TEMPE PUBLIC ART PLAN FINAL.PDF
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TEMPE PUBLIC
ART PLAN
In partnership with City of Tempe
TABLE OF CONTENTS
Chapter 1: Introduction
08
Why This Plan, Why Now?
10
Engagement
Chapter 2: Existing Conditions
22
Program History
24
Existing Public Art
Chapter 4: Strategies for the Future
40
Objective 1
46
Objective 2
50
Objective 3
62
Objective 4
68
Objective 5
72
Objective 6
Chapter 3: Vision for the Future
30
Aspirations
30
Intentions
32
Curatorial Framework
36
Program Objectives
2
Cover Photo: Joe Tyler | E. 8th Street | Photo By Billy Hardiman
3
01
INTRODUCTION 02
EXISTING
CONDITIONS 03
VISION FOR THE
FUTURE
04
STRATEGIES FOR
THE FUTURE
ACKNOWLEDGMENTS
NATIVE LAND ACKNOWLEDGMENT
We acknowledge that Tempe lies in the ancestral land of the Native
peoples who have lived here since time immemorial. The ancestral land
of the O’odham and Piipaash stretches far beyond the boundaries of
our city. The landscape is sacred to them, embodying cultural values
that are integral to their identity and way of life. The O’odham and
Piipaash continue to maintain a deep spiritual connection to this land.
We embrace the responsibility of caring for these places and vow to
uphold this commitment in all our actions.
4
5
MAYOR & CITY COUNCIL
Corey D. Woods, Mayor
Doreen Garlid, Vice Mayor
Jennifer Adams, Councilmember
Nikki Amberg, Councilmember
Arlene Chin, Councilmember
Berdetta Hodge, Councilmember
Randy Keating, Councilmember
TEMPE ARTS AND CULTURE COMMISSIONERS
Matthew Ellsworth
Lisa Roach
Jennifer Song
Kevin Godfrey-Chevalier
Andrea Hanley
Haylee Mills
Jacqueline Swan
Bryan Esparza
Teresa Robinette
Angela Russell
Kendra Sollars
ALL OF THE COMMUNITY MEMBERS WHO
SHARED THEIR THOUGHTS DURING THE
ENGAGEMENT PHASE
PUBLIC ART PLAN PROJECT TEAM
Rebecca Blume Rothman, Public Art
Manager
Shauna Warner, Neighborhood Services
Manager
Jacob Payne, Principal Planner
TEMPE PUBLIC ART STAFF
Christine Garner-Beatty, Public Art
Coordinator
Sharah Nieto, Public Art Coordinator
Cat Beaudoin, Public Art Specialist
Charvel Nez, Public Art Assistant
CONSULTANT TEAM
Josh Lapp, Principal, Designing Local
Gabrielle Smith, Planner, Designing Local
Andrew Eble, Planner, Designing Local
Todd Bressi, Consultant, Artful Places
Credit for all photos used has been given,
where possible.
IN GRATITUDE FOR THEIR CONTRIBUTIONS FOR THE PLAN:
Zach Valent | Local Honey | Rio Salado Pathway | Photo By: William LeGoullon
INTRODUCTION
1
TEMPE PUBLIC ART PLAN
8
Tempe Public Art boasts a rich history and has recently expanded, thanks to a significant
era of growth and development within the city and the region at large. During this time,
there has been renewed public interest in the intersection of public art and urban design,
and a desire from the community to ensure that public art is part of everyone’s daily
experience in Tempe. The increase in growth has led to an increase in available funding,
a renewed interest in the arts as part of the city’s urban design, and a desire from the
community to ensure that art is part of the daily experience in Tempe. City of Tempe has
subsequently been able to increase public art funding and expand its professional public
art staff. This momentum means that Tempe is now poised to articulate a new, forward-
looking vision for Tempe Public Art.
The public art planning process was undertaken to achieve several key goals:
•
Conduct extensive public engagement to ensure Tempe Public Art aligns with the needs
and desires of the Tempe community
•
Create an aspirational vision for the future of the program
•
Develop a framework to guide decision making on project development and
prioritization
•
Formalize existing policies, procedures, and governance processes
SECTION 1
WHY THIS PLAN, WHY NOW?
9
CHAPTER 1 | INTRODUCTION
Jake Early | Meet Me At Daley Park | Daley Park | Photo By Hannah Manuelito
TEMPE PUBLIC ART PLAN
10
Public engagement was a fundamental aspect of the entire planning process.
Commitment to community involvement was demonstrated through the deployment of
more than 30 distinct engagement opportunities designed to reach a broad and diverse
cross-section of the Tempe community. As a result, over 1000 individual community
members actively participated, contributing invaluable guidance and feedback. These
contributions were gathered through a blend of both virtual and in-person channels,
ensuring accessibility and inclusivity throughout the planning process. The insights gleaned
from this extensive public participation shaped the direction and ultimate outcomes of the
Public Art Plan.
SECTION 2.1
ENGAGEMENT METHODS
Stakeholder 1-on-1s: 20 conversations
1-on-1 conversations were held to discuss
opportunities and challenges surrounding
public art in Tempe. Participants included
artists and art professionals, business
owners, teachers, former commissioners,
and dedicated community members
who have worked with public art in their
communities.
Focus Groups & Team Meetings: 6 events,
engaged 30+ individuals
A series of focus groups and team meetings
were undertaken that included the Tempe
Arts and Culture Commission (TACC); Key
City Staff, including Department Directors,
Deputy Directors and City Leadership; Hekiu
Indigenous Continuum; Public Artists; Public
Art Administrators and Advocates; and
Business and Tourism Leaders including
downtown Tempe Alliance, Tempe Tourism,
Chamber of Commerce, and other local
businesses.
Event Tabling: 7 events, 2 popups, engaged
1000+ individuals
Tabling:
•
Arts in Parks – Estrada Park
•
Arts in Parks – Meyer Park
•
Tempe Jam – Tempe Sports Complex
•
Tempe Leadership Arts + Culture Day
•
Envision Center Opening Celebration
•
Tempe Youth Leadership Arts + Culture
Day
•
Unity Walk
Pop ups:
•
Brick Road Coffee
•
Escalante Community Center
Presentations:
•
Arts and Culture Commission: 2
•
Transportation Commission
•
Sustainability and Resilience
Commission
•
Historic Preservation Commission
•
Human Relations Commission
•
Development Review Commission
•
Neighborhood Advisory Commission
•
Mayor’s Youth Advisory Commission
•
Arts and Culture Commission
•
Council Work Study Session: 2
Public Meetings: engaged 150+ individuals
•
Public Art Event and Meeting at
Eisendrath House
•
Public Open House at Tempe History
Museum
•
Public Open House at Tempe Center for
the Arts
•
Virtual Public Meetings: 2
Community Survey:
•
Initial survey open 4 months: engaged
500+ individuals
•
Survey to collect feedback on the draft
plan: engaged 60+ individuals
ENGAGEMENT TYPES
Stakeholder One-on-One
These are personalized meetings with key individuals
who have a vested interest or high influence over a
project. These private conversations allow for deep
exploration of complex issues, build trust, and ensure
that specific, often nuanced concerns from influential
parties are heard and addressed confidentially.
Focus Groups
Focus groups are structured discussions involving
a small, diverse sample of participants guided by a
moderator. This format is designed to elicit qualitative
data, capture collective opinions, and observe the
dynamic interaction and reasoning behind shared
attitudes toward a specific topic or proposal.
Tabling
Tabling refers to setting up a temporary, branded
station or booth in a high-traffic public location, such
as a community event or museum. The goal is to
maximize casual interactions, quickly disseminate
information, and gather immediate, low-barrier
feedback or survey responses from the general public.
Presentations
These are formal, one-way information-sharing
sessions given by a project team to an audience.
Presentations are used to clearly communicate
complex plans, progress updates, or final
recommendations, often followed by a structured
question-and-answer period.
11
CHAPTER 1 | INTRODUCTION
TEMPE PUBLIC ART PLAN
12
PAST, PRESENT, FUTURE: ENVISIONING PUBLIC ART IN TEMPE
An engaging public meeting brought together the past, present and future of public art in
Tempe at the Eisendrath House on December 5, 2024. This historic site is currently home
to the Tempe Public Art staff, but in the recent past the house was occupied by public
artist Jeff Zischke. Zischke gave a lecture focused on his work and experience living in the
Eisendrath House, giving attendees a look at the history of public art in Tempe and sharing
his thoughts on what the future may hold. Following the lecture attendees were invited to
answer questions about public art in Tempe. The “Past, Present, Future” event was held from
5:30-8 p.m. and attended by 80+ people.
SECTION 2.2
ENGAGEMENT HIGHLIGHTS
TEMPE PUBLIC ART PLAN
12
CHAPTER 1 | INTRODUCTION
13
13
CHAPTER 1 | INTRODUCTION
Engagement at the Tempe Center for the Arts
TEMPE PUBLIC ART PLAN
14
EVENT TABLING & PUBLIC MEETING RIBBON ACTIVITY
At the “Past, Present, Future” event- as well as tabling and pop-up events- the project team
and staff facilitated an activity where participants used ribbons to communicate their
desired experiences, locations, impact, and themes of public art they would like to see in
Tempe. 250+ ribbons were received, including 120+ written responses and 130+ illustrated
responses.
TEMPE PUBLIC ART PLAN
14
SECTION 2 | ENGAGEMENT
Engagement at the Tempe Jam | Photo by Billy Hardiman
15
PUBLIC OPEN HOUSE AT THE TEMPE CENTER FOR THE ARTS
On April 24, 2025, an open house event was held at the Tempe Center for the Arts from 5:30-
7:30 p.m. Local musician Haley Green entertained 40+ participants alongside interactive
activities that fostered reactions to findings from engagement earlier in the process.
Activities included opportunities to react to:
•
Survey results;
•
Engagement takeaways;
•
Current and future public art locations;
•
Program aspirations; and
•
A public art curatorial framework.
15
CHAPTER 1 | INTRODUCTION
TEMPE PUBLIC ART PLAN
16
A community survey was open for public feedback on City of Tempe’s website, encouraging
the public to think about the future of public art. The survey was open from Oct. 28, 2024
through Jan. 31, 2025 and was taken by 500+ members of the community.
Overall, respondents expressed positive feelings toward public art in Tempe, with a desire
for increasing the presence of public art, especially in neighborhoods, parks, and in the
downtown area. Respondents expressed an interest in public art that reflects Tempe’s
unique character and history while beautifying the built landscape, and anchors people
in places where they gather. Participants also expressed a desire for Tempe Public Art to
support and empower local artists to create more public artworks in Tempe.
A second survey to collect comments on draft plan content was open from April 21 – May 8,
2025 and was taken by 60+ members of the community.
WHERE WOULD YOU LIKE TO SEE MORE
PUBLIC ART IN TEMPE?
#1
PARKS
NEIGHBORHOODS
#2
#3
MAJOR INTERSECTIONS
#4
GOVERNMENT BUILDINGS &
COMMUNITY OWNED FACILITIES
DOWNTOWN TEMPE
#5
IN MIXED USE DEVELOPMENTS
#7
SOUTH TEMPE
#6
GATEWAYS
#8
#1
MURALS
FUNCTIONAL ART
#2
#3
ARCHITECTURAL
ELEMENTS
#4
SCULPTURAL
INTERACTIVE INSTALLATIONS
#5
TEMPORARY INSTALLATIONS
#7
LIGHT INSTALLATIONS
#6
MULTIMEDIA
#8
WHAT TYPES OF PUBLIC ART WOULD YOU
LIKE TO SEE MORE OF IN TEMPE?
NORTH TEMPE
#9
SECTION 2.3
COMMUNITY SURVEYS
CHAPTER 1 | INTRODUCTION
17
WHAT IS YOUR RELATIONSHIP TO TEMPE?
DO YOU CONSIDER YOURSELF AN ARTIST?
WHAT THREE WORDS OR PHRASES WOULD YOU USE TO DESCRIBE TEMPE?
WORK IN TEMPE
25%
REGULARLY VISIT
TEMPE
23%
LIVE IN TEMPE
52%
YES, HOBBYIST
34%
YES, PROFESSIONAL
13%
NO
50%
YES, STUDENT
3%
WHERE DO PEOPLE GATHER THE MOST IN TEMPE?
PARKS AND/OR TRAILS
RESTAURANTS
LOCAL BUSINESSES OR
SHOPPING DISTRICTS
SCHOOL EVENTS
HOMES AND
NEIGHBORHOODS
COMMUNITY CENTERS
60
120
180
240
300
360
RESPONSES
TEMPE PUBLIC ART PLAN
18
CELEBRATES THE DIVERSITY OF TEMPE
LOW PRIORITY
MEDIUM LOW
PRIORITY
MEDIUM
PRIORITY
MEDIUM HIGH
PRIORITY
HIGH PRIORITY
40
80
120
160
200
240
RESPONSES
40
80
120
160
200
240
RESPONSES
LOW PRIORITY
MEDIUM LOW
PRIORITY
MEDIUM
PRIORITY
MEDIUM HIGH
PRIORITY
HIGH PRIORITY
40
80
120
160
200
240
RESPONSES
ANCHORS PLACES WHERE PEOPLE GATHER
LOW PRIORITY
MEDIUM LOW
PRIORITY
MEDIUM
PRIORITY
MEDIUM HIGH
PRIORITY
HIGH PRIORITY
40
80
120
160
200
240
RESPONSES
STRENGTHENS THE IDENTITY OF TEMPE
40
80
120
160
200
240
RESPONSES
40
80
120
160
200
240
RESPONSES
CREATES WHIMSICAL SURPRISES
LOW PRIORITY
MEDIUM LOW
PRIORITY
MEDIUM
PRIORITY
MEDIUM HIGH
PRIORITY
HIGH PRIORITY
40
80
120
160
200
240
RESPONSES
40
80
120
160
200
240
RESPONSES
ENHANCES THE BUILT ENVIRONMENT
40
80
120
160
200
240
RESPONSES
LOW PRIORITY
MEDIUM LOW
PRIORITY
MEDIUM
PRIORITY
MEDIUM HIGH
PRIORITY
HIGH PRIORITY
40
80
120
160
200
240
RESPONSES
SECTION 2 | ENGAGEMENT
WHAT IMPACT SHOULD PUBLIC ART HAVE IN TEMPE?
83%
OF RESPONDENTS AGREE THAT IF
THERE WAS MORE PUBLIC ART, TEMPE
WOULD BE A BETTER PLACE TO LIVE
CHAPTER 1 | INTRODUCTION
19
84%
OF RESPONDENTS SUPPORT
INTEGRATING PUBLIC ART INTO
EVERYDAY LIFE
FEEDBACK ON INTEGRATING PUBLIC ART IN EVERYDAY LIFE
•
Respondents strongly stated they want art integrated into parks, transit stops, and
walkable areas.
•
Respondents say should serve a purpose (skate plazas, shade structures) or educate
the public about the art (educational installations).
79%
OF RESPONDENTS SUPPORT PUBLIC
ART MADE BY LOCAL ARTISTS
FEEDBACK ON SUPPORTING LOCAL ARTISTS
•
Strong feedback suggesting mentorship programs where professional artists guide
younger ones, solidifying local talent.
•
There was an expressed desire to for more multi-disciplinary art. Beyond statues, there
is a desire for sonic art, music, poetry, and performance art- specifically from local
artists.
KEY TAKEAWAYS
SUPPORT LOCAL ARTISTS
The city needs to “call louder” to reach local artists and perhaps use a team approach to
development.
EQUITY FOR SOUTH TEMPE
A recurring specific request is to bring more art to South Tempe, including grant projects for
specific parks (Meyer Park, Selleh Park).
HIDDEN GEMS
Residents enjoy finding art in unexpected places, not just in major plazas.
INTERACTIVE & ENGAGING
Art should be used as a backdrop for themed celebrations (Latino, Black, and Indigenous
events) and group gatherings, and further support artists from diverse backgrounds.
SECOND SURVEY FEEDBACK
TEMPE PUBLIC ART PLAN
20
After completing the initial engagement series, the project team identified key takeaways.
These takeaways condense hundreds of comments, survey responses, and conversations
collected during the engagement process, distilling public feedback into easily
understandable summaries.
1.
REFLECT
TEMPE’S
IDENTITY
People want art that
tells Tempe’s stories,
history, diversity, and
values, celebrating
community pride and
innovation.
2.
INTEGRATE ART
INTO DAILY LIFE
People desire art in
everyday spaces, like
parks, neighborhoods,
and transit stops, as
well as unexpected
locations, making
it accessible and
engaging.
3.
INTERACTIVE
AND ENGAGING
There’s a strong
preference for
interactive, playful, and
thought-provoking
art that sparks
conversations and
encourages exploration.
SECTION 2.4
KEY ENGAGEMENT TAKEAWAYS
CHAPTER 1 | INTRODUCTION
21
4.
EQUITABLE
DISTRIBUTION
People want to see the
public art collection
spread throughout the
city, especially in areas
that are underserved
or lacking in public art,
ensuring visibility and
accessibility for all.
5.
SUPPORT
LOCAL ARTISTS
There’s a call for more
support for local artists,
including emerging
and mid-career artists,
through opportunities,
mentorship, and fair
compensation.
ADDRESSING
CHALLENGES
AND CREATING
OPPORTUNITIES
6.
People acknowledge
challenges like heat,
walkability, and
complex processes but
see opportunities for
signature installations,
pop-up events, and
utilizing underused
spaces to enhance the
city’s art scene.
Shachi Kale | How Does Your Garden Grow? | Clark Park | Photo by Michael Williams
EXISTING CONDITIONS
2
Tempe Public Art in a mature program that has evolved
over almost four decades. This chapter describes how the
program has arrived at its current state and explores the
geographical distribution of public artworks in its collections.
TEMPE PUBLIC ART PLAN
24
City of Tempe has maintained a long-standing commitment to arts and culture and public
art in particular. The public art program that is now know as Tempe Public Art began in
1987 when the first percent-for-art requirement was instituted. The program consists of
works that have been commissioned through the percent-for-art budget as well as private
development and neighborhood grant funds. Tempe has been committed to hiring arts
professionals to run this program since its inception, leading to a higher level of expertise
overall.
This combination of efforts established Tempe as a national leader in municipal public art
for decades. Many advocates in other communities are currently working towards putting
in place what Tempe has had for an entire generation.
EARLY
1987
Barbara Schaffer Bacon
and Craig Dreezen of the
University of Massachusetts
completed a study that
recommended the creation
of the Municipal Arts
Commission.
MARCH
1987
Resolution Passed to create the
Municipal Arts Commission, adopt 0.5
percent-for-art in Capital Improvement
(CIP) Budget dedicated to Public Art.
FEBRUARY
1990
Art in Private Development
Ordinance adopted to require
artwork or funds in-lieu-
of in large industrial and
commercial developments.
SEPTEMBER
1987
Ordinance adopted to
formally enact Municipal Arts
Commission, 0.5% for Public Art
in CIP Budget.
JULY1995
Resolution Passed
to create increase
Percent-for-art in
CIP Budget to 1% and
dedicate it to “Art in
All Forms.”
SECTION 2
PROGRAM HISTORY
CHAPTER 2 | EXISTING CONDITIONS
25
MARCH
2017
Municipal Arts
Commission replaced
with Tempe Arts and
Culture Commission.
NOVEMBER
2018
Tempe voters permanently
renewed the 0.1% sales tax to
fund arts and culture activities
following the completion of
payments for the TCA bonds.
NOVEMBER
2020
20 year 0.1% sales tax
passed by voters to fund
the continuation of Tempe
Center for the Arts (TCA).
JANUARY
2021
Renewed 0.1% sales tax
comes into effect freeing up
a greater share of money
from the Municipal Arts
Fund to focus primarily on
public art.
TEMPE PUBLIC ART PLAN
26
Tempe’s geographical areas are commonly understood as North and South. North Tempe is
urban, home to the Tempe Town Lake and several historic properties, and centered around
Arizona State University (ASU). South Tempe is characterized by a more suburban, less dense
environment with numerous planned communities. Both are home to civic assets, with arts
and culture and governmental facilities in North Tempe, and the library and museums in South
Tempe. Much of the larger commercial and industrial development is centered along major
highways, particularly the 10 and the 101.
The development pattern of Tempe greatly impacts the public art landscape of the community.
This is reflected in the existing public art map (maps 2.1-2.2). Capital improvement Project (CIP)
artworks are spread throughout the community, with a distinct concentration in and around
the downtown area because of the large number of City of Tempe facilities that have been
constructed in that area. Much of the Art in Private Development (AIPD) generated artworks
are in the periphery within industrial and commercial development areas. Neighborhood grant
generated artwork is concentrated in North Tempe’s denser historic neighborhoods represented
by neighborhood associations. Adjacent to the downtown area is a large collection owned by
ASU. Valley Metro invested in its own percent-for-art program which generated art at stations
throughout the Valley Metro Rail and Tempe Streetcar system.
TEMPE PUBLIC ART COLLECTIONS
The following collections are owned by City of Tempe and administered by Tempe Public
Art. These collections constitute all artwork that is part of Tempe Public Art.
SECTION 2.1
PUBLIC ART IN TEMPE
Capital Improvement Projects (CIP)
Tempe Public Art partners with other City
departments (as well as external agencies)
to infuse art into the built environment.
It accomplishes this by focusing on
developing artworks in conjunction with
capital projects and seeking opportunities
to add art where people gather.
Art In Private Development (AIPD)
City of Tempe Art in Private Development
Ordinance, passed in 1991, is applicable to
commercial developments of more than
50,000 square-feet anywhere in the city.
Developers must commission artwork on
their site or contribute to the Municipal
Art Fund according to a per square foot
rate that is adjusted each year. The AIPD
ordinance was instrumental in adding more
than 95 privately owned artworks to the city.
Neighborhood Grant Projects
The Maryanne Corder Neighborhood
Grant program was created in 1994 to
invest in community-initiated projects
designed to enhance the quality
of life for all. The grants are offered
to Neighborhood Associations and
Homeowners Associations (HOAs) to fund
a variety of projects including public art.
Portable Works
The Portable Works collection consists
of over 200 framed and small-scale
artworks that travel between city facilities
on display.
Temporary Art
Tempe Public Art often undertakes
temporary art initiatives that encourage
emerging and seasoned artists to create
innovative pieces in the city.
NON-CITY OF TEMPE COLLECTIONS
These collections are not owned or managed
by City of Tempe but are geographically
located within the city. The collections are
administered by each respective agency.
Valley Metro Art
Valley Metro, through its internal percent-for-
art program, creates public art in conjunction
with capital projects. In Tempe this has
generated public art at stations throughout the
Valley Metro Rail and Tempe Streetcar system.
Arizona State University Art
ASU owns a large collection of public artworks
that are placed throughout the University’s
campus and are accessible by the public.
BJ Krivanek | Lattie F. Coor Hall Glass Facade | ASU | Unknown photographer
Butterflies | Simon Donavon and Ben Olmstead | Valley Metro | Unknown photographer
CHAPTER 2 | EXISTING CONDITIONS
27
TEMPE PUBLIC ART PLAN
28
See Map 2.2
See Map 2.2
legend on pg. 29
legend on pg. 29
Map 2.1 Public Art Locations
SECTION 2.2
EXISTING PUBLIC ART MAPPING
CHAPTER 2 | EXISTING CONDITIONS
29
ASU Art
27 Pieces
Neighborhood Art
64 Pieces
Valley Metro Art
23 Pieces
Temporary Art
6 Pieces
Art in Private Development (AIPD)
105 Pieces
Capital Improvement (CIP) Art
95 Pieces
Map 2.2 Public Art Locations Downtown Tempe
Lauren Lee | Don’t Wake the Dreamer | Hardy Street, Jaycee Park | Photo by Niba DelCostillo
VISION FOR THE FUTURE
3
As Tempe Public Art moves into a new era of
maturity, this vision for the future seeks to capture
all that makes the existing program remarkable
while designing an inspirational path forward. This
vision is based on input from community members,
stakeholders and staff.
TEMPE PUBLIC ART PLAN
32
With more than 330 pieces in the community, Tempe Public Art has made a strong impact
since its establishment in 1987. As an innovative, forward-looking community, Tempe
maintains a growth mindset. The following therefore is a visionary look at how Tempe Public
Art seeks to impact the city, its people, and its built environment.
Tempe Public Art aspires to:
SECTION 1
ASPIRATIONS
CREATE MOMENTS OF SURPRISE,
WONDER AND PLAYFULNESS IN
PEOPLE’S EVERYDAY EXPERIENCE,
REFLECTING THE FUN, ECLECTIC
“TEMPE VIBE”
CONNECT PEOPLE TO TEMPE’S
NATURAL AND URBAN SYSTEMS
– WATER, LIGHT AND COLOR;
PUBLIC SPACES, FACILITIES
AND INFRASTRUCTURE,
TRANSPORTATION
Photos
Top: Jake Early | Daly Park
Bottom: Mary Lucking | The Grand at Papago | AIPD | Unknown photographer
33
CHAPTER 3 | VISION FOR THE FUTURE
CONVEY THE MANY STORIES
AND DIMENSIONS OF TEMPE’S
HISTORY AND CULTURE, AS
WELL AS PEOPLE’S PROFOUND
CONNECTION TO THE PLACE
PROVIDE PATHWAYS FOR
TEMPE’S ARTISTS TO EXPLORE
THEIR PRACTICES THROUGH
PUBLIC ART PROJECTS
Photos
Top: Oliverio Balcells and assistant | Alegre Neighborhood
Bottom: Shela Yu | Tempe Public Library - Youth Library
TEMPE PUBLIC ART PLAN
34
To support operations during this period of growth, Tempe Public Art has established
specific intentions. These principles frame and align the team’s overall efforts.
SECTION 2
INTENTIONS
ENSURE THE PROGRAM’S
SUSTAINABILITY INTO THE FUTURE
With Council support and strong professional
leadership, Tempe Public Art revitalized itself in the
last decade.
The program’s internal procedures, collaborative
processes with other city stakeholders, and
governance framework would benefit from being
updated and documented to ensure the program
builds on its current operational foundation.
TAKING IT TO THE NEXT LEVEL
Tempe Public Art is a program many cities would
aspire to — with consistent long-term funding, strong
infrastructure and networks in city government, the
pervasiveness of artworks throughout the city and
the public’s understanding of how public art is part
of the city’s identity.
The program’s leadership, collaborators, artists, and
the general public seek to build on successes to
enhance the program’s innovation and impact.
OPTIMIZE RESOURCES
The Tempe Public Art team has a wealth of
knowledge related to public art and artist
development, and can pro-actively identify sites,
curate projects, and support artists’ development.
This plan will explore ways to ensure art is developed
at a high quality throughout the city, both through
policies and goal setting.
Photos
Top: Oliverio Balvells | Alegre Park | Photo by Michael Williams
Middle: Bobby Zokaites | Club Multi-Use Path | Photo by Michael Williams
Bottom: Nicole Mueller | LithoMosaic | Clark Park | Photo by Nicole Mueller
35
CHAPTER 3 | VISION FOR THE FUTURE
EXISTING EXAMPLE
HEDGEROW
The Broadway Road Streetscape public art,
“Hedgerow” pays homage to the hedge of sour
orange trees that once lined the north side of
the Broadway between Mill Avenue and Rural
Road. The privacy wall that has taken their place
has been cleverly enhanced to create the sense
of a hedge of orange trees. Within the privacy
wall setbacks are 123 steel “tree profiles” and
1,250 square “pixels” in various hues of green
and orange, recalling the orange trees that had
previously served as a natural divider. Continuing
the orange tree motif, Morse Code patterns spell
out “orange trees” and “blossoms” in repeated
sections.
Laurie Lundquist is a public artist with a deep
interest in natural systems and geography. She
aspires to design places or circumstances that will
trigger a sense of connection to our surroundings.
Lundquist received a Master of Fine Arts in
Sculpture from Arizona State University. Rebecca
Ross has received numerous awards for her
photography including a Visual Arts Fellowship and
Artist Project Grant from the Arizona Commission
on the Arts and public art commissions for the
cities of Phoenix, Tempe, and Scottsdale.
ARTISTS: Rebecca Ross & Laurie Lundquist
LOCATION: Broadway Road between Mill Avenue
and Rural Road
PHOTO BY: Sean Deckert
35
CHAPTER 3 | VISION FOR THE FUTURE
TEMPE PUBLIC ART PLAN
36
Tempe Public Art operates within the framework of municipal government, yet it is tasked
with a unique challenge: integrating the spirit of Tempe into the built environment through
one-of-a-kind works of art. Translating the intangible into a physical presence is the
program’s daily work.
To assist Tempe Public Art in communicating these essential community elements to
artists, the following curatorial framework was developed. This guide is intended to inspire
artists while informing stakeholders and the project team throughout the creative process.
SURPRISE AND INNOVATION
Tempe is a center for innovation in the Valley. The City’s
public art has the opportunity to reflect this innovation
and set the standard for what is possible, while providing
exciting experiences for community members and
visitors alike.
SECTION 3
CURATORIAL FRAMEWORK
TEMPE PUBLIC ART PLAN
36
Photo by Trevor Huxham
SONORAN ENVIRONMENT
When developing a direction for public art in Tempe,
the physical landscape of the city and environmental
considerations are crucial elements in the creation of an
installation. This includes sunlight, shade, the Sonoran desert
climate and colors, the preciousness of water, and the native
landscape. Utilizing these elements, art can develop a more
cohesive feel and iconic landscape for the city.
37
CHAPTER 3 | VISION FOR THE FUTURE
Nina Solomon | Maple Ash Neighborhood | Photo by Billy Hardiman
TEMPE PUBLIC ART PLAN
38
TEMPE PUBLIC ART PLAN
38
SECTION 3 | CURATORIAL FRAMEWORK
LOCAL HISTORY AND CULTURAL HERITAGE
There is a rich and diverse range of cultures settled in Tempe.
The city is home to an influx of people who have created
a home in Tempe after arriving for work or educational
opportunities, many bringing a diverse and rich mix of stories.
Additionally, a long history of homesteading and pioneer
culture in the area created an impact on the infrastructure
and culture. This should be reflected in the art throughout the
city, highlighting regional cultures and uplifting local stories.
Photo courtesy of Tempe History Museum
39
CHAPTER 3 | VISION FOR THE FUTURE
INDIGENOUS TRADITIONS AND VISIONS
Tempe has a strong network of O’odham, Piipaash, and
Yoeme artists and creatives whose traditions, stories, and
presence in the region are a rich aspect of life. Public art is an
ideal medium to convey Indigenous knowledge and artistic
expression, as well as amplify opportunities for cultural
exchange with the O’odham, Piipaash, and Yoeme.
Artists Dwayne Manuel and Thomas “Breeze” Marcus led the project with
the help of assistant painters Jordan Manuel, Eagle Sky Jefferson II, Rj
Lopez Suk Fulwilder, Allen Lewis, Aaron Rivers, and Doug Miles | Oidbad |
201 S. Ash Ave Parking Garage | Photo courtesy of Downtown Tempe, AZ
TEMPE PUBLIC ART PLAN
40
OBJECTIVE 1:
STRENGTHEN TEMPE’S SENSE OF PLACE AND
CONNECTIVITY USING PUBLIC ART
OBJECTIVE 2:
ENSURE THAT PUBLIC ART IS GEOGRAPHICALLY
WIDESPREAD THROUGHOUT TEMPE
OBJECTIVE 3:
FOSTER AN INNOVATIVE PROGRAM THAT IS A
NATIONAL LEADER IN PUBLIC ART
SECTION 4
PROGRAM OBJECTIVES
Ashley Macias | Connection | 5th Street & S. College Ave. | Photo by Michael Williams
41
CHAPTER 3 | VISION FOR THE FUTURE
OBJECTIVE 4:
DOCUMENT, REFINE, AND FORMALIZE EXISTING
PROCEDURES
OBJECTIVE 5:
ENHANCE THE EXISTING AIPD PROGRAM
OBJECTIVE 6:
STRENGTHEN COLLECTION MANAGEMENT
TO ENSURE A WELL MAINTAINED AND LONG-
LASTING PUBLIC ART COLLECTION
John Fleming | Pinnacles | Highline Canal Multi-Use Path | Photo By Craig Smith
STRATEGIES FOR
THE FUTURE4
As Tempe Public Art moves into the future, there are
specific considerations that can have an impact
on how the program is implemented. The following
chapter is organized by a series of high level objectives
for Tempe Public Art followed by strategies for them to
achieve these objectives.
44
To maximize the impact of future public art projects in Tempe, it’s essential to consider how
public art integrates with the city’s structure as well as the overall experience public artwork
offers. Prioritization of future projects can use the strategies and curatorial framework within
this document to consider the impact that the project has to enhance engagement with
the built environment and foster a strong sense of identity. The following location strategies
give a typology of locations for future artwork in Tempe along with key goals for the artwork
at these locations.
Civic spaces and city facilities in Tempe encompass a variety of public buildings and
gathering areas that serve as the heart of community life and government operations.
Public art can be integrated into these civic spaces and facilities in numerous ways to
enhance their aesthetic appeal, reflect community values, and foster a sense of place.
Location Examples:
•
Tempe City Hall
•
Tempe Center for the Arts (TCA)
•
Tempe Public Library
•
Tempe History Museum
•
Recreation Centers
•
Fire and Police Stations
•
Downtown Tempe
•
Edna Vihel Art Center
LOCATION STRATEGY 1.1 CIVIC SPACES AND CITY FACILITIES
OBJECTIVE 1
STRENGTHEN TEMPE’S SENSE OF
PLACE AND CONNECTIVITY USING
PUBLIC ART
TEMPE PUBLIC ART PLAN
44
Project Goals for Civic Spaces and City
Facilities:
•
Inspire connection to the civic life of
Tempe
•
Celebrate local talent
•
Elevate the profile of public art in Tempe
and ensure a dynamic exchange of
national talent
•
Reinforce public art as a way to connect
people with the city’s unique character
Linda Haworth | Desert Shards | Tempe Library Complex | Unknown photographer
UrbanRock Design | Looking Through the Past | Tempe History Museum | Unknown photographer
45
CHAPTER 4 | STRATEGIES FOR THE FUTURE
TEMPE PUBLIC ART PLAN
46
Tempe has an extensive and growing network of trails and greenways that are well used
by community members and visitors alike. Public art installations in these locations could
extend throughout the entire community rather than being focused on just one central
area. These sites provide a valuable opportunity for connecting people through shared
gathering spaces.
Location Examples:
•
Rio Salado Pathway
•
Indian Bend Wash Greenbelt
•
Crosscut Canal Path
•
Western Canal Path
OBJECTIVE 1 | STRENGTHEN TEMPE’S SENSE OF PLACE AND CONNECTIVITY USING PUBLIC ART
LOCATION STRATEGY 1.2 TRAILS AND GREENWAYS
Laurie Lundquist | Blue Wave | Western Canal Trail | Photo by Aaron Rothman
Mary Lucking | Contours and Crossings | Crosscut Canal Path
TEMPE PUBLIC ART PLAN
46
Project Goals for Trails and Greenways:
•
Encourage the interconnection of art and
physical activity
•
Connect with and educate about the
natural environment
•
Bring joy and whimsy to daily activities
•
Find commonalities to aesthetically and
culturally connect communities
Parks in Tempe serve a variety of purposes, with some larger regional parks serving
as destinations for recreation and sports while neighborhood parks serve community
members on a day-to-day basis. Considering the multitude of uses that occur at
parks on a daily basis, there are opportunities abound to impact community members
and visitors with public art.
Location Examples:
•
Kiwanis Park
•
Tempe Town Lake / Tempe Beach Park
•
Papago Park
•
Clark Park
•
Daley Park
LOCATION STRATEGY 1.3 NEIGHBORHOOD AND REGIONAL PARKS
Muta Vision | Part of the Century | Mitchell Park | Photo by Michael Williams
Kris Kollasch | Mosaic Standpipe | Mitchell Park Neighborhood
47
CHAPTER 4 | STRATEGIES FOR THE FUTURE
Project Goals for Neighborhood and
Regional Parks:
•
Create arts experiences for all ages
•
Encourage the interconnection of art
and physical activity
•
Connect with the natural environment
and create inspiring experiences
through artwork
TEMPE PUBLIC ART PLAN
48
The Lady Egg | Movement | S. Mill Ave & W. 4th Street | Photo by Michael Williams
Scott Cisson, Niki Glen, Helen Helwig, Joe Tyler | The Elements | S. McClintock Dr. |
Photo by Craig Smith
This area is perhaps the most easily taken for granted of the urban infrastructure within
Tempe, but it is also the most critical to the everyday functionality of the city. Introducing
public art to transportation and other physical infrastructure allows for the possibility of
bringing art into everyday life in unique and interesting ways. This strategy allows for public
art to act as a connection between areas of the city, creating landmarks for people as they
move between locations.
Location Examples:
•
Bus Shelters
•
Corridor Beautification
•
Water and Utility Delivery Systems
•
Under/Overpasses
OBJECTIVE 1 | STRENGTHEN TEMPE’S SENSE OF PLACE AND CONNECTIVITY USING PUBLIC ART
LOCATION STRATEGY 1.4 TRANSPORTATION AND CITY INFRASTRUCTURE
TEMPE PUBLIC ART PLAN
48
Project Goals for Transportation and City
Infrastructure:
•
Bring joy and whimsy to daily activities
•
Integrate with the built environment
•
Enhance utilitarian infrastructure
•
Create visual connections along travel
routes
CHAPTER 4 | STRATEGIES FOR THE FUTURE
49
EXISTING EXAMPLE
PINNACLES
For centuries artists have been inspired by the desert’s
ability to create illusions. The distance of scale
combined with shifting light provides for surprises as
one moves through the landscape. Artist John Fleming
created a similar effect within the city to heighten
these perceptual experiences. Traveling from north to
south one can clearly see five rust-red pinnacles. From
the other side, these five pinnacles join to create the
illusion of one blocky rectangle. Clad with a mirrored
steel on the bottom, each pinnacle appears to float
above the desert floor.
The Highline Canal Multiuse Path connects the cities
of Phoenix, Guadalupe, Tempe, and Chandler along
the SRP canal. Pinnacles was designed to enhance
the area of the Tempe trail where the canal goes
underground within the Auto Loop Link section.
John Fleming has spent 30 years developing a
broad portfolio of art, architecture, and conceptual/
environmental projects. Much of his work blurs the
boundaries between all three. Studying architecture at
the University of New Mexico lead him to India to teach
design and ceramics at the School of Architecture in
Ahmedabad. India, New Mexico, and the Northwest
have profoundly influenced his work. His work follows
the environmental principles of respecting the natural
world and highlights the natural characteristics of the
materials used in each of his projects.
ARTIST: John Fleming
LOCATION: Highline Canal Multiuse Path
PHOTOS BY: Craig Smith
49
CHAPTER 4 | STRATEGIES FOR THE FUTURE
TEMPE PUBLIC ART PLAN
50
Strategy 2.1 Regularly update walkshed
maps to help inform site identification
and project prioritization
The Tempe Public Art team could consider
working with other City Staff to regularly
update this walkshed analysis as the
collection grows and changes. This could
be done as part of the annual work plan
process. The maps can then be used to
help assist with project identification and
prioritization.
When evaluating potential projects as part
of the work plan process the walkshed
mapping gap analysis can be used as part
of a matrix to evaluate which projects to
prioritize. How projects are prioritized will
evolve over time as the collection grows and
changes:
•
In the short term prioritize project
placement where gaps have been
identified using the 20 minute walkshed
map. (map 4.1)
•
In the long term, begin to prioritize gaps
in the 10-minute walkshed map. (map
4.2)
Strategy 2.2 Undertake mapping of
CIP infrastructure projects to help
priortize new project in areas lacking
public art access
Tempe Public Art can benefit from working
with the Planning and GIS teams to layer
current and future CIP infrastructure
projects within the walkshed analysis map
each year as part of the annual work plan
process. This would allow the team to easily
identify which projects would be a priority
for adding or integrating a new work of
public art.
Strategy 2.3 Encourage Neighborhood
Grant Applications by HOAs
Though most of South Tempe has access
to public art, most areas do not have
the concentration of artwork that exists
in downtown Tempe in near downtown
neighborhoods. A challenge for placing
public art in South Tempe stems from the
prevalence of Homeowners Associations
(HOAs) in most neighborhoods. Historically,
the neighborhood grant program has
received significantly more applications
from Neighborhood Associations than from
HOAs.
Tempe Public Art and Neighborhood
Services can create additional efforts to
encourage HOAs to apply for neighborhood
grants through outreach, workshops, and
other educational opportunities. This work
can encourage more public art project
applications by HOAs through focusing on
their specific needs and values. This will
increase the amount of artwork and access
to public art for people in south Tempe,
where the maps show less artwork access
within the neighborhoods.
OBJECTIVE 2
ENSURE THAT PUBLIC ART IS
GEOGRAPHICALLY WIDESPREAD
THROUGHOUT TEMPE
51
CHAPTER 4 | STRATEGIES FOR THE FUTURE
Rachael Slick and Timothy Schirack | Stories of the Magic Desert | McClintock and Santo Tomas Neighborhoods
TEMPE PUBLIC ART PLAN
52
OBJECTIVE 2 | ENSURE THAT PUBLIC ART IS GEOGRAPHICALLY WIDESPREAD THROUGHOUT TEMPE
20 MINUTES
98.4% of Tempe Residents live within a <20
min walk from a piece of public art
98.4%
20 MINUTES
98.4% of Tempe Residents live within a <20
min walk from a piece of public art
183,587 / 186,573 people
Map 4.1 Residents within a 5, 10, and 20 minute walk of Public Art
WALKSHED ANALYSIS OF PUBLIC
ART IN TEMPE
In order to better understand the
geographic distribution of public art
in Tempe, as well as the accessibility
of public art for residents of Tempe,
the project team undertook a
mapping analysis of public art
access in Tempe. Access to public
art for residents by walkshed in 20
minute, 10 minute, and 5 minute
increments were mapped using the
existing GIS database of the Tempe
Public Art collection as well as the
collections of partners at ASU and
Valley Metro. The result are shown in
maps 4.1 and 4.2.
CHAPTER 4 | STRATEGIES FOR THE FUTURE
53
The mapping has revealed that
public art is well distributed
throughout Tempe, largely due
to the existing mix of programs.
While the artwork is spread across
the community, there is a notable
concentration in the downtown area,
which is not unusual for municipal
public art programs.
20 MINUTES
98.4% of Tempe Residents live within a <20
min walk from a piece of public art
98.4%
10 MINUTES
78.1% of Tempe Residents live within a <10
min walk from a piece of public art
145,781 / 186,573 people
20 MINUTES
98.4% of Tempe Residents live within a <20
min walk from a piece of public art
98.4%
5 MINUTES
44.4% of Tempe Residents live within a <5
min walk from a piece of public art
82,752 / 186,573 people
Map 4.2 Residents within a 5 and 10 minute walk of Public Art
TEMPE PUBLIC ART PLAN
54
To elevate Tempe Public Art, the following strategies will guide the creation of impactful
and innovative projects and approaches. By building upon the program’s history, Tempe
will be able to solidify its national leadership in public art. These strategies also optimize the
utilization of Tempe Public Art staff’s expertise.
Strategy 3.1 Advance Signature Projects
Signature public art projects often shape public perception and are a consistent topic of
discussion in Tempe. The intent of a signature artwork is to create a work of public art that
becomes a point of pride for the community as well as drawing an audience from outside
of the city. Notably, many cities have created an identity that is related to or identified by
a work of art or art related event. The development of one or more such iconic projects
was recommended in the 2015 Arts and Culture Plan and continues to be a point of
conversation however the exact formation of what it means to create a signature project
has changed since that time. As shown during public engagement, people want public
art that celebrates community pride and innovation. Public artwork can also be thought-
provoking and inspires conversation as well as exploration.
Often, when people imagine signature public art, they envision large-scale sculptures in
prominent public spaces. However, temporary or recurring public art installations can be
equally impactful, as demonstrated by events like Napa’s Lighted Art Festival or Scottsdale’s
annual Canal Convergence, both of which showcase temporary public art alongside other
programming. In this form, signature artworks take on the role of an event where public art
plays a key role. Tempe has many events and festivals, which provides an opportunity to
present a significant work of temporary art as part of an already existing festival or event.
On the following pages are a series of case studies that highlight how other communities
advance signature projects that can be used as inspiration for future projects in Tempe.
OBJECTIVE 3
FOSTER AN INNOVATIVE PROGRAM
THAT LEVELS UP LOCAL PUBLIC ART
CHAPTER 4 | STRATEGIES FOR THE FUTURE
55
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URBAN DREAMS ART
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NAPA LIGHTED ART
NAPA LIGHTED ART
FESTIVAL
FESTIVAL
UNSCENE!
UNSCENE!
COUNTERPUBLIC
COUNTERPUBLIC
55
CHAPTER 4 | STRATEGIES FOR THE FUTURE
Map 4.3 Case Studies
TEMPE PUBLIC ART PLAN
56
During a month-long experience, Midtown Sacramento is transformed into an open-air
gallery of wonder with 16 large-scale, immersive art installations. Through a regional call
to artists, an artist selection committee selected work from 13 artists based on their artistic
merit, creativity, community engagement, and social impact, with a preference given to
artwork that reflects Sacramento’s diverse communities. In conjunction with Sutter Health’s
Midtown Second Saturday, the Urban Dreams Art Experience is presented by the offices of
Mayor Kevin McCarty and Supervisor Phil Serna and is a collaboration between Midtown
Association, Visit Sacramento and Sacramento Valley Spark.
Case Study
URBAN DREAMS ART EXPERIENCE, SACRAMENTO, CA
OBJECTIVE 3 | FOSTER AN INNOVATIVE PROGRAM THAT LEVELS UP LOCAL PUBLIC ART
TEMPE PUBLIC ART PLAN
56
Photos courtesy of Explore Midtown Sacremento
57
CHAPTER 4 | STRATEGIES FOR THE FUTURE
Case Study
UNSCENE!, SHREVEPORT, LA
Shreveport Common is a nine-block, historically blighted area on the eastern edge of
Ledbetter Heights and the western edge of downtown Shreveport, Louisiana. UNSCENE!
monthly events showcase the potential of Shreveport Common, permanently advancing
the vision for a creative community. National, regional, and local artists create innovative
art and programming that attracts diverse audiences to experience the cultural district.
UNSCENE! is a Shreveport Regional Arts Council project, managed by a multi-disciplined
Artists’ Management Team, with support from ARTPLACE AMERICA, the Community
Foundation of North Louisiana, BHP Billiton, the City of Shreveport, and local sponsors.
57
CHAPTER 4 | STRATEGIES FOR THE FUTURE
Photos courtesy of Shreveport Common
TEMPE PUBLIC ART PLAN
58
The Napa Lighted Art Festival is a free, walkable midwinter outdoor experience in downtown
Napa that celebrates creative arts, technology, and light. It supports the innovative use of
light and light technologies as a growing art medium. For five weeks, the festival features
15 lighted art installations. Additionally, projection artwork is displayed on three iconic
downtown buildings during the first nine nights of the event. The festival is presented by City
of Napa Hotels and Inns.
OBJECTIVE 3 | FOSTER AN INNOVATIVE PROGRAM THAT LEVELS UP LOCAL PUBLIC ART
Case Study
NAPA LIGHTED ART FESTIVAL, NAPA, CA
TEMPE PUBLIC ART PLAN
58
Photos courtesy of Do Napa
CHAPTER 4 | STRATEGIES FOR THE FUTURE
59
CHAPTER 4 | STRATEGIES FOR THE FUTURE
Counterpublic is a St. Louis-based triennial exhibition and 501c3 nonprofit, founded in 2021,
that reimagines public art to address regional challenges. As one of the nation’s largest public
art exhibitions, it celebrates the St. Louis region through new commissions, programs, and civic
initiatives, culminating in a three-month, citywide show. Working in public, cultural, and historic
spaces, Counterpublic commissions artists, leaders, and civic stakeholders to create art that
engages history and imagines new futures, also seeding civic initiatives for generational
change. The name “Counterpublic” is a sociology term for communities uniting to reclaim
representation in public space. The 2023 exhibition focused on temporal entanglements along
Jefferson Avenue. Its offices are in a historic Grand Center Arts District home.
Case Study
COUNTERPUBLIC, ST LOUIS, MO
59
CHAPTER 4 | STRATEGIES FOR THE FUTURE
Photos courtesy of Counterpublic
TEMPE PUBLIC ART PLAN
60
Large Scale Permanent Works
Throughout the public art planning process, there was considerable discussion regarding
the desire for iconic or signature public art. A desire exists for more high-impact, highly
visible signature artworks. However, the substantial expenses associated with large-
scale installations—such as Anish Kapoor’s “Cloud Gate” (widely known as The Bean) in
Chicago, or Janet Echelman’s “Her Secret is Patience” in downtown Phoenix—are likely to
exceed the regular budget of Tempe Public Art. It should also be noted that large scale
permanent artworks require significant space, therefore in order for this approach to be
considered, City of Tempe will need to determine a location that is appropriate as well as of
a significant scale.
Adaptive Reuse/Site Works
As the city grows and changes are considered to areas where City of Tempe owns older
properties, Tempe Public Art could identify spaces that would become a new site of interest
through an artist’s vision. This could be in the form of an empty store front or the entire
building if available. Works like Matthew Mazzotta’s Store Front Theater show what might be
possible with partnerships in place to foster support for this sort of artwork. To create this
type of a project, partnership with a private land owner may be required.
Should these types of work be pursued, the following considerations are recommended:
•
The artwork placement ought to provide a prominent, frequently visited location,
seamlessly integrated into a high-quality public space.
•
Tempe may wish to investigate potential collaborative partnerships with public or
private entities to facilitate the development of a large-scale project.
•
An invitational process might be a consideration for work at this scale to engage artists
who would not typically participate in standard public art selection procedures.
OBJECTIVE 3 | FOSTER AN INNOVATIVE PROGRAM THAT LEVELS UP LOCAL PUBLIC ART
Strategy 3.1 Continued
Signature artworks may also take the form of site-specific artwork that transforms a space
that was once familiar in a different context. Older, historic sites can be reframed by an
artist to create a new experience for visitors and community members alike when taken
into a contemporary context. Even ordinary sites like older gas stations or empty store
fronts can be recontextualized as a signature work of art
As Tempe Public Art progresses, signature projects can be considered when opportunities
arise. These projects could encompass both large-scale permanent works and temporary
installations and take a variety of forms.
There are many approaches to creating a signature project and each has incentives and
challenges that the staff would need to consider. For the types of projects mentioned here,
the following points should be considered:
CHAPTER 4 | STRATEGIES FOR THE FUTURE
61
61
CHAPTER 4 | STRATEGIES FOR THE FUTURE
Kevin Berry | Tommy Arriaga Memorial | Fire Station No. 2 | Photo by Michael Williams
Interactive and Immersive Temporary Installations
Temporary public art installations are a growing trend across the country, creating
engaging and iconic experiences. These ephemeral works often achieve a greater impact
than permanent installations precisely because of their temporary nature, encouraging
both community members and visitors to experience them during their limited lifespan,
driving more engagement and visits. The substantial expense and complexity of logistics
for a light-based event necessitates partnership with others in the Arts and Culture division,
and potentially those outside the city, to ensure it’s overall success. There are already
several festivals and event-based programs within Tempe where a large scale temporary
artwork could be incorporated into the current programming.
Should this type of work be pursued, the following considerations are recommended:
•
A yearly or bi-yearly series or event would allow people to anticipate future installations
and build excitement within the community.
•
This type of project could be done in conjunction with a mentorship, artist development,
or artist in resident program
•
Artwork could be placed in collaboration with an existing festival or other event in
Tempe or in collaboration with partners to ensure feasibility.
TEMPE PUBLIC ART PLAN
62
OBJECTIVE 3 | FOSTER AN INNOVATIVE PROGRAM THAT LEVELS UP LOCAL PUBLIC ART
Strategy 3.2 Undertake a curatorial approach to integrating public art into
infrastructure
Large infrastructure projects in Tempe offer significant opportunities for integrating public
art into the built environment. These complex projects require early identification and
careful planning for public art; otherwise, these opportunities may be missed or become
infeasible if not incorporated into the initial design and engineering processes.
Tempe Public Art should partner with major infrastructure teams throughout the planning,
design, and construction phases to ensure the seamless integration of artwork. While art
planning should be embedded in the overall process, the artistic vision must be led by
artists, curators, or art administrators rather than technical design teams. This curatorial
work generally takes the following forms:
•
Tempe Public Art staff could undertake an assessment of the corridor and develop a
public art approach and plan alongside other Tempe staff.
•
Tempe Public Art could hire a curator or curatorial team to develop a plan for the
infrastructure project. This team would be separated from the artist that is hired to
develop the work.
TEMPORARY EXAMPLE
THWIMP THWOMP
Visually, Thwimp Thwomp is a large, colorful
game about physical movement and spatial
awareness. Physically, Thwimp Thwomp is
a set of five giant weeble wobbles, each
standing 8 to 10 feet tall. The project provides
an unfamiliar environment, one where
architecture is in constant movement, a place
where the walls move and the sky is falling.
Each sculpture is a stretched fabric skin,
over a lightweight skeleton, situated on a
hemispherical base, the geometry of the
lower bumper will make it impossible to tip
over the sculptures. Being a large, colorful-
tactile installation, Thwimp Thwomp will
undoubtedly draw the attention of anyone who
sees it; taking on the role of an architectural
intervention, and conceptually connecting
‘high art’, architecture, playgrounds and
participatory installations.
Bobby Zokaites is a sculptor who engages his
imagination through the creation of large-
scale, colorful, interactive objects and spaces.
Bobby is a Tempe-based artist skilled in a
variety of materials with a wealth of experience
producing large-scale works for private and
public spaces.
ARTIST: Bobby Zokaites
LOCATION: Clark Park
PHOTOS BY: Tim Seally
63
CHAPTER 4 | STRATEGIES FOR THE FUTURE
Photos from Art in the Parks Event
on March 24th, 2019.
TEMPE PUBLIC ART PLAN
64
Strategy 3.3 Explore Ways to Undertake Mentorship of Public Artists
As noted by several artists during the outreach portion of this planning process, breaking
into the public art field presents significant challenges. Educational institutions offer limited
programs focused on the business aspects of being a public artist. The current economic
climate, marked by high real estate and material costs, makes experimentation more
difficult. Consequently, municipal art programs frequently commission established artists
who possess the necessary skills to collaborate with engineers, fabricators, and design
teams on larger projects, while emerging artists often lack this specific training.
In line with Tempe’s reputation as an innovative, forward-thinking community, Tempe
Public Art is well-positioned to be a launch point for the careers of future renowned public
artists. Tempe has a unique opportunity to help artists experiment, gain experience,
and eventually take on larger projects elsewhere. This could result in a formal public art
mentorship program.
An artist mentorship program would create the following benefits:
•
Give artists the opportunity to gain experience in the public realm
•
Educate artists to help diversify and grow the local artist pool
•
Deliver new and innovative works for the community to experience in Tempe
•
Grow the national profile of Tempe as a public art destination
•
Create opportunities for staff to give curatorial input and for artists to understand the
complexities of municipal public art
•
Increase the strength of applications/proposals to City of Tempe through strategic
workforce development
•
Highlight local fabricators to inspire collaboration
•
Stimulate the local creative economy
•
Demonstrate a commitment to artists in the area to retain local talent
•
Capitalize on the creativity, cultures, and histories specific to this region
•
Drive creative community development and network building through the arts
•
Inspire lifelong learning to increase artistic innovation in public spaces
A mentorship program could be structured as an artist cohort program, accepting a
specific number of artists to participate in a structured, educational program with a focus
on required skills in the public art field. A mentorship program could also be designed
similarly to an artist-in-resident program where artists are able to work closely with staff
and a site as they develop the skills needed to create a project.
OBJECTIVE 3 | FOSTER AN INNOVATIVE PROGRAM THAT LEVELS UP LOCAL PUBLIC ART
65
CHAPTER 4 | STRATEGIES FOR THE FUTURE
65
CHAPTER 4 | STRATEGIES FOR THE FUTURE
Artist Nicole Mueller and construction team installing at Clark Park
TEMPE PUBLIC ART PLAN
66
Strategy 3.4 Focus on being a launchpoint for early- and mid-career artists
Tempe Public Art can use its innovative programming to become a launchpad for
early-career and mid-career artists. This strategy, and key program goal, would foster
a reputation earned through dedicated support and opportunities for emerging talent.
To achieve this, Tempe will need to focus on developing an environment that actively
cultivates and promotes these artists. This could include:
•
Create specific opportunities that are experimental or otherwise targeted at early-
career and mid-career artists
•
Provide artist mentorship and workshops
•
Develop the program’s standing as a resource for local artists through strategic
marketing, engagement at conferences, presentations, and hosting relevant events.
Strategy 3.5 Provide education to improve business practices with artists
For those within the development and residential community who are not used to working
with artists, there is often a disconnect. Typical best practices in the arts are not well
understood outside of the field. As a result it’s not uncommon to see neighborhood groups
or developers ask artists to develop a proposal for free or to lack understanding of artists
rights under the Visual Artist Rights Act (VARA). As a significant portion of Tempe’s artwork
is produced through the AIPD and Neighborhood Grant programs, it is crucial for Tempe
Public Art to ensure fair artist treatment and the creation of the highest quality public art
through these initiatives.
Significant progress has been made through initiatives to help educate neighborhood
associations, HOAs and developers about the best approaches to hiring artists. This
includes the process of request for qualifications (RFQ), importance of compensating artists
for their proposals, and other contracting issues.
To ensure Tempe Public Art maintains its leadership role in local artist relations, consider
the following:
•
Continue ongoing education initiatives for neighborhood groups, HOAs, and developers.
•
Consider providing neighborhood groups, developers, and others who are looking to
hire an artist for their site, a model contract or resource list to address typical contract
issues, such as artist scope of work, design fees and intellectual property.
•
Explore other opportunities for leadership in the area such as developing materials that
explain the artist selection and contracting process and creating online or video guides.
OBJECTIVE 3 | FOSTER AN INNOVATIVE PROGRAM THAT LEVELS UP LOCAL PUBLIC ART
EXISTING EXAMPLE
LOCAL HONEY
Affectionately titled “Local Honey”, the idea for this
200-foot long modular composition can be attributed
to a colony of honeybees found on the side of Valent’s
studio a few summers back. The interconnected
groupings of concrete tiles and brightly colored steel
components compose an abstract interpretation of the
coexistence between man and nature. Inspired by the
brightly colored façade of signs at Tempe Marketplace
that can be seen reflecting in the waters of the nearby
oasis wetlands, “Local Honey” asks us to examine more
closely, what is considered to be a community. People
often think of community as friends and neighbors;
parks, schools, and places of worship; and centers for
goods and services. They associate communal space
with human interaction but forget that the spaces
inhabited are also home to an abundance of other
creatures. Moving forward, if people choose to build
cities and communities to include wildlife and support
a sustainable future then maybe they need not go far
for a breath of fresh air or a taste local honey.
Zach Valent is a Phoenix Valley Metro based visual
artist whose work focuses on the unique characteristics
that form a relationship between man and nature.
Through investigation and a playfully creative process,
he seeks to capture homogenous motifs of natural
wonders that express the allure of time. Working
primarily with concrete, many of his art forms take
on the appearance of geologically altered modern
technologies and products of man.
ARTIST: Zach Valent
LOCATION: Rio Salado Pathway
PHOTOS BY: William LeGoullon
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CHAPTER 4 | STRATEGIES FOR THE FUTURE
TEMPE PUBLIC ART PLAN
68
Tempe Public Art follows a systematic approach to documenting and refining operations,
including but not limited to the design of the annual work plan process. The following
strategies are meant to formalize this process and allow for an annual review as part of
each fiscal year’s project planning.
Strategy 4.1 Develop a Public Art Work
Plan Committee annually
The work plan development process is one
of the most important pieces of ensuring
that Tempe Public Art operates on an
efficient streamlined basis. The work plan
allows for a documented understanding
of what Tempe Public Art seeks to achieve
in any given year, and helps to ensure that
the program stays on track and that those
outside of the program understand what
the program aims to achieve and how it’s
prioritizing projects.
As it currently operates, Tempe Public Art
undertakes a yearly development of a
work plan as part of the regular budgeting
process. The following outlines a proposed,
formalized process that builds off existing
practices and expands them where needed.
This formalized system aims to capture
potential project ideas, develop them
further, and ultimately prioritize relevant
projects for inclusion in an annual work plan
for implementation.
Work Plan Adoption
Work Plan Creation
Project Prioritization
Project Ideation
Opportunity Scan
OBJECTIVE 4
DOCUMENT, REFINE, AND FORMALIZE
EXISTING PROCEDURES
69
CHAPTER 4 | STRATEGIES FOR THE FUTURE
OBJECTIVE 4 | PLANNING PROCESS OVERVIEW
STAKEHOLDERS
Contribute input and
feedback
INTERNAL PARTNERS
Contribute ideas, Support
the staff
43
4
2
DEPARTMENTAL & CITY
LEADERSHIP
Contribute ideas, endorse
the Work Plan
1
TEMPE PUBLIC ART
STAFF
Lead the planning process
TEMPE PUBLIC ART PLAN
70
Strategy 4.1 Continued
PROJECT PLANNING STEPS
Opportunity Scan
On a regular basis, Tempe Public Art
conducts research on potential projects.
This could become more robust to include
potential locations, subject, matter, media
or other opportunities. By continuing to
assess opportunities, Tempe Public Art
will be able to maintain a list of potential
projects on a regular basis.
The opportunity list can be examined
and added to during the yearly work plan
development process. Projects identified
as short-term projects for implementation
would be added to the work plan, while
other projects can be maintained on the
opportunity list for potential future inclusion
in the work plan.
While Tempe Public Art staff maintains the
opportunity list, regular input would be
sought from internal partners, the Tempe
Arts and Culture Commission (TACC),
and city administration to ensure that the
opportunities are meeting community
expectations.
The opportunity list may include:
•
Locations for potential projects
•
Subject matter ideas
•
Artwork media ideas
•
Potential examples or case studies
Project Ideation
Project ideas would generally come from
the opportunity list. These ideas can be
developed into conceptual projects. These
projects may be fully established (for
example: a proposed artist –designed,
rubber playground surface at a specific
park) or conceptual and open to
interpretation by an artist (for example
a proposed RFQ for an artist to do a work
located in a specific neighborhood that
currently lacks a piece of public art).
Project Ideation May Include (but not be
limited to) the following elements:
•
Location
•
Subject matter
•
Media
•
Artist selection process
•
Placement strategies
•
Project duration
Project Prioritization
To feed into the Public Art Work Plan,
potential projects would be prioritized after
their development. This can be achieved
through a flexible set of metrics, regularly
adjusted to ensure the program’s continued
innovation, expanded impact, and reflection
of current needs. Potential metrics for
prioritization are detailed in Strategy 4.2.
Work Plan Creation
The previous phases can help define a well-
developed list of potential projects that are
prioritized for implementation. By examining
potential projects alongside the available
budget for the year, the priority list can
then be translated into a proposed annual
work plan. As with other components of
the yearly planning process, partners and
stakeholders would be engaged in the
process.
Work Plan Adoption
Following the final review of the work plan
would then be reviewed internally by City
Staff as needed. The finalized work plan
would then be presented to TACC.
OBJECTIVE 4 | DOCUMENT, REFINE, AND FORMALIZE EXISTING PROCEDURES
CHAPTER 4 | STRATEGIES FOR THE FUTURE
71
EXISTING EXAMPLE
WALK IN THE PARK
“Walk in the Park” is a fully integrated
artwork that creates a connection between
the landscape of Estrada Park and the
surrounding neighborhood. Artist Mary
Shindell was inspired by the plants in the
neighborhood to create patterns in the
fitness path and play areas. Mosaics in the
pathway at the entrances were created
to provide color and detail for all entering
the park. Several mosaics were placed
along the fitness path to coincide with the
location of actual plants. On the playground
and in the workout areas, these botanicals
became large shapes of color connected
by a vine throughout the park. Walk in the
Park was created to provide interest for
visitors of all ages.
ARTIST: Mary Shindell
LOCATION: Estrada Park
PHOTOS BY: William LeGoullon
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CHAPTER 4 | STRATEGIES FOR THE FUTURE
TEMPE PUBLIC ART PLAN
72
Strategy 4.2 Maintain Principles and Criteria for Project Prioritization
A key component of the work plan development process are metrics to help Tempe Public
Art staff and committee members to prioritize projects. These metrics are also important
to the project development process as they will influence how Tempe Public Art staff and
others envision potential projects.
These metrics are intended as examples. Metrics should be regularly reviewed to ensure
that the program is working through ongoing challenges. The Public Art Plan would also be
regularly reviewed for potential new or changed metrics.
Potential Metrics for Prioritization
•
Does the project expand the geography
of Public Art in Tempe?
•
Does the project help to achieve a
specific strategy laid out in the public art
plan, such as artist development?
•
Does the project align with one or
more components of the curatorial
framework?
•
Is the project in a highly visited or visible
location?
•
Does the project align with one or more
of Tempe Public Art aspirations?
•
Does the project increase access or
equity related to public art experiences?
•
Does the project help ensure a balance
among short-term and long-term
projects so that new projects are
continually being delivered?
Other technical considerations should be
considered in addition to the metrics for
prioritization. These would be looked at
comprehensively when coming up with a
final list of projects.
OBJECTIVE 4 | DOCUMENT, REFINE, AND FORMALIZE EXISTING PROCEDURES
Technical Considerations
•
Projects would adequately reflect the
relationship between the public art and
the site – its cultural context as well
as its integration into the architecture,
landscape architecture, infrastructure,
and other site conditions – can be
carefully considered.
•
Each prioritized project should have an
adequate budget for all costs – artist
fees, project costs, community outreach
process, and other project components.
•
When medium specific projects are
being considered, ongoing maintenance
and operational considerations would
be reviewed within the budget analysis.
•
Projects would allow adequate time
for proper implementation of the
public art process, including project
definition, artist selection, community
engagement, fabrication, and
installation.
CHAPTER 4 | STRATEGIES FOR THE FUTURE
73
Strategy 4.3 Adopt Public Art Guidelines & Procedures
Tempe Public Art has an existing internal series of procedures that help to govern how the
program operates. A key component of the planning process was to formalize existing
procedures and refine them where needed.
The following public art guidelines and procedures were developed using existing
guidelines and procedures as well as feedback from the planning process. The following
summarizes individual components.
The full text of the guidelines has been provided to Tempe Public Art as an appendix to the
Public Art Plan.
Maintenance Procedures
This establishes the procedure for
maintenance of the public art collection.
It includes direction for surveying the
collection, working with future artists to
establish a maintenance plan for any
commissioned work. Inspection guidelines
are included.
Donation Policy
This policy establishes the donation
process for artworks not commissioned
directly or indirectly by Tempe Public
Art. Each proposed donation comes
with a plan to fund and deliver ongoing
maintenance, or the resolution accepting
the public art identifies how maintenance
of the donated public art will be funded.
Donation requirements, responsibilities of
the donating party, and the process for
donating a piece of public art are outlined
in this policy.
Acquisition Guidelines
This component guides approaches
to public art acquisition for both
commissioned and existing artworks.
The method for selecting an artwork for
acquisition may vary in response to project
budget, scope, and timeline.
Collection Management Guidelines
This establishes the management practices
of artworks acquired through the solicitation
and donation processes. These pieces
are considered part of Tempe Public Art’s
Permanent Collection and must be cared
for in accordance with the Maintenance
Procedure and the Collection Management
Guidelines. These guidelines also lay out
the process for assessing artwork for
deaccession.
TEMPE PUBLIC ART PLAN
74
Strategy 5.1 Improving Tracking and
Recordkeeping for AIPD Projects
Tracking AIPD projects has historically
presented challenges. However, significant
efforts have been made in recent years to
address these issues. Currently, Tempe is
poised to implement improved tracking
and record-keeping procedures for AIPD
projects. Integrating these projects into
City of Tempe’s comprehensive database
for development will resolve some of the
previous difficulties in monitoring the
program’s projects. This step would:
•
Ensure public art contributions and
commissions are recorded on the
approved final plans for developments,
so that they can be referenced when the
plans are being revisited.
•
Ensure public art contributions and
commissions are recorded in any
relevant online databases.
•
Ensure public art commissions are
recorded on the deeds as a real
property improvement, so that future
owners are aware that public art is part
of their portfolio.
•
Explore how Tempe Public Art can
automatically be notified when a
property with an AIPD project is sold,
so that Tempe Public Art can notify
owners of their obligations and provide
maintenance information.
Strategy 5.2 Expand the AIPD Program
to Mixed-Use Buildings
When the AIPD program was first
envisioned Tempe was still rapidly growing
outward. More than 35 years later, the
development patterns in Tempe have
drastically changed. Tempe is experiencing
increasingly dense, mixed-use, upward
growth, rather than outward expansion.
This makes it imperative for Tempe to
investigate methods to ensure that the AIPD
program keeps pace with the changing city.
The existing Art In Private Development
Ordinance should be amended to be
inclusive of mixed-used developments.
This would update the ordinance to meet
the current city initiatives surrounding
planning, development and multimodal
transportation. By extending public art
requirements to mixed-use developments,
new installations can be encouraged in
highly accessible areas. This strategy
ensures art is created in closer proximity to
where people reside and work.
The Art in Private Development (AIPD) program is one of the pillars of Tempe Public Art. As
the city continues to grow and change the AIPD program must evolve as well. The following
strategies are focused on ensuring that the existing AIPD program is as efficient and
effective as possible.
OBJECTIVE 5
ENHANCE THE EXISTING AIPD
PROGRAM
CHAPTER 4 | STRATEGIES FOR THE FUTURE
75
75
CHAPTER 4 | STRATEGIES FOR THE FUTURE
John Tuomisto-Bell | 1000 Cranes
TEMPE PUBLIC ART PLAN
76
OBJECTIVE 5 | ENHANCE THE EXISTING AIPD PROGRAM
Strategy 5.3 Strengthen AIPD Public Art Outcomes
Many developers incorporate public art into their projects to meet their AIPD requirements.
Tempe Public Art often lacks control over the implementation of these projects. To ensure
successful outcomes for the public art made accessible through private developer projects,
Tempe Public Art can consider establishing clear expectations and effective tools for
guiding AIPD public art initiatives using the suggestions listed here.
•
Develop recommendations for public art within future areas or public infrastructure
plans. These recommendations can help developers by being specific about City
of Tempe’s vision for public art and how it can be achieved in areas with public
infrastructure where AIPD projects are anticipated.
•
Create a developer’s guide providing clear examples of projects and commissioning
processes reflecting City of Tempe’s vision for public art.
•
Create a roster of public art consultants for developers to use and strongly encourage
the use of art consultants for large projects more than $100,000.
•
Strengthen the public art team’s role in reviewing artist selections and design concepts
by providing curatorial advice and assistance.
•
Consider excluding murals as acceptable art forms, as they are relatively short-lived
compared to other types of installation.
•
Strengthen mechanisms for managing public art in phased developments.
•
Ensure that developers provide a conceptual public art strategy for the entire master
planned development at the time the master plan is submitted for approval.
•
Provide a mechanism for developers to pay AIPD fees into a restricted fund, such as
an escrow account, that would fulfill the requirement of making phase by phase art
contributions but would allow the funds to be saved for a larger project associated with
a later phase of the project.
Strategy 5.4 Partner with Code Compliance to Ensure Proper Documentation &
Maintenance
While artworks created by developers to fulfill the AIPD requirement are privately owned,
proper tracking and maintenance is a public concern. The following strategies can help to
ensure that the collection of AIPD projects is maintained over the long term.
•
Ensure the developer submits an artist statement and biography, as well as
photography of the completed artwork.
•
Ensure developers provide a copy of all maintenance documentation for Tempe Public
Art safekeeping.
•
Ensure developers who commission public art enter into a maintenance agreement
with City of Tempe. The agreement’s intent is to confirm the developer’s perpetual
responsibility for maintaining and conserving the artwork.
•
Establish a protocol for working with Code Compliance to assist in seeking repairs of
the artwork. This could include having Tempe Public Art staff or consultants selected to
assess artwork for code compliance.
77
CHAPTER 4 | STRATEGIES FOR THE FUTURE
Case Study
Coral Springs, Florida
Each property owner constructing a new development, redevelopment or renovating an
existing building, that falls under the Public Art Program of Coral Springs, has a significant
decision regarding compliance with the public art ordinance.
Choice #1 - Purchase and maintain public art on the property
Choice #2 - Make a contribution to the Public Art Fund
Either choice satisfies the public art requirements, and the Public Art Ordinance and Public
Art Guidelines offer several incentives to contribute to the Public Art Fund.
Contribution to the Public Art Fund is only 80% of the required expenditure when purchasing
public art for the property. The property owner is relieved of any responsibility to purchase
the public art and to maintain the public art into the future.
New building construction or redevelopment:
A. Public Art Fund contribution, per square foot of gross area: $0.60 per sq. ft
B. On site artwork, per square foot of gross floor area: $0.80 per sq. ft
Remodeling or converting:
A. Public Art Fund contribution, per sq. ft of gross floor area being remodeled: $0.27/sq. ft
B. On site artwork, per square foot of gross floor are being remodeled: $0.39/sq. ft
Strategy 5.5 Incentivize Developers to Contribute to Municipal Art Fund
To encourage developers with AIPD projects to contribute to the Municipal Arts Fund instead
of installing artwork at their developments, Tempe Public Art could implement several
incentive-based strategies. These strategies could also help ensure developers who do
place artwork on site are committed to the process
Consider making the AIPD commissioning process more intentional:
•
Create artist agreements that include standard provisions for artist design fees and
intellectual property.
•
Ensure developers provide a copy of all maintenance documentation for Tempe Public
Art safekeeping.
•
Ensure that developers who commission public art enter into a maintenance agreement
with City of Tempe.
Consider incentives for contributions to the Municipal Art Fund:
•
Following national examples Tempe could provide a discount from the AIPD requirement
for cash payments to the Municipal Art Fund. Many communities incentivize payments
by giving a discount to direct payments rather than artwork placement.
TEMPE PUBLIC ART PLAN
78
Strategy 6.1 Yearly Deaccession
Committee
Following the Tempe History Museum’s
model, a yearly deaccession committee
could be established to help review
existing components of the Portable
Works Collection and determine if any of
these Works would be further explored for
deaccession.
The committee, comprising TACC
members, curators, artists, and
other arts professionals, would
review recommendations. These
recommendations would be initially made/
evaluated by Tempe Public Art staff and/
or a conservator before being presented to
the committee. Any recommendations for
deaccession of artworks can then be added
to the yearly work plan that is presented to
TACC towards the end of each fiscal year.
Strategy 6.2 Consider Larger Set Asides
for Conservation and Maintenance
Tempe Public Art may adopt internal
guidelines for how it budgets each year
for conservation and maintenance. Such
guidelines could include:
•
Reserve funds for a baseline collection
assessment;
•
Following the assessment, provide
budget estimates for highest priority
conservation and maintenance projects;
•
Budget each year based on these
estimates, or dedicate a percentage
of Municipal Art Fund contributions
from the CIP and developers to a
maintenance reserve account.
Tempe Public Art’s collection is a long-standing public asset that has shaped the city’s
cultural landscape for decades. No matter the age of the artworks in the collection, a strong
collection management framework will support the ongoing stewardship of each artwork’s
care over time. The following strategies are designed to ensure the collection’s proper
upkeep.
OBJECTIVE 6
STRENGTHEN COLLECTION
MANAGEMENT TO ENSURE A WELL
MAINTAINED AND LONG-LASTING
PUBLIC ART COLLECTION
CHAPTER 4 | STRATEGIES FOR THE FUTURE
79
Strategy 6.3 Collection Assessment
The Tempe Public Art collection is large
and aging with some pieces having been
in place for 30+ years. To begin a proactive
collection maintenance practice, a public
art collection assessment is crucial to
longevity of the collection. This assessment
could focus on a single collection per year
to minimize costs.
Artworks that are the responsibility of City
of Tempe ought to be prioritized as the first
area of condition assessment, including the
CIP Collection and Neighborhood Artworks.
Though City of Tempe is not responsible
for the maintenance of Art in Private
Development, it is important this collection
is also assessed and monitored regularly.
By proactively assessing all existing
public artworks every 3-5 years in
annual budget cycles the program will
be better equipped to establish budgets
for ongoing maintenance in its annual
work plan. Repairs and restorations can
then be made as needed. A Tempe Public
Art staff member devoted to collection
management could help to regularly assess
pieces and depending on their expertise
may be able to assist with repairs or other
maintenance needs.
Strategy 6.4 Hire Collection
Management Staff
A collection management role would
require someone with an understanding of
materials and national best practices in the
care of artworks. To achieve the best results,
this role would require an educational
background in museum studies, art history,
or studio art practice. The role could be
fulfilled through an outside contract with
a public art conservator on a multi-year
basis.
Back Cover Photo: Artist Aaron Allen Marner painting mural on utility box on Mill Avenue
In partnership with City of Tempe