
Cultural Arts Program staff.
d. The developer shall be required to replace the sold or de-accessioned artwork with an alternative work equal
to or greater than the current value or original cost of the art to be removed, as determined by a professional
fine art appraiser.
e. In the alternative, the developer may elect to pay fees in lieu of replacing on-site art, at a reasonable rate
equivalent to the cost of replacing the art in current
dollars, as determined by the Public Art Program staff. f. The replacement art shall conform, in every respect, to all standards in effect at the time of the replacement; g. The replacement public art shall be available for public view within 180 days after the existing art is removed, unless the property owner, or property owner's
designee, requests an extension of such time and the
extension is approved in writing by the City Manager
or designee.
B. Municipal Development
1. For all Capital Improvement Program (CIP) projects not specified under the exceptions below (OR for all CIP
park and facility projects), the City shall provide not less than one percent (1%) of CIP project construction
costs for projects of $250,000 or more for acquisition
and installation of public art on the project site. As an alternative, Cultural Arts Program staff shall have the authority to pool funds, and may propose funds for use at another current CIP site or any other City-owned publicly accessible site.
2. As part of the annual Fiscal Year budget cycle, funds equal to 1% of the CIP construction costs of applicable projects will be identified during the budget cycle and be allocated from the General Fund, Cultural Arts Fund, or other grant and project funding sources as available.
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3. The City Manager or designee, before the Proposed Capital budget's release, shall review the list of identified projects.
Where the applicability is uncertain, the City Manager or their designee shall make the final determination.
4. Nothing is intended to prohibit the City Manager, in conjunction with the submission of the annual capital budgets of the City and subject to the approval of the City Council, from designating additional funds, subject to applicable restrictions, to be utilized for public art.
5. Appropriations for purposes of acquiring public art to carry out the provisions of this ordinance shall comply with applicable funding source requirements. If the source of funding or other applicable law or regulation with respect to any project prohibits or restricts the use of funds for public art, the amount of funds so prohibited or restricted shall be excluded in determining the 1%.
6. Implementation of this Ordinance will be the responsibility of the Public Art staff who shall manage the artist selection processes and oversee the design, fabrication, and
installation of the public art.
7. Review and approval of artists and artwork for municipal construction projects shall be the responsibility of the Cultural Arts Commission.
8.76.030 Public Art Requirement.
A. The City Council may, at its sole discretion, exempt any project that is sponsored, funded, and managed by a government agency or by a non-profit agency acting on behalf of the City from the requirements of this chapter.
B. Exceptions. The requirements of this chapter shall not apply to the following activities:
1. Private Development
a. Residential development projects;
b. Buildings or structures primarily used for religious worship. c. Seismic retrofit projects.
d. Any project exempted by federal or state law.
2. Municipal Development
a. ADA Compliance projects, not including projects where ADA compliance is a portion of a larger project.
b. Road, path and sidewalk repairs, including: traffic
signals and upgrades, curb and gutter repairs, sign
reflectivity, road and parking signage, resurfacing of
roads or other existing hardscape areas.
c. Emergency repair projects.
d. Cyclical replacement and repair of trails, outdoor
furnishings, or fencing.
e. Studies and plans.
f. Roof replacement
g. Mechanical, security, A/V equipment, HVAC, and IT
installations, upgrades and repairs.
h. Utilities projects, unless there is a building construction or reconstruction involved.
i. Vehicle repair and replacement.
j. Seismic upgrades and waterproofing.
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k. Projects where most of the cost is allocated to elements located underground.
l. Projects where prohibited by federal law, including
projects or portions of projects funded by grants from
non-City sources that prohibit expenditure of funds for art.
m. Maintenance projects.
8.76.050 Use of Cultural Arts Fund.
A. A cultural arts fund is hereby created to account for the public art in-lieu contributions and all other revenues appropriated or received for public art and/or public arts and cultural programs, including public donations. The cultural arts fund shall be self-perpetuating from year to year. The revenues in such fund shall be used solely for:
1. The acquisition, commission, design, installation,
improvement, maintenance and insurance of public art
and/or arts and cultural programs identified by Section
8.76.030 of this chapter.
2. Other expenses associated with the implementation and administration of the public art program.
3. Free and publicly accessible cultural programming.
4. Grants for the creation of public art and cultural events.
5. Further the purposes of public art as defined in this chapter.
B. All fees collected under this chapter shall be maintained, managed, and reviewed by the City Manager or designee.
The City Manager shall present annually to the City
Council for approval of an Annual Cultural Arts Work Plan that recommends the use of Cultural Arts Fund monies
consistent with the purpose of this section including the administrative costs of the public art program annually, staff support and related expenses; curatorial services; documentation; publicity, community education, and any
other services or programs in accordance with the intent of this chapter.
C. Included and Excluded Expenses
1. The following expenses may be included in the budget for the program allocation for public art:
a. Acquisition of public art through direct purchase or through the design, fabrication, transportation,
installation, and presentation of public art;
b. Artist fees and expenses;
c. Supplies and materials; and
d. Costs for insurance, identification plaques, project management by an independent public art consultant,
and other reasonable expenses associated with the
planning, development and completion of public art.
2. The following expenses shall not be included in the budget for the program allocation for public art:
a. Reproductions, by mechanical or other means of
original artwork, except in cases of film, video,
photography, printmaking, theater, or other media
arts;
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b. Decorative, ornamental, architectural, or functional elements that are designed by the project architect or
other design consultants engaged by the architect as
opposed to an artist commissioned for this purpose;
c. Landscape architecture, gardening, or materials
generally considered to be components of the landscape
designed by the project architect, landscape architect
or other design professional engaged by the architect
as opposed to an artist commissioned for this purpose;
d. Art objects that are mass produced (excluding
artist- created, signed limited-edition works),
orderedfrom a catalog, or of a standard design,
such as playground sculpture or fountains;
e. Directional or other functional elements such as
signage, supergraphics, color coding, or maps that are
designed by the architect, landscape architect or other design professional engaged by the primary designer;
f. Utility costs and expenses related to the ongoing
operation of the artwork such as electrical, water, or
mechanical service required to activate the work; and
g. Services, utilities, and other ongoing operating
expenses for maintenance of the artwork.
8.76.060 Cultural Arts Commission.
A. The Cultural Arts Commission shall consist of 11 members appointed by the City Council.
B. Cultural Arts Commission members are preferred who have professional credentials and work experience as exhibiting and performing artists in the visual and media arts,
contemporary museum and gallery art curators, museum
directors, arts management professionals, arts educators, design professionals such as architects, landscape architects, and urban planners. At least three (3) of the nine voting members shall be professional artists, at least two (2) of the nine voting members shall be design professionals.
C. The powers and duties of the Cultural Arts Commission shall be as follows:
1. Establish and approve the Cultural Arts Program mission and curatorial and programmatic goals, policies, and
guidelines.
2. To develop an Annual Cultural Arts Work Plan that charts current and future public art projects and arts and culture programming and determines resources and funding
priorities.
3. To make recommendations to the City Council on the
expenditure of funds in the Cultural Arts Fund.
4. To make recommendations to the City Council and City Manager concerning the resources and needs of the
community about the arts, opportunities for participation of artists and performance in city-sponsored activities, and ways to encourage community involvement.
5. To review and make recommendations to the city
council concerning the removal, relocation or alteration of existing works of art or items of cultural significance in the possession of the City in accordance with the
deaccession policy.
6. To review and make recommendations to the City
Council concerning gifts and loans of artwork to the
City in accordance with the gifts of art policy.
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7. To explore methods of obtaining private, local, state and federal funds to promote art and other cultural projects within the City and make recommendations to the council on applying for such grants and funds;
8. To encourage public and private partnerships to assure the survival of the arts and artists in the City.
9. To serve as the key advocacy body for the Cultural
Arts Program and participate in community outreach
activities and events.
10. To adopt rules, regulations and procedures for the
election of its officers and conduct of its meetings.
11. To exercise such other and incidental powers
consistent with law, necessary to carry out its
functions. (Ord. 1142 § 1, 1994)
8.76.070 Application and Approval Procedures for Public Art.
A. Private Property
1. The developer has the option of proposing public art, incorporating on-site artwork into the development or may elect to deposit the full amount into the Cultural Arts Fund. a. The developer shall complete and submit an application for the installation of public art on private property on forms furnished by the City for that purpose;
b. The developer shall refer to the Public Art Policy
Guidelines referenced in this ordinance.
2. In conjunction with an application for a building permit, the developer shall submit to the Cultural Arts Program staff a Concept Public Art Project Plan for on-site artwork.
3. Following approval of the Concept Public Art Project Plan by the Cultural Arts Program staff, the developer shall refine the design and submit a Final Public Art Project Plan.
4. The Concept Public Art Plan and Final Public Art Plan submitted pursuant to this section shall be delivered to the Cultural Arts Staff for review to determine whether the Public Art Plan is complete.
5. The Public Art Program staff shall approve or deny the Concept Public Art Plan and Final Art Plan in accordance with the Public Art Policy Guidelines referenced in this Ordinance. The Public Art Program staff may conditionally approve a Concept Public Art Plan and Final Public Art
Plan subject to such conditions that the Public Art Program staff deems necessary to conform to the Public Art Policy Guidelines for Approval.
6. The Public Art Project Plans required by this section shall be made, approval obtained, and the public art installed, or evidence of developer’s commitment to install public art, prior to final building inspection or issuance of approval of a certificate of occupancy for the new construction.
7. If installation prior to the date of occupancy is
impracticable, as determined by the Cultural Arts
Program staff, a certificate of occupancy may be
approved for the building or portion thereof if the
Concept Public Art Plan and Final Public Art Plan
submitted pursuant to this section has been approved,
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APPENDIX 13. SAMPLE PERCENT FOR ART ORDINANCE 109
the applicant has executed a written agreement with
the City to install the public art, and the applicant has filed security in an amount and form acceptable to the
City Attorney to guarantee installation of the public art.
8. The property owner shall maintain, or cause to be
maintained, in good condition the public art continuously after its installation and shall perform necessary repairs and maintenance to the satisfaction of the City. The
maintenance obligations of the property owner shall
be contained in the covenant and recorded against the
property by the applicant. Should the property owner
wish to remove the public art, the City must be notified in advance.
B. Public Property
1. Each year in adopting the City’s annual Capital
Improvement Program budget, the City Council shall
consider the appropriation of 1% of the total amount
budgeted for each eligible Construction Project to be
set aside and identified as funds to be expended for
acquisition or commissioning of Public Art in accordance with the provisions of this Ordinance.
2. Management of Public Art in municipal development
shall be provided by the Public Art Program staff or by contracting the services of a professional public art
consultant.
3. The Cultural Arts Commission shall be responsible for approving the selection of artists, the commissioning of public art, and/or the purchase of artwork in compliance with the Public Art Policy Guidelines as referenced in this chapter.
4. The Cultural Arts Commission shall approve or deny the selection of artists, the commissioning of public art, and/or the purchase of artwork in accordance with the Public Art Policy Guidelines referenced in this chapter.
5. Routine maintenance of public art shall be performed by and costs borne by the Building Maintenance Division or other designated City department, consistent with the
specifications as defined by the Artist and provided by Cultural Arts Program staff.
8.76.080 Private Development Compliance.
A. Compliance with the provisions of this section shall be demonstrated by the developer prior to the issuance of a certificate of occupancy as follows:
a. Payment of the Public Art In-Lieu Contribution; or
b. Installation or proof of contracted intent with Artist to install the Public Art in accordance with approval of the Concept Public Art Plan submitted pursuant to this
Ordinance; or
c. Execution of a public art installation agreement and evidence that a maintenance covenant has been
recorded against the property. If the Public Art Program staff determines that the proposed public art project
does not comply with this Chapter, the project shall be referred to the Cultural Arts Program staff for review and a determination as to the project's compliance with the requirements of this Chapter. The Cultural Arts Program staff shall be the sole reviewing authority for public art projects.
B. The determination of the Cultural Arts Program staff may be appealed to the Cultural Arts Commission.
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C. The determination of the Cultural Arts Commission regarding compliance of a proposed public art project within this Chapter is also subject to review by the City Council as outlined in this section.
1. Two or more members of the City Council may call for review of a determination of the Cultural Arts Commission regarding whether a proposed public art project complies with the requirements of this Chapter. A call for review must be filed within the 15-day appeal period. The call for review shall be processed as an appeal by anyone else. A call for review by at least two City Council members shall stay all proceedings the same as the filing of an appeal.
Such action shall not require any statement of reasons
and shall not represent opposition to or support of an
application or appeal.
2. Within two business days of a Cultural Arts Commission determination on a proposed public art project, the
City Manager or designee shall submit a notice of the
determination to the City Clerk for distribution to the City Council. Members of the City Council may submit a
call for review of a Cultural Arts Commission determination by submitting a notice in writing to the City Clerk or noting so on the record at a City Council meeting within the 15-day appeal period. If two or more Councilmembers request
review of a Cultural Arts Commission determination, the City Clerk shall set a public hearing in accordance with the provisions of Chapter 1.28. The City Clerk's notice to the City Council regarding a Cultural Arts Commission
determination shall include the date by which a call for review by a Councilmember must be received by the City
Clerk or noted on the record at a City Council meeting.
8.76.090 Public Art Policy Guidelines.
Guidelines for the implementation and administration of private and municipal public art shall be adopted by the Cultural Arts Commission. Any major changes to the Public Art Policy Guidelines after adoption shall be submitted to the Cultural Arts Commission for review.
SECTION 3. Severability
If any section, subsection, sentence, clause, or phrase of this Ordinance is for any reason held to be invalid or unconstitutional by a decision of any court of competent jurisdiction, such decision shall not affect the validity of the remaining portions of this Ordinance. The City Council hereby declares that it would have passed the Ordinance, and each section, subsection, sentence, clause, or phrase not declared invalid or unconstitutional without regard to whether any portion of this Ordinance would be subsequently declared invalid or unconstitutional.
SECTION 4. Publication and Effective Date
Pursuant to the provisions of Government Code Section 36933, the City Attorney shall prepare a summary of this Ordinance.
At least five (5) days prior to the Council meeting at which this Ordinance is scheduled to be adopted, the City Clerk shall (1) publish the Summary, and (2) post in the City Clerk's Office a certified copy of this Ordinance. Within fifteen (15) days after the adoption of this Ordinance, the City Clerk shall (1) publish the summary, and (2) post in the City Clerk's Office a certified DRAFT
copy of the full text of this Ordinance.
APPENDIX 14. SAMPLE DEVELOPER GUIDELINES 111
The Public Art in Private Development Ordinance requires that all new non-residential commercial developments are subject to the percent for art requirement.
• If a development project consists of both residential and non-residential developments, then only the construction costs for the non-residential portions of the project will be used for the valuation of public art. • If a development project involves rehabilitation, renovation, remodeling, or improvement of an existing building, the project shall only be subject to the requirements of this chapter if it creates a net increase in square footage of the existing building.
Projects meeting these thresholds must dedicate at least one percent (1%) of the Building Permit valuation to public art. Of that amount, 25% of the 1% is contributed to the City’s Cultural Arts Fund in support of public art initiatives throughout South San Francisco and 75% of the 1% is allocated to an onsite public art project. For projects with a Building Permit Valuation of $250,000 or less, the full 1% is paid into the Cultural Arts Fund. The ordinance provides an option of paying the full 1% to the Cultural Arts Fund in-lieu of commissioning onsite artwork.
APPENDIX 14. SAMPLE
DEVELOPER GUIDELINES
SAMPLE PUBLIC ART IN PRIVATE DEVELOPMENT APPLICATION FORM Completed by Applicant and submitted to Public Art Program staff.
DEVELOPMENT NAME AND ADDRESS: ESTIMATED BUILDING VALUATION:
APPLICANT / ARCHITECT NAME: OWNER NAME:
ADDRESS: ADDRESS:
PHONE: PHONE:
EMAIL: EMAIL:
ESTIMATED DEVELOPMENT SIZE (square feet):
Final valuation to be confirmed at the time of Building Permit application.
Should the final construction valuation (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 valuation. 1% of Estimated Building Permit valuation: $
Choose one of the following options: OPTION 1
Placement of original
public art site
OPTION 2
Payment of in-lieu fee
to Public Art Fund
Applicant Signature: Date:
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APPENDIX 14. SAMPLE DEVELOPER GUIDELINES 112
PUBLIC ART IN PRIVATE DEVELOPMENT
Intake Meeting With Planning Department
Estimate Building Permit Valuation of the Development Project. 1% of the estimated construction valuation will constitute the Public Art Budget. Final amount to be confirmed at time of Building Permit Application.
Public Art In Private Development Application Form To Cultural Arts Program Staff Developer submits the Public Art Application Form to Cultural Arts Program staff within 60 days of Intake Meeting and Application. Developer chooses one of the options below:
PROCESS CHART
OPTION 1: ON-SITE ART (1%) OF WHICH 25% IS
CONTRIBUTED TO THE CULTURAL ARTS FUND
CONTRIBUTION TO CULTURAL ARTS FUND
Prior to issuance of a building permit and upon payment of the 25% contribution portion of the 1% fee, along with other required permit fees, Developer receives a receipt from the Building Department that details all of the applicable building permit and impact fees.
INTAKE MEETING WITH CULTURAL ARTS PROGRAM STAFF
Developer meets Cultural Arts Program staff to discuss process for commissioning public art including:
• Application for Cultural Arts Program staff review
• Types of artwork and integration of art into site
• Recommendation to retain Public Art Consultant
• Artist / artwork selection process / direct art purchase • Contract and financial management
• Fabrication and installation
• Maintenance and care management
INITIAL APPROVAL BY CULTURAL ARTS PROGRAM STAFF
Developer presents Conceptual Art Plan to Cultural Arts Program staff for review, comment, and approval.
FINAL APPROVAL BY CULTURAL ARTS PROGRAM STAFF
Developer submits Final Report to Cultural Arts Program staff for review and approval.
FINAL INSPECTION
Cultural Arts Program staff confirms that artwork was
installed in accordance with Final Art Plan.
OPTION 2: IN-LIEU PAYMENT (.5%)
TO THE CULTURAL ART FUND
CONTRIBUTION TO CULTURAL ARTS FUND
Prior to issuance of a building permit and
upon payment of the in-lieu fee along with
other required permit fees, Developer receives
a receipt from the Building Department that
details all of the applicable building permit
and impact fees.
PRIOR TO ISSUANCE OF BUILDING PERMIT
Developer submits receipt to City Planner for
.5% paid to Cultural Arts Fund before Planning
signs off on permit. Cultural Arts Program
staff confirms the receipt of contribution to the
Cultural Arts Fund in lieu of providing art onsite.
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APPENDIX 14. SAMPLE DEVELOPER GUIDELINES 113
SAMPLE DEVELOPER GUIDE
1. Why South San Francisco Requires
Developers to Contribute to Public Art
Public art is an integral element in private development that offers South San Francisco many possibilities, to celebrate our City’s character and aspirations, enhance civic pride and a sense of place, and to reflect the creative community that lives, works, and visits here. Private development is critical to South San Francisco’s growth.
Successful public art projects can infuse new development with a strong connection to the community, giving both residents and visitors a vibrant sense of place.
2. Definition of a Work of
Public Art / Public Place
Public art is artwork in the public realm, which may be situated on public or private property, and acquired through public or private funding. The most important aspect of a work of public art is that it is created by a professional working artist of recognized achievement in the field of public art. The artist may collaborate with architects, landscape architects, engineers, lighting designers and/or other professionals, but he or she must be the primary designer of the art project, and must hold the contract with the developer for the work of art.
A public place is an area on private or public property that is dedicated as freely accessible without restriction to and available for use by the public for 24 hours per day / seven (7) days a week.
Dependent on the scale, which should be proportionate to the scale of the development, a 20’ maximum setback on the property should be adhered.
3. Benefits to Private Development from
Incorporating Public Art Onsite
There are many benefits for Developers in commissioning public art, including gaining visibility, making their properties more attractive and memorable to both business and residential markets, and promoting good relationships within the community.
4. City Requirements for Public Art
in Private Development
The Public Art in Private Development Ordinance, adopted by the City of South San Francisco in 2020, establishes a requirement for art for all new non-residential commercial developments, including new construction, remodels, additions, and reconstruction with a construction. The ordinance provides an option of commissioning artwork on the development site equal to the cost of 1% of the estimated construction valuation—of which 25% of the 1% is contributed to the Cultural Arts Fund—or paying .5% to the Cultural Arts Fund in-lieu of commissioning artwork. Projects with a Building Permit Valuation of $250,000 or less are required to pay the full 1% into the Cultural Arts Fund.
5. Paying the In-Lieu Contribution
Upon making the in-lieu contribution to the Cultural Arts Fund, the Developer receives a receipt from Accounts Payable and provides a copy to the City Planner to complete their public art requirement prior to issuance of the Building Permit.
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APPENDIX 14. SAMPLE DEVELOPER GUIDELINES 114
6. Getting Started
6.1 First, the Developer meets with the Public Art Program Staff within 60 days of the initial application to the Planning Department.
At this meeting, the Developer will gain more details about the process, eligible types of artwork, costs, and resources available.
6.2 Once this initial meeting has taken place, the Developer is strongly encouraged to contract with an independent Public Art Consultant whose services would be used to identify and solicit public artists that meet the City’s criteria for public art and to manage the design, fabrication, and installation of the artwork. The Consultant fee is an eligible expense in the public art budget allocation.
6.3 NOTE: From artist selection through artwork installation, developers and their consultants should proactively communicate with Cultural Arts Program staff to ensure that their plans meet the requirements of the Public Art Ordinance.
7. Artist Selection
Developers may select their own artist(s) and/or artwork(s) without approval from the City. The aesthetic decisions are left to the project developer. The Cultural Arts Program staff will work with the developer to ensure the program's intent has been met.
7.1 Eligible Artists
A practitioner of the visual arts or other artistic disciple generally recognized by her/his critics and peers as a professional artist, as judged by the quality of that professional practitioner’s body of work, educational background, exhibition record, and experience including past public commissions.
7.2 Ineligible to Perform Artist Services
7.2.1 A practitioner of the visual arts or other artistic disciple generally recognized by her/his critics and peers as a professional artist, as judged by the quality of that professional practitioner’s body of work, educational background, exhibition record, and experience including past public commissions.
7.2.2 Members of the artist selection panel.
7.2.3 The professional art consultant contracted by the developer.
7.2.4 The developer or owner and employees of the developer or owner.
7.2.5 City of South San Francisco Cultural Arts Commissioners.
7.2.6 Cultural Arts staff, and
7.2.7 Business partners and immediate family members of all the above.
8. Conceptual Art Plan and Final Report
Requirements for Approval
A Conceptual Art Plan including proposed budget, artist, and artwork location must be submitted to Cultural Arts Program staff at the conceptual artwork stage. A Final Art Plan including the final budget and photo documentation of the artwork must be submitted to the Cultural Arts Program staff when the artwork is completed and installed.
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APPENDIX 14. SAMPLE DEVELOPER GUIDELINES 115
8.1 Conceptual Art Plan Requirements
The Art Plan is submitted to the Cultural Arts Staff at the conceptual design stage must include the following:
8.1.1 Proposed Artist(s)
• Resume of selected artist or artists.
• Digital images, as well as video, catalogues, and press of selected artist’s work.
• Statement describing why the selected artist is qualified to work on this project.
8.1.2 Team Members
• Developer (contact person, address, phone, email,
web page).
• Art consultant, if applicable (name, address, phone,
email, web page).
• Architect (lead designer, address, phone, email,
web page).
• Landscape Architect (lead designer, address, phone,
email, web page).
8.1.3 Art Budget
Total Building Permit Valuation showing 25% designated as the required contribution to the Cultural Arts Fund and the remaining 75% for onsite artwork. The budget must include a breakdown for anticipated artist fees, artwork fabrication and installation, art consultant fees, and appropriate administrative expenses.
8.1.4 Public Art Audience and Goals
Narrative statement that identifies the audience and defines the goals for the artwork.
8.1.5 Location/Siting of Artwork
A narrative statement and visual illustration that describes how the artwork will be incorporated into the development project in a publicly accessible location(s) in the context of the surrounding community.
9. Final Report Requirements
The final report is submitted to the Cultural Arts Program staff after the artwork is completed and installed and must include the following:
9.1 Final Art Budget (lump sum per line item)
• Artist fee.
• Engineering and preparation of construction
and/or shop drawings.
• Fabrication (labor and materials).
• Installation and site preparation, including
shipping, handling, and transport.
• Professional photography of installed artwork
in context.
• Consultant and administrative costs.
• Permanent artwork identification plaque.
9.2 Photographic Documentation
Showing how the artwork is incorporated into the development project in a publicly accessible location or locations as defined by the municipal code.
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APPENDIX 14. SAMPLE DEVELOPER GUIDELINES 116
10. Cultural Arts Program Staff Review
and Approval Criteria
The Cultural Arts Program staff will use the following criteria for evaluation:
10.1 Conceptual Art Plan and Final Report adhere to Public Art Ordinance and Developer’s Guide.
10.2 Critics and peers generally recognize the artist as a professional practitioner of the visual arts or other artistic disciplines, as judged by the quality of that professional practitioner’s body of work, educational background,
exhibition record, and experience including past public commissions.
10.3 Artwork is located within the development project in an area(s) that is open, freely accessible to the public, and safe in the context of the surrounding community.
10.4 The value equals or exceeds 1% of the total building permit valuation for the development, inclusive of the 25% of the 1% contribution to the Cultural Arts Fund.
11. Is the Cultural Arts Program Staff the
Only Body that Reviews and Approves the
Conceptual Artwork Plan and Final Report?
Yes. The Cultural Arts Program staff must review and approve the Conceptual Art Plan and the Final Report for compliance with the public art requirements identified in the Ordinance.
12. When is the Project Considered
Completed?
Cultural Arts Program staff will tour the site to determine the artwork status, completeness, and conformance with
the requirements of the Public Art Ordinance and will issue a written notification of such completion.
13. Who Owns the Artwork?
The public art is owned by the property owner.
14. Artwork Maintenance Responsibility
The property owner is responsible for the maintenance and conservation of the artwork. Durable materials should be used for minimal maintenance and proven ability to withstand the site's specific environmental conditions.
14.1 If The Owner Sells the Property
If the development project is sold, the ownership of the public art will be transferred with the property. The artwork must remain at the development and may not be claimed as the property of the seller or removed from the site.
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APPENDIX 14. SAMPLE DEVELOPER GUIDELINES 117
General Information
Public Art Network (PAN) develops professional services for individuals and organizations engaged in the field of public art.
PAN is dedicated to advancing public art programs and projects through advocacy, policy, and information resources to further art and design in our built environment.
www.artsusa.org/networks/public_art_network
Forecast Public Art was one of the country’s first nonprofit organizations dedicated to advancing the field of public art. https://forecastpublicart.org
Public Art Dialogue (PAD), an organization devoted to public art. PAD was founded on the premise that dialogue is the essential element in all effective public art endeavors.
www.publicartdialogue.org
GUIDE TO PUBLIC ART RESOURCES
The following list of online resources is provided as an optional informational resource for developers who are subject to the requirements of the Public Art in Private Development Ordinance.
These links are for informational purposes only and are not intended to endorse any of the listed organizations, artists, or types of art.
The City of South San Francisco Public Art Program is not responsible for any content or products which may be available or advertised on any of these sites.
14.2 If Artwork is Removed from the Development Site
If the development owner wishes to sell or remove the artwork from the site, the owner must notify the Cultural Arts Program staff a minimum of 90 days before removing it. The owner must receive prior approval from the Cultural Arts Program staff. The Developer will be required to replace the sold or de-accessioned artwork with an alternative work of equivalent or greater value.
In the alternative, the Developer can choose to contribute to the Cultural Arts Fund in lieu of replacing on-site art.
14.3 Visual Artists Rights Act (VARA) and California Art Preservation Act
It is important that property owners and developers are aware of the Visual Artists Rights Act (VARA), a section of the Federal Copyright Legislation, as well as the California Art Preservation Act (CAPA). VARA is a federal law that protects the artists’ “moral rights” by prohibiting the willful destruction of a work of visual art. For further information regarding VARA, see United States Code Annotated, Title 17. Copyrights, Chapter 1 – Subject Matter and Scope of Copyright, Current through P.L. 105-153, approved 12-17-97. CAPA is a state law that provides legal protection for artists’ moral rights by prohibiting the alteration of destruction of their artwork without their consent. For further information regarding CAPA, see California Civil Code Sections 987 and 989.
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APPENDIX 14. SAMPLE DEVELOPER GUIDELINES 118
Artist Directories and Examples of Public Art
The database contains curated, categorized, and searchable examples of the best in public art projects from across the country that received PAN Year in Review recognition.
https://www.americansforthearts.org/by-program/networks-and-councils/public-art-network/pan-year-in-review-database Artstor is a photo bank that features images of architecture, public art projects, temporary commissions, and sustainable design. http://www.artstor.org
The Public Art Archive™ is a free, online resource for comprehensive data and rich media, employing a standardized framework to catalog public art. The Archive allows collection stewards to share their artworks with new, broader audiences; helps find information about best practices in public art.
www.publicartarchive.org
CODAworx is an online community for artists and design
professionals to showcase their work, collaborate with one another, and earn recognition for their projects.
www.codaworx.com
Project for Public Spaces (PPS) is a nonprofit planning, design and educational organization dedicated to helping people create and sustain public spaces that build stronger communities.
www.pps.org
California Arts Council
The site provides essential information about the California Arts Council, an agency that helps build strong arts organizations at the local and statewide level, directly supports arts programs for all citizens, assists with the professional development of arts leaders, supports arts education in schools in all areas of the state, and promotes awareness of the value of the arts. www.cac.ca.gov
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APPENDIX 15. BENCHMARK CITIES 119
The following are benchmark cities that are examples of city government systems that support a public art program.
APPENDIX 15. BENCHMARK CITIES
CITY POP. DEPT. PUBLIC ART STAFF PROGRAMS PRIVATE % MUNICIPAL %
GRANTS
PROGRAMS
Brisbane 4,668 Parks and
Recreation
P&R Director and
City Manager
Administrator provide
part time support for
the Arts Committee.
N/A • New projects and building alterations: 1% of
Development cost between $1M and $5M as an
in-lieu fee into the public art fund.
• 1% of project development cost above $5M have option
to provide in-lieu or attribute public art onsite.
• Single and multiple family residential and live-work
developments with 10 - 20 units contribute .5% of
development cost into public art fund.
• Single and multiple family residential and live-work
developments with more than 20 unites contribute 1%
to public art fund.
• Single and multiple family residental and live-work
developments with $10M development costs contribute
1% in public art fund or acquire and install public art onsite at 1% of dev cost
.5% of
development
costs above
$500,000
Burlingame 30,106 N/A No Staff N/A • Projects negotiated on a case by case basis on projects in special districts
N/A N/A
Daly City 101,243 City
Manager
A few hours a month
to support an
advisory board led
by commissioners
Octagon
Gallery
N/A N/A No dedicated
budget for
projects
Millbrae 22,277 Recreation Millbrae Art Show for
Elementary, Middle
School, and High School,
Adults, and seniors
N/A N/A N/A N/A
Mountain View 81,516 Economic
Development
No Staff Sidewalk
Studio
Project
N/A 1% of the construction
cost of projects with
budgets $1M or more
N/A
San Mateo 102,200 Community
Development
1 Full time employee Art in Public
Places
Gallery
• .5% building permit fee to on projects valued at
or greater than $3M or provide the required
in-lieu fee to the City
N/A N/A
N/A
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APPENDIX 15. BENCHMARK CITIES 120
CITY POP. DEPT. PUBLIC ART STAFF PROGRAMS PRIVATE % MUNICIPAL %
GRANTS
PROGRAMS
San Bruno 42,275 Community
Services under
the Library
Division
• 1 at 10% dedicated
to Culture & Arts
Commission
No formal public
art program
• In the absence of a development agreement
or similar agreement providing for public art
or an art fund fee, the program allocation is
as follows: Five (5%) of residential building,
mechanical, electrical, or plumbing fee; 7%
(Seven) of commerical (non-residential)
building, mechanical, electrical, or plumbing
permit fee.
N/A
Los Altos 30,700 City
Manager
• Deputy City Manager
oversees Calls to Artists
and contracts
•
• Parks & Rec staff oversee
sculpture installations
35 sculptures (Art
Without Walls)
Artistic Bicycle
Racks option for
business owners
Community center
(2021) w/City-run
art gallery
• 1% for $1M or more in dev costs for
non- residential
• 1% in lieu for 4 or more units residential
and single family in select districts of $1M
or more construct costs w/$200K cap
• 1% in lieu option into public art fund
w/$200K cap
Capital
Improject
Project of
$10,000 for
public art
each year
N/A
Walnut Creek 69,695 Arts and
Recreation
• 1 full time Manager
• 1 full time Curator of
Exhibitions and Programs
• 1 full time Assistant to
Curator
• 1 full time Marketing
Associate
• 1 full time Traveling
Exhibition Manager
• 1 full time Lead Preparator
and Program Coordinator
• 1 full time Youth and Adult
Tour Coordinator
Lesher Center
for the Arts
Bedford Gallery
Library
Community Art
Gallery
• 1% of dev costs
• 1% in lieu option into public art fund
1% CIP N/A
N/A
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APPENDIX 15. BENCHMARK CITIES 121
CITY POP. DEPT. PUBLIC ART STAFF PROGRAMS PRIVATE % MUNICIPAL %
GRANTS
PROGRAMS
Palo Alto 66,680 Community
Services
• 1 full time Program
Director
• 1 full time Program
Coordinator
• 1 full time
Communications &
Artist Studio
Program Coordinator
• 300 municipal artworks
• Code:ART media art
festival
• New Murals Festival
• King Artist Residency
• 1% for over 10,000 sq ft
and $200K dev costs
• 1% in lieu option into
public art fund
General Fund
equivalent of
1% of annual
CIP budget
deposited into
fund
El Cerrito 25,845 City Manager
Office
• Assistant City
Manager
• Management
Assistant
• Mini-Grant
• Utility Box
• 12 Wind Sculptures
• Poet Laureate
• Creative Reuse Artist
Residency
• City Hall Gallery Space
• 1% for $250K or more
in dev costs and 5 or
more residential units
• $150K cap for art
• 1% in lieu option into
public art fund
N/A Mini-Grants for
individuals and
organizations
Pleasanton 78,252 Library &
Recreation
Department
• 1 full time Rec
Manager at half
time spent on the
public art program
• 36 municipal artworks
• Non-profit: Firehouse
Arts Center,
Harrington Gallery,
Project Paint Box
• Voluntary 1%, cash
contribution to specific
City public art project
or into public art fund
N/A Project Paint Box
ArtLift
Microgrant
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APPENDIX 15. BENCHMARK CITIES 122
CITY POP. DEPT. PUBLIC ART STAFF PROGRAMS PRIVATE % MUNICIPAL %
GRANTS
PROGRAMS
Emeryville 12,870 Community
Development
under Economic
Development &
Housing
• 1 part time @ half time
• Manager @ half time;
• Consultants hired for
each project
• 50 municipal artworks
• 200 private dev
artworks
• Bus Shelters
• Murals
• Purchase Award
• 1% for $300K or
more in dev costs
• .5% for 20 or more
units residential
• 1% / .5% In lieu
option into public
art fund
1.5% Community
Promotions (up
to $10K)
Bus Shelters
($5K)
Redwood City 81,643 Parks,
Recreation &
Community
Services
• Two part time
employees at half
time
• Art Kiosk displays local
artists work and
collateral education
• Utility Box Art
• 1% of the building
valuation on
commercial
developments
50,000 square
feet and more
General Fund
equivalent of 1% of
annual CIP budget
deposited into public
art fund
Annual $60,000
budget for small grants
(up to $1,500), and
large grants (over
$1,500 and up to
$10,000 if they choose)
for non-profit cultural
art organizations and
artists for projects.
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APPENDIX 16. WORK PLAN TEMPLATE 123
The following is a sample template that can be used to create the Cultural Arts Work Plan.
APPENDIX 16. WORK PLAN TEMPLATE
CIP PROJECT
NAME/DEPT
COUNCIL
DISTRICT
PUBLIC ART
BUDGET PARTNERS
PUBLIC ART
PROJECT STATUS
ARTIST
SELECTION
START
DATE
END
DATE
CULTURAL ARTS FUND
PROJECT
NAME/DEPT
COUNCIL
DISTRICT BUDGET ADDITIONAL
FUNDING
PROJECT
STATUS PARTNERS
START
DATE
END
DATE
CULTURAL ARTS
ACTIVITY/EVENT
NAME/LOCATION
COUNCIL
DISTRICT BUDGET FUNDING
SOURCE
PROJECT
STATUS
ESTIMATED #
PARTICIPANTS PARTNERS
START
DATE
END
DATE
BUDGET REPORT
CURRENT YEAR
TOTAL
LESS:
PROJECT COSTS
ANTICIPATED:
NEXT YEAR
LESS: ADMIN
COSTS AVAILABLE
CULTURAL ARTS FUND
GENERAL FUND
OTHER
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APPENDIX 17. ACKNOWLEDGEMENTS 124
APPENDIX 17. ACKNOWLEDGEMENTS
Sharon Ranals
City Manager
Greg Mediati
Director, Parks & Recreation
Department
Angela Duldulao
Deputy Director, Parks &
Recreation Department
City of South San Francisco
Erin O’Brien
Business Manager. Parks &
Recreation Department
Ercie Santos
Cultural Arts Specialist,
Parks & Recreation Department
Mayor Flor Nicolas
District 3
Vice Mayor Mark Nagales
District 2
Councilmember Mark Addiego
District 1
Councilmember James Coleman
District 4
Councilmember Eddie Flores
District 5
Risha Bond
Chair
Michael DeNatale
Vice Chair
Lenita Boldenweck
Sarah Bowen
City of South San Francisco
Cultural Arts Commission
Peter Foley
Frances Luster
Zubin Maharaj
Lydia Pomposo
Milena Mardahay
Former City of South San Francisco Cultural Arts Commissioners whose term was served during the creation of the Public Art Master Plan.
Risha Bond
Michael DeNatale
City of South San Francisco Public Art Master Plan Strategic Vision Subcommittee of the Cultural Arts Commission
Peter Foley
Zubin Maharaj
Raul Ramos Jose Zelaya
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THE CITY OF SOUTH SAN FRANCISCO
PUBLIC ART MASTER PLAN - 2023
The adoption of this Public Art Master Plan marks an exciting point of opportunity for public art in the City of South San Francisco, particularly when combined with the new funding source for art via a new percent for art requirement on private development adopted by City Council in 2020 (South San Francisco Municipal Code, Chapter 8.76).
The Plan was informed by community input collected from many stakeholders through surveys, interviews, focus groups, and pop-up outreach events. It identifies goals, policies, and objectives that will inform the Cultural Arts Commission, City Council, and City staff on the development, improvement, and enhancement of the City’s public art inventory and cultural arts programs. Special thanks to the artists, art enthusiasts, and local business, nonprofit, and civic leaders who supported the development of this master plan and took the time to share your feedback.
The vision statement identified in the Public Art Master Plan is: “South San Francisco is a welcoming place for people seeking opportunities to create, participate in, and experience arts and culture.” The Plan identifies 14 recommendations to achieve that vision. In addition, the appendices include tools to support the implementation of the recommendations such as a sample implementation plan, several sample policy documents/guidelines, an art inventory, art map, and a comparison to benchmark cities.
For more information about the City of South San Francisco Cultural Arts Program and the Public Art Master Plan, contact us:
www.SSF.net/CulturalArts
[email protected]
(650) 829-3800
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