Items 12 - 23: Art in Public Places Items — original pdf

Backup

AFD/ATCEMS Embedded Artist Final-Design Proposal Title: “Two Live By A Star” By: Angel Alcala Stations AFD25/ATCEMS10 ○ North Central Austin ■ 5228 Duval Rd, Austin, TX 78727 AFD 11 ○ South Central Austin/ Zilker Park ■ 1611 Kinney Ave, Austin, TX 78704 Insights: - Pers onnel s ee and deal with the unc omfortable and darkes t parts of mos t thing s , for everyone els e to be able to live in the lig ht and comfort of a func tional s oc iety. - The initiated become an extended family built on trust, respect, and shared pain. - Timing & Distance are the eternal constraints that make the difference between Life and Death. The Inspiration & Narrative: • Two organizationsunited under one roof with an intersecting Duty and Service to the city. • Creating a symbolic overlap of Values & ideals. • Time& Spaceis the fundamental challenge in its many forms. Title: “Two Live By A Star” Side view Site AFD 25/ATCEMS 10 Rendering of Renovated AFD25/ATCEMS 10 Site, seen from Duval Rd. Site AFD 25/ATCEMS 10 -Vestibule East Window dimensions: ( 12’ ft x 12’ft) -Sculpture suspended ~15’ft from ground -Davis Elementary Facing Window & Interior Dimensions • CNC patterns on Sheet materials • (Polycarbonate & Aluminum) Attachment method AFD 25/ATCEMS 10 Vestibule Entrance Cross Sections • MWM (Building contractor) will provide Mechanical attachment interface. • Constructed of HSS 6”x 4” bar • Connection at 10 3/8” below deck Attachment Method -Gasket between flange and building structure -Application red Loctite 271 to threads of 8 (3/4-10 x2”) bolts -~78,750 lbs. combined Tensile load *Chain hoist and Scissor lift will be used. Modular Installation: Input Voltage 120v AC • • Operating voltage: 24v DC Protection rating: IP65 • • Operation Temp. : *20 ‘C to 40’C (68’F -104’F) Power consumption 20 watt x 12 • • 12 Programmable LED arrays • (dedicated circuit needed) Modular Installation: Surface Coatings Aluminum Exterior: ● Anodization is a durable surface finish that is expected to last the lifetime of the sculpture. If panels are not anodized but instead painted, products with aluminum compatibility have been reviewed. Surface preparation prior to painting or coating will be done to ensure lifespan of the surface finish. If the sculpture is not anodized but instead painted, the paint color may naturally shift over 20 years. Interior structures: ● It is intended to paint all surfaces that are not anodized. The paint products to be used are stable on metal surfaces. (primer and paint system). *Galvanic corrosion between anodized aluminum and stainless-steel parts is not be expected. ○ ○ ○ ○ Maintenance ● Periodically Dust so that airborne particulate build-up on the panels. Inspect the installation on a regular basis noting discoloration or stains. ● Wash with soap and water Use warm water, mild soap with a slightly damp soft cloth or chamois to clean. Completely dry with a clean cloth. Rinse surface thoroughly after cleaning with lukewarm water Blot dry with soft cloth or chamois Do not use chemical or abrasive cleaners: ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ○ ● ● ● Never use aggressive alkaline (basic) or acid cleaners on aluminum finishes. Do not use cleaners containing trisodium phosphate, phosphoric acid, hydrochloric acid, hydrofluoric acid, fluorides, or similar compounds on anodized aluminum surfaces. Always test clean a small area if in doubt. Avoid using squeegees or scrapers as they may scratch. Avoid using scouring compounds or solvents such as: acetone, gasoline, benzene, carbon tetrachloride, or lacquer thinner. Avoid abrasives or highly alkaline cleaners. Do not use a dry cloth or a cloth of synthetic fiber such as rayon or polyester as they may scratch. Do not use Windex® or Glass Plus® cleaners. The sculpture will be out of reach of vandals and so vandalism would not be expected. Budget Artist Fees Design Fee 15000 15000 Contract Administration 5000 Assembly & Finishing 45000 Fabrication Materials Operating Expenses Professional services General Liability 1800 Studio Overhead 730 Design Engineer Structural engineer Site Preparation Structural Modification Structural Fabrication Contingency 2750 3750 2350 Installation Equipment Labor Total 1560 3000 900 3160 100,000 “Two Live By A Star” Tentative Timeline Summer 2022: Final Design Review Winter 2022: Fabrication Contract Spring 2023: Begins Fabrication Summer/Fall 2023: Artwork Installation Thank You. Artists’ Final Design Presentation Pharr Tennis Center Rakhee Jain Desai & Melissa Knight September 12, 2022 Community Outreach Virtual sessions conducted in Summer & Fall 2021. Written survey response from 35 players at Pharr Tennis Center Community Engaged: Pharr Tennis Community & Stakeholders ● ● Cherrywood Neighborhood Association ● ● Mueller Residents Friends of Patterson Park Insights that influenced design of the artwork: Liveliness and Vibrancy of the Community Intergenerational! Friendship Contact, Connection, Lifetime ● ● ● ● Celebrating the Connection & Camaraderie of Tennis ● Community built around camaraderie and the spirit of tennis Friendship, connection and liveliness of the game of tennis ● ● Accessibility of Pharr - People travel from all over Austin Overall Design ➢ Welcoming ➢ Viewable from the Airport Rd ➢ A marker for the Pharr Tennis corridor Center ➢ A place for connection & community Colors & Connection ➢ Liveliness of tennis ➢ Vibrant, playful, synergy ➢ Woven, continued strength of ➢ Contact both for tennis and the community community Archways ➢ Intergenerational ➢ Pillars/strength of the Pharr community Construction Specifications Arches are off set, width between Arches 10’ 5 ⅜” Archway Dimensions: ● Steel Plates: H: 12’ on top end of arch, on end slope of arch H:10’ 4”; W: 5’, D: 5/8” ● Arches: H: 8’ 11”, W: 2’ 6” Construction: 2 x 3/16” Steel Plates 2.5 x 2.5 x 1/4” Steel Interior Frame ● ● ● Plates attached to frame with 3/4" diameter plug welds (D11 standard grade welds), ground down to be flush to plates, fillet welded Construction Specifications Detail Construction Specifications Detail - Weave Construction Specifications Detail - Weave Foundation Specifications ● ● ● ● ● ● ● ● Concrete Foundation (5 1/2” below grade) 12’ x 6’ slab 8” thick slab reinforced with #5 @ 12” O.C. each way at mid-depth of slab 1’-8” grade beam (width) x 3’ grade beam (depth) Embed plates 1 1/4” x 10” x 21” (refer Fig. 3 base plate detail in engineer drawings) 1 1/2” edge of embed to edge of exposed concrete curb 2’ x 1’-1”curb pedestals with 1’ - 9” clearance between footings 8” slab beyond Materials ● 2 - 3/16” Hot-Rolled Steel Plates ● 1/4 inch steel pipe frame ● 17 - 3/4 inch steel pipe ● Concrete ● Galvanized embed plates ● Rebar ● Direct to Metal Paint ● Owatrol Oil ● Bowling Alley Wax Fabrication Maintenance Off Site Fabrication for Steel Tube Frames, Steel Plates Arches + Pipes: Plasma cut steel plates Attach plates with 3/4” Plug Welds Fillet weld plates Sandblast and Oxidation process - corten steel appearance Pipes cut to size and painted off site On Site: Please note: Important for us to install well before landscaping comes in - 20 to 30 ft in radius in the work area where grass will die Foundation - 4 days on site for concrete/foundation/embeds, 10 days for curing concrete Installation - scaffolding required, 2 days for welding and install Pipe “weave” welded on site Painting - 1 day to touch up painting of pipes Apply Oil and Wax - 1 day (scaffolding required) ● ● ● ● ● ● ● ● ● ● Annual hose washing ● ● Recoat steel plates with Owatrol Oil and Bowling alley wax annually/biannually depending on wear ● Repaint pipes as the paint fades (approx. 5-10 years). Proposed Location ● Viewable from the Airport Rd corridor ● Landmark for Pharr communicating Pharr’s community spirit and camaraderie of tennis Estimated Budget Estimated Cost % of budget Materials Engineering Artist Fees Insurance (actual) Contingency Fabrication + Foundation + Installation Community Engagement Materials (actual) $7,994.00 $3,600.00 $12,780.00 $4,500.00 $450.00 $50.00 $866.00 26.65% 11.20% 42.60% 15.00% 1.5% 0.17% 2.89% Total Estimated Budget $30,000.00 100.00% Schedule Milestone Mid Design Review Approval Final Design Review Approval Fabrication Site Preparation Foundation/Concrete Pour Installation Transfer Title Dedication Projected Completion Date November 2022 - February 2023 April 2022 September 2022 November 2022 December 2022 February 2023 March 2023 April 2023 Administra*ve Process Modifica*on Memo to File Date: September 12, 2022 From: Art in Public Places Program Manager — Constance Y. White Copy: Art in Public Places Panel: Panel Chair Tammie Rubin, Vice Chair Jacob Villanueva, Arts Commission Liaison Acia Gray, and Panel Members, Stephanie Lemmo, and Sarah Carr. Panel Member J Muzacz Subject: AIPP Quater 3-Launch - with Process Efficiencies Background: In an effort to create greater efficiencies for staff to manage increasing project loads, and to generate more user friendly content, we are reviewing all administraOve processes. In doing so, we have idenOfied opportuniOes to reduce procedural redundancies and will be eliminaOng (where possible) areas that overlap. Three areas that will be immediately addressed are the producOon of separate documents Otled “Prospectus,” which becomes the document used for solicitaOon (Request for QualificaOons or Call to ArOsts), which also becomes transcribed onto a separate document as the Process Summary. According to the AIPP Guidelines: A. PROSPECTUS" - The preliminary statement or project outline that defines overall approach and selecOon process for each artwork project. For more detailed informa*on, see AIPP Guidelines page 9, Sec*on F. Item 1. Paraphrase: The prospectus shall include (for AIPP Panel approval): 1. 2. 3. budget approach/selecOon process a soluOon that will allow for the artwork For further clarificaOon – the prospectus and Request for QualificaOons (RFQ) or (from Ome-to-Ome) the Process Summary fulfill the same purpose/definiOon. AIPP program will disconOnue the formal Otling of documents using “prospectus” since both RFQ and Process Summaries fulfill the requirements as defined in the Program Guidelines. The Guidelines state, “The site and prospectus are appropriately adverOsed; The arOsts selected may be asked to submit slides of past work or proposals based on the project prospectus; If a fee is offered, this fee shall be noted in the prospectus and approved by the Art in Public Places Panel and the Arts Commission.” The above is the sum of informaOon that is currently included in RFQ and Process Summary documents as a standard AIPP program pracOce. administrative process modification 1  Below is a snapshot of categories that will make up a standard prospectus (RFQ/Process Summary) template going forward. OUTLINE OF HEADINGS CALL TO ARTISTS REQUEST FOR QUALIFICATIONS BACKGROUND IMAGES PROJECT OVERVIEW BUDGET ELIGIBILITY SELECTION PROCESS = Local, regional, naOonal, internaOonal, pre-qual, direct selecOon, etc SUBMISSION REQUIREMENTS EVALUATION CRITERIA TIMELINE The projects in Agenda Item #7 conform to this modified format. AddiOonal informaOon (as usual pracOce) is provided in the Backup files. ACTION: Approve Quarter 3-Launch of new Art in Public Places projects including: project descripOons, selecOon processes and budgets for 22 unique opportuniOes sited at nine disOnct locaOons and faciliOes. administrative process modification 2 CALL TO ARTISTS Public Art Opportunity City of Austin (Texas): Art in Public Places Montopolis Neighborhood Park and Beverly S. Sheffield Northwest District Park Pools Deadline for Submissions – 5:00PM CST: December 7, 2022 REQUEST FOR QUALIFICATIONS The City of Austin Art in Public Places program (AIPP) of the Cultural Arts Division, Economic Development Department (EDD) seeks to commission professional visual artists or artist teams, to design and fabricate artworks for the Montopolis Neighborhood Park Pool at 1200 Montopolis Dr, Austin, TX 78741 and Beverly S. Sheffield Northwest District Park Pool at 7000 Ardath St, Austin, TX 78757. BACKGROUND An important aspect of life in Austin, is the robust network of public parks and aquatic facilities. The City of Austin Parks and Recreation Department Aquatic Division operates 22 Neighborhood pools. Most of Austin’s aquatic facilities were built between 1927 and 1990. Neighborhood Pools, on average receive nearly 434,000 visitors annually. One major objective of the Aquatics Division is to bring all facilities, including associated buildings, parking, decks, etc. up to current standards and codes, such as ADA, health, safety and pool codes. Montopolis Neighborhood Pool Beverly S. Sheffield Northwest District Park Pools are currently undergoing renovation. 2018 Aquatic Vision Plan Montopolis Pool On February 1, 1974, Austin Parks and Recreation Department (PARD) purchased the Montopolis Community Center while also acquiring five surrounding acres to develop into a park. In 1976, the Austin Planning Commission began emphasizing a need for swimming pools throughout all communities and expedited the construction of a swimming pool at Montopolis Park. The Montopolis Pool was championed later that year by the Parks and Recreation Board, and the development process began in December 1977. The pool opened in 1979, and has served the community for 43 years. 1  Sheffield Pool On July 28, 1956, the Northwest Pool and Bathhouse opened to the public and were dedicated with great fanfare the same year on August 9th. The original cost of construction was $200,000. The Northwest pool was the first 50- meter regulation Olympic-sized pool in Austin, which allowed the city to qualify for national swimming meets. In its first full month of operations, attendance at the new Olympic-size pool eclipsed that of Barton Springs. The Northwest Park Bathhouse was a modern-design circular bathhouse with open-air dressing rooms. The building is eligible to be listed on the National Register of Historic Places. The name of the park and pool was later changed to honor former Parks and Recreation Director Beverly S. Sheffield. The existing pool building will be lightly renovated, and an additional pool building will be built to provide a family restroom and changing space. OVERVIEW OF PROJECTS Both projects are opportunities for selected artist(s) or artist teams to work collaboratively with project stakeholders to design artwork that will connect the history of each the respective iconic places to the growth of Austin (considering old Austin and new Austin). Proposed artworks should be integrated, to the greatest extent possible, into the construction of each site. Ideally, the final artwork will also increase visibility and appeal of each place to a broader community. A range of materials and conceptual approaches are welcome BUDGETS - $100,000 - Montopolis Neighborhood Park Pool - $100,000 - Beverly S. Sheffield Northwest Pool One commissions will be awarded per Pool project. Each project budget is inclusive of design, fabrication, installation, engineering, permitting fees, travel, shipping expenses, insurance, and other project-related costs. ELIGIBILITY This opportunity is limited to professional visual Austin-based artists who reside in the seven counties of the Austin metro area (Travis, Hays, Williamson, Bastrop, Caldwell, Burnet, and Blanco counties) and who are at least 18 years of age. Applicants not meeting these eligibility requirements will be withdrawn from consideration. 2  Artists are ineligible if they are currently under contract with the City of Austin for a permanent public artwork commission or if they are a City of Austin full-time employee, contractor of or employed by either the Projects’ Consulting firm. SELECTION PROCESS A three to five-member selection panel comprised of visual arts professionals and community representatives will review all eligible submissions. Three to five artist(s)/artists teams will be shortlisted for each project and invited to interview, unless there is consensus to recommend one applicant and one alternate for each opportunity. Only one applicant per site will be selected to receive a commission. SUBMISSION REQUIREMENTS - Credentials: CV/Resume (limit 2 pages) - Short responses to the following questions and scenario (100-300 words per question): o What do you find appealing about creating artwork for either Montopolis Pool or Sheffield Pool? o o o Do you have previous experience creating public art and engaging communities? Describe any previous experience that would make you a good fit for this opportunity. How will the history and heritage of the surrounding area inform your conceptual approach? - Ten images of previous work (only one image per page). Either labeled each image with the following information: title, date of completion, location, materials, art budget. For team application, please indicate the lead artist for each project; or provide an annotated image list IMAGES OF INCOMPLETE PROJECTS, PRELIMINARY SKETCHES, or PROPOSAL IDEAS FOR THIS PROJECT WILL NOT BE REVIEWED - Three Professional references: (names, phone numbers and email addresses) - Demographic survey EVALUATION CRITERIA The panel will evaluate applications based on the following criteria: - Quality and aesthetics of past work - Experience with public art projects of a similar size and scope - Creativity and innovation of work as presented - Expressed interest in creating artwork within the specific community settings Information Meeting Submission deadline Short-listed artists notified Interviews Selected Artist under contract Target Installation/Project close-out October 12, 2022 December 7, 2022 December 22, 2022 January 2023 June 2023 Montopolis Pool: Winter 2024 Sheffield Pool: Winter 2024 3 Submit all information via www.publicartist.org. Deadline to submit qualifications is December 7, 2022, at 5:00PM CST. Submissions received after the deadline will be considered unresponsive and will not be reviewed. Questions regarding this solicitation must be directed in writing to: Anna Bradley, Art in Public Places anna.bradley@austintexas.gov 4 PROCESS SUMMARY Parque Zaragoza Bathhouse DIRECT SELECTION OF AN ARTIST Background: The City of Austin Art in Public Places (AIPP) program of the Cultural Arts Division, Economic Development Department seeks to commission one artist for a design only project for the Parque Zaragoza Bathhouse, 2608 Gonzales St, Austin, TX, Parque Zaragoza (Council District 3). The project is sponsored by the Parks and Recreation Department (PARD). Planned facility renovations funded by 2018 Bonds include improvements to the following: interior of the existing bathhouse; the existing gender-specific restrooms; designated entry area; and lifeguard office space. Additionally, the interior recreation space will be improved to allow open airflow through large windows during swim season as well as other functional additions will be added to meet ADA requirements. AIPP Project Description: The selected artist will be tasked to work collaboratively with PARD to design two elements that will function as porous barriers. The final design will be informed by project goals establish through community engagement. The final artwork project will be fabricated by PARD contractors as fixed-in-place metal screens installed within existing archways on the Parque Zaragoza Bathhouse. Budget: $15,000 Due to the budget size, the project opportunity is limited to design only. Artist Selection Process: Following AIPP Ordinance (No. 861009-A) and Guidelines: Para VI. Section F. The AIPP Panel shall, with the assistance of the AIPP Program Manager determine the method of artist selection to be used for each project. In this case: (c.) Direct selection of an Artist(s). An artist is invited to participate in the project and may be asked to develop a proposal for the project. Using the local Pre-Qualified Artist Pool currently representing 163 artists, 63 met the initial evaluation criteria. After further review by AIPP staff, with support from PARD, four artists were shortlisted. Samson Barboza was recommended on the strength of his successful TEMPO 2D project, experience working at a similar budget scale, and aptitude for community engagement. Evaluation Criteria: Artistic merit and technical expertise; with experience in artwork that highlights identity; experience designing digital art; demonstrate ability to successfully execute public art projects, of a similar scope, on time and on budget. Artists who currently live or work in council districts one or three were given further consideration. Recommendation: Approve Direct selection of an Artist as the process for awarding the Parque Zaragoza Public Art Project commission to Samson Barboza. Artist Bio: Samson Barboza has a strong background in graphic design and fine art. In 2000, he graduated from Austin Community College with an associate degree in applied architectural science. Since then, he has worked with a diverse list of clients, Disney, ESPN, X-Games, VANS, AT&T, USTA, and many local brands. Barboza has proven his ability to make large scale works and design professional quality illustrations and digital renderings. In 2019, he completed an AIPP TEMPO project, which gives us even more confidence that he will excel on this commission. Artist Bio: Samson Barboza has a strong background in graphic design and fine art. In 2000, he graduated from Austin Community College with an associate degree in applied architectural science. Since then, he has worked with a diverse list of clients, Disney, ESPN, X-Games, VANS, AT&T, USTA, and many local brands. Barboza has proven his ability to make large scale works and design professional quality illustrations and digital renderings. In 2019, he completed an AIPP TEMPO project, which gives us even more confidence that he will excel on this commission. SAMSON BARBOZA 512-905-0581 sambarboza@yahoo.com P.O.Box 7483, Round Rock, TX, 78683 Instagram: samsonbarbozadesign Profile Artist with several years documented success in planning and designing production of artistic murals and graphic design. Skills • Develop concepts / themes for large scale murals on exterior and interior walls. • Held meetings with clients to discuss mural and concept design. • Researched stakeholders interest and incorporated derived values in a professional artistic design • VOW (2018) - 250 sq. ft. • Freedom Ortho (2018) - 200 sq. ft. • Spin (2018) - Exterior 8000 sq. ft Interior 1500 sq. ft. • John’s Gym (2017) - 500 sq. ft. • King Florist - (2017) - 100 sq. ft. • Burnet Flats (2017) - 4000 sq. ft. • Hope (2018 - 2015) - Multiple murals ranging from 50sq. ft. to 1000 sq. ft. • SXSW (2016) - 150 sq.ft. • True Food (2016) - 150 sq. ft. • Blue Bonnet Studios (2016) - 150 sq. ft. • Established pricing and contract • SXSW (2015) - 150 sq.ft. negotiation. • Planned paint supply expenses and adjusted to meet clients budget. • Proposed ideas and worked with clients to design the best image for location. • Created digital sketches to be approved by clients. • Created layout, sketch, and finalized mural design. • ACL (2014) - 150 sq.ft. Exhibitions • Hope Domain Group Exhibition - 2016 • “ Texas” Group Exhibition, Spratx - 2016 • Vans “Screaming Hands” - 2016 • Big Canvas Group Exhibition - 2015 • La Pena art gallery - 2014 • Established project schedules and met all project deadlines. Education • Managed use and delivery of scissor lifts and scaffolding. • Presented mural design to investors. • Austin Community College - Architectural Engineering (2000) • South Plain College - Architectural Engineering ( 1999) Murals Short Answer Question 1 / Respuesta corta a la Pregunta 1 My work for the past 15 years has used revealing aspects of history, which have had a profound impact on culture today. In the current climate, I find myself continually returning to aspects that are hidden or misrepresented. In my varied and diverse approaches to making art, installations, public, and web projects, the context of my work has an impact on the relationship to the viewer. My work ranges from the context of the street to galleries. The work takes on various forms intended to draw the viewer and witness, create new cycles of thought, and challenge one's perceptions, perspectives and assumptions. Short Answer Question 2 / Respuesta corta a la Pregunta 2 Over the past years public art has been an immense feature in my growth as a artist. I have had the privilege to produce dozens of large scale murals in the Central Texas Region, and believe the primary motivation is to enhance public places and create destinations where people may walk and gather. Studies show that public art serves as a strong economic force, attracting businesses, and qualified workforces. I take all factors into consideration and make it a priority for the community, neighborhoods, and infrastructure of all public works. Short Answer Question 3 / Respuesta corta a la Pregunta 3 My practice will often represent, positive aspects of the community. When approaching concepts in my design I explore line, space, shape, form, value, color and an idea that is used to capture and convey the mood of the environment regardless of scale or materials. Short Answer Question 4 / Respuesta corta a la Pregunta 4 I believe community engagement plays a crucial role in my art today. The process of public participation and involvement promotes relationship building through learning, action, and expression of needs and values. As an artist who primarily produces large scale murals, I have learned it's extremely important that you are receptive to feedback, genuine in acknowledging others' viewpoints, and have a strong commitmnet to making participation and development of relationships as easy as possible. CALL TO ARTISTS Public Art Opportunity City of Austin (Texas): Art in Public Places Austin Public Libraries – Seven Branches Deadline for Submissions – 5:00PM CST: December 7, 2022 DIRECT PURCHASE OF EXISTING ARTWORKS The City of Austin Art in Public Places program (AIPP) of the Cultural Arts Division, Economic Development Department seeks to acquire existing artworks from up to seven visual artists or artist teams for the inclusion in the City of Austin’s AIPP Collection and installed at seven distinct City of Austin Branch Libraries. Locations are listed below. Cepeda Branch Little Walnut Creek Branch Hampton at Oak Hill Branch Manchaca Branch Old Quarry Branch St. John Branch Willie Mae Kirk Branch 651 N Pleasant Valley Rd, Austin, TX 78702 835 W Rundberg Ln, Austin, TX 78758 5125 Convict Hill Rd, Austin, TX 78749 5500 Manchaca Rd, Austin, TX 78745 7051 Village Center Drive, Austin, TX 78731 7500 Blessing Ave, Austin, TX 78752 3101 Oak Springs Drive, Austin, TX 78702 BACKGROUND In 1928, Austin voters approved $150,000 in bonds for a permanent Library building. A temporary building was moved to Angelina Street to become Austin's first public library branch, Carver Branch. Much progress has happened since then. Today, the City of Austin operates 21 branch libraries. Each of which caters to a unique and diverse audience of residents. AQUISITION OVERVIEW The Austin Public Library provides knowledge, technology and inspiration to the Austin community. Libraries offer hubs for books and education and can also be a meeting place of minds and incubators of ideas. The seven libraries above have recently completed or are currently undergoing various levels of renovations. Due to the low amount of dollars appropriated from each library renovation project for AIPP, staff determined a process to leverage AIPP opportunities while also supporting more artists through an equitable process. Acquired artworks will be consistent with and mindful of each branch’s community values. The artwork will reflect the diversity of the residents and constituent groups that use each branch. An ultimate goal is for the artwork to positively add to each respective patron’s experience while also inspiring the community. BUDGET: Total combined budget is $91,000 The purchase amount for seven individual artworks is $13,000; inclusive of shipping expenses and installation costs. The total combined budget is $91,000.  ELIGIBILITY This direct purchase opportunity is limited to local artists who are currently represented in the 2021- 2023 Pre-Qualified Artist Pool. Artists are ineligible if they are currently under contract with the City of Austin for a permanent public artwork commission or if they are a City of Austin full-time employee. Applicants not meeting these eligibility requirements will be withdrawn from consideration. SELECTION PROCESS Artists’ submissions from the Pre-Qualified Local Artist Pool, who do not currently have work represented in the AIPP collection, will be reviewed for consideration. Local artists from the 2021-2023 Pre-Qualified Artist Pool will be invited to participate in this opportunity for direct purchase of artwork. Invited artists will submit existing artworks available for purchase. A five-member selection panel comprised of Austin Public Library staff will recommend a minimum of seven artworks for purchase. SUBMISSION REQUIREMENTS Artists will submit the following information: - - Demographic survey 10 images of completed artwork available for purchase EVALUATION CRITERIA The panel will evaluate applications based on the following criteria: - Quality and aesthetics of past work - Originality and innovation of work as presented - Appropriateness to site(s): scale, media, subject matter TIMELINE Application Deadline Artists Selected Artworks Purchased Artworks Delivered and Installed Questions regarding this opportunity must be directed in writing to: Ryan Runcie, Art in Public Places at ryan.runcie@austintexas.gov December 2022 January 2023 March 2023 April - May 2023 2 CALL TO ARTISTS Artist Residency/Public Art Opportunity City of Austin (Texas): Art in Public Places Austin History Center/Faulk Building Project Deadline for Submissions – 5:00PM CST: December 7, 2022 REQUEST FOR QUALIFICATIONS The City of Austin Art in Public Places program (AIPP) of the Cultural Arts Division, Economic Development Department is seeking a Texas-based artist or artist team to participate in a Residency Project that will ultimately lead to the commission of a permanent installation sited at the Austin History Center/Faulk Building campus located at 800 and 810 Guadalupe Street in Downtown Austin, Texas. BACKGROUND The Austin History Center was the first permanent public library building in Austin and has been open to the public since 1933. In 1955, the Austin Public Library established a small file devoted to local history called the Austin-Travis County Collection. The Austin-Travis County Collection grew from a single file folder into a separate section of the Austin Public Library's Reference department. After the opening of the John Henry Faulk Central Library, the original central Austin Public Library building became the current Austin History Center. PROJECT OVERVIEW As the local history division of the Austin Public Library, the Austin History Center provides the public with information about the history, current events, and activities of Austin and Travis County. This Residency Project is an opportunity for an artist or artist team to engage deeply with community stakeholders, Austin History Center archivists, and other Austin Public Library Staff. It will be important, for the selected artist or artist team to daylight the resources available at the Austin History Center including the community archives and the work of the Austin History Center staff. Ultimately, the Residency Project should result in a permanent artwork that honors the history and reflects the values of the Austin Public Library. As part of the Residency Project, the selected artist or artist team will participate in a three-month research and development phase at the Austin History Center. During this time, in addition to conducting on-site research, the artist will be expected to follow a schedule to engage community stakeholders, Austin History Center archivists, and other Austin Public Library staff. Subsequently, information gathered during the research and development phase should inform and inspire artistic expression, medium and location for the artwork or series of artworks. BUDGET: $196,000 The project budget is $196,000 inclusive of design, fabrication, installation, engineering, permitting fees, travel, shipping expenses, insurance, and other project-related costs. North-facing entrance to the Austin History Center across from historic Wooldridge Square The public reading room and archives located on the first floor of the Austin History Center ELIGIBILITY This opportunity is limited to Texas-based artists who are also represented in the City of Austin’s Art in Public Places program Pre-Qualified Artist Pool. Artists are ineligible if they are currently under contract with the City of Austin for a permanent public artwork commission or they are a City of Austin full-time employee. Applicants not meeting these eligibility requirements will be withdrawn from consideration. 2 SELECTION PROCESS A five-member selection panel comprised of members of the Austin Public Library and Austin History Center staff will review all eligible submissions. Up to five artist(s)/artists teams will be shortlisted and invited to interview. Only one applicant will be awarded this opportunity. SUBMISSION REQUIREMENTS - Credentials: CV/Resume (limit 2 pages) - Short responses to the following questions and scenario (100-300 words per question): o What do you find appealing about creating artwork for the Austin History Center/Faulk Building? o How does research contribute to your artistic practice? o Describe any previous experience that would make you a good fit for this opportunity. - Ten images of previous work (only one image per page). Either labeled each image with the following information: title, date of completion, location, materials, art budget. For team application, please indicate the lead artist for each project; or provide an annotated image list IMAGES OF INCOMPLETE PROJECTS, PRELIMINARY SKETCHES, or PROPOSAL IDEAS FOR THIS PROJECT WILL NOT BE REVIEWED - Three Professional references: (names, phone numbers and email addresses) - Demographic survey EVALUATION CRITERIA The panel will evaluate applications based on the following criteria: - Quality and aesthetics of past work - Experience conceptualizing and completing public art projects - Creativity and innovation of work as presented - Demonstrated experience working with communities TIMELINE (subject to change) Information Meeting October 11, 2022 Submission deadline Short-listed artists notified Interviews December 7, 2022 December 22, 2022 January 2023 Selected Artist under contract June 2023 Target Residency Phase August – November 2023 Target Installation/Project close-out December 2024 Submit all information via publicartist.org. Deadline to submit qualifications is December 7, 2022 at 5:00PM CST. Submissions received after the deadline will be considered unresponsive and will not be reviewed. Questions regarding this solicitation must be directed in writing to: Curt Gettman, Art in Public Places (enter preferred method of contact) 3 CALL TO ARTISTS Public Art Opportunity City of Austin (Texas): Art in Public Places Austin Convention Center/Palmer Events Center Deadline for Submissions – 5:00PM CST: December 7, 2022 REQUEST FOR QUALIFICATIONS The City of Austin Art in Public Places program (AIPP) of the Cultural Arts Division, Economic Development Department seeks to commission a Texas-based artist or artist team to create a unique, free-standing sculptural artwork to be sited at the Palmer Events Center located at 900 Barton Springs Road in Austin, Texas. BACKGROUND Operated by the City of Austin Convention Center Department, the Palmer Events Center dates back to 1940, when the City of Austin purchased an airplane hangar on the south shores of what was then called Town Lake. The hangar was converted into an all-purpose City Coliseum that opened to the public in 1949. The Lester E. Palmer Events Center that we know today was brought to life through the voter- approved 1998 bond election and completed in 2002. The Palmer Events Center is a multi-purpose venue nestled next to Butler Metro Park with scenic views of downtown Austin and Lady Bird Lake. The building features a gently asymmetrical sloping roof that forms a wrap-around porch, creating additional outdoor event space for the facility. PROJECT OVERVIEW The mission of the Austin Convention Center (ACC) is to promote Austin as a premier destination for business and leisure. The selected artist or artist team will be encouraged to consider the mission of the ACC. Overall, the style of the artwork should conceptualize a strong design approach that respects the architecture and integrates within the exterior surroundings of the grounds. The siting for the artwork will be near the building’s southwest-facing exterior with strong potential for modification or replacement of the non-operating Barton Springs Road fountain. The Palmer Events Center is a highly trafficked urban environment. All aspects of the final artwork must be durable and mindful of the function of the facility. Interested artists are encouraged to approach this project with the public in mind and to think sincerely about a sense of place; while also contributing to a local, regional and national contemporary art dialogue. The selected artist or artist team will be required to determine how community engagement will be included as a pivotal aspect of outcomes for the final artwork. BUDGET: $430,000 The project budget is $430,000, inclusive of design, fabrication, installation, engineering, permitting fees, travel, shipping expenses, insurance, construction of any needed infrastructure, and other project- related costs. Aeriel view of the Palmer Events Center illustrating its sloping roof, park surroundings, and proximity to downtown Southwest-facing exterior with the non-operating Barton Springs Road fountain in the foreground ELIGIBILITY This opportunity is limited to Texas-based artists who are also represented in the City of Austin’s Art in Public Places program Pre-Qualified Artist Pool. Artists are ineligible if they are currently under contract with the City of Austin for a permanent public artwork commission or if they are a City of Austin full- time employee. Applicants not meeting these eligibility requirements will be withdrawn from consideration. SELECTION PROCESS A five-member selection panel comprised of members of the Austin Convention Center Department and Palmer Events Center staff will review all eligible submissions. Up to five artist(s)/artists teams will be shortlisted and invited to interview. Only one applicant will be selected to receive this commission. 2 SUBMISSION REQUIREMENTS - Credentials: CV/Resume (limit 2 pages) - Short responses to the following question and scenarios (100-300 words per question): o What do you find appealing about creating artwork for the Palmer Events Center? o The selected artist/artist team will be asked to collaborate with the Austin Convention Center Department and project representatives to fully develop the artwork design. Please discuss your experience collaborating with project stakeholders and other design professionals. o Describe any previous experience that would make you a good fit for this opportunity. - Ten images of previous work (only one image per page). Either labeled each image with the following information: title, date of completion, location, materials, art budget. For team application, please indicate the lead artist for each project; or provide an annotated image list IMAGES OF INCOMPLETE PROJECTS, PRELIMINARY SKETCHES, or PROPOSAL IDEAS FOR THIS PROJECT WILL NOT BE REVIEWED - Three Professional references: (names, phone numbers and email addresses) - Demographic survey Experience with public art projects of a similar size and scope EVALUATION CRITERIA The panel will evaluate applications based on the following criteria: - Quality and aesthetics of past work - - Creativity and innovation of work as presented - Demonstrated experience working with communities TIMELINE (subject to change) Information Meeting October 11, 2022 Submission deadline Short-listed artists notified Interviews December 1, 2022 December 22, 2022 January 2023 Selected Artist under contract June 2023 Target Installation/Project close-out December 2024 Submit all information via publicartist.org. Deadline to submit qualifications is December 7, 2022, at 5:00PM CST. Submissions received after the deadline will be considered unresponsive and will not be reviewed. Questions regarding this solicitation must be directed in writing to: Curt Gettman, Art in Public Places at curt.gettman@austintexas.gov 3 Item 7f. CALL TO ARTISTS Public Art Opportunity City of Austin (Texas): Art in Public Places Austin Fire Department/Austin-Travis County Emergency Medical Services Stations Deadline for Submissions – 5:00PM CST: December 7, 2022 REQUEST FOR QUALIFICATION The City of Austin Art in Public Places (AIPP) program of the Cultural Arts Division, Economic Development Department seeks to commission three artists or artist teams for three opportunities to create permanent public artwork for facilities related to fire and emergency medical services. Locations are listed below. Loop 360 / Davenport Ranch Station Goodnight Ranch Station Canyon Creek Station 4601 Westlake Drive, Austin, TX 9600 Capitol View Drive, Austin TX 9804 N. FM 620, Austin, TX BACKGROUND Austin Fire Department (AFD) The Austin Fire Department (AFD) serves a population of more than 840,000 within a 308 square mile area in Austin, TX. 1,100 AFD employees respond from 45 fire stations and seven other work sites to more than 85,000 calls a year. Like most fire departments, AFD is responsible for providing a multitude of services. This includes operations and support services, aircraft firefighting and rescue, maintenance shops, medical operations, emergency prevention, arson investigations, professional standards, community outreach, safety, special operations, and educational services. Known as a leader in the fire service, AFD is on the cutting-edge of technology and training. Austin-Travis County Emergency Medical Services (EMS) Austin-Travis County Emergency Medical Services serves over 1,300 square miles, including all of Travis County and parts of Williamson and Hays Counties. Eighteen cities are included in this service area, including the City of Austin. In 2015, EMS responded to over 120,000 calls from 37 stations in the service area. As with AFD, EMS is responsible for providing a multitude of services including operations and support services, cadet training academy, emergency management preparedness for man-made and natural disasters, professional standards, special event services, emergency communications, community outreach, and educational services. EMS innovations are world recognized and play a key role in earning a nationally recognized accreditation from the Commission on Accreditation of Ambulance Services. Loop 360 / Davenport Ranch Station This 13,500 square foot AFD/EMS station will serve the Loop 360 / Davenport Ranch area in west Austin. The station will feature four apparatus bays, a water treatment pond, site retaining wall, staff exterior space, a day room, kitchen, gym, gear storage rooms, and 14 sleeping rooms. The station design is compact due to the site limitations. The site has steep, rocky terrain and is adjacent to private residences and the Westlake Apartments. This station is currently under construction and is expected to be completed by February 2023. (See rendering pg. 2) Goodnight Ranch Station This 15,200 square foot AFD/EMS station will serve the Goodnight Ranch area in south Austin. The station will feature a training stair, four pull-through apparatus bays, staff exterior space, a day room, kitchen, gym, gear storage rooms, and 15 sleeping rooms. The station is located off East Slaughter Lane. The area nearby features single and multi-family housing units, several schools, and outdoor attractions such as the Onion Creek Metropolitan Park and Greenbelt and McKinney Falls State Park. Station construction is anticipated to take place November 2022 through November 2023. (See rendering pg. 3) Canyon Creek Station This new AFD/EMS station is currently in design phase and will serve the Canyon Creek area in northwest Austin. Station construction is anticipated to take place September 2023 through September 2024. IMAGES Loop 360 / Davenport Ranch Station Rendering 2  3 Goodnight Ranch Station Rendering OVERVIEW of PROJECTS Each site shares in common an interest for artwork that integrates with the site, the interior or exterior architecture of the respective stations. The artists or artist teams selected for these projects will spend time observing and researching the work of Austin’s first responders. Final artworks should reflect the mission of AFD/EMS: to create safer communities through prevention, preparedness, and effective emergency response.” There is a strong desire for the artwork to be thematically relevant to the roles specific to these first responders and also that the artworks are physically and conceptually accessible as well as durable and is easily maintained. BUDGET - - Goodnight Ranch Station: $240,000 - Canyon Creek Station: $240,000 One commissions will be awarded per AFD/EMS station. Each project budget is inclusive of design, fabrication, installation, engineering, permitting fees, travel, shipping expenses, insurance, and other project-related costs. ELIGIBILITY This opportunity is limited to Texas-based artists and artist teams who are at least 18 years of age. Artists who have lived experience with the work of AFD/EMS are encouraged to apply. Additionally, artists who have lived experience with the surrounding communities are also encouraged to apply. Applicants not meeting these eligibility requirements will be withdrawn from consideration. Loop 360 / Davenport Ranch Station: $196,000 Artists are ineligible if they are currently under contract with the City of Austin for a permanent public artwork commission or if they are a City of Austin full-time employee, contractor of Austin-Travis County Emergency Medical Services or employed by the Project Consultant’s firm. SELECTION PROCESS A five-member selection panel comprised of members of the visual arts professionals and at least two community representatives will review all eligible submissions. Up to nine artist(s)/artists teams will be shortlisted, invited to interview and submit a proposal for a fee of $1,000. Only one applicant per site will be selected to receive a commission. SUBMISSION REQUIREMENTS - Credentials: CV/Resume (limit 2 pages) - Short responses to the following questions and scenario (100-300 words per question): o What do you find appealing about creating artwork for an AFD/EMS station? o o Do you have previous experience creating public art or engaging with communities? Describe any previous experience that would make you a good fit for this opportunity. - Ten images of previous work (only one image per page). Either labeled each image with the following information: title, date of completion, location, materials, art budget. For team application, please indicate the lead artist for each project; or provide an annotated image list IMAGES OF INCOMPLETE PROJECTS, PRELIMINARY SKETCHES, or PROPOSAL IDEAS FOR THIS PROJECT WILL NOT BE REVIEWED - Three Professional references: (names, phone numbers and email addresses) - Demographic survey EVALUATION CRITERIA The panel will evaluate applications based on the following criteria: - Quality and aesthetics of past work - Experience with public art projects of a similar size and scope - Creativity and innovation of work as presented - Expressed interest in creating artwork within this community setting TIMELINE Information Meeting October 12, 2022 Submission deadline Short-listed artists notified Interviews Selected Artist under contract Target Installation/Project close-out December 7, 2022 December 22, 2022 January 2023 June 2023 Loop 360 / Davenport Ranch Station: April 2024 Goodnight Ranch Station: April 2024 Canyon Creek Station: August 2024 4 Submit all information via www.publicartist.org. Deadline to submit qualifications is December 7, 2022, at 5:00PM CST. Submissions received after the deadline will be considered unresponsive and will not be reviewed. Questions regarding this solicitation must be directed in writing to: Alex Irrera, Art in Public Places at alex.irrera@austintexas.gov 5 CALL TO ARTISTS Public Art Opportunity City of Austin (Texas): Art in Public Places Mexic-Arte Museum Deadline for Submissions – 5:00PM CST: December 7, 2022 REQUEST FOR QUALIFICATIONS The City of Austin Art in Public Places program (AIPP) of the Cultural Arts Division, Economic Develop- ment Department (EDD) seeks to commission one team of professional visual artists to create site- specific artwork that reflects the mission of the Mexic-Arte Museum. The Museum is located at 419 Congress Avenue at the corner of 5th Street. BACKGROUND Mexic-Arte Museum was founded in 1984 by artists Sylvia Orozco, Sam Coronado and Pio Pulido in the Arts Warehouse in downtown Austin to share the art and culture of Mexico. It was designated by the 78th Legislature of the State of Texas as the Official Mexican and Mexican American Fine Art Museum of Texas. Mexic-Arte Museum is dedicated to cultural enrichment and education through the presentation and promotion of traditional contemporary Mexican, Latino and Latin American art and culture. As the Museum develops and the collection grows, their collections will be displayed to teach about culture and heritage with dignity and pride for generations to come. Constructed in 1868, only 10-15% of the original Mexic-Arte structure remains. What stands is primarily a three-sided façade held together with wooden struts and trusses. Currently a new facility is being developed for the Mexic-Arte Museum to house its priceless art and heritage collection. Additional information will be provided to the selected artists or artist teams. PROJECT OVERVIEW The vision of this opportunity includes selecting one team of artists to create iconic artwork(s) that will transform the site at Congress and 5th Streets. The selected team of artists will be expected to work collaboratively with Museum stakeholders and the immediate community to propose and ultimately design, fabricate and install one or more artworks that are interactive or programmable and contribute to the site as a placekeeping icon for downtown Austin. The artworks should endow respect while celebrating and honoring the cultural contributions of Hispanic, Latino and Mexican-American heritage. Mexic-Arte website: http://www.mexic- artemuseum.org/mexicarte/about/mission.html Mexic-Arte Museum AIPP Project RFQ Page 1 of 4  Mexic-Arte Museum AIPP Project RFQ Page 2 of 4  BUDGET $260,000 One commission will be awarded for this project. The project budget is inclusive of design, fabrication, installation, engineering, permitting fees, travel, shipping expenses, insurance, and other project-related costs. ELIGIBILITY This opportunity is limited to teams of artists based in Texas with at least one artist residing in Austin. All team members must be at least 18 years of age. Selected artists must have lived experience with or relating to Mexican-American culture and heritage. Applicants not meeting these eligibility requirements will be withdrawn from consideration. Artists are ineligible if they are currently under contract with the City of Austin for a permanent public artwork commission or if they are a City of Austin full-time employee, contractor of or employed by either the Projects’ Consulting firm. SELECTION PROCESS A three to five-member selection panel comprised of visual arts professionals and community representatives and advisors will review all eligible submissions. Up to five teams of artists will be shortlisted, invited to interview and submit a proposal for a fee of $1,500. The selection panel reserves the right to recommend one team of artists and one alternate at the time of initial review. Only one applicant will be selected to receive a commission. SUBMISSION REQUIREMENTS - Credentials: CV/Resume (limit 2 pages) - Short responses to the following questions and scenario (100-300 words per question): o What do you find appealing about creating permanent artwork for the Mexic-Arte Museum? o Describe any previous pubic art experience that would align your approach with this opportunity. o How does community engagement and participation inform the outcomes of your artwork? o What is your team’s lived experience with or relating to Mexican-American culture and heritage? o Describe your relationship to or understanding of the history or heritage of the Downtown Austin and Latino/a Austin artists. - Ten images of previous work (only one image per page). Either labeled each image with the following information: title, date of completion, location, materials, art budget. For team application, please indicate the lead artist for each project; or provide an annotated image list IMAGES OF INCOMPLETE PROJECTS, PRELIMINARY SKETCHES, or PROPOSAL IDEAS FOR THIS PROJECT WILL NOT BE REVIEWED - Three Professional references: (names, phone numbers and email addresses) - Demographic survey EVALUATION CRITERIA The panel will evaluate applications based on the following criteria: - Quality and aesthetics of past work - Experience with public art projects of a similar size and scope - Creativity and innovation in portfolio of past work Mexic-Arte Museum AIPP Project RFQ Page 3 of 4  - Expressed interest in and ability to engage and include communities specific to the artwork site TIMELINE (subject to change) Information Meeting Submission deadline October 12, 2022 December 7, 2022 Short-listed artists notified December 22, 2022 Interviews January 2023 Selected Artist under contract June 2023 Target Installation/Project close-out 2026 Submit all information via www.publicartist.org. Deadline to submit qualifications is December 7, 2022, at 5:00PM CST. Submissions received after the deadline will be considered unresponsive and will not be reviewed. Questions regarding this solicitation must be directed in writing to: Alex Irrera, Art in Public Places at alex.irrera@austintexas.gov Mexic-Arte Museum AIPP Project RFQ Page 4 of 4 CALL TO ARTISTS Public Art Opportunity City of Austin (Texas): Art in Public Places Dougherty Arts Center (DAC) Deadline for Submissions – 5:00PM CST: December 7, 2022 REQUEST FOR QUALIFICATIONS The City of Austin Art in Public Places program (AIPP) of the Cultural Arts Division, Economic Development Department is seeking visual artists and artist teams to design, fabricate and install one iconic artwork ($200,000) and up to three emerging artists to design, fabricate and install smaller artworks ($44,000 each) for the new Dougherty Arts Center (DAC) to be located between Toomey and Riverside Roads along Lamar Blvd behind the Zach Scott Theatre in Austin, Texas. BACKGROUND The DAC served as a U.S. Marine Corps and Navy Reserve facility in the 1940's. In 1978, the City took over the space and named it after a prominent member of the Junior League of Austin: Mary Ireland Graves Dougherty. It was originally intended to serve as an artists’ training center with studio spaces, art gallery and a theater. As DAC operations grew, the building was modified to accommodate other public activities. For well over a decade, after the 75-year-old building was designated as “beyond repair,” the City worked to relocate the aging Center; currently situated at 1110 Barton Springs Road. The replacement facility will be constructed on Lady Bird Lake, just a few blocks from its existing site. PROJECT OVERVIEW The mission of the Dougherty Arts Center is to support emerging through established artists who create, showcase, and experience the arts first-hand. The DAC considers itself Austin’s cultural living room where people of all ages, races, ethnicities, abilities, genders, sexual orientations, socio-economic statuses, nationalities, and religions gather to create community through the arts. Interested artists should understand the significance of this strong multi- generational and multi-cultural, historic and education-oriented arts space. The selected artist/artist team should be mindful of the context of the surrounding nature, the architecture of the building and its authenticity to Austin as an experience. Completed final artworks should nod to the artistic and creative activities that happen in and around the building. Although there are some preliminary recommendations for artwork sitings, final determination will be a collaborative process between the selected artists/artist teams, the community, City stakeholders and the design team. Dougherty Arts Center AIPP Project Page 1 of 4  (1). Near the Riverside walking path (2) Near the rain garden and great lawn (3) North courtyard, primary entrance (4) Inside the lobby (5) Within the South courtyard (6) South theater façade Architectural rendering of the new Dougherty Art Center campus Dougherty Arts Center AIPP Project Page 2 of 4 BUDGETS: - $200,000 - Iconic Artwork - $44,000 - Three Distinct Project Opportunities for emerging artists ($132,000 total) Each project budget is inclusive of design, fabrication, installation, engineering, permitting fees, travel, shipping expenses, insurance, and other project-related costs. ELIGIBILITY The Iconic Artwork opportunity is open to artists who are represented in the City of Austin’s Art in Public Places program Pre-Qualified Artist Pool. The three (3) emerging artist opportunities are limited to artists who live in the seven-county Austin metropolitan area (Williamson, Travis, Bastrop, Caldwell, Hays, Burnet, and Blanco counties). Artists must be at least 18 years of age. Applicants not meeting these eligibility requirements will be withdrawn from consideration. Artists are ineligible if they are currently under contract with the City of Austin for a permanent public artwork commission, employed by the project contractor or design team, or if they are a City of Austin full-time employee. SELECTION PROCESS A five-member selection panel comprised of local arts professionals, community representatives and advisors will review all eligible submissions. Up to three artist(s)/artists teams will be shortlisted, invited to interview and submit proposals for the Iconic Artwork opportunity. Artists shortlisted and invited to interview for the Iconic Artwork will be paid a fee of $1500.00. No proposal will be required for up to six artist(s)/artists teams that may be shortlisted and invited to interview for the Emerging Artists Opportunities. The Selection Panel reserves the right to recommend one artist with alternates for each opportunity during the initial review phase. Up to four applicants will be awarded a commission for the DAC. SUBMISSION REQUIREMENTS Short responses to the following questions and scenario (100-300 words per question): - Credentials: CV/Resume (limit 2 pages) - o What is your connection or interest in creating work for the Dougherty Art Center? o How does community engagement contribute to your artistic practice? o Describe any previous experience that would make you a good fit for this opportunity. - Ten images of previous work (only one image per page). Either labeled each image with the following information: title, date of completion, location, materials, art budget. For team application, please indicate the lead artist for each project; or provide an annotated image list IMAGES OF INCOMPLETE PROJECTS, PRELIMINARY SKETCHES, or PROPOSAL IDEAS FOR THIS PROJECT WILL NOT BE REVIEWED - Three Professional references: (names, phone numbers and email addresses) - Demographic survey Dougherty Arts Center AIPP Project Page 3 of 4 EVALUATION CRITERIA The Selection Panel will evaluate applications based on the following criteria: - Quality and aesthetics of past work - Experience conceptualizing and completing public art projects - Creativity and innovation of work as presented - Demonstrated experience working with communities TIMELINE (subject to change) Information Meeting Submission deadline Short-listed artists notified Interviews October 2022 December 7, 2022 February 2023 April 2023 Selected Artist under contract June 2023 Target Installation/Project close-out Winter 2023/2024 Submit all information via www. publicartist.org. Deadline to submit qualifications is December 7, 2022 at 5:00PM CST. Submissions received after the deadline will be considered unresponsive and will not be reviewed. Questions regarding this solicitation must be directed in writing to: Constance Y. White, Art in Public Places, constance.white@austintexas.gov Dougherty Arts Center AIPP Project Page 4 of 4 Date: September 12, 2022 Ar#st Selec#on Memo to File From: Copy: Ar#st Selec#on Panel (Jurors and Advisors) — Lauren Serota Juror, Professional Ar4st Juror; Carmen Rangel, Professional Ar4st Juror; Brian Joseph, Professional Ar4st Juror; James Teasdale, HACA Community Member; ScoD Sinn, PARD Project Manager; J Muzacz, AIPP Panel Member, Project Liaison Art in Public Places Panel: Panel Chair Tammie Rubin, Vice Chair Jacob Villanueva, Arts Commission Liaison Acia Gray, and Panel Members, Stephanie Lemmo, and Sarah Carr. Panel Member J Muzacz Subject: Comal Pocket Park AIPP Project Background: AIPP panel approved a Request for Qualifica4ons for Comal Pocket Park AIPP Project on January 10, 2022. No4ce of the public art opportunity was posted through usual methods as well as through Social Media channels, EDD newsleDer and through publicar4st.org. The submission deadline was March 31, 2022. The Ar4st Selec4on Panel shortlisted and interviewed four ar4sts. The Jury was supported by staff Constance Y. White, AIPP Program Manager, Curt GeDman, Sr. Project Manager, and Ryan Runcie, AIPP Project Manager 1. Recommended Ar#sts: Dana Perro[ (and Raul Buitrago) I recommend this group as a finalist for this project based on their interview presenta9on and responses. I felt that they are not only connected with the community but that they value the importance of culture and history and have lived personal experience in the area. These two ar9sts have a wide range of art experience in different mediums, and capaci9es, and have worked with various par9cipants in group or community engagement ac9vi9es which makes them a great fit for the project. They were also very personable and friendly which makes them a great fit for leading and educa9ng if they choose to involve community members in the crea9ve process. Raul and Dana, through their work and presenta9on have: - clearly ar9culated their ability to meaningfully engage with and involve the community throughout the conceptualiza9on and implementa9on of this work, and - demonstrated that they can - through both their conceptual skills and experience in target mediums - translate a community vision into a piece of work worthy of being in the AIPP porHolio! These ar9sts are the best fit for this project based on their proposed ar9s9c concepts, experience, knowledge, and willingness to work with the Comal community. 1 2. Recommended Alternate: Lindsay Palmer (Chroma Collec4ve) Chroma collec4ve shared an impressive body of public artwork with a wide range of sizes and loca4ons. They have plenty of experience co-crea4ng artwork with communi4es and making sure they not only connect with those in the area but also build rela4onships and tell a story of history through their artwork. Mylo, Anabel and Lyndsey have a proven approach to meaningfully engaging the community to co- create public art that is vibrant, engaging and deeply reflec4ve a place's history and culture. Their work is deeply local and pays homage in a way that is invi4ng and educa4onal. Despite the lack of mosaic work in their porcolio, I'm confident that their graphic approach could translate well into the medium with the right technical support. Lindsay and the team of ar4sts have the poten4al of being successful in this project. They have the talent and passion to create a fantas4c design that the Comal community would appreciate. 2 DANA PERROTTI EDUCATION 2008 2007 2010-12 AWARDS 2019-20 2018 2016 2016 2016 2015 2015 2012 PROFESSIONAL ACTIVITIES 2020 2019 New York University, New York, NY BA Spanish and Latin American Literature, summa cum laude Cuban Institute of Cinematographic Art and Industry, Havana, Cuba Black and White Documentary Film Photography Austin Community College, Austin, TX, Art Metals + Jewelry Fabrication CORE Artist Grant, City of Austin Cultural Arts Division, ATX Capacity Building Grant, City of Austin Cultural Arts Division, ATX Folk & Traditional Arts Program Grant, Texas Folklife, ATX SU CASA Residency, Queens Council on the Arts, NYC Teaching Assistant: The Pegged Sole (Shoemaking), Penland School of Crafts, Penland NC Mentoring and Professional Development Grant, NY Folklore Society, NYC Scholarship: Slip Casting, Greenwich House Pottery, New York, NY Educational Assistant, Arrowmont School of Art and Craft, TN 2018 2018 2016 New Skin in the Game: Organized panel discussion of young leatherworkers The Cowboy Bootmakers: Organized event showcasing Western bootmaking. Curated selection of Western boots, videos and vintage photographs. Lastmaking Course: Bespoke wooden shoe lasts course, led by master lastmakers in Eastbourne, UK Handsewn Bespoke Oxford Course: Week-long course with Master Shoemaker Janne Melkersson, Hara, Sweden Bespoke Western Bootmaking Apprenticeship: With Master Bootmaker Lee Miller of Texas Traditions, Austin, TX Studio Assistant, Brick House Ceramic Arts Center, Long Island City, NY 2015 RAUL BUITRAGO//www.raulbuitrago.com EDUCATION New York University, Tisch School of the Arts — BFA Photography and Imaging, 2008 AWARDS GNARLEANS (2019) - Blow-Up International Arthouse Film Fest Chicago, Honorable Mention at Experimental Forum FALSE FIRES (2019) - Official Selection at Indie Visions Film Festival and Short Film Factory GOUCH (2016) - Vimeo Staff Pick, Official Selection at Bushwick Film Festival 2016 City of Austin Capacity Building Grant (2017) Experience DIRECTOR, CINEMATOGRAPHER, PRODUCER AND EDITOR DOCUMENTARY FILMS DIRECTOR, CINEMATOGRAPHER AND EDITOR MUSIC VIDEOS , 2013 - PRESENT Professional References: Lee Miller, Owner, Texas Traditions, (512) 443-4447, texastraditions@mac.com Charlie Lockwood, Executive Director, Texas Folklife, (512) 441-9255, clockwood@texasfolklife.org Allen Quigley, Graphic Designer, (512) 565-2147, allenfquigley@gmail.com Document created by PublicArtist.org Image List for Dana Perrotti Indigo Shibori Dyeing (Dana Perrotti) Theodora Jackson Senior Center, Jamaica, NY Cotton, Natural Dye Dana Perrotti served as artist in residence at the Theodora Jackson Senior Center in Jamaica, NY, sponsored by Queens Council on the Arts. During the three month residency, Dana led participants in the creation of a communal quilt. Here, participants begin the process by learning how to use shibori Perrotti01.JPG binding techniques with indigo dye. Cutting Fabric (Dana Perrotti) Theodora Jackson Senior Center, Jamaica, NY Cotton, Natural Dye Over the course of three months, participants dyed, cut, assembled an sewed fabric. Here, participants are cutting the hand-dyed fabric. Over 20 participants took part in the project. Perrotti02.JPG Topstitching the Quilt (Dana Perrotti) 4"x5" Theodora Jackson Senior Center, Jamaica, NY Cotton, Natural Dye, Photo transfers $10,000 Participants topstitch the assembled quilt in the culmination of the three month artist residency. The finished quilt is on display at Theodora Jackson Senior Center in Jamaica, Queens, NY. Perrotti03.JPG Untitled (Dana Perrotti) Perrotti04.JPG Untitled (Dana Perrotti) Stoneware vessel, thrown and altered. Fired in cone 10 reduction kiln with slips and Stoneware vessel, thrown and altered. Fired in cone 10 reduction kiln with slips and Perrotti05.JPG Community Collage Workshop (Raul Buitrago) Pioneer Works 2021 N/A Collage $5000 Perrotti06.JPG workshops. Raul Buitrago leading a series of free community collage Variable $10,000 Variable $10,000 14"x6"x6" Ceramic $1000 15"6"x6" Ceramic $1000 2016 2016 2016 Austin, TX 2022 glazes. Austin, TX 2022 glazes. Perrotti07.JPG Untitled (Interlude) 18" x 24" Oil $2500 Oil painting using collage Austin, TX 2021 reference. Two Apples Austin, TX 2022 observation. 16" X 16" Oil $1000 Still life oil painting, painted from Page 1 of 2, Dana Perrotti Document created by PublicArtist.org Perrotti08.JPG Perrotti) Comal Pocket Park, Austin, TX To Be Completed 2023 Proposed Community Tile Installation (Raul Buitrago and Dana Variable Hand-painted Ceramic Tiles 43,000 Perrotti09.JPG Sketch by Raul Buitrago of proposed mosaic tile installation at Comal Pocket Park. The installation will be a continuation of the theme began in 2002, with members of the community hand painting ceramic tiles to stretch along the horizontal walls that frame the archway. Slices of Squash 16" x 16" Austin, TX 2022 observation. Still life oil painting, painted from Oil $1000 Perrotti10.JPG Page 2 of 2, Dana Perrotti Statement (cid:73)rom Dana Perrotti Short (cid:36)ns(cid:90)er (cid:52)uestion (cid:20) (cid:53)aul and Dana (cid:75)a(cid:89)e li(cid:89)ed in (cid:40)ast Austin since 2(cid:19)1(cid:19). (cid:41)rom 2(cid:19)1(cid:19)(cid:16)2(cid:19)12, Dana (cid:90)or(cid:78)ed for (cid:55)otally (cid:38)ool(cid:18)(cid:55)otally Arts and PA(cid:53)D (cid:54)ummer Art in t(cid:75)e Par(cid:78)s. (cid:54)(cid:75)e taug(cid:75)t (cid:89)isual art to yout(cid:75) ages (cid:24)(cid:16)1(cid:27) at Pan American (cid:53)ecreation (cid:38)enter, Par(cid:84)ue (cid:61)arago(cid:93)a (cid:53)ecreation (cid:38)enter, and (cid:47)orraine (cid:5)(cid:42)randma(cid:5) (cid:38)amac(cid:75)o Acti(cid:89)ity (cid:38)enter. (cid:53)aul(cid:10)s e(cid:91)(cid:83)ertise as a fine arts (cid:83)ainter gi(cid:89)es (cid:75)im t(cid:75)e eye to (cid:90)or(cid:78) (cid:90)it(cid:75) t(cid:75)e community to create a da(cid:93)(cid:93)ling, (cid:75)and(cid:16)(cid:83)ainted mosaic installation t(cid:75)at (cid:90)ill in(cid:89)ite yout(cid:75) and families to see t(cid:75)emsel(cid:89)es in t(cid:75)e (cid:83)ar(cid:78). Dana(cid:10)s e(cid:91)(cid:83)ertise as a ceramic artist (cid:90)ill (cid:83)ro(cid:89)ide t(cid:75)e tec(cid:75)nical (cid:78)no(cid:90)(cid:16)(cid:75)o(cid:90) to (cid:83)reser(cid:89)e t(cid:75)e (cid:83)aintings made by community members in (cid:90)eat(cid:75)er(cid:16)resistant ceramic tile. Statement (cid:73)rom Dana Perrotti Short (cid:36)ns(cid:90)er (cid:52)uestion (cid:21) (cid:53)aul (cid:75)as (cid:90)or(cid:78)ed as a (cid:89)isual artist in t(cid:75)e community, teac(cid:75)ing free collage (cid:90)or(cid:78)s(cid:75)o(cid:83)s and ser(cid:89)ing as a mentor to yout(cid:75) interested in (cid:90)or(cid:78)ing in film. A son of (cid:38)olombian immigrants, (cid:53)aul en(cid:77)oys gi(cid:89)ing bac(cid:78) to t(cid:75)e (cid:47)atin(cid:91) community by o(cid:83)enly s(cid:75)aring (cid:75)is artistic e(cid:91)(cid:83)ertise and (cid:83)ractice. Dana (cid:75)as (cid:90)or(cid:78)ed as a (cid:55)eac(cid:75)ing Artist for o(cid:89)er a decade. (cid:41)rom 2(cid:19)1(cid:19)(cid:16)12 s(cid:75)e (cid:90)or(cid:78)ed (cid:90)it(cid:75) (cid:55)otally (cid:38)ool(cid:18) (cid:55)otally Arts, PA(cid:53)D (cid:54)ummer Art in t(cid:75)e Par(cid:78)s and t(cid:75)e Doug(cid:75)erty Arts (cid:38)enter. (cid:54)(cid:75)e lead yout(cid:75) (cid:83)artici(cid:83)ants in grou(cid:83) mural (cid:83)ainting, ceramics and (cid:83)(cid:75)otogra(cid:83)(cid:75)y. (cid:44)n 2(cid:19)1(cid:25) s(cid:75)e (cid:75)eld a (cid:55)eac(cid:75)ing Artist (cid:53)esidency at (cid:55)(cid:75)eodora (cid:45)ac(cid:78)son (cid:54)enior (cid:38)enter, in (cid:45)amaica, (cid:52)ueens, (cid:49)(cid:60). As (cid:53)esident (cid:55)eac(cid:75)ing Artist, Dana lead a grou(cid:83) of senior citi(cid:93)en (cid:83)artici(cid:83)ants in a t(cid:75)ree mont(cid:75) (cid:83)ro(cid:77)ect(cid:29) creating a community (cid:75)and(cid:16)se(cid:90)n (cid:84)uilt made from indigo s(cid:75)ibori dyed fabric. Dana led t(cid:75)e (cid:83)artici(cid:83)ants in e(cid:89)ery as(cid:83)ect of t(cid:75)e (cid:83)ro(cid:77)ect, from (cid:75)and dyeing t(cid:75)e fabric, to cutting, assembling, and se(cid:90)ing t(cid:75)e final (cid:83)ro(cid:77)ect. Statement (cid:73)rom Dana Perrotti Short (cid:36)ns(cid:90)er (cid:52)uestion (cid:22) (cid:37)ot(cid:75) (cid:53)aul and Dana (cid:90)ill ser(cid:89)e as teac(cid:75)ing artists, (cid:90)or(cid:78)ing (cid:90)it(cid:75) yout(cid:75) ser(cid:89)ed by Pan American (cid:53)ecreation (cid:38)enter, bringing an arts(cid:16)education com(cid:83)onent to t(cid:75)e (cid:83)ro(cid:77)ect. Partici(cid:83)ants (cid:90)ill be in(cid:89)ited to create a design on a bis(cid:84)ue(cid:16)fired (cid:90)(cid:75)ite stone(cid:90)are tile, in scale to t(cid:75)e e(cid:91)isting tiles created by t(cid:75)e community in 2(cid:19)(cid:19)2, using undergla(cid:93)es to (cid:83)aint on t(cid:75)eir designs. (cid:55)(cid:75)e undergla(cid:93)es (cid:90)ill be colors, c(cid:75)osen by (cid:53)aul, to com(cid:83)liment t(cid:75)e e(cid:91)isting tile (cid:90)or(cid:78) at (cid:38)omal Poc(cid:78)et Par(cid:78) (cid:11)(cid:89)ibrant (cid:83)ur(cid:83)les, tur(cid:84)uoise, yello(cid:90)s, blues, oranges(cid:12). (cid:53)aul (cid:90)ill lead t(cid:75)e students in (cid:75)o(cid:90) to create a dynamic com(cid:83)osition, filling t(cid:75)e entire tile (cid:90)it(cid:75) color. Dana (cid:90)ill s(cid:75)o(cid:90) students t(cid:75)e tec(cid:75)ni(cid:84)ue of (cid:75)o(cid:90) to use t(cid:75)e undergla(cid:93)es on t(cid:75)e tiles. Dana (cid:90)ill ta(cid:78)e t(cid:75)e (cid:83)ainted tiles bac(cid:78) to (cid:75)er studio and gla(cid:93)e t(cid:75)e surfaces in clear gla(cid:93)e, and finally fire t(cid:75)em a ceramic (cid:78)iln. (cid:55)(cid:75)e community(cid:16)designed tiles (cid:90)ill be installed in manner t(cid:75)at ec(cid:75)os t(cid:75)e 2(cid:19)(cid:19)2 tiles(cid:30) t(cid:75)e (cid:83)attern of s(cid:84)uare tile (cid:90)it(cid:75) (cid:83)ainted design ad(cid:77)acent to rectangle solid color tile (cid:90)ill be maintained. (cid:53)aul (cid:90)ill design t(cid:75)e layout of t(cid:75)e tile (cid:90)or(cid:78). (cid:37)ot(cid:75) (cid:53)aul and Dana (cid:90)ill install t(cid:75)e tiles, in(cid:89)iting t(cid:75)e yout(cid:75) artists, t(cid:75)eir families and members of t(cid:75)e community to (cid:77)oin in t(cid:75)e (cid:83)rocess. As bot(cid:75) (cid:53)aul and Dana are fluent in (cid:54)(cid:83)anis(cid:75), t(cid:75)ey (cid:90)ill bot(cid:75) be in(cid:89)ol(cid:89)ed in community outreac(cid:75) on t(cid:75)e (cid:83)ro(cid:77)ect. Lindsay Palmer (Applying as Project Manager) 16047 Fitchburg cir, Pflugerville TX 78660 (806) 787-0376 Lindsay@creativeaction.org Education 2009 MFA Sculpture University of Colorado, Boulder, CO 2006 BFA Sculpture Texas Tech University, Lubbock, TX Professional Experience Solo and Two Person Exhibitions 2015 Box 13 Gallery, 6700 Harrisburg Blvd, Houston TX 2014 If You Go You Go It Alone, Pump Project, Austin TX Director of Public Art, 2021-current, Creative Action, 1023 Bldg B, Springdale Rd, Austin TX 78721 Director of Color Squad, 2013-2020, Creative Action, 1023 Bldg B, Springdale Rd, Austin TX 78721 Borderland, Eastfield College, H100 Gallery, Mesquite TX, with Casey McGuire 2013 Lindsay Palmer and Casey McGuire, Seeing is Believing; Transient Spaces For Home, University of Texas, San Antonio, Satellite Space, San Antonio, TX 2011 A Case For Tragic Optimism or Tales From The Keeper Of Knowledge, Co-Lab, Austin TX Group Exhibitions 2020 The People’s Gallery, 2013 Exhibition, Austin City Hall, Austin TX 2018 Staff Survey, Creative Action, 1023 Springdale Rd, Austin TX 2013 The People’s Gallery, 2013 Exhibition, Austin City Hall, Austin TX 2012 Sculptural Narratives, Cazenovia College, Cazenovia, NY New Art/Arte Nuevo, University of Texas at San Antonio, San Antonio, TX 2011 Structural Subjectivity, Buckham Gallery, Flint, MI 2009 Opið Hús, Icebox Gallery, Skagastrond, Iceland Crossing 2009, The Harwood Art Center, Albuquerque, NM, 4th Place purchase award 2008 Space Invaders, Museo De Las Americas, Denver, CO Commissions and Public Works 2014 Tempo, Temporary public art project, City Of Austin Art In Public Places 2012 Playground Markings Project, In conjunction with Theatre Action Project and The University of Texas at Austin, Austin, TX The Pay Phone Revival Project, Pump Project Art Complex, 702 Shady Lane, Austin TX (Catalogue) Mahoney, Alyssa. “Austin brings temporary public art to city parks”, The Daily Texan, Web, Jan 14, 2014 Rindfuss, Brian. “Seeing Is Believing”, San Antonio Current, January 2-8, pg. 16 Munoz De La Rocha, Haydee. 2013 “Review: Seeing Is Believing; Transient Spaces For Home”, Art Magazine, Web, Jan 12, 2013 Asher Price, “An Artistic Focus On Climate Change.” Austin American Statesman, November 21, 2010 Mylo Mendez (Applying as Lead Artist) 2009 Cheshire Dr. A, Austin TX 78723 (281) 743-2831 mendez.mylo@gmail.com Bibliography Education Parsons the New School for Design, New York City Master of Fine Arts in Fine Arts, May 2015 University of Texas, Austin, Texas Bachelor of Fine Arts in Studio Art, May 2011 Bachelor of Arts in Women’s and Gender Studies, August 2011 Teaching/Pedagogical Experience Adjunct Faculty for Integrative Studio, August 2015-May 2019 Parsons the New School for Design, New York City Member of the Faculty Learning Community, October 2018- Present Parsons the New School for Design, New York City Presenter at Queering the Collection workshop, February 2018 International Center for Photography, New York City Presenter and Discussion Facilitator for Introduction to Marx Workshop, February 2013 Unity and Struggle Conference, Houston, Texas Co-Founder/Co-Facilitator for Queer Theory Community Study Group, 2012 Austin, Texas Exhibitions/Screenings/Performances 2017 Screening, Queer Art Pride Shorts, Wythe Hotel, New York City 2016 Queer/Art/Mentorship 2015-2016 Annual Exhibition, Prince St. Project Space, New York City 2016 Lips Like Sugar, Beefhaus Gallery, Dallas, TX 2015 Screening, MIXNYC 2015: Queer Experimental Film Festival, The Mix Factory, New York City 2015 Off Pink, The Kitchen, New York City 2014 Lumpy Discourses, 25 East Gallery, New York City 2012 Traditional Family Values, Visual Arts Center, Austin, TX 2011 Performance, Field Day: A Performance Event, University of Texas, Austin, TX 2010 Performance, A Fair, University of Texas, Austin, TX 2009 Performance, Camp Shame, Moose Lodge, Austin, TX Color Squad (Alumni applying as Apprentice Artists) Commissions -2020-2021 Four murals commissioned by Capital Metro at four bus stops, Austin TX Budget: 20,000 -2020- Mural at Native Hostel, commissioned by Facebook Open Arts, Native Hostel, 807 E 4th st, Austin TX 78702. Budget: 32,000 -2019- 1200-square-foot mural created by Color Squad in partnership with the City of Austin’s Neighborhood Partnering Program, located at Barton Spring Road and Lamar. Budget: 10,000 -2018 Mural by Color Squad in collaboration with with Girl Forward, a mentoring program for young women refugees, Lott Pocket Park, 1174 Curve St, Austin TX 78702. Budget: 3,000 -2018 Mural and photo installation, People's Community Clinic, Teen Resource Room, 2909 N Interstate HWY 35, Austin TX 78722. Budget: 1,000 -2017 Mural commissioned by the Central Texas Food Bank for their new facility’s volunteer center about the Central Texas food ecosystem, 6500 Metropolis Dr, Austin TX 78744 Budget: 7,500 -2015 Large scale mural completed on former Creative Action building as part of NEA Our Town grant, 2921 E 17th, Austin TX 78702. Budget: 30,000 Bibliography Conferences https://www.austinmonthly.com/AM/August-2019/The-Color-Squad-Fuses-Art-and-Activism https://creativeaction.org/ca-blog/kxan-new-mural-painted-by-teen-artists-unveiled-in-east-austin https://www.austinmonthly.com/i-live-here-i-give-here-2021/ (page 13) https://www.austinchronicle.com/best-of-austin/year:2019/poll:readers/category:arts-and-entertainment/cr eative-action-color-squad-muralist/ -Panelists and presenters, Building Brave Spaces: Mobilizing Teen Arts Education, ICA Boston, 2018 -Presenters, National Young Artists Summit, presented by the National Guild for Community Arts Education, Austin TX, 2019 Image List for Lindsay Palmer Document created by PublicArtist.org Mural design for upcoming November 2021 project. East Austin's Melody is a mural dedicated to the Black community that have called East Austin their home. We hope this mural serves as a reminder to those who come after, of what East Austin once was. A self sustaining community that enjoyed getting together play music, ball and always strove for future generations. We hope to pay homage to the black community of East Austin and help acknowledge their importance to the greater Austin area. East Austin's Melody, 2021 Acrylic on concrete pillar 21 ft x 8 ft East Link Trail, Austin, TX Budget: $2,500 Palmer01.JPG La Collectividad, 2020 Acrylic on brick 16 ft x 150 ft Native Hostel, 807 E 4th st, Austin, TX Budget: $32,000 Palmer02.JPG Palmer03.JPG Palmer04.JPG Page 1 of 3, Lindsay Palmer Document created by PublicArtist.org Lead Artist, Mylo Mendez, Project Manager, Lindsay Palmer Alumni, Elle Hebert, Quinn Erickson, Aye Aye, Louisa Najar, Maxwell Wood This public art project is presented by Creative Action, an Austin-based arts education non-profit organization, in partnership with Facebook Open Arts. The mural was created by lead artist Mylo Mendez in conversation with members of Color Squad, a collective of teenage artists who design and implement public art around issues of sustainability, community, and equity. Mylo Mendez makes illustrations influenced by Mexican folk art, Mayan and Aztec design, and the color palettes of the Southwestern United States as a means of exploring their identity. By connecting to the past through artmaking and design, Mendez investigates contemporary Mexican American experience and its relationship to heritage, family, and politics. Take flight, 2019 Acrylic on corrugated metal 32 ft x 15 ft Million Air, 4801 Emma Browning Ave, Austin, TX Budget: $7,500 Mural commissioned by Million Air outside of their airplane hangers. United Horizons, 2021 Acrylic on cinder block. 6 ft x 116 ft Austin Peace Academy, Austin, TX Budget: $8,000 Palmer05.JPG Palmer06.JPG Palmer07.JPG Palmer08.JPG Page 2 of 3, Lindsay Palmer Statement (cid:73)rom Lindsay Palmer Short (cid:36)ns(cid:90)er (cid:52)uestion (cid:20) (cid:38)(cid:75)roma (cid:38)ollecti(cid:89)e ser(cid:89)es as a center for young artist education, (cid:83)olitically and socially a(cid:90)are community engagement, and a (cid:90)ay to u(cid:83)lift di(cid:89)erse communities bot(cid:75) by t(cid:75)ose (cid:90)(cid:75)o ma(cid:78)e u(cid:83) t(cid:75)e collecti(cid:89)e and t(cid:75)ose (cid:90)(cid:75)o (cid:90)e (cid:83)ro(cid:89)ide art for. (cid:50)ur interest in (cid:38)omal Poc(cid:78)et Par(cid:78) lies in its function to ser(cid:89)e as a community gat(cid:75)ering (cid:83)oint and im(cid:83)ortant (cid:75)istorical mar(cid:78)er of (cid:83)olitical and social c(cid:75)ange. (cid:48)ulti(cid:83)le members of our collecti(cid:89)e (cid:75)a(cid:89)e art (cid:83)ractices dri(cid:89)en by t(cid:75)eir connection to central (cid:55)e(cid:91)as family, (cid:48)e(cid:91)ican (cid:75)eritage, and dee(cid:83) social (cid:77)ustice roots. (cid:50)ur (cid:89)ision of t(cid:75)is (cid:83)ro(cid:77)ect includes a t(cid:75)oug(cid:75)tfully researc(cid:75)ed account of t(cid:75)e community t(cid:75)at (cid:90)ill be interfacing (cid:90)it(cid:75) t(cid:75)e art daily and t(cid:75)e (cid:75)istorical and ecological significance of t(cid:75)e land (cid:38)omal Poc(cid:78)et Par(cid:78) sits on. Statement (cid:73)rom Lindsay Palmer Short (cid:36)ns(cid:90)er (cid:52)uestion (cid:21) (cid:38)(cid:75)roma (cid:38)ollecti(cid:89)e is a grou(cid:83) of creati(cid:89)es dedicated to em(cid:83)o(cid:90)ering young artists, u(cid:83)lifting t(cid:75)e (cid:89)oices of our community, and creating art(cid:90)or(cid:78)s t(cid:75)at are dedicated to (cid:83)lace(cid:78)ee(cid:83)ing (cid:83)ractices. As alumni of (cid:38)reati(cid:89)e Action(cid:10)s teen (cid:83)rograms t(cid:75)ese young adult artists (cid:90)ill (cid:75)a(cid:89)e (cid:75)ad years of e(cid:91)(cid:83)erience creating murals embedded (cid:90)it(cid:75) community engagement at t(cid:75)e center, led by (cid:83)rofessional muralists. (cid:58)e al(cid:90)ays tailor our engagement (cid:83)rocesses s(cid:83)ecifically to t(cid:75)e t(cid:75)eme or t(cid:75)e desired outcomes of our (cid:83)artners. (cid:54)ome e(cid:91)am(cid:83)les of t(cid:75)ese (cid:83)rocesses are, meeting (cid:90)it(cid:75) elders from t(cid:75)e community to ca(cid:83)ture (cid:75)istories of t(cid:75)e neig(cid:75)bor(cid:75)ood, (cid:75)olding design c(cid:75)arettes o(cid:83)en to neig(cid:75)bors and community (cid:83)artners, creating a (cid:83)ublic (cid:89)oting(cid:18)comments boot(cid:75) at (cid:83)ublic libraries for feedbac(cid:78) on our designs, and (cid:75)a(cid:89)ing community (cid:83)aint days for (cid:83)ublic (cid:83)artici(cid:83)ation. (cid:38)(cid:75)roma (cid:38)ollecti(cid:89)e is a (cid:83)rogram of (cid:38)reati(cid:89)e Action, (cid:90)(cid:75)ose mission is to use t(cid:75)e arts as a medium to ins(cid:83)ire creati(cid:89)ity, unloc(cid:78) (cid:83)otential, and transform t(cid:75)e li(cid:89)es of students of all ages. Statement (cid:73)rom Lindsay Palmer Short (cid:36)ns(cid:90)er (cid:52)uestion (cid:22) Lindsay Palmer(cid:29) Pro(cid:77)ect (cid:48)anager(cid:18)team lead (cid:48)ylo (cid:48)ende(cid:93)(cid:29) Lead designer(cid:18)mentor Arlo (cid:46)ret(cid:93)ler(cid:29) Alumni(cid:18)a(cid:83)(cid:83)rentice (cid:48)ars Lee(cid:29) Alumni(cid:18)a(cid:83)(cid:83)rentice (cid:60)esenia Placencia(cid:16)(cid:55)re(cid:77)o(cid:29) Alumni(cid:18)a(cid:83)(cid:83)rentice Ar#st Selec#on Recommenda#on Memo to File Date: September 12, 2022 From: Ar#st Selec#on Panel (Jurors and Advisors) — NIsa Boonto, Arts Professional, Brownie Park Community Member; Estéban Hinojosa, Arts Professional, Brownie Park Community Member; Charles Peveto, Arts Professional, Old AusDn Neighborhood AssociaDon, Duncan Park Community Member; Sierra DaSilva, Shoal Creek Conservancy, Duncan Park Community Member; Melissa Gray, Highland Park Community Member; Kate Garza, Highland Neighborhood AssociaDon and Community Member; CrisDe Purple, Oertli Park Community Member; Reynaldo Hernandez, Project Manager, Parks and RecreaDon Department; Acia Gray, AusDn Arts Commission Member Copy: Art in Public Places Panel: Panel Chair Tammie Rubin, Vice Chair Jacob Villanueva, Arts Commission Liaison Acia Gray, and Panel Members, Stephanie Lemmo, and Sarah Carr. Panel Member J Muzacz Subject: Duncan Neighborhood Park AIPP Project Background: AIPP panel approved a Prospectus for Duncan Neighborhood Park AIPP Project on April 4, 2022. NoDce of the public art opportunity was posted through usual methods as well as through Social Media channels, EDD newsleVer and through publicarDst.org. The submission deadline was June 23, 2022. 40 local arDsts from the Pre-Qualified local arDsts pool opted to parDcipate in the process. A[er review of the eligible applicants, the ArDst SelecDon Panel shortlisted and interviewed two arDsts. The Jury was supported by Parks and RecreaDon Department Project Managers ScoV Sinn, Patrick Beyer, and James Wheeler as advisors and AIPP Program Manager Constance Y. White, AIPP Sr. Project Manager Curt GeVman, and AIPP Project Managers, Ryan Runcie and Alex Irrera. 1. Recommended Ar#sts: André Fuqua André has a demonstrated history of carrying out large scale public artworks, many of them in three dimensions, while incorpora:ng community input. His work is also though=ul and interes:ng conceptually. André also has a lot of knowledge about construc:ng something that will be durable in an outdoor se>ng. I'd love to go to Duncan with André to look at and discuss the park's ecological features so he will plan his work with them in mind. Ability to provide a durable art project including sensi:vity of a public engagement process and crea:ve abili:es 2. Recommended Alternate: CaDe Lewis Ca:e has experience with making large-scale public murals. We thought she might have trouble coming up with something in three dimensions for the space at Duncan, but she might be able to create a mural for the limestone block surfaces in the park if they were prepared in such a way that 1 paint could be applied. I like that her previous work has considered the history of the space and also environmental conserva:on goals. She seemed very excited about really digging into the background of a place before planning her past works, and also about incorpora:ng community feedback. Focus on mural work as a poten:al op:on 2 André Fuqua 505 W Saint Johns Ave Austin, Texas 78752 andre@andreishere.us | 314-221-7769 www.andreishere.us EDUCATION 2023 PhD (pending), Infrastructure Materials, University of Texas at Austin, Austin, TX 2018 MS, Civil Engineering, Columbia University, New York, NY 2016 P.BACC, Painting and Drawing, School of the Art Institute of Chicago, Chicago, IL 2015 BS, Civil Engineering (Minor: Architecture), Columbia University, New York, NY EXHIBITIONS 2020 Group Exhibition, Make America What America Must Become, Contemporary Arts Center New Orleans, New Orleans, LA Assistant to the Director, Landmarks, University of Texas at Austin, Austin, TX Project Engineer, Entech Engineering P.C., New York, NY 2020 Group Exhibition, Occupied, GrayDUCK Gallery, Austin, TX 2019 Group Exhibition, The Revival – EAST 2019, Creative Action, Austin, TX 2019 Solo Presentation, A New Wave, baba cool café, Brooklyn, NY 2018 Solo Presentation, man over mechanism, OneEyed Studios, Ridgewood, NY 2016 Group Exhibition, De Nue, SITE Gallery, Chicago, IL 2016 Group Exhibition, Shared History, South Side Community Arts Center, Chicago, IL 2016 Group Exhibition, Black Creativity, Museum of Science and Industry, Chicago, IL COLLABORATIVE PROJECTS 2020 Art in Public Places, St. John Park Concrete Pillar, Austin, TX (artist: Damon Moseley) 2019 FAB Fulton’s ART360°, Becoming - Window Mural, baba cool café, Fort Greene, Brooklyn, NY PROFESSIONAL EXPERIENCE 2020 – 2019 2015 – 2016 Studio Technician, The Art Institute of Chicago, Chicago, IL 2014 – 2015 Architectural Design Engineer, Art Research Collaboration Inc, New York, NY AWARDS AND SCHOLARSHIPS 2020 Thrust 2000 Fellowship, University of Texas at Austin 2019 Bill and Melinda Gates Millennium Scholarship 2017 Concrete Industry Foundation Scholar – New York City 2016 Dean’s Scholarship, School of the Art Institute of Chicago 2015 King’s Crown Leadership in Excellence Award, Columbia University TECHNICAL EXPERTISE: Sculpture, Photography, Painting, Metalworking, Woodworking, CNC Machining, Adobe Illustrator, Adobe Photoshop, Adobe InDesign, AutoCAD, Rhinoceros, Civil 3D RADIO/TELEVISION Ariel René Jackson, Interview, Cage Match Project Podcast, Austin, TX, July 25th 2020 Liberty Mason, Interview, ATX Artist Social at Native Hostel, Austin, TX, February 7th, 2020 Dora Robinson, Interview – The Revival, KAZI FM The Voice of Austin, November 15th, 2019 Document created by PublicArtist.org Image List for André Fuqua He [003], 2016 Steel, Steel Cable Wire, Extension Cord 22 in x 30 in x 50 in Chicago, Illinois Budget: $5,000 He [003] | steel, steel cable wire, extension cord | 22 x 30 x 50" | 2016 Fuqua01.JPG "He [003]" was fabricated in Chicago, Illinois. This piece has been shown at the following exhibitions: 2018, man over mechanism, OneEyed Studios, Ridgewood, NY 2016, 150 Anniversary Exhibit, Art Institute of Chicago, Chicago, IL 2016, De Nue, SITE Gallery, Chicago, IL Rise to Fall , 2015 charcoal and graphite on paper 30 in x 36 in New York, New York Budget: $1,000 Rise to Fall | charcoal and graphite on paper | 30 x 36” | 2015 Fuqua02.JPG "Rise to Fall" was fabricated in New York, New York. This piece has been shown at the following exhibitions: 2018, man over mechanism, OneEyed Studios, Ridgewood, NY 2016, Black Creativity, Museum of Science and Industry, Chicago, IL 2016, De Nue, SITE Gallery, Chicago, IL Becoming - Window Mural, 2019 Oil Paint, glass 11 ft x 18 ft Baba Cool Café, Brooklyn, New York Page 1 of 2, André Fuqua Becoming - Wall Mural | oil on glass storefront | Baba Cool Cafe, Fort Greene, Brooklyn | 11 x 18' | 2019 Document created by PublicArtist.org Becoming - Wall Mural | oil on glass storefront | Baba Cool Cafe, Fort Greene, Brooklyn | 11 x 18' | 2019 Budget: $1,500 Front View Fuqua03.JPG Window Panel Detail Fuqua04.JPG "Becoming" was a window mural commissioned by the Fulton Area Business Alliance (FAB Fulton). FAB Fulton is a non-profit organization that advocates for and collaborates with small businesses and property owners along Fulton Street in Brooklyn’s neighborhoods of Fort Greene and Clinton Hill to maintain a safe, clean, and welcoming community while securing resources and partnerships for initiatives that enhance and promote the district. I was commissioned to complete a live painted window mural for Baba Cool Café at 64-B Lafayette Avenue. Page 2 of 2, André Fuqua Statement from Andr Fuqua Short Answer Question 1 / Respuesta corta a la Pregunta 1 (cid:44) (cid:75)a(cid:89)e built a strong studio (cid:83)ractice t(cid:75)at (cid:75)as gifted me t(cid:75)e o(cid:83)(cid:83)ortunity to s(cid:75)o(cid:90)case my (cid:90)or(cid:78) bot(cid:75) locally and nationally. (cid:44) communicate (cid:90)it(cid:75) artists, art (cid:75)istorians, and fabricators to build creati(cid:89)e (cid:83)ro(cid:77)ects and community initiati(cid:89)es. (cid:44) (cid:75)a(cid:89)e been (cid:90)or(cid:78)ing (cid:83)rofessionally as an artist since 2(cid:19)1(cid:25). (cid:44) recei(cid:89)ed bot(cid:75) my bac(cid:75)elor(cid:182)s and master(cid:182)s degrees in (cid:38)i(cid:89)il (cid:40)ngineering from (cid:38)olumbia (cid:56)ni(cid:89)ersity. (cid:44) studied studio art at t(cid:75)e (cid:54)c(cid:75)ool of t(cid:75)e Art (cid:44)nstitute of (cid:38)(cid:75)icago, (cid:90)(cid:75)ere (cid:44) obtained a graduate certificate in Painting and Dra(cid:90)ing. (cid:48)y (cid:83)ractice is rooted in scul(cid:83)ture, (cid:83)(cid:75)otogra(cid:83)(cid:75)y, and design. (cid:44) use construction materials li(cid:78)e steel, (cid:90)ood, and concrete to create art t(cid:75)at e(cid:91)(cid:83)lores symbolism, identity, and cultural (cid:83)ri(cid:89)ilege. (cid:44) use (cid:83)(cid:75)otogra(cid:83)(cid:75)y as a tool to communicate (cid:75)idden narrati(cid:89)es and untold stories. (cid:44) (cid:75)a(cid:89)e strong interests in material et(cid:75)os, t(cid:75)e built en(cid:89)ironment, and t(cid:75)e American (cid:54)out(cid:75). (cid:44) (cid:75)a(cid:89)e e(cid:91)(cid:75)ibited in s(cid:83)aces across t(cid:75)e (cid:56)(cid:54), most notably t(cid:75)e (cid:48)useum of (cid:54)cience and (cid:44)ndustry in (cid:38)(cid:75)icago, (cid:44)(cid:47) and t(cid:75)e (cid:38)ontem(cid:83)orary Arts (cid:38)enter, (cid:49)e(cid:90) (cid:50)rleans. Statement from Andr Fuqua Short Answer Question (cid:21) / Respuesta corta a la Pregunta (cid:21) (cid:44) (cid:75)a(cid:89)e (cid:75)ad t(cid:75)e o(cid:83)(cid:83)ortunity to collaborate (cid:90)it(cid:75) many artists, designers, linguists, engineers, and t(cid:75)eir s(cid:83)onsors to reali(cid:93)e small scale and large scale arts (cid:83)ro(cid:77)ects. As an Arc(cid:75)itectural Design (cid:40)ngineer for Art (cid:53)esearc(cid:75) (cid:38)ollaboration, (cid:44) s(cid:75)ado(cid:90)ed land artist (cid:37)etty (cid:37)eaumont in t(cid:75)e creation of (cid:179)(cid:47)ost (cid:38)ultures, Found (cid:57)oices(cid:180), a large scale geometric (cid:83)ublic art scul(cid:83)ture. As an Assistant at (cid:47)andmar(cid:78)s, t(cid:75)e (cid:83)ublic art (cid:83)rogram at (cid:56)(cid:55) Austin, (cid:44) (cid:75)a(cid:89)e (cid:75)ad t(cid:75)e o(cid:83)(cid:83)ortunity to organi(cid:93)e t(cid:75)e installation of (cid:179)(cid:40)(cid:50)(cid:49)(cid:180) a site s(cid:83)ecific (cid:89)ideo art(cid:90)or(cid:78) by (cid:45)ennifer (cid:54)tein(cid:78)am(cid:83) as (cid:90)ell as (cid:179)An (cid:44)nter(cid:89)al of (cid:55)ime(cid:180) by (cid:48)oni(cid:78)a (cid:37)ra(cid:89)o. (cid:48)y e(cid:91)(cid:83)eriences (cid:75)a(cid:89)e gi(cid:89)en me first(cid:75)and insig(cid:75)t on t(cid:75)e e(cid:91)ecution of art (cid:83)ro(cid:77)ects from t(cid:75)e design (cid:83)(cid:75)ase to on site installation, and s(cid:83)ea(cid:78)s to(cid:90)ards my (cid:83)re(cid:83)aredness to design and fabricate a (cid:90)or(cid:78) of art crafted for t(cid:75)e (cid:83)ublic eye. (cid:55)o me (cid:83)ublic art is about creating equity, inclusi(cid:89)ity, and accessibility. (cid:55)(cid:75)ese are (cid:89)alues t(cid:75)at (cid:44) aim to u(cid:83)(cid:75)old in my (cid:83)ractice. (cid:44)n a city li(cid:78)e Austin, t(cid:75)at is constantly e(cid:89)ol(cid:89)ing, it is im(cid:83)ortant to cling tig(cid:75)t to t(cid:75)ese (cid:89)alues (cid:90)(cid:75)en creating ne(cid:90) (cid:83)ublic art for t(cid:75)e city. Statement from Andr Fuqua Short Answer Question (cid:22) / Respuesta corta a la Pregunta (cid:22) (cid:44) (cid:90)as born in (cid:54)t. (cid:47)ouis, (cid:48)(cid:50) and raised bet(cid:90)een t(cid:75)e (cid:48)id(cid:90)est and t(cid:75)e (cid:37)lac(cid:78) (cid:37)elt region of Alabama. (cid:47)i(cid:89)ing life bet(cid:90)een t(cid:75)e rural (cid:54)out(cid:75), suburban (cid:48)id(cid:90)est, and urban e(cid:83)icenters, (cid:44) (cid:75)a(cid:89)e e(cid:91)(cid:83)erienced t(cid:75)e (cid:83)(cid:75)ysical and (cid:83)syc(cid:75)ological c(cid:75)anges associated (cid:90)it(cid:75) migration in America. Pulling from remnants of my sout(cid:75)ern (cid:75)eritage, my (cid:90)or(cid:78) e(cid:91)(cid:83)lores (cid:89)isibility, s(cid:83)ace, ot(cid:75)erness, and (cid:83)o(cid:90)er. (cid:44) use ra(cid:90) construction materials li(cid:78)e concrete, steel, and (cid:90)ood to comment on social structures and t(cid:75)e built en(cid:89)ironment. (cid:55)(cid:75)roug(cid:75) t(cid:75)e mani(cid:83)ulation of motifs, my (cid:90)or(cid:78) e(cid:91)(cid:83)lores erasing and e(cid:91)(cid:83)osing t(cid:75)roug(cid:75) use of cultural symbols. (cid:44) am interested in (cid:75)o(cid:90) ob(cid:77)ects and ideas are transferred from (cid:83)lace to (cid:83)lace, and (cid:75)o(cid:90) symbolisms are maintained or (cid:90)i(cid:83)ed a(cid:90)ay in t(cid:75)e (cid:83)rocess. (cid:44) c(cid:75)allenge (cid:89)ie(cid:90)ers to question t(cid:75)e assumed symbolism attac(cid:75)ed to my art(cid:90)or(cid:78)s and contem(cid:83)late (cid:90)(cid:75)at is (cid:89)isible and (cid:90)(cid:75)at is in(cid:89)isible. Statement from Andr Fuqua Short Answer Question (cid:23) / Respuesta corta a la Pregunta (cid:23) (cid:44)n t(cid:75)e (cid:83)ast, (cid:44) (cid:75)a(cid:89)e com(cid:83)leted (cid:83)ro(cid:77)ects in communities in bot(cid:75) (cid:38)(cid:75)icago and (cid:49)e(cid:90) (cid:60)or(cid:78) (cid:38)ity. (cid:44)n (cid:38)(cid:75)icago, (cid:44) (cid:90)as selected to be (cid:83)art of t(cid:75)e grou(cid:83) e(cid:91)(cid:75)ibition (cid:54)(cid:75)ared (cid:43)istory at (cid:38)(cid:75)icago(cid:182)s (cid:54)out(cid:75)side (cid:38)ommunity Arts (cid:38)enter, t(cid:75)e first (cid:37)lac(cid:78) arts museum in t(cid:75)e (cid:56)nited (cid:54)tates. (cid:55)(cid:75)e goal of t(cid:75)is e(cid:91)(cid:75)ibition (cid:90)as to celebrate t(cid:75)e (cid:75)istory of t(cid:75)e museum and its relations(cid:75)i(cid:83) to (cid:54)out(cid:75)side (cid:38)(cid:75)icago. (cid:44)n (cid:49)e(cid:90) (cid:60)or(cid:78), (cid:44) (cid:90)as c(cid:75)osen to be a (cid:83)art of FA(cid:37) Fulton(cid:182)s A(cid:53)(cid:55)(cid:22)(cid:25)(cid:19)(cid:131). (cid:55)(cid:75)is annual e(cid:89)ent aims to s(cid:75)o(cid:90)case t(cid:75)e cultural ca(cid:83)ital of Fort (cid:42)reene, (cid:37)roo(cid:78)lyn and su(cid:83)(cid:83)orts emerging artists (cid:90)it(cid:75)in t(cid:75)e Fort (cid:42)reene community. (cid:44) (cid:83)artnered (cid:90)it(cid:75) (cid:37)aba (cid:38)ool (cid:38)afé to com(cid:83)lete a li(cid:89)e (cid:90)indo(cid:90) mural (cid:83)ainting on t(cid:75)e restaurant(cid:182)s storefront. (cid:37)ot(cid:75) of t(cid:75)ese art (cid:83)ro(cid:77)ects allo(cid:90)ed me to gain understanding of (cid:75)o(cid:90) to create art t(cid:75)at engages and res(cid:83)onds to t(cid:75)e community it ser(cid:89)es. (cid:44) feel as t(cid:75)oug(cid:75) community engagement is a central (cid:83)rinci(cid:83)le in creating art t(cid:75)at ins(cid:83)ires and re(cid:83)resents t(cid:75)e (cid:83)ublic t(cid:75)at it ser(cid:89)es. (cid:44) mo(cid:89)ed to Austin in 2(cid:19)1(cid:28), and since my arri(cid:89)al (cid:75)a(cid:89)e e(cid:91)(cid:83)erienced first(cid:75)and t(cid:75)e im(cid:83)ortance of establis(cid:75)ing connections (cid:90)it(cid:75)in my community and s(cid:83)aces t(cid:75)at embrace creati(cid:89)ity and artistic e(cid:91)(cid:83)ression in t(cid:75)e city. (cid:44) (cid:90)ould li(cid:78)e to be a (cid:83)art of t(cid:75)e A(cid:44)PP 2(cid:19)21(cid:16)2(cid:19)2(cid:22) Pre(cid:16)(cid:52)ualified Artist Pool to (cid:75)a(cid:89)e t(cid:75)e o(cid:83)(cid:83)ortunity to create a (cid:83)ublic (cid:90)or(cid:78) of art t(cid:75)at reflects Austin(cid:182)s e(cid:89)ol(cid:89)ing landsca(cid:83)e and s(cid:75)o(cid:90)cases t(cid:75)e di(cid:89)ersity t(cid:75)at e(cid:91)ists in t(cid:75)e city. As an acti(cid:89)e (cid:83)artici(cid:83)ant in Austin(cid:10)s e(cid:89)olution and gro(cid:90)t(cid:75), (cid:44) am interested in ele(cid:89)ating ne(cid:90) landsca(cid:83)es (cid:90)(cid:75)ile also gi(cid:89)ing res(cid:83)ect to s(cid:83)aces t(cid:75)at continue to contribute to Austin(cid:10)s ric(cid:75) (cid:75)istory. (512)-987-9572  www.catielewis.com  hello@catielewis.com  Austin, TX  @catiegl.art  Artist & Muralist   Catie Lewis is a self taught artist and muralist based in Austin, TX.   She began practicing art professionally in 2019 and has stretched her capabilities  across many styles and mediums since then. Catie has exhibited work through Big  Medium’s Austin Studio Tour and participated in artist residencies with Texas  based non-profits BossBabesATX and Deeds Not Words. She’s painted murals for  Austin businesses like EleMINT Skin and Shag Salon as well as large corporations  such as Lexus.  Exhibition History  2020 2020 2019 - - “ - The Cathedral ATX - Austin, TX  “Holiday Art Pop-Up”, ​ Virtual Gallery - Austin, TX  Austin Studio Tour”, ​ , Austin Film School - Austin, TX  “East Austin Studio Tour” ​       Publications     2020 - Artist Talk : “On Art, Money And Running A Business: A Conversation  With Catie Lewis” , Boss Babes ATX  “On Pushing Yourself And Painting What You Know: Catie  2020- Interview: Lewis” , Boss Babes ATX  2020- Zine: “What We Need To Do Our Best Work”, Boss Babes ATX  2020 - 3 | The Search for Cultural Identity and her  Podcast Episode: Adoption Reunion with Catie Lewis, In Bold Company  2020 - Feature: , Deeds Not Words  Artist is Residence Catie Lewis ​ 2020 - Interview: Calli Fleming, Austin’s Catie Lewis Grows Her Art Career  “ ​ , ” With Community ​ ​ Glass Staircase   2019 - Austin Film School  , 2019 E.A.S.T. ARTIST HIGHLIGHT | Catie Lewis ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ ​ Image List for catie lewis 70's Flowers Mural, 2019 Paint Dimensions Vary Shag Salon, austin, tx Budget: $400 70's Stripes Mural, 2019 Paint Dimensions Vary Shag Salon, Austin, TX Budget: $600 lewis01.JPG lewis02.JPG "Better Days Ahead" Mural, 2020 Paint Dimensions Vary 6th Street, Austin, TX Budget: $700 lewis03.JPG "Monstera" Mural, 2019 Paint Dimensions Vary Austin, TX Budget: $800 Document created by PublicArtist.org Page 1 of 3, catie lewis lewis04.JPG "Path Back Home", 2020 Oil Paint Dimensions Vary Budget: $1,200 lewis05.JPG "Tiny Tats ATX" Mural, 2020 Paint Dimensions Vary Austin, TX Budget: $3,000 lewis06.JPG 'Huriyali' Mural, 2019 Paint Dimensions Vary Charleston, SC Budget: $1,000 lewis07.JPG Document created by PublicArtist.org Page 2 of 3, catie lewis Statement from catie lewis Short Answer Question 1 / Respuesta corta a la Pregunta 1 (cid:48)y name is (cid:38)atie (cid:47)ewis and (cid:44)(cid:10)m a self taug(cid:75)t artist based in Austin, (cid:55)(cid:59). (cid:58)(cid:75)ile (cid:44) don(cid:10)t (cid:75)a(cid:89)e traditional training in t(cid:75)e arts, (cid:44) definitely ta(cid:78)e (cid:83)ride in all (cid:44)(cid:10)(cid:89)e learned so far in t(cid:75)e (cid:83)ast 2 years of my art (cid:83)ractice. (cid:44) too(cid:78) some time e(cid:91)(cid:83)erimenting wit(cid:75) different styles and mediums and e(cid:91)(cid:83)loring (cid:89)arious sub(cid:77)ect matter and tecn(cid:75)i(cid:84)ue. (cid:58)(cid:75)ile (cid:44) li(cid:78)e a bit of e(cid:89)eryt(cid:75)ing, (cid:44) mostly s(cid:83)eciali(cid:93)e in realistic oil (cid:83)aintings, abstract line drawing and large scale murals(cid:4) (cid:48)y (cid:83)ersonal wor(cid:78) draws ins(cid:83)iration from my (cid:41)ili(cid:83)ino (cid:75)eritage, (cid:83)eo(cid:83)le in my life and my current surroundings. (cid:38)reating wor(cid:78)s t(cid:75)at (cid:75)ig(cid:75)lig(cid:75)t women emboldened by color and elements rooted in t(cid:75)eir culture is my current concentration. (cid:43)a(cid:89)ing a mi(cid:91) of abstract and realism and balancing t(cid:75)ose styles in one (cid:83)iece is c(cid:75)allenging yet ma(cid:78)es for a (cid:89)ery intimate (cid:83)rocess. (cid:44) also create murals for local businesses and (cid:75)omes in town to (cid:75)el(cid:83) ot(cid:75)ers beautify t(cid:75)eir s(cid:83)ace. (cid:48)y clients (cid:75)a(cid:89)e included Austin businesses suc(cid:75) as (cid:40)le(cid:48)(cid:44)(cid:49)(cid:55) (cid:54)(cid:78)in, non (cid:83)rofits suc(cid:75) as Deeds (cid:49)ot (cid:58)ords and large com(cid:83)anies suc(cid:75) as (cid:47)e(cid:91)us. (cid:41)or t(cid:75)ese, (cid:44) lend my creati(cid:89)ity to eac(cid:75) client and t(cid:75)eir own (cid:89)ision(cid:16) t(cid:75)oug(cid:75) (cid:44) lo(cid:89)e t(cid:75)ese wor(cid:78)s (cid:77)ust as muc(cid:75) as (cid:44) do my (cid:83)ersonal (cid:83)ieces. (cid:44) lo(cid:89)e t(cid:75)e c(cid:75)allenge but also t(cid:75)e (cid:83)layfulness of getting to use bold colors and fun(cid:78)y designs. Statement from catie lewis Short Answer Question (cid:21) / Respuesta corta a la Pregunta (cid:21) (cid:44)(cid:10)(cid:89)e collaborated wit(cid:75) many organi(cid:93)ations in t(cid:75)e (cid:83)ast few years to create functional murals meant to be a catalyst for (cid:83)ublic action, awareness or e(cid:89)en su(cid:83)(cid:83)ort. (cid:54)ome (cid:83)ro(cid:77)ects (cid:75)a(cid:89)e included my wor(cid:78) wit(cid:75) (cid:55)e(cid:91)as non(cid:16)(cid:83)rofit Deeds (cid:49)ot (cid:58)ords, w(cid:75)ere (cid:44) (cid:83)ainted a (cid:83)ortable mural s(cid:83)reading awareness about t(cid:75)e 2(cid:19)2(cid:19) (cid:38)ensus to be used at can(cid:89)asing e(cid:89)ents and encourage (cid:83)artici(cid:83)ation in marginali(cid:93)ed communities as well as Austin non(cid:16)(cid:83)rofit, (cid:43)(cid:50)P(cid:40) (cid:38)am(cid:83)aign on t(cid:75)eir (cid:6)(cid:43)o(cid:83)e(cid:41)or(cid:43)ealt(cid:75) (cid:38)am(cid:83)aign w(cid:75)ere (cid:44) was commissioned to (cid:83)aint a mural on boarded u(cid:83) businesses downtown in res(cid:83)onse to t(cid:75)e (cid:38)(cid:50)(cid:57)(cid:44)D(cid:16)1(cid:28) outbrea(cid:78) as a way to comfort and (cid:83)ro(cid:89)ide (cid:75)o(cid:83)e to locals and (cid:83)asserby(cid:10)s. (cid:44) t(cid:75)in(cid:78) it(cid:10)s (cid:83)ro(cid:77)ects li(cid:78)e t(cid:75)ese t(cid:75)at really ma(cid:78)e my (cid:77)ob as a muralist t(cid:75)e fulfilling career t(cid:75)at (cid:44) find it to be. (cid:58)(cid:75)ile e(cid:89)ery (cid:83)iece of art or client (cid:83)ro(cid:77)ect (cid:75)as t(cid:75)eir own (cid:83)ur(cid:83)ose, it (cid:75)as been t(cid:75)e murals meant for (cid:83)rogression, c(cid:75)ange and (cid:83)ublic engagement t(cid:75)at tend to (cid:75)a(cid:89)e t(cid:75)e biggest im(cid:83)act on me and t(cid:75)e community (cid:44) belong to. (cid:44) am and always (cid:75)a(cid:89)e been a firm belie(cid:89)er in art being for ot(cid:75)ers and somet(cid:75)ing t(cid:75)at can be used to s(cid:83)ar(cid:78) t(cid:75)e (cid:78)ind of c(cid:75)ange t(cid:75)at words cannot. Public art (cid:75)as been my continuous o(cid:83)(cid:83)ortunity to use my s(cid:78)ills and e(cid:91)(cid:83)ress t(cid:75)is belief. (cid:49)ot(cid:75)ing is more gratifying as an artist, to me, t(cid:75)an (cid:78)nowing your wor(cid:78) (cid:75)as affected (cid:83)eo(cid:83)le. (cid:40)(cid:89)en if (cid:77)ust one (cid:83)erson. (cid:55)(cid:75)at(cid:10)s w(cid:75)at (cid:83)ublic art (cid:75)as become for me. (cid:48)y (cid:83)ractice (cid:75)as grown ten(cid:16)fold in t(cid:75)e (cid:83)ast two years because of (cid:83)ublic art. (cid:55)(cid:75)e (cid:83)rocess is (cid:84)uite different at times t(cid:75)an t(cid:75)e (cid:83)rocess (cid:44) use w(cid:75)en a(cid:83)(cid:83)roac(cid:75)ing (cid:83)ersonal wor(cid:78). (cid:44)t almost becomes a mission to do t(cid:75)e most good, w(cid:75)ic(cid:75) (cid:75)as stretc(cid:75)ed bot(cid:75) my artistic abilities and my role as a citi(cid:93)en to ma(cid:78)e my en(cid:89)ironment a better (cid:83)lace. Statement from catie lewis Short Answer Question (cid:22) / Respuesta corta a la Pregunta (cid:22) (cid:44) t(cid:75)in(cid:78) a guiding t(cid:75)eme in my artistic (cid:83)ractice is my identity as a woman of color in America and w(cid:75)at it means to e(cid:91)(cid:83)lore t(cid:75)at as a young adult. (cid:48)y (cid:83)ersonal wor(cid:78) consists of a lot of (cid:41)ili(cid:83)ino elements suc(cid:75) as tro(cid:83)ical trees, t(cid:75)e ocean and tribal clot(cid:75)ing. (cid:41)emininity is a (cid:75)uge conce(cid:83)t t(cid:75)at (cid:44)(cid:10)m e(cid:91)(cid:83)loring in correlation wit(cid:75) t(cid:75)is(cid:16) including female (cid:83)ortraiture, nati(cid:89)e flowers, certain (cid:83)oses and com(cid:83)ositions. (cid:44) tend to wor(cid:78) on larger surfaces wit(cid:75) e(cid:89)ery (cid:83)ro(cid:77)ect because (cid:44) (cid:75)a(cid:89)e more room to e(cid:91)(cid:83)ress my t(cid:75)oug(cid:75)ts and stories. (cid:53)ig(cid:75)t now, oil (cid:83)aint is t(cid:75)e main medium (cid:44) use to accom(cid:83)lis(cid:75) t(cid:75)ese (cid:83)ieces because t(cid:75)e bold, raw color really brings a (cid:83)ainting to life. Statement from catie lewis Short Answer Question (cid:23) / Respuesta corta a la Pregunta (cid:23) (cid:58)or(cid:78)ing wit(cid:75) my community at large as well as t(cid:75)e creati(cid:89)e community w(cid:75)ere (cid:44) li(cid:89)e (cid:75)as literally s(cid:83)ar(cid:78)ed and sustained my art (cid:83)ractice. (cid:44) gi(cid:89)e ot(cid:75)ers all of t(cid:75)e credit for t(cid:75)e o(cid:83)(cid:83)ortunities and (cid:83)ro(cid:77)ects t(cid:75)at (cid:44) (cid:75)a(cid:89)e come across in my still(cid:16)new creati(cid:89)e career. (cid:37)efore mo(cid:89)ing to Austin, (cid:44) (cid:75)ad no real (cid:83)ractice. (cid:44) (cid:75)ad always lo(cid:89)ed art as a (cid:75)obby, but it wasn(cid:10)t until (cid:44) arri(cid:89)ed in a city (cid:41)(cid:44)(cid:47)(cid:47)(cid:40)D wit(cid:75) creati(cid:89)e (cid:83)eo(cid:83)le and decorated wit(cid:75) colorful murals t(cid:75)at (cid:44) was encouraged enoug(cid:75) to start (cid:83)ainting again. (cid:58)it(cid:75) t(cid:75)e abundance of o(cid:83)(cid:83)ortunities for creati(cid:89)es of any (cid:78)ind and any s(cid:78)ill, (cid:44) was able to ste(cid:83) foot into t(cid:75)e art mar(cid:78)et community w(cid:75)ere (cid:44) sold (cid:83)rints and a(cid:83)(cid:83)arel wit(cid:75) my line drawings. (cid:44) was able to meet so many great (cid:83)eo(cid:83)le and su(cid:83)er talented artists w(cid:75)o moti(cid:89)ated me to e(cid:91)(cid:83)and my (cid:83)ractice (cid:83)ast drawing and di(cid:89)e into (cid:83)ainting. (cid:58)it(cid:75) t(cid:75)e connections (cid:44) (cid:75)ad made around town and on social media, (cid:44) was as(cid:78)ed to (cid:83)aint (cid:75)omes and businesses. Peo(cid:83)le (cid:44) ne(cid:89)er (cid:78)new before were as(cid:78)ing to (cid:83)urc(cid:75)ase my (cid:83)ieces e(cid:89)en w(cid:75)en (cid:44), myself, didn(cid:10)t feel li(cid:78)e (cid:44) (cid:75)ad t(cid:75)e traditional art bac(cid:78)ground needed to do cool t(cid:75)ings li(cid:78)e t(cid:75)is. (cid:44) definitely lac(cid:78)ed a bit of confidence from being a self taug(cid:75)t artist, and still sometimes feel t(cid:75)at way today. (cid:37)ut t(cid:75)an(cid:78)fully, t(cid:75)e wor(cid:78) (cid:44)(cid:10)(cid:89)e done for community engagement and t(cid:75)e (cid:83)eo(cid:83)le w(cid:75)o (cid:75)a(cid:89)e gi(cid:89)en me t(cid:75)e s(cid:83)ace to create (cid:75)a(cid:89)e really moti(cid:89)ated me to go forward as an artist and create w(cid:75)at (cid:44) find to be beautiful. All of my combined e(cid:91)(cid:83)eriences also remind me to be t(cid:75)at (cid:75)el(cid:83)ing (cid:75)and for ot(cid:75)er artists (cid:44) come across. (cid:44)t(cid:10)s t(cid:75)is cycle t(cid:75)at really benefits our community t(cid:75)e mosts and allows for ama(cid:93)ing collaboration and t(cid:75)e furt(cid:75)er im(cid:83)ro(cid:89)ement (cid:9) beautification of our city.