Public Art - Nevada Arts Council
Public Art - Nevada Arts Council
Public Art - Nevada Arts Council
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Last update: August 2009<br />
PERCENT FOR ART - ARTISTS’ SERVICES LIST<br />
This list was created with the suggestions of artists and arts organizations. It is not an endorsement of<br />
the firms by any city agencies and is intended for informational purposes only. Contact the Percent for<br />
<strong>Art</strong> Program in New York City with any additions to or comments on this list.<br />
PROFESSIONAL SERVICES<br />
APPRAISERS<br />
Denise Levy, <strong>Art</strong> Find Associates<br />
135 Central Park West #2S<br />
NY, NY 10023<br />
Phone: (212) 595-5267<br />
Email: djjl@nyc.rr.com<br />
Website: www.artregister.com/artfind.html<br />
O' Toole-Ewald <strong>Art</strong> Asscociates, Inc. (Attn: Mrs. Ewald)<br />
1133 Broadway<br />
NY, NY 10010<br />
Phone: (212) 989-5151<br />
Fax: (212) 242-1629<br />
Website: Otoole-ewald.com<br />
ENGINEERS<br />
To obtain information on a specific engineer or to<br />
find out if the company is NYS licensed, call or write<br />
to:<br />
Office of the Professions<br />
Cultural Education Center<br />
Albany, NY 12230<br />
Phone: (518) 474-3930<br />
Email: op4info@mail.nysed.gov<br />
Thomas E. King Jr.<br />
Phone: (518) 474-3846<br />
Fax: (518) 474-6375<br />
Email: enginbd@mailnysed.gov<br />
Architectural Engineering:<br />
William Martin<br />
Phone: (518) 474-3319<br />
Fax: (518) 473-0578<br />
Email: archbd@mail.nysed.gov<br />
Consulting engineers:<br />
Leonard Busch Associates<br />
1239 Parkway Ave.<br />
Trenton, NJ 08628<br />
Phone: (609) 771-6900<br />
Fax: (609) 771-9085<br />
Email: rbusch@lbusch.com<br />
Lucius Pitkin, Inc.<br />
50 Hudson St. 4 th Floor<br />
NY, NY 10013<br />
Phone: (212) 233-2737<br />
Fax: (212) 406-1417<br />
Email: info@lpliny.com<br />
Website: www.luciuspitkin.com<br />
Richard Donald Consulting<br />
1270 Avenue of the Americas, Suite 2703<br />
NY, NY 10020<br />
Phone: (212) 332-7530<br />
Fax: (212) 332-7539<br />
Robert Silman Assocs PC<br />
88 University Pl., 10 th Floor<br />
NY, NY 10003<br />
Phone: (212) 620-7970<br />
Fax: (212) 620-8157<br />
Website: rsacp.com<br />
David Kufferman, P.E.<br />
2523 North Benson Road<br />
Fairfield, CT 06430<br />
Phone: (203) 256-1712<br />
Fax: (203) 259-1420<br />
Email: dkufferman@aol.com<br />
Bruce Merdjan<br />
Advanced Professional Engineering, P.C.<br />
21 Dunham Place<br />
Brooklyn, NY 11211-5908<br />
Phone: (718) 387-7527<br />
INSURANCE CARRIERS<br />
Acordia Inc. (Attn: Ellen Ross)<br />
330 Madison Ave. 7 th Floor<br />
NY, NY 10017<br />
Phone: (212) 682-7500<br />
1
Fax: (212) 682-1043<br />
Email: ellen_ross@acordia.com<br />
CIMP/LP insurance services<br />
Santa Monica, CA 90403<br />
PO Box 3988 torrance. CA 90501-3988<br />
Website: www.acordia.com<br />
Phone: 310-257-0029<br />
Thomson & Pratt Insurance Associates, Inc.<br />
626 South Spring Street<br />
Los Angeles, CA 90014<br />
Phone: (213)614-0600/ (877) 334-6327 [toll-free]<br />
Fax: (213) 614-0608<br />
Email: fineartguy@aol.com<br />
Website: Fineartguy.com<br />
Huntington T. Block (Attn: Shannon Hopkins, artist<br />
policy)<br />
1120 20 th St. North West, 6 th Floor<br />
Washington, DC 20036<br />
Phone: (866) 692-4565<br />
Fax: (646) 485-7187<br />
Email: info@huntingtontblock.com<br />
Website: Huntingtontblock.com<br />
The Craftsman Protection (Attn: Rena Martinez)<br />
11300 Rockville Pike, Ste. 500<br />
Rockville, MD 20852<br />
Phone: (800) 638-2610 or (301) 816-0045 ext. 103<br />
Craig M. Ferguson & Co.<br />
Hollypond Plaza<br />
1281 East Main St.<br />
Stamford, CT 06902<br />
Phone: (203) 351-8600<br />
Fax: (203) 351-8601<br />
Trinder & Norwood<br />
Div. of <strong>Art</strong>hur J. Gallagher & Co. of NY, Inc.<br />
2 Gannett Dr.<br />
White Plains, NY 10604<br />
Phone: (914) 696-3700<br />
Fax: (914) 696-1010<br />
LAWYERS<br />
Volunteer Lawyers for the <strong>Art</strong>s<br />
1 East 53 rd St., 6 th Floor<br />
The Paley Building<br />
NY, NY 10022<br />
Phone: (212) 319-2787 ext. 1<br />
Fax: (212) 752-6575<br />
Website: www.vlany.org<br />
CONSULTANTS<br />
Metro Area Sales (Attn: Mark Plavin)<br />
960 South Broadway, Suite 130<br />
Hicksville, NY 11801<br />
Phone: (516) 933-9330<br />
Fax: (516) 933-9401<br />
Website: www.metroltg.com<br />
TECHNICAL SERVICES<br />
GENERAL CONSERVATORS<br />
Intermuseum Conservation Association Attention:<br />
Albert Albano<br />
2915 Detriot Avenue<br />
Cleveland, OH 44113<br />
Phone: (216) 658-8700<br />
Fax: (216) 658-8709<br />
www.ica-artconservation.org<br />
Fractured Atlas<br />
248 West 35 th Street, Suite 1202<br />
New York, NY 10001<br />
(212) 277-8020<br />
www.fracturedatlas.org<br />
Global Coverage<br />
9 East 37 th St.<br />
NY, NY 10016-2897<br />
Phone: (212) 683-2622<br />
Fax: (212) 779 7731<br />
www.globalcoverage.net<br />
Rust Insurance Agency<br />
910 17 th St., NW , 9 th FLoor<br />
Washington, DC 20006<br />
Phone: (202) 776-5000<br />
Fax: (202) 776-5035<br />
Website: Rustinsurance.com<br />
PAPER CONSERVATORS<br />
Orrin H. Riley, Ltd. Fine <strong>Art</strong> Conservation<br />
Susanne Schnitzer)<br />
361 W.36 th Street<br />
New York, NY 10018<br />
Phone: (212) 695-1322<br />
Fax: (212)695-7772<br />
Northeast Document Conservation Center<br />
Russell)<br />
16 Haverhill St.<br />
Andover, MA 01810<br />
Phone: (978) 470-1010<br />
Fax: (978) 475-6021<br />
Email: annr@nedcc.org<br />
Website: www.nedcc.org<br />
(Attn:<br />
(Attn: Ann<br />
2
ARTcare, Inc. (Attn: Laura Stirton Aust)<br />
226 Elderwood Ave.<br />
Pelham, NY 10803<br />
Phone: (914) 712-3121<br />
Fax:(914) 712-3123<br />
Email: artcare@ibm.net<br />
Williamstown Regional <strong>Art</strong> Conservation Lab. (Attn:<br />
Thomas Branchick)<br />
225 South St.<br />
Williamstown, MA 01267<br />
Phone: (413) 458-5741<br />
Fax: (413) 458-2314<br />
Email: wacc@williamstownart.org<br />
Ms. Andrea Pitsch<br />
348 W. 36 th Street, 11 th Fl.<br />
NY, NY 10018<br />
Phone: (212) 594-9676<br />
Email: apnyc@rcn.com<br />
PAINTING CONSERVATORS<br />
Williamstown Regional <strong>Art</strong> Conservation Lab. (Attn:<br />
Thomas Branchick)<br />
225 South St.<br />
Williamstown, MA 01267<br />
Phone: (413) 458-5741<br />
Fax: (413) 458-2314<br />
Email: wacc@williamstownart.org<br />
Luca Bonetti<br />
154 West 18 th St. #2A<br />
NY, NY 10011<br />
Phone: (212) 243-2522<br />
Fax: (212) 807-9752<br />
Email: lucabonetti@gmail.com<br />
Farancz Painting Conervation. Studio (Attn: Alan<br />
Farancz)<br />
361 W. 36 th St., 2 nd floor<br />
NY, NY 10018<br />
Phone: (212) 563-5550<br />
Fax: (212) 947-1186<br />
Email: ig8801@gmail.com<br />
Appelbaum & Himmelstein (Attn: Paul<br />
Himmelstein)<br />
444 Central Park West<br />
NY, NY 10025<br />
Phone: (212) 666-4630<br />
Email: aandH@mindspring.com<br />
Rustin Levenson <strong>Art</strong> Conervation. Assoc. (Attn: Harriet<br />
Irgang)<br />
544 W. 27 th St., Fl. 5<br />
NY, NY 10001<br />
Phone: (212) 594-8862<br />
Fax: (212) 594-8583<br />
Email: rlaca@mindspring.com<br />
Sherman <strong>Art</strong> Conservation Studio<br />
Sherman)<br />
221 Sea Cliff Ave.<br />
Sea Cliff, NY 11579<br />
Phone: (516) 671-9435<br />
Fax: (516) 671-9435<br />
Website: Holistocopia.com<br />
Charles Von Nostitz<br />
361 W. 36 th St., 9 th Ave<br />
NY, NY 10001<br />
Phone: (212) 465-9837<br />
Fax: (212) 967-9985<br />
Email: cvnpaintings@earthlink.net<br />
(Attn: Jonathan<br />
ARCHITECTURAL CONSERVATORS<br />
Jablonski Berkowitz Conservation, Inc.<br />
40 W. 27 th St. Ste. 1201<br />
NY, NY 10001<br />
Phone: (212) 532-7775<br />
Fax: (212) 532-2188<br />
Email: info@jablonskiberkowitz.com<br />
Website: www.jablonskiberkowitz.com<br />
MOSAIC CONSERVATORS - please see mosaic<br />
fabricators<br />
SCULPTURE CONSERVATORS<br />
Stuart Dean, New York Division<br />
366 10 th Ave.<br />
NY, NY 10001-1499<br />
Phone: (212) 695-3180<br />
Fax: (212) 967-0988<br />
www.stuartdean.com<br />
Conservation Technical Associates<br />
Merke-Gould)<br />
22 Maple St., Unit B<br />
Ansonia, CT 06401<br />
Phone: (203) 226-3901<br />
Fax: (203) 222-2235<br />
Leslie Ransick Gat<br />
41 Union Square West<br />
New York, NY 10003<br />
Phone: (646) 230-7690<br />
(Attn: Kristen Lavan)<br />
(Attn: Linda<br />
3
Rika Smith McNally<br />
59 Fountain Street, Box 55<br />
Framingham, MA 01702<br />
Phone: (508) 620-2929<br />
Fax: (508) 620-2904<br />
www.sculpturecare.com<br />
rika.mcnally@verizon.net<br />
Kent Severson<br />
74 Fenway Plaza<br />
Boston, MA 02215-2518<br />
Phone: (617) 267-9093<br />
S.A.T., Inc. (Attn: Steve Tatti)<br />
117 E. 39 th St.<br />
NY, NY 10016<br />
Phone: (212) 867-8866<br />
Michael Morris<br />
303 West 66 th Street, #16FE<br />
Phone: (212) 396-5498<br />
michael.morris@metmuseum.org<br />
mdmorsz@hotmail.com<br />
STAINED GLASS CONSERVATORS<br />
Cohoes Design Glass Associates, Inc.<br />
Johnson)<br />
31 Ontario S.<br />
Cohoes, NY 12047<br />
Phone: (518) 233-1406<br />
Fax: (518) 233-1520<br />
(Attn: Nigel<br />
The Cummings Stained Glass Studios, Inc. (Attn: Ann<br />
Cummings)<br />
P. O. Box 427<br />
North Adams, MA 01247-0427<br />
Phone: (413) 664-6578<br />
Fax: (413) 664-6570<br />
Email: anncummings@cummingsstudio.com<br />
Website: Cummingsstudio.com<br />
Gil Studio, Inc. (Attn: Thomas Garcia)<br />
45 Washington St., suite 601<br />
Brooklyn, NY 11201<br />
Phone: (718) 254-9703<br />
Fax: (718) 254-9704<br />
Mr. Jim Hicks<br />
440 W. 24th St., apt. #10A<br />
NY, NY 10011<br />
Phone: (212) 929-6474<br />
Fax: (212) 989-0489<br />
Email: jimhicks@jim-hicks.com<br />
Website: www.qualitywindowrestoration.com<br />
Venturella Studio (Attn: Tom Venturella)<br />
32 Union Sq. E., 11th floor<br />
NY, NY 10003<br />
Phone: (212) 228-4252<br />
Fax: (212) 979-6679<br />
Email: info@venturellastudio.com<br />
Website: www.venturellastudio.com<br />
Victor Rothman for Stained Glass, Inc. (Attn: Victor<br />
Rothman)<br />
578 Nepperhan Ave.<br />
Yonkers, NY 10701<br />
Phone: 914-969-0919<br />
Fax: 914-237-2032<br />
Email: Vrothman@iwon.com<br />
CONCRETE CONSULTANTS<br />
Reginald D. Hough, FAIA<br />
Architectural Concrete Consultant<br />
14 North Chatworth Ave. #36<br />
Larchmont, NY 10538-2104<br />
Phone: (212) 245-0139<br />
Fax: (212) 245-0139<br />
FABRICATORS<br />
CONCRETE AND CEMENT<br />
Concrete Concepts Inc. (Attn: Amadeo Cilli)<br />
62 Voorhis Lane<br />
Hackensack, NJ 07601<br />
Phone: (201) 488-2968<br />
Fax: (201) 488-2476<br />
Email: acilli@aol.com<br />
Website: www.concreteconcepts.com<br />
CKR Construction (Attn: Richard Barbadillo)<br />
247 Driggs Avenue<br />
Brooklyn, NY 11222<br />
Phone: (718) 384-9191<br />
Fax: (718) 384-5832<br />
FGI Corporation<br />
1901 Amethyst St.<br />
Bronx, NY 10462<br />
Phone: (718) 824-0264<br />
Fax: (718) 824-9438<br />
info@FGIconstruction.com<br />
Website: www.fgicorporation.com<br />
David Kucera Inc. Architectural Sculpture (concrete<br />
casting, exterior)<br />
39 Steve’s Lane<br />
Gardiner, NY 12525<br />
Phone: (845) 255-1597<br />
Fax: (845) 255-1597<br />
Email: dki@hvi.net<br />
Website: www.davidkucerainc.com<br />
4
Londino Stone (cast concrete)<br />
3621 Provost Ave.<br />
Bronx, NY 10466<br />
Phone: (718) 324-1439<br />
Fax: (718) 9940-1760<br />
Continental Cast Stone (Attn: Mike Swain,<br />
Production Manager)<br />
400 Cooper Road<br />
West Berlin, NJ 08091<br />
Phone: (856) 753-4000<br />
Fax: (856) 753-8711<br />
Email: sales@caststone.net<br />
Website: www.caststone.net<br />
Sculpture House Casting (also bronze, fiberglass and<br />
plaster)<br />
155 W. 26th St.<br />
NY, NY 10001<br />
Phone: (212) 645-9430<br />
Fax: (212) 645-3717<br />
Email: info@sculptshop.com<br />
Website: Sculptshop.com<br />
BRICK<br />
Belden Brick (sales & service)<br />
386 Park Avenue South<br />
New York, NY 10016<br />
Phone: 212-686-3939 x5812<br />
Fax: 212-686-4287<br />
Direct: 646-277-5812<br />
Cell: 347-723-9419<br />
Email: kris@njnjbrick.com<br />
Contact: Kristopher Lazaroff<br />
GENERAL FABRICATORS<br />
Firebrand Studio<br />
Brooklyn, NY<br />
Michael Talley<br />
Matt Pozorski (all types of fabrication services –<br />
casting in various materials)<br />
PO Box 739<br />
Phillipsport, NY 12769<br />
Phone: (845) 888-0127<br />
NYU Sculpture Department, Metalworks (welding,<br />
casting, restoration)<br />
34 Stuyvesant St.<br />
NY, NY 100-7599<br />
Phone: (212) 998-5760<br />
Fax: (212) 460-5898<br />
John de Lorenzo-Bros. Welding<br />
43 Grand Street<br />
New York, NY 10013<br />
Phone: (212) 925- 2985<br />
Fabrication Specialty Limited<br />
527 S. Portland St.<br />
Seattle, WA 98108<br />
Phone: (206) 763-8292<br />
Fax: (206) 768-0107<br />
Email: Fsart@quest.net<br />
Flame Cut Steel Products Company, Inc.<br />
242-246 Bedford Ave.<br />
Brooklyn, NY 11211<br />
Phone: (718) 388-6822<br />
Fax: (718) 388-6934<br />
Michelle Greene (welding)<br />
Brooklyn Navy Yard, Bldg. 280, Studio 613<br />
Brooklyn, NY 11205<br />
Phone: (718) 852-9651<br />
Email: greenem@newschool.edu<br />
Kern/Rockenfield, Inc. (aluminum & steel fabrication)<br />
180 Classon Ave.<br />
Brooklyn, NY 11205<br />
Phone: (718) 230-7878<br />
Fax: (718) 230-5652<br />
Website: Kernrock.com<br />
David Klass (sculptor, metalwork, brass, copper,<br />
steel, welding)<br />
136 W. 24 th St.<br />
NY, NY 10011<br />
Phone: (212) 243-7633<br />
Fax: (212)924-4496<br />
Email: dklass@verizon.net<br />
Milgo <strong>Art</strong> Systems (Attn: Bruce Gitlin) (welding &<br />
casting)<br />
520 Morgan Ave.<br />
Brooklyn, NY 11222<br />
Phone: (718) 388-6476<br />
Fax: (718) 963-0614<br />
Email: milgomail@aol.com<br />
Gratz Industries (Attn: Bafil Blecher) (welding and<br />
polishing, pilates)<br />
1306 Queens Plaza South<br />
Long Island City, NY 11101-4988<br />
Phone: (718) 361-7774<br />
Fax: (718) 392-8281<br />
Email: info@pilates-gratz.com<br />
Website: www.gratzindustries.com<br />
5
Ostrom Glass and Metal Works<br />
2170 N. Lewis Avenue<br />
Portland, OR 97227<br />
Phone: (503) 281-6469<br />
Fax: (503) 284-9245<br />
Rogert Ostrom<br />
rostrom@spriitone.com<br />
Website: www.ostrom.us<br />
***India***<br />
SMS Associates (wood, bronze, steel and forge)<br />
Rte. 2 Box 794<br />
Sheperdstown, W. VA. 25443<br />
Phone: (304) 876-6622<br />
Fax: (304) 876-1611<br />
***Australia***<br />
3M Vinyl Products (Michael Kane local representative)<br />
Headquarters - 3M Commercial Graphics Division,<br />
Phone: (800) 953-3234 or (651) 733-1110<br />
FLOOR FABRICATORS<br />
*Armstrong World Industries (Attn: Mike Avery)<br />
2500 Columbia Avenue<br />
Lancaster, PA 17603<br />
Home: (860) 437-898<br />
Cell: (860) 463-3207<br />
Email: Mbavery@armstrong.com<br />
Website: www.armstrong.com<br />
*only fabricates, does not install.<br />
Global Floors (Attn: Theresa)<br />
470 Satelitte Boulevard NE Suite D<br />
Suwanee, GA 30024<br />
Phone: (718) 519-1987 (Theresa)<br />
Phone: (678) 715-6363<br />
Fax: (678) 714-6360<br />
Email: info@globalfloorsinc.com<br />
Website: www.globalfloorsinc.com<br />
Pyramid Floors (Attn: Bob Bond)<br />
Pyramid Floor Covering, Inc.<br />
62 West 39th Street, suite 1101<br />
New York, NY 10018<br />
Phone: 212-869-7599<br />
Fax: 212-869-7995<br />
Website: http://www.pyramidfloors.com/<br />
Culver Flooring (Attn: George Petersen)<br />
Culver Floor Covering Co., Inc.<br />
2411 Avenue X<br />
Brooklyn, NY 11235<br />
Phone: (718) 332-3434<br />
Fax: (718) 648-9286<br />
Website: http://www.culverfloors.org<br />
Consolidated Carpet (Attn: David White)<br />
45 West 25 th Street, 8 th Floor<br />
New York, NY 10010<br />
Phone: (212) 217-1335 (David White)<br />
Phone: (212) 226-4600<br />
Fax: (212) 226-4644<br />
Website: http://www.consolidatedcarpet.com<br />
LIGHTBOXES<br />
Clearr Corp<br />
6325 Sandburg Road<br />
Minneapolis, MN 55427<br />
Phone: (763) 398-5400<br />
Fax: (763) 398-5400<br />
Email: info@clearrcorp.com<br />
Website: www.clearrcorp.com<br />
MDI<br />
38271 W Twelve Mile Road<br />
Farmington Hills, MI 48331<br />
Phone: (248) 553-1900<br />
Fax: (248) 488 5700<br />
Toll-Free: (800) 228-8925<br />
Website: www.mdiworldwide.com<br />
Daytech<br />
70 Disco Road Toronto<br />
Ontario M9W 1L9<br />
Phone: (416) 398-5400<br />
Fax: (416) 675-7183<br />
Toll-Free: (877) 329-1907<br />
Email: info@daytechlimited.com<br />
Website: www.daytechlimited.com<br />
DSA Phototech<br />
16961 Central Avenue<br />
Carson, CA 90746<br />
Phone: (800) 327-3723 or (877) 305-4911 or (310)<br />
537-5000<br />
Website: www.dsaphototech.com<br />
Bowman Displays Digital Imaging<br />
648 Progress Avenue<br />
Munster, IN 46321<br />
Phone: (800) 922-9250<br />
Website: www.bwphoto.com<br />
Color 2000 (mural lightboxes)<br />
Phone: (415) 575-2020<br />
Website: www.color2000.com<br />
LIGHTING<br />
Illumivision Inc.<br />
7224 - 50th Street<br />
Edmonton, Alberta T6B 2J8<br />
Phone: (888) 705-1028<br />
Website: http://www.illumivision.com/contact<br />
6
ANODIZERS<br />
East West DyeCom, Inc. (Attn: Tamea Franco)<br />
5238 Peters Creek Rd.<br />
Roanoke, VA 24019<br />
Phone: (540) 362-1489<br />
WATER JET CUTTERS<br />
Arcadia Supply, Inc. (Attn: Allen Gates)<br />
67 Erie Blvd.<br />
Albany, NY 12204<br />
Phone: (518) 434-6213<br />
Fax: (518) 434-2527<br />
Jet Stream. (Attn: John Laessig)<br />
125 So. Front Street<br />
Colwyn, PA 19023<br />
Phone: (800) 416-1228 or (610) 532-6632<br />
Fax: (866) 260-7035<br />
Email: jetstream@jetstreammfg.com<br />
Frank Lally/Simtek<br />
21 DeForest<br />
Amityville, NY 11701<br />
Phone: (631) 842-3663<br />
Email: flally1@optonline.net<br />
FOUNDRIES<br />
Cavalier Renaissance Foundry, Inc. or Jozef Custom<br />
Ironworks (Attn: Jozef Witkowski)<br />
250 Smith St.<br />
Bridgeport, CT 06607<br />
Phone: (203) 384-6363<br />
Fax: (203) 336-5643<br />
PolichTallix LLC<br />
453 Route 17k<br />
Rock Tavern, NY 12575<br />
Phone: (845) 567-9464<br />
Fax: (845) 567-9327<br />
Website: polich.com<br />
Excalibur Bronze Sculpture Corporation<br />
Gold)<br />
309 Starr Street<br />
Brooklyn, NY 11237<br />
Phone: (718) 366-3444<br />
Fax: (718) 366-7927<br />
Website: Excaliburbronze.com<br />
(Attn: Bill<br />
ElliotGantz@cs.com<br />
Website: www.elliotgantz.com<br />
a.r.t. Research Enterprises, Inc.<br />
3050 Industry Dr.<br />
Lancaster, PA 17603<br />
Attn.: Becky Ault<br />
Phone: (717) 290-1303<br />
Fax: (717) 290-1309<br />
Email: mail@thinksculpture.com<br />
Website: www.thinksculpture.com<br />
Joel Meisner & Company or Meisner Gallery<br />
115 Schmitt Blvd.<br />
Farmingdale, NY 11735<br />
Phone: (631) 777-1711<br />
Fax: (631) 777-1107<br />
Website: meisnerart.com<br />
Modern <strong>Art</strong> Foundry (Attn: Jeffery Spring)<br />
18-70 41 st St.<br />
Long Island City, NY 11105<br />
Phone: (718) 728-2030<br />
Fax: (718) 267-0819<br />
Email: info@modernartfoundry.com<br />
Skorr Steel Co., Inc.<br />
140 Stewart Ave.<br />
Brooklyn, NY 11237<br />
Phone: (718) 368-9577<br />
Fax: (718) 386-9581<br />
Email: skorr@skorrsteel.com<br />
Website: skorrsteel.com<br />
GLASS<br />
Albert Stained Glass Studio<br />
235 St. Mark’s Ave.<br />
Brooklyn, NY 11238<br />
Phone: (718) 783-8800<br />
Fax: (718) 783-6114<br />
Email: brooklynglass@aol.com<br />
Website: Albertstainedglass.com<br />
Cesar Color Inc.<br />
3433 E. Wood St.<br />
Phoenix, AZ 85040<br />
Phone: (800) 275-7272 or (602) 437-1201<br />
Fax: (602) 437-8444<br />
Email: info@cesarcolor.com<br />
Elliot Gantz, Inc.<br />
115 Schmitt Blvd.<br />
Farmingdale, NY 11735<br />
Phone: (631) 249-0680<br />
7
Derix <strong>Art</strong> Glass Consultants LLC (Attn: Saskia)<br />
Studio: D-65232 Taunusstein<br />
1001 SW Fifth Avenue, Suite 1100<br />
Phone: +49 6128.9668 0<br />
Portland, OR 97204<br />
Fax: +49 6128.966 866<br />
Phone: (503) 220-1630 or (510) 428-9978<br />
Email: studio@derix.com<br />
Fax: (510) 428-9166<br />
Email: office@derixusa.com<br />
Website: www.derix.com<br />
Glasmalerei Peters (Attn: Peter Kaufmann)<br />
Studio: Am Hilligenbusch 23-27<br />
2636 SE 35 th Street, Studio 4<br />
33098 Paderborn<br />
Portland, OR 97202<br />
Germany<br />
Phone: (503) 781-7223<br />
Email: info@glasmalerei.de<br />
Email: p.kaufmann@glass-art-peters.com<br />
Website: www.glass-art-peters.com<br />
Liberty Glass and Mirror Inc. (Attn: Jerry Petalas)<br />
671 83 rd St.<br />
Brooklyn, NY 11228<br />
Phone: (718) 491-3148<br />
Franz Mayer of Munich, Inc. (US Rep: Erica Behrens)<br />
Alt office: 5 Tudor City Pl., Apt. 701<br />
607 President Street<br />
New York, NY 10017<br />
Brooklyn, NY 11215<br />
Phone: (212) 661-1694<br />
Phone: 718-399-1817<br />
Fax: (212) 661-0969<br />
Fax: 718-399-0411<br />
Email: g.mayer@mayer-of-munich.com<br />
Email: ebehrens@mayer-of-munich.us<br />
Website: www.mayer-of-munich.com<br />
New Time <strong>Art</strong> in Glass, Inc. (Attn: Mr. Lee)<br />
3 Allen St.<br />
NY, NY 10002<br />
Phone: (212) 226-1803<br />
Fax: (212) 274-6810<br />
Website: newtimeartglass.com<br />
Jennie Creations Inc. (Attn: Sam Shefts)<br />
(sandblasted glass & granite)<br />
697 E. 132nd St.<br />
Bronx, NY 10454<br />
Phone: (718) 665-6240<br />
Fax: (718) 993-5062<br />
Depp Glass (attention: Wesley Depp Senior )<br />
(Lamination of glass – high end)<br />
41-40 38 th Street<br />
Long Island city, NY 11101<br />
Phone: (718) 784-8500<br />
Fax: (718- 784-9018<br />
Dupont Glass Laminating (Attn: Beth Gabsewics)<br />
Phone: (302) 999-6204<br />
Website: www.dupont.com<br />
Stained Glass Inc. (Attn: Victor Rothman)<br />
578 Nepperhan Avenue, 3 rd floor<br />
Yonkers, NY 10701<br />
Phone: (914) 969-0919<br />
Fax: (914) 237-2032<br />
Email: vrforsg@iwon.com<br />
LIT SmartGlass (Attn: Jeff Besse)<br />
175 Crystal Street<br />
Lenox, MA 01240<br />
Phone: (413) 637-5001<br />
Fax: (413) 637-5004<br />
Email: jbesse@laminatedtechnologies.com<br />
MOSAICS AND CERAMICS<br />
ColorCo Limited (Attn: Jim Burnard)<br />
PO Box 456, (or 33 Elm Street)<br />
Merrimack, NH 03054<br />
Phone: (603) 424-9602<br />
Fax: (603) 429-1935<br />
Email: jburnard@msn.com<br />
Website: Colorcoltd.com<br />
Tile <strong>Art</strong>isans<br />
4288 Hwy 70 South<br />
Oroville, CA 95965<br />
Phone: (800) 601-4199 or 530-534-3563<br />
Email: dale@tileartisans.com<br />
Website: www.tileartisans.com<br />
Urban Clay (Attn: Dennis Caffrey) (Tile Guild)<br />
2424 E. 55 th Street<br />
Los Angeles, CA 90058<br />
Phone: (323) 581-8702<br />
Website: www.urbanclay.com<br />
Miotto Mosaics (Attn: Steven Miotto)<br />
132 Crane Rd.<br />
Carmel, NY 10512<br />
Phone: (845) 628-8496<br />
Pewabic Pottery (Attn: Theresa Ireland)<br />
10125 E. Jefferson Ave.<br />
Detroit, MI 48214<br />
Phone: (313) 822-0954<br />
Fax: (313) 822-6266<br />
Website: www.Pewabic.com<br />
8
Rambusch (Edwin P./ Viggo Rambusch)<br />
Manhattan Office<br />
160 Cornelison Ave.<br />
3 East 28 th St.<br />
Jersey City, NJ 07304<br />
New York, NY 10016<br />
Phone: (201 333-2525<br />
Phone: (212) 675-0400 or 433-3355<br />
Fax: (201) 433-3355<br />
Email: info@rambusch.com<br />
Website: rambusch.com<br />
Sherle Wagner (Attn: Fred Siesel)<br />
60 E. 57 th St.<br />
NY, NY 10022<br />
Phone: (212) 758-3300<br />
Fax: (212) 207-8010<br />
Email: custserv@sherlewagner.com<br />
Website: Sherlewagner.com<br />
Susan Schussler (contemporary and ethnographics)<br />
11 Riverside Dr., #10T<br />
NY, NY 10023<br />
Phone: (212) 787-1902<br />
LDDK Studios (Attn: Linda Dixon & Drew Krouse)<br />
(architectural tile, sculpture, pottery)<br />
213 E. Main St., PO Box 446<br />
Seagrove, NC 27341<br />
Phone: (336) 873-8600<br />
Email: LDDK@asheboro.com<br />
www.lddkstudios.com<br />
Mosaika <strong>Art</strong> & Design<br />
4095 St-Urbain, Montreal<br />
Quebec, Canada H2W 1V4<br />
Phone: (514) 286-0990<br />
Fax: (514) 286-9910<br />
Website: www.mosaikadesign.com<br />
Kolorines (Mosaicos Venecianos) (Attn: Mulena)<br />
Factory and Head Office:<br />
Mexico City:<br />
Carr. Fed. Cuernavaca-Cualtla 62570<br />
Colima 416, Col. Roma 06700,<br />
Cuernavaca, Morelos, Mexico<br />
Mexico D.F.<br />
Phone: 52 (777) 319-96-46/320-1267<br />
Phone: (55) 5211-6101<br />
Fax: 52 (777) 320-19-26/320-4297<br />
Fax: (55) 5211-0515<br />
Email: malenaperdomo@kolorines.com.mx<br />
Website: http://www.kolorines.com.mx<br />
Jackson Jarvis Studio (Attn: Martha Jackson Jarvis)<br />
3706 Otis St., Rear MNT<br />
Hyattsville, MD<br />
Studio: (301) 277-8852<br />
Cell: (202) 309-1394<br />
Website: www.marthajacksonjarvis.com<br />
PAINTING SERVICES<br />
Infinity Outdoor Advertising (specializes in installation<br />
of billboards)<br />
4962 Van Dam St.<br />
Long Island City, NY 11101<br />
Phone: (718) 729-8801<br />
<strong>Art</strong> Kraft Strauss Sign Corporation<br />
25 E 22 nd St.<br />
New York, NY 10010<br />
Phone: (212) 265-5155<br />
Fax: (212) 265-5262<br />
Email: info@artkraft.com<br />
Website: www.<strong>Art</strong>kraft.com<br />
Evergreene Painting Studios Inc.<br />
450 W. 31 st St., 7 th floor<br />
New York, NY 10001<br />
Phone: (212) 244-2800<br />
Fax: (212) 244-6204<br />
Website: http://www.evergreene.com/<br />
Orange Outdoor Advertising<br />
146 Classon Ave.<br />
Brooklyn, NY 11205<br />
Phone: (718) 636-1793<br />
Vista Media Group<br />
53-17 Vernon Boulevard<br />
Long Island City, NY 11101-4443<br />
Phone: (718) 784-3339<br />
Fax: (718) 784-3977<br />
Website: Vistamediagroup.com<br />
PORCELAIN ENAMEL FABRICATORS<br />
Winsor Fireform<br />
3401 Mottman Road SW<br />
Rumwater, WA 98412<br />
Phone: (800) 824-7506<br />
Fax: (360) 786-6631<br />
Website: Winsorfireform.com<br />
Info@winsorfireform.com<br />
City Enameling<br />
972 Nepperhan Ave.<br />
Yonkers, NY 10703<br />
Phone: (914) 476-8440<br />
Fax: (914) 476-0452<br />
9
Electromark Co. (Attn: Ed Beck)<br />
PO Box 25, West Port Bay Rd.<br />
Walcott, NY 14590<br />
Phone: (315) 594-8085<br />
Fax: (315) 594-9622<br />
Email: ebeck@electromark.com<br />
Website: electromark.com<br />
KVO Industries. (Attn: Steve Vandyk, Keith Keeler,<br />
Andrew Cook)<br />
1825 Empire Industrial Court, Suite A<br />
Santa Rosa, CA 95403<br />
Phone: (707) 573-6868<br />
Fax: (707) 573-6888<br />
Email: sales@kvoindustries.com<br />
Website : Kvoindustries.com<br />
PG Bell/Enameltec (Attn: Steve Harms)<br />
6981 Millcreek Drive, Unit 33<br />
Mississauga, ON L5N 6B8 CANADA<br />
Phone: (905) 873-1677 Canada or (800) 663-8543<br />
U.S.<br />
Fax: (905) 542-0345<br />
Email: enameltec@aol.com<br />
Website: www.Pgbell.com<br />
STONE CUTTERS<br />
Jennie Creations (Attn: Sam Shefts)<br />
granite)<br />
697 E. 132 nd St.<br />
Bronx, NY 10454<br />
Phone: (718) 665-6240<br />
Fax: (718) 993-5062<br />
Ottavino A. Corporation<br />
80-60 Pitkin Ave.<br />
Ozone Park, NY 11417<br />
Phone: (718) 848-9404<br />
Fax: (718) 848-7156<br />
(sandblasted<br />
Exquisite Glass, Inc. Precision Sandblasting (Text<br />
Engraving) (Attn:Buz Vaultz)<br />
123 Allen St.<br />
New York, NY 10001<br />
Phone: 212-674-7069<br />
Fax: 212-473-4808 (f)<br />
Email: xglass01@aol.com<br />
www.xglass01.com<br />
Casa Marble & Granite (Attn: Charles Aiello)<br />
25 Fifth Street<br />
Brooklyn, NY 11241<br />
Phone: 718-222-8510<br />
Fax: 718-222-8511<br />
Intaglio Composites<br />
3101 Pleasant Valley Lane<br />
Arlington, Texas 76105<br />
Phone: (817) 784-8878<br />
Website: www.intagliocomposites.com<br />
TERRAZZO<br />
Magnan D. & Co., Inc. (Attn: Paul Magnan)<br />
32 Cortlandt St.<br />
Mt. Vernon, NY 10550<br />
Phone: (914) 664-0700<br />
Fax: (914) 664-4499<br />
Email: dmagnanco@aol.com<br />
METAL FABRICATORS<br />
SK Studios, Design & Metalworks (Attn: Samuel<br />
Kusack)<br />
60 Seabring Street<br />
Brooklyn, NY 11231<br />
Phone: 718-722-9991<br />
Fax: 718-722-9997<br />
skstudios@mac.com<br />
Soapstone Studios<br />
49 Fourth Street<br />
Brooklyn, NY 11231<br />
Phone: 917-674-6690<br />
Phone: 646-623-0071<br />
Fax: 718-228-4229<br />
Email: info@SOAPSTONESTUDIOS.COM<br />
Glenridge Fabricators, Inc. (Attn: Al Putre)<br />
7945 77 th Ave.<br />
Glendale, NY 11385-7522<br />
Phone: (718) 456-2297<br />
Fax: (718) 386-1286<br />
INSTALLATION AND DOCUMENTATION<br />
ARTMOVERS<br />
<strong>Art</strong> Crating, Inc.<br />
450 Greenwich St.<br />
NY, NY 10013<br />
Phone: (212) 431-8919<br />
Fax: (212) 334-8214<br />
Website: artcratinginc.com<br />
Auer Van & Express Company, Inc.<br />
1721 Park Ave.<br />
NY, NY 10035<br />
Phone: (212) 427-7800<br />
Fax: (212) 996-8298<br />
10
JC Duggan, Inc.<br />
320 Maspeth Ave.<br />
Brooklyn, NY 11211<br />
Phone: (718) 384-3260 or (800) 361-3701<br />
Fax: (718) 599-5941<br />
Email: joyce@jcduggan.com<br />
Fine <strong>Art</strong>s Express Inc.<br />
3500 47 th Ave.<br />
Long Island City, NY 11101<br />
Phone: (718) 361-7357<br />
Fax: (718) 937-9707<br />
Mariano Brothers Inc. (Attn: Joe Mariano)<br />
5 Paul St.<br />
Bethel, CT 06810<br />
Phone: (203) 744-5800<br />
Fax: (203) 744-7003<br />
Website: marianobrothers.com<br />
Marshall Fine <strong>Art</strong>s Limited<br />
135 East Industry Court<br />
Deer Park, NY 11729<br />
Phone: (631) 673-9614<br />
More Specialized Transportation<br />
145 Myer St.<br />
Hackensack, NJ 07601<br />
Phone: (201) 678-0060 or (800) 642-6673<br />
Fax: (201) 678-1635<br />
Charles Yoder<br />
180 Duane St., Apt. 2<br />
NY, NY 10013<br />
Phone: (212) 226-6396<br />
Fax: (212) 226-4361<br />
Elias Co (Attn: Peter Whitney)<br />
741 Front Street<br />
Greenport, NY 11944<br />
Phone: (631) 477-3500<br />
Cell: (516) 983-3210<br />
Fax: (631) 477-3447<br />
Williams Specialized, Inc. (Attn: Michael Williams)<br />
1 Enterprise Place<br />
Hicksville, NY 11801<br />
Phone: (516) 822-9444<br />
Fax: (516) 822-9452<br />
Email: riggers@williamsrigging.com<br />
Website: www.williamsrigging.com<br />
WelPak<br />
48-39 3 rd . St.<br />
Long Island City, NY 11101<br />
Phone: (718) 391-0155<br />
Fax: (718) 391-0154<br />
Email: info@welpakcorp.com<br />
Website: www.welpakcorp.com<br />
S.A.T.<br />
13-06 38 th Avenue, Long Island City, NY 11101<br />
Contact: Brad, 718 392 8910<br />
FRAMERS<br />
Archival Framing and Matting (Attn: Anastasia<br />
DeSimone)<br />
66-01 Burns St.t #3U<br />
Rego Park, NY 11374<br />
Phone: (718) 263-8680<br />
Email: marcdesimone@mindspring.com<br />
Bark Frameworks, Inc. (Attn: James Barth)<br />
Showroom:<br />
Workshops and Administration:<br />
270 Lafayette St., Ste. 500<br />
21-24 44 th Ave.<br />
New York, NY 10012<br />
Long Island City, NY 11101<br />
Phone: (212) 431-9080<br />
Phone: (718) 752-1919<br />
Website: Barkframeworks.com<br />
Clinton Hill Simply <strong>Art</strong> & Framing<br />
Picture Framing: Original <strong>Art</strong> Framing:<br />
Clinton Hill <strong>Art</strong> Gallery (attn: L.B. Brown)<br />
583 Myrtle Ave.<br />
154 A. Vanderbilt Avenue<br />
Brooklyn, NY 11205<br />
Brooklyn, NY 11205<br />
Phone: (718) 857-0074<br />
phone: (718) 852-0227<br />
Fax: (718) 624-5041<br />
Conservation Framing Services Limited (Attn: Nicholas<br />
Pavlik)<br />
32 Union Sq. W., studio 400<br />
NY, NY 10003-3219<br />
Phone: (212) 254-7518<br />
Fax: (212) 995-9352<br />
Drummond Framing Inc. (Attn: David Hales)<br />
38 W. 21 st St., Fl.10<br />
NY, NY 10010-6969<br />
Phone: (212) 647-1701/3<br />
Fax: (212) 647-1705<br />
11
Gerlach Frames Inc. (Attn: Russell Gerlach)<br />
309 Nassau Ave.<br />
Brooklyn, NY 11222-3704<br />
Phone: (718) 486-8836<br />
Squid Frames (Attn: Arlan Huang)<br />
168 7 th St.<br />
Brooklyn, NY 11215<br />
Phone: (718) 499-1584<br />
S.A.T.<br />
13-06 38 th Avenue, Long Isalnd City, NY 11101<br />
Contact: Brad, 718 392 8910<br />
PHOTOGRAPHERS<br />
F. Charles Photography<br />
Fred Charles<br />
145 Palisade Street<br />
Dobbs Ferry, NY 10522<br />
914-674-4044<br />
914-674-4344 (fax)<br />
917-923-9266 (cell)<br />
findfred@mindspring.com<br />
Brooklyn <strong>Art</strong> Documentation<br />
70 North 6 th St.<br />
Brooklyn, NY 11211<br />
Phone: (718) 384-6068<br />
Mobile: (917) 570-8377<br />
James Dee<br />
12 Wooster St., Apt. 2<br />
NY, NY 10013<br />
Phone: (212) 966-7884<br />
Fax: (212) 966-5622<br />
www.thesohophotographer.com<br />
Arlene Gottfried<br />
155 Bank St.<br />
New York, NY 10014<br />
Phone: (212) 260-2599<br />
Peter Margonelli<br />
20 Desbrosses St.<br />
New York, NY 10013<br />
Phone: (212) 431-5494<br />
Stan Ries<br />
48 Great Jones St.<br />
Manhattan, NY 10012<br />
Phone: (212) 533-1852<br />
Email: stan@stanries.com<br />
Adam Reich<br />
Phone: (917) 859-0709<br />
Areich2@nyc.rr.com<br />
Architectural Industrial Photography (Attn: Conrad<br />
Waldinger)<br />
600 W. 246 th St.<br />
Bronx, NY 10471<br />
Phone: (718) 547-0555<br />
SLIDE DUPLICATION AND PROCESSING<br />
Prolab Inc.<br />
123 N.W. 36 th St.<br />
Seattle, WA 98107<br />
Phone: (206) 547-5447 *8AM - 6PM Pacific Time; 1-<br />
800-426-6770<br />
www.Digitalimaging.com<br />
SIGNAGE<br />
Engrafics Design Letters Inc.<br />
135 W 20 th St., Frnt AT<br />
New York, NY 10011<br />
Phone: (212) 691-0777<br />
A.R.K. Ramos, Architectural Signage Systems<br />
1321 South Walker<br />
mailing address: P.O Box 26388<br />
Oklahoma City, OK 73109<br />
Oklahoma City, OK 73126<br />
Phone: (800) 725-7266<br />
Fax: (405) 232-8516<br />
Email: customerservice@arkramos.com<br />
Baum W & E<br />
89 Bannard St.<br />
Freehole, NJ 07728<br />
Phone: (732) 866-1881; 1-800-922-7377<br />
Fax: (732) 866-8978<br />
Website: www.webaum.com<br />
Gilbey Graphics (Attn: Dennis Gilbey)<br />
900 Broadway, Ste. 901<br />
NY, NY 10003<br />
Phone: (212) 608-4131<br />
Fax: (212) 213-0712<br />
Eagle Master Signs<br />
156 E. 23 rd St.<br />
NY, NY 10010<br />
Phone: (212) 532-2469<br />
Fax: (212) 475-9374<br />
Email: emsigns@aol.com<br />
12
US Bronze Sign Co. Inc.<br />
811 2 nd Ave.<br />
New Hyde Park, NY 11040-4869<br />
Phone: (516) 352-5155<br />
Fax: (516) 352-1761<br />
Website: www.usbronze.com<br />
POSTCARDS<br />
AGW Lithography Inc.<br />
207 W. 25 th St. floor 6<br />
NY, NY 10001<br />
Phone: (212) 989-2780<br />
Fax: (212) 691-6162<br />
Email: agwlitho@thorn.net<br />
Big Apple Printing Co.<br />
365 Broome St.<br />
NY, NY 10013<br />
Phone: (212) 219-3400<br />
Modern Postcard<br />
1675 Faraday Ave.<br />
Carlsbad, CA 92008<br />
Phone: (800) 959-8365 or (760) 431-7084<br />
Fax: (760) 268-1700<br />
www.modernpostcard.com<br />
Great Lakes Graphics Inc.<br />
5555 W. Howard St.<br />
Skokie, IL 60077<br />
Phone: (800) 858-9999<br />
Website: Glginc.com<br />
Richardson Printing Corporation<br />
Shelba)<br />
201 Acme St., P.O. Box 663<br />
Marietta, OH 45750<br />
Phone: (800) 848-9752<br />
Email: info@rpcprint.com<br />
Website: www.rpcprint.com<br />
(Attn: Troy or<br />
SpeedGraphics & Sign Design<br />
2004-P Riverside Dr.<br />
................<br />
Asheville, NC 28804<br />
................<br />
Phone: (828) 771-0322<br />
Fax: (828) 771-0323<br />
Website: Speedgraphics.net<br />
Digigraphics<br />
3804 North 29 th Ave<br />
Hollywood, FL 33020<br />
Phone: (954) 926-6326<br />
Fax: (954) 926-6344<br />
13
PUBLIC ART RESOURCES FOR ARTISTS<br />
National Service Programs and <strong>Public</strong>ations<br />
1. <strong>Public</strong> <strong>Art</strong> Network (Washington, DC) – www.AmericansForThe<strong>Art</strong>s.org/PAN<br />
A program of Americans for the <strong>Art</strong>s. Membership in Americans for the <strong>Art</strong>s includes access to<br />
the PAN listserv, discounts to their national convention and other meetings, and discounts in the<br />
bookstore. Well worth the $50 membership fee! A good resource for individual artists and public<br />
art managers.<br />
PAN has an extensive selection of artist contracts on their website for projects with government<br />
agencies, private developers, and non-agency commissions. You can read and download them<br />
at the link listed above in the Services and Materials section.<br />
2. Volunteer Lawyers for the <strong>Art</strong>s (New York, NY)<br />
http://www.vlany.org/<br />
Consultations and workshops with professionals are available. They have chapters and affiliates<br />
across the country.<br />
3. The American Institute for Conservation of Historic and <strong>Art</strong>istic Works (AIC)<br />
(Washington, DC)<br />
www.conservation-us.org<br />
AIC is the national membership organization of conservation professionals. The website provides<br />
many resources regarding conservation and they can assist you in finding a conservator for your<br />
project.<br />
4. <strong>Public</strong> <strong>Art</strong> Review (St. Paul. MN) http://forecastpublicart.org/par.php<br />
Published twice annually, <strong>Public</strong> <strong>Art</strong> Review is the world’s leading journal devoted exclusively to<br />
the field of contemporary public art. Each issue provides opinion, analysis, criticism and<br />
discussion about the nature and trends in public art.<br />
5. Community <strong>Art</strong>s Network (Saxapahaw, NC) - www.communityarts.net<br />
A national organization that promotes information exchange, research, and critical dialogue within<br />
the field of community-based art.<br />
6. <strong>Public</strong> <strong>Art</strong> by the Book, edited by Barbara Goldstein (2005, University of Washington Press)<br />
This book is a valuable resource for artists and administrators to gain an overview of project<br />
types, legal issues, contracts, and other nuts and bolts issues related to public art.<br />
<strong>Public</strong> <strong>Art</strong> Opportunity Listings<br />
1. <strong>Art</strong>ist Opportunity Listerv (Pittsburgh, PA), www.publicartpittsburgh.org<br />
A free monthly listserv that includes national, regional, and local public art opportunities and<br />
exhibition opportunities. It also includes professional development opportunities offered by the<br />
Greater Pittsburgh <strong>Art</strong>s <strong>Council</strong>. To sign up, email opa@pittsburghartscouncil.org. To read past<br />
issues, visit the website.<br />
2. <strong>Public</strong> <strong>Art</strong> Network (Washington, DC) – www.AmericansForThe<strong>Art</strong>s.org/PAN<br />
Their listserv often has commission opportunities posted by public art programs across the<br />
country.<br />
3. Urban<strong>Art</strong>s Institute (Boston, MA), www.urbanartsinstitute.org<br />
The Urban<strong>Art</strong>s Institute produced a national listing of public art opportunities and has an artist<br />
registry.<br />
5. <strong>Art</strong>istsregister (Denver, CO) – www.artistsregister.com<br />
<strong>Art</strong>istsregister is a website that combines an artist registry and opportunities. Access to the<br />
opportunities is free, however there is a fee to have a registry pag<br />
2
Sample <strong>Public</strong> <strong>Art</strong> Budget<br />
$100,000 Project<br />
<strong>Public</strong> art project budgets are not guided by rigid formulas; they adjust according to each<br />
project’s circumstances. Exceptions / best practices are noted below.<br />
Scenario: <strong>Art</strong>ist Responsible for Design, Fabrication, and Installation of <strong>Art</strong>work. The<br />
commission is not affiliated with an additional construction project. <strong>Art</strong>ist does not live in the city<br />
of the commission.<br />
Description:<br />
Amount:<br />
<strong>Art</strong>ist Design and Project Management Fee (20% of Budget)<br />
Note: 15-20% is a typical design fee in the field. $ 20,000.00<br />
Fabrication (30% of Budget) $ 30,000.00<br />
Can be paid by a fabricator(s) hired by the artist, paid to the artist<br />
who completes their own fabrication, or a combination.<br />
Installation (20% of Budget) $ 20,000.00<br />
Includes all costs associated with site preparation, transportation<br />
of artwork, installation of artwork, lighting<br />
Insurance (5% of Budget) $ 5,000.00<br />
Varies according to location. Can include general liability and fine<br />
arts insurance.<br />
<strong>Art</strong>ist Travel (5% of Budget) $ 5,000.00<br />
<strong>Art</strong>ist Consultant Fees (5-10% of Budget) $ 6,000.00<br />
Examples of consultant fees include: conservator assessment of<br />
artist proposal (note: highly recommended), required mechanical<br />
or construction drawings by architect or engineer, lighting<br />
consultants, etc.<br />
Contingency (10% of Budget) $ 10,000.00<br />
Held by commissioning organization to pay for unforeseen costs<br />
associated with the artwork. If not used, can be paid to artist or<br />
invested in maintenance fund and / or educational programs.<br />
Signage (1%) $ 1,000.00<br />
Documentation of <strong>Art</strong>work / Installation (2%) $ 2,000.00<br />
Educational Materials / Programs (1%) $ 1,000.00<br />
TOTAL PROJECT COSTS: $ 100,000.00<br />
1
Production Resources for <strong>Public</strong> <strong>Art</strong>ists<br />
This resource database is intended to provide artists and<br />
administrators with names of fabricators, engineers and<br />
installers in various parts of the country. While not a<br />
definitive list, it does provide contact information for<br />
individuals and businesses to consult, if needed. Anyone<br />
who uses this list should take the usual care to conduct<br />
research for suitability for their own purposes.<br />
Americans for the <strong>Art</strong>s and the <strong>Public</strong> <strong>Art</strong> Network<br />
<strong>Council</strong> do not take any responsibility for accuracy or<br />
quality or work performed by the businesses on this<br />
resource list. Please contact artistresource@gmail.com<br />
to recommend fabricators for the list. Please include<br />
names of artists for whom the fabricator has performed<br />
work.<br />
A. Zahner Co.<br />
Metals,:Architectural<br />
Gary L. Davis<br />
816.474.8882<br />
1400 East 9th St.<br />
Kansas City, MO 64106 USA<br />
www.azahner.com<br />
3Axis Inc.<br />
913.831.1768<br />
1129 Southwest Blvd.<br />
Kansas City, MO 66103 USA<br />
www.3axisinc.com<br />
A.R.T Research Enterprises<br />
Metal Fabricator,<br />
717.290.1303<br />
3050 Industry Dr<br />
Lancaster, PA 17603 USA<br />
www.thinksculpture.com<br />
Ace Sandblasting<br />
Stone Sandblasting/ Engraving<br />
Chris Ruck<br />
480.967.4250<br />
725 E 7th Pl,<br />
Mesa, AZ 85203 USA<br />
Acra-Tech Corp.<br />
Machined Parts<br />
Len or Steve Schlagel<br />
970.482.2113<br />
1713 E. Lincoln Ave. #B5<br />
Fort Collins, CO 80542 USA<br />
none<br />
Alameda <strong>Art</strong> Glass<br />
Glass Fabricator<br />
John Sulahian<br />
503.288.5376<br />
3221 NE 33 Avenue<br />
Portland, OR 97212 USA<br />
www.alamedaartglass.com<br />
American <strong>Art</strong>, Inc.<br />
Foundry<br />
602.922.0885<br />
14605 N. 73rd. St.<br />
Scottsdale, AZ 85260 USA<br />
American Fiberglass<br />
Fiberglass Fabricator<br />
J.B. Donaldson Co.<br />
602.278.4505<br />
2533 West Cypress Street<br />
Phoenix, AZ 85009 USA<br />
www.americanfiberglassusa.com<br />
American Terrazzo<br />
Terrazzo<br />
Brent Flabiano<br />
972.272.8084<br />
309 Gold St.<br />
Garland, TX 75042 USA<br />
www.americanterrazzo.com
Anything & Everything, Inc<br />
Foundry<br />
520.295.9464<br />
1544 S Euclid Ave<br />
Tucson, AZ 85713 USA<br />
Aquacut, Inc<br />
Waterjet Cutting<br />
Chris Hill<br />
972.247.6288<br />
11261 Indian Trl,<br />
Dallas, TX 75229 USA<br />
Architectural Glass <strong>Art</strong><br />
Glass fabricator<br />
Kent von Roem<br />
800.795.9429<br />
815 West Market St.<br />
Louisville, KY 40202 USA<br />
www.againc.com<br />
Architectural Reproductions<br />
Specialty Materials/ Fabricators<br />
David Talbott, President<br />
503.284.8007<br />
525 N. Tillamook Street<br />
Portland, OR 97227 USA<br />
www.archrepro.com<br />
Arctic Fires Bronze<br />
Foundry<br />
Patrick Garley<br />
907.441.6728<br />
15615 Outer Springer Loop<br />
Palmer, AK 99645 USA<br />
Arizona Bronze Fine <strong>Art</strong>s Foundry<br />
Foundry<br />
Tom Bollinger<br />
480.968.4011, 480.968.4021<br />
1820 E Third St.<br />
Tempe, AZ 85281 USA<br />
<strong>Art</strong> + Design Works<br />
Metal Fabricator<br />
Jim Schmidt<br />
503.647.1958<br />
14200 265th Place P.O. Box 545<br />
North Plains, OR 97133 USA<br />
<strong>Art</strong> In Metal U.S.A.<br />
Metal Fabricator<br />
480.894.9369<br />
219 South Siesta Lane<br />
Tempe, AZ 85281 USA<br />
www.artinmetalusa.com<br />
<strong>Art</strong>scape Bronze Casting<br />
Foundry, Metal Fabrication<br />
Robert Myers<br />
928.204.2913<br />
2107 Yavapai Dr.<br />
Sedona, AZ 86336 USA<br />
Atomic Fabrication<br />
Metal Fabricator<br />
Patrick Speeler<br />
206.767.8036<br />
1605 S. 93rd St., Unit E-R<br />
Seattle, WA 98108 USA<br />
Batho Studios<br />
Glass Fabricator<br />
George Batho<br />
503.282.1460<br />
1401 NE Alberta St<br />
Portland, OR 97211 USA<br />
www.bathostudio.com<br />
Bear Paw<br />
Foundry<br />
Loran Phippen<br />
602.946.5858<br />
2926 N Civic Ctr<br />
Scottsdale, AZ 85251 USA
Belarde Company<br />
Concrete & Lithocrete<br />
John Belarde<br />
425.376.2500<br />
12209 Avondale Road NE<br />
Woodinville, WA 98072 USA<br />
www.belardeco.com<br />
Bisbee <strong>Art</strong> Foundry<br />
Foundry<br />
520.432.5327<br />
P.O. Box 4488<br />
Bisbee, AZ 85603 USA<br />
Bells Novelty Casting<br />
Foundry<br />
205.237.1064<br />
3012 Alexandria Rd<br />
Anniston, AL 36201 USA<br />
Blue Mountain Fine <strong>Art</strong>s Foundry<br />
Foundry, Metal Fabricator, Waterjet Cutting<br />
Tyler Fouts<br />
541.519.0467<br />
3100 Auburn Ave.<br />
Baker City, OR 97814 USA<br />
www.bluemountainfineart.com<br />
Bronze Works Llc<br />
Foundry<br />
Kevin Keating<br />
253.396.0396<br />
2506 Fawcett Ave<br />
Tacoma, WA 98402 USA<br />
Bronzesmith Fine <strong>Art</strong> Foundry and Gallery<br />
Foundry<br />
520.772.2378<br />
7331 E. Second Street<br />
Prescott Valley, AZ 86314 USA<br />
Bullseye Glass Company<br />
Glass Fabricator<br />
503.232.8887<br />
3722 SE 21st Avenue<br />
Portland, OR 97202 USA<br />
www.bullseyeglass.com<br />
Burning Palace Bronze<br />
Foundry<br />
Mark Chimitnti<br />
503.663.3225<br />
27534 SE Highway 212<br />
Boring, OR 97009 USA<br />
Calcagno Studio & Foundry<br />
Foundry<br />
Jim Calcagno<br />
503.663.5026<br />
35675 SE Dunn Rd.<br />
Boring, OR 97009 USA<br />
Carlson & Co.<br />
Fiberglass Fabricator<br />
818.898.9796<br />
13023 Arroyo Street<br />
San Fernando, CA 91340 USA<br />
www.carlsonandco.com<br />
CF Maier Coors Technology Center<br />
Fiberglass Fabricator<br />
303.278.8013<br />
800.962.6079<br />
16351 Table Mountain Pkwy<br />
Golden, CO 80403 USA<br />
www.cfmaier.com<br />
Chuck Franklin Glass Studio<br />
Glass Fabricator<br />
Chuck Franklin<br />
503.241.1959<br />
4309 NW St. Helens Rd.<br />
Portland, OR 97210 USA<br />
www.cfranklinglass.com
Clan Chattan Foundry<br />
Glass Fabricator<br />
Janet Martini<br />
800.824.8674<br />
910 – 54th Avenue East<br />
Tacoma, WA 98424 USA<br />
www.milgardtempering.com<br />
Clan Chattan Foundry<br />
Foundry<br />
Ken MacKintosh<br />
360.892.2561<br />
PO Box 976<br />
Brush Prairie, WA 98606 USA<br />
Cliff Townsend Masonry Inc.<br />
Stone masonry<br />
Cliff Townsend<br />
503.557.3283<br />
18861 Allegheny Dr<br />
Oregon City, OR 97045 USA<br />
Columbia Stone Inc<br />
Stone Dimensional<br />
Michael Twiss, President<br />
503.612.8600<br />
18880 SW Teton<br />
Tualatin, OR 97062 USA<br />
www.columbiastone.net<br />
Cowpainters, LLC<br />
Fiberglass Fabricator<br />
312.666.6257<br />
811 W. Evergreen Avenue, Suite 110<br />
Chicago, IL 60622 USA<br />
www.cowpainters.com<br />
Creative Edge Mastershop<br />
Waterjet Cutting<br />
800.394.8145<br />
601 S. 23rd St.<br />
Fairfield, IA 52556 USA<br />
www.cec-waterjet.com<br />
Creative Fiberglass<br />
Fiberglass Fabricator<br />
Mae Reed<br />
216.482.5105<br />
44725 State Route 14<br />
Columbiana, OH 44408 USA<br />
Creative Metal Industries<br />
Metal: etching, images, forming,<br />
619.258.5601/800.845.7650<br />
10039 Propect Avenue Suite E<br />
Santee, CA 92071 USA<br />
www.creativemetal.com<br />
CWDC Metal Fabrication<br />
Metal Fabricator<br />
Charles Wiemeyer<br />
413.559.9660<br />
23 West Street<br />
West hatfield, MA 1088 USA<br />
David Allen Company<br />
Terrazzo<br />
Andrea Page<br />
919.821.1700 or 888.433.1920<br />
150 Rush Street<br />
Raleigh, NC 27603 USA<br />
www.davidallen.com<br />
D.S.T. (Definitive Solutions & Technologies)<br />
Waterjet Cutting<br />
Bruce Ahmanson<br />
253.854.7179<br />
P.O. Box 1210<br />
Kent, WA 98035 USA<br />
www.dstwaterjet.com<br />
Davinci's Workshop LLC.<br />
Waterjet Cutting<br />
Kurt Nordquist,<br />
206.244.7000<br />
18040 Des Moines Mem. Dr.,<br />
Burien, WA 98148 USA<br />
www.davincis.org
Derix <strong>Art</strong> Glass Consultants, Llc<br />
Glass, Glass painting, Sandblasting/ Engraving,<br />
Barbara Derix<br />
503.220.1630<br />
1001 SW Fifth Avenue, Suite 1100<br />
Portland, OR 97204 USA<br />
www.derixusa.com<br />
Digital Stone Project<br />
Stone Dimensional<br />
609.587.6699<br />
75-A Sculptors Way<br />
Mercerville, NJ 8619 USA<br />
www.digitalstoneproject.org<br />
Dimensional Innovations<br />
Justin Wood<br />
913.384.3488<br />
3421 Merriam Dr<br />
Overland Park, KS 66203 USA<br />
www.dimin.com<br />
Display Direct<br />
Fiberglass Fabricator<br />
Darin White<br />
785.842.8993<br />
2554 Stowe Drive<br />
Lawrence, KS 66049 USA<br />
www.displaydirect.com<br />
DJ Studios<br />
Fiberglass Fabricator<br />
770.939.3030<br />
1536 Litton Drive<br />
Stone Mountain, GA 30083 USA<br />
www.djstudios.net<br />
Dykeman <strong>Art</strong> Foundry<br />
Foundry<br />
Jeff Dykeman<br />
520.772.7950<br />
8101 E. Pecos Dr.<br />
Prescott Valley, AZ 86314 USA<br />
Eleek, Inc<br />
Specialty Materials/ Fabricator<br />
503.232.5526<br />
2326 N. Flint Ave.<br />
Portland, OR 97227 USA<br />
www.eleekinc.com<br />
F.A.S.T. Corporation<br />
Fiberglass Fabricator<br />
Darren Schauf<br />
608.269.7110<br />
14177 County Highway / P.O. Box 258<br />
Sparta, WI 54656 USA<br />
www.fastkorp.com<br />
Farwest Materials<br />
Foundry<br />
Jeff Mittl or Steve Bailey<br />
509.522.0556<br />
1111 Abadie Street<br />
Walla Walla, WA 99362 USA<br />
www.farwestmaterials.com<br />
Elite Granite & Marble<br />
Stone Sandblasting/ Engraving<br />
Dan Bronleeuwe<br />
503.648.8042<br />
1299 NE 25TH<br />
Hillsboro, OR 97124 USA<br />
www.elitegraniteandmarble.com<br />
Fabrication Specialties Ltd<br />
Metal Fabricators<br />
Larry Tate, Gerald Macginness, Bob Qualheim<br />
206-763-8292.<br />
527 S Portland St<br />
Seattle, WA 98108 USA<br />
Finger Lakes Fabricating<br />
607.273.3066<br />
Ithaca, NY
Firearts Studio<br />
Glass Fabricator<br />
Ray Ahlgren<br />
503.892.4570<br />
9425 SW Terwilliger<br />
Portland, OR 97219 USA<br />
www.fireart.net<br />
Flores Studios<br />
Foundry, Metal Fabrication<br />
Bob Thompson<br />
520.620.1917<br />
19 E Flores St<br />
Tucson, AZ 85705 USA<br />
Foam Supplies<br />
Alternate Fiberglass<br />
954.943.6949<br />
100 South Andrews Avenue<br />
Pampano Beach, FL 33069 USA<br />
Franz Mayer Of Munich<br />
Glass Fabricator<br />
Gabriel Mayer, President<br />
212.661.1694<br />
5 Tudor City Place # 1520<br />
New York, NY 10017 USA<br />
www.mayer-of-munich.com<br />
General Terrazzo & Tile:<br />
Terrazzo<br />
David Franceschina<br />
425.255.8753<br />
505 SW 12th St<br />
Renton, WA 98057 USA<br />
Gizmo Productions<br />
Metal Fabrication<br />
Mark Sabatino<br />
415.222.6181 ex. 12<br />
San Francisco, CA USA<br />
Goldray Industries<br />
Glass Fabricator<br />
800.640.3709<br />
4605 52nd Avenue SE<br />
Calgary, AB T2C-4N7 CANADA<br />
www.goldrayindustries.com<br />
Hawkeye Flooring Company<br />
Terrazzo<br />
319.455.4200<br />
305 W Highway 30<br />
Lisbon, IA 52253 USA<br />
Imaging Sciences LLC<br />
Glass decorative interlayer printing<br />
Geoff Brown<br />
440.975.9640<br />
38174 Willoughby Parkway<br />
Willoughby, OH 44094 USA<br />
www.imaging-sciences.com<br />
Investment Casting<br />
Foundry<br />
John Thorneruger<br />
520.445.4789<br />
200B Ruger Road<br />
Prescott, AZ 86301 USA<br />
Iowa Metal Fabrication<br />
Metal Fabricator<br />
Jim Dawson<br />
515.961.3020<br />
19668 Highway 69<br />
Indianola, IA 50125 USA<br />
J & G Diversified<br />
Cut metal letters<br />
Arlene Komm<br />
732. 543.2537<br />
235 Jersey Ave. Suite E<br />
New Brunswick, NJ 08901 USA<br />
www.cut-metal-letters.com
Joseph Bronze<br />
Foundry, Metal Fabricator<br />
Jeff Harman<br />
541.432.2278<br />
PO Box 863 83365 Joseph Highway<br />
Joseph, OR 97846 USA<br />
www.josephbronze.com<br />
Juno Architectural Glass<br />
Glass<br />
Juno Lachman<br />
503.235.7225<br />
730 NE 21st Avenue<br />
Portland, OR 97232 USA<br />
www.junoarchitecturalglass.com<br />
Kreysler and Associates<br />
Fiberglass Fabricator<br />
707.552.3500<br />
501 Green Island Road<br />
American Canyon, CA 94503 USA<br />
www.kreysler.com<br />
La Paloma Fine <strong>Art</strong><br />
Fiberglass Fabricator<br />
Ron McPherson<br />
818.504.6161<br />
Sun Valley, CA 91352 USA<br />
Laser Cutting NW<br />
Laser Cutting<br />
John Shoemaker<br />
253.735.5273<br />
3205 C Street Northeast<br />
Auburn, WA 98002 USA<br />
Longo <strong>Art</strong> Glass<br />
Glazier<br />
Joe Gornik<br />
480.921.3524<br />
3207 S. Hardy<br />
Tempe, AZ 85282 USA<br />
www.longoartglass.com/<br />
Mack Foundry<br />
Foundry, Metal Fabricator<br />
Mack Holman<br />
541.836.7253<br />
896 Highway 38<br />
Drain, OR 97435 USA<br />
Maiden Foundry<br />
Foundry, Metal Fabricator<br />
Michael Maiden or Todd Loggan<br />
503.668.8097<br />
16600 SE 362nd Drive<br />
Sandy, OR 97055 USA<br />
www.maidenfoundry.com<br />
Marenakos Rock Center<br />
Stone Dimensional/ Flat<br />
425.392.3313<br />
30250 S.E. High Point Way<br />
Issaquah, WA 98027 USA<br />
www.marenakos.com<br />
Madden Fabrication<br />
Metal Fabricator<br />
Greg Madden<br />
503.226.3968<br />
4670 NW St. Helens Rd.<br />
Portland, OR 97210 USA<br />
www.madfab.com<br />
Mammoth Stoneworks<br />
Stone Sandblasting/ Engraving<br />
Donna<br />
206.301.0855<br />
11705 12th Avenue South<br />
Seattle, WA 98168 USA<br />
www.mammothstone.com<br />
Margaret Kuhn<br />
Mosaic<br />
Margaret Kuhn<br />
503-753-7278<br />
Portland, OR 97214 USA
Metal <strong>Art</strong>s Foundry<br />
Foundry, Metal Fabricator<br />
Kevin Maag<br />
801.768.4442<br />
790 West State Rd<br />
Lehi, UT 84043 USA<br />
www.mtlarts.com<br />
Methods and Materials<br />
Installation, rigging, assembly, fabrication relocation,<br />
Carmella Saraceno<br />
773.738.0680<br />
1749 N. Harding Ave.<br />
Chicago, IL 60647-4611 USA<br />
www.methodsandmaterials.com<br />
Mold Cast, Inc<br />
Foundry<br />
205.699.3644<br />
2209 Parkway Dr<br />
Leeds, AL 35094 USA<br />
Monarch Plastics Inc.<br />
Fiberglass Fabricator<br />
Larry Saskey<br />
216.683.0822<br />
516 Jefferson Avenue<br />
Orrville, OH 44667 USA<br />
Mosaika <strong>Art</strong> & Design<br />
Mosaic<br />
Kori Smith/Saskia Seabrand<br />
514.286.0990<br />
Montreal, Quebec H2W 1V4 CANADA<br />
www.mosaikadesign.com<br />
Nesika Bronze<br />
Metal Fabricator<br />
Jim Marino<br />
541.247.0273<br />
33023 Nesika Rd P.O. Box 93<br />
Ophir, OR 97464 USA<br />
New <strong>Art</strong> Projects Company<br />
<strong>Art</strong>ist, Fabricator, Installer<br />
Peter Reiquam<br />
206.768.9656<br />
6251 Carleton Ave S.<br />
Seattle, WA 98108 USA<br />
Nicomia<br />
Specialty Materials/ Fabricator<br />
Chris Alcalde<br />
480.890.9330<br />
1815 W. 1st Ave Suite 130<br />
Mesa, AZ 85202 USA<br />
www.nicomia.com<br />
Ostrom Glass & Metal Works<br />
Glass Sandblasting/ Engraving, Photographic<br />
Reproduction, Metal Fabrication, Metal Etching<br />
503.281.6469<br />
2170 N. Lewis<br />
Portland, OR 97227 USA<br />
www.ostrom.us<br />
Newport Manufacturing<br />
Laser cut<br />
425.641.6199<br />
13024 Newcastle Way<br />
Newcastle, WA 98059 USA<br />
North American Terrazzo<br />
Terrazzo<br />
Joe Geiger<br />
206.762.2803 306.340.4864<br />
501 S Lucile Street, 100<br />
Seattle, WA 98108 USA<br />
www.naterrazzo.com<br />
Paragon Architectural Products Llc<br />
Glass Fabricator<br />
Ian Patlin<br />
480.661.0110<br />
110239 East Shangrila<br />
Scottsdale, AZ 85260 USA<br />
www.glassengineer.com
Parks Bronze<br />
Foundry, Metal Fabricator<br />
Steve Parks<br />
541.426.4595<br />
331 Golf Course Rd.<br />
Enterprise, OR 97828 USA<br />
Peters Studio, LLC<br />
Glass Fabricator<br />
Peter Kaufmann<br />
503.781.7223<br />
2636 SE 35th Ave Studio 4<br />
Portland, OR 97202 USA<br />
www.glass-art-peters.com<br />
Polich Tallix, LLC<br />
Foundry, Metal Fabricator<br />
845.567.9464<br />
453 Route 17K<br />
Rock Tavern, NY 12575 USA<br />
www.polichtallix.com<br />
Portland Marble Works, Inc<br />
Waterjet Cutting<br />
Paula Clark<br />
503.235.9240<br />
4507 E Milwaukie Ave<br />
Portland, OR 97202 USA<br />
www. Portlandmarble.com<br />
Presto Casting<br />
Foundry<br />
602.939.9441<br />
5440 W Missouri Ave<br />
Glendale, AZ 85301 USA<br />
Puget Sound Coatings<br />
Metal Finishing<br />
John Bush<br />
206.767.3800<br />
9220 8th Avenue South<br />
Seattle, WA 98108 USA<br />
www.pugetsoundcoatings.com<br />
Quality Building Stone<br />
Stone Dimensional/ Flat<br />
801-255-2911<br />
993 W. 14730 S.<br />
Bluffdale, UT 84070 USA<br />
www.qualitybuildingstone.com<br />
Peter David Studios<br />
Glass Fabricator<br />
206.547.2868<br />
509 Minor Ave. North<br />
Seattle, WA 98109 USA<br />
www.peterdavidstudio.com<br />
Peters Studio, LLC,Germany<br />
Glass Fabricator(above)<br />
011 49 (0) -5251160 97-0<br />
Am Hilligenbusch 23-27<br />
Paderborn, 33098 Germany<br />
info@glasmalerei.de<br />
Porcelain Company<br />
Specialty Materials/ Fabricator<br />
Dave Berfield<br />
206.842.6210 evenings<br />
9461 Mandus Olson Road<br />
Bainbridge Island, WA 98110 USA<br />
Poseidon Castings<br />
Foundry<br />
907.277.2278<br />
229 Whitney Rd<br />
Anchorage, AK 99501 USA<br />
Production Plating<br />
Metal Finishing<br />
Marc Wislen<br />
425.347.4635<br />
4412 Russell Road<br />
Mukilteo, WA 98275 USA<br />
www.productionplating.com<br />
Pulp Studio, Inc.<br />
Glass Fabricator<br />
310.815.4999<br />
3211 S. La Cienega Blvd.<br />
Los Angeles, CA 90016 USA<br />
www.pulpstudio.com<br />
Renaissance Metal <strong>Art</strong><br />
Metal Fabricator<br />
Bert Romans<br />
503.632.1947<br />
P.O. Box 899<br />
Mulino, OR 97042 USA<br />
www.rmetalart.com
Reno Rigutto<br />
Terrazzo<br />
Reno Rigutto<br />
503.543.5456<br />
, OR 97056 USA<br />
Research Casting International<br />
Fiberglass Fabricator<br />
Carla Mackie<br />
905.563.9000<br />
4902 Union Road<br />
Beamsville, ON LOR 1B4 CANADA<br />
www.recast.com<br />
Rockford Central Tile & Terrazzo<br />
Terrazzo<br />
Louie & Sante de Marco<br />
815.874.0888<br />
5139 American Rd<br />
Rockford, IL 61109 USA<br />
www.websiteondemand.com/rockfordcentraltileterrazzo<br />
Rogue Coastal Bronze<br />
Metal Fabricator<br />
Shirley Freeman<br />
541.247.7902<br />
34250 Ophir Rd<br />
Gold Beach, OR 97444 USA<br />
Sabah Al-Dhaher<br />
Stone Carving<br />
Sabah Al-Dhaher<br />
206.227.1730<br />
3838 Delridge Way SW<br />
Seattle, WA 98106 USA<br />
www.aldhaher.net<br />
Saunders, Jeff<br />
metal fabrication<br />
Jeff Saunders<br />
805.646.9975<br />
Ojai, CA USA<br />
Rocky Mountain Waterjet<br />
Waterjet Cutting<br />
Gail Draper<br />
970.395.1010<br />
www.rockymountainwaterjet.com<br />
Rustic Garden Structures<br />
Wood Structures<br />
Luke Barrow<br />
919-815-0215<br />
PO Box 374<br />
Bynum, NC 27228 USA<br />
www.rusticgardenstructures.com<br />
SAPA<br />
Anodizing<br />
Chuck Wiesman<br />
503-802-3172<br />
7933 NE 21st Avenue<br />
Portland, OR 97211 USA<br />
www.sapagroup.com<br />
Savoy Studios<br />
Glass Fabricator<br />
503.282.5095<br />
611 N Tillamook St<br />
Portland, OR 97227 USA<br />
www.savoystudios.com<br />
Sculpture Foundation Studio<br />
General Fabricator<br />
609.890.7777<br />
60 Sculptors Way<br />
Mercerville, NJ 8619 USA<br />
www.atelier.org<br />
Sculpture Resource Studio<br />
Foundry<br />
Allan Carroll<br />
520.578.9648<br />
4350 S Century Rd<br />
Tucson, AZ 85746 USA
Seal Fiberglass - Patrick Kaler<br />
Fiberglass Fabricator<br />
631.842.2230<br />
23 Bethpage Road<br />
Copiague, NY 11726 USA<br />
www.sealfiberglass.com<br />
Seattle Solstice<br />
Stone Dimensional/ Flat, shaping, water walls<br />
Jason Clauson<br />
206.763.0221<br />
7500 Fifth Ave South<br />
Seattle, WA 98108 USA<br />
www.seattlesolstice.com<br />
Skurja <strong>Art</strong> Castings<br />
Foundry<br />
John Skurja<br />
602.778.3651<br />
1040 Sandretto Dr. Ste G<br />
Prescott, AZ 86301 USA<br />
Southwest Metalsmiths Inc<br />
Metal Fabricator, Installer, Structural Engineer<br />
Tabetha Heath<br />
602.438.8577<br />
5026 E. Beverly Road<br />
Phoenix, AZ 85044 USA<br />
www.swmetalsmiths.com<br />
Stewart Engineering<br />
Structural Engineer<br />
Chris Herron<br />
704-334-7925 x 323<br />
200 South College Street Suite 720<br />
Charlotte, NC 28202 USA<br />
www.stewart-eng.com<br />
StudioEIS<br />
General Fabricator<br />
718.797.4561<br />
55 Washington Street, Suite 400<br />
Brooklyn, NY 11201 USA<br />
www.studioeis.com<br />
Sunrise Systems<br />
LED and Digital Lighting<br />
Kaleb Christianson<br />
781.826.9706<br />
720 Washington St.<br />
Pembroke, MA 2359 USA<br />
Swenson Say Faget<br />
Structural Engineer<br />
Greg Coons, others<br />
206.443.6212<br />
2124 Third Ave Suite 100<br />
Seattle, WA 98121 USA<br />
www.Swensonsayfaget.com<br />
Tennessee Waterjet<br />
www.tnh2ojet.com<br />
Two Ravens Studio<br />
sculptural services<br />
Ed Kroupa, Michael Haney<br />
360.789.7436<br />
Tacoma, WA USA<br />
www.tworavenstudio.com<br />
Thumb Butte Bronze<br />
Foundry, Metal Fabrication<br />
Ralph Simpson<br />
602-778-5273<br />
1701 West Adams<br />
Prescott, AZ 86301 USA<br />
Valley Bronze of Oregon, Inc.<br />
Foundry<br />
Lyle Isaak<br />
541.432.7551<br />
PO Box 669 307 W. Alder<br />
Joseph, OR 97846 USA<br />
www.valleybronze.com
Walla Walla Foundry<br />
Foundry, Metal Fabricator<br />
Mark Anderson<br />
509.522.2114<br />
405 Woodland Ave<br />
Walla Walla, WA 99362 USA<br />
www.wallawallafoundry.com<br />
Water Jet Design<br />
Waterjet Cutting<br />
John Groth<br />
503.615.0144<br />
333 NE Lincoln St.<br />
Hillsboro, OR 97124 USA<br />
www.waterjetdesign.com<br />
Western Metal <strong>Art</strong>s & Sign Co.<br />
Metal Etching<br />
John and Karen Fairbanks<br />
425.251.5377<br />
7042 S. 188th St.<br />
Kent, WA 98032 USA<br />
Winsor Fireform<br />
Porcelain enamel, Photographic Reproduction<br />
800.824.7506<br />
3401 Mottman Road SW<br />
Tumwater, WA 98512 USA<br />
www.winsorfireform.com
March 2004<br />
Monograph is one of the benefits of membership in Americans for the <strong>Art</strong>s.<br />
Serving Communities.<br />
Enriching Lives.<br />
What Is a <strong>Public</strong> <strong>Art</strong> Program?<br />
<strong>Public</strong> art programs are charged with<br />
administering the development and<br />
management of public art in their<br />
communities. The methods used to build<br />
and sustain a public art program<br />
include—but are not limited to—<br />
commissioning or purchasing artwork for<br />
permanent or temporary display, placing<br />
artists on project design teams, and<br />
creating artist-in-residence opportunities.<br />
In addition to creating new work,<br />
public art programs often are charged<br />
with maintaining their public art<br />
collection; developing educational<br />
programming; creating public art<br />
resources, including printed materials<br />
and websites; seeking out partnerships<br />
<strong>Public</strong> <strong>Art</strong>: An Essential Component of<br />
Creating Communities<br />
By Jack Becker<br />
Introduction<br />
<strong>Public</strong> art is a multifaceted field of inquiry; it encompasses<br />
a wide variety of creative expressions in the public<br />
realm. From memorials and historical monuments to<br />
contemporary installations and performance events, the<br />
possibilities are endless. Each public art program’s intention<br />
varies; definitions and generalizations are not commonly held.<br />
Some communities see public art as a way of enhancing or<br />
personalizing otherwise impersonal spaces. Others view it as<br />
a means to activate civic dialogue or provide a vehicle for the<br />
community to express its identity. Achieving success with a<br />
public art program is challenging, to say the least, and there<br />
are numerous cautionary tales.<br />
This Monograph offers an overview of the field for people new<br />
to public art, from elected officials and community members to<br />
artists and arts administrators. On the occasion of the first-ever<br />
survey of the field conducted by the <strong>Public</strong> <strong>Art</strong> Network of<br />
Americans for the <strong>Art</strong>s, it is appropriate to ask some large<br />
questions. What constitutes the public art field today? Why is<br />
public art beneficial to a community? What are the critical<br />
issues in the field? Beyond these important discussions, this<br />
document includes highlights from the survey.<br />
and opportunities with public and<br />
private organizations; and acting as a<br />
source for public art information.
2 | Monograph | March 2004<br />
Number and Type of <strong>Public</strong> <strong>Art</strong> Programs<br />
Today, there are more than 350 public art<br />
programs that support thousands of artists’<br />
projects in airports, train stations, libraries, parks,<br />
streetscapes, government buildings, and<br />
neighborhoods—urban, suburban, and rural. The<br />
majority of public art programs (81 percent) are<br />
housed within a public agency—an office of<br />
cultural affairs, arts commission, or some other<br />
operating department. Most programs involve<br />
volunteer commissioners and committee members<br />
in addition to a significant amount of staff time.<br />
Many programs also contract with outside<br />
vendors, such as planning consultants,<br />
conservators, public relations specialists, Web<br />
designers, writers, researchers, and photographers.<br />
Some programs have begun to hire artists to serve<br />
on design teams and participate in city planning<br />
or use artist-in-residence strategies to engage<br />
communities in the process.<br />
In October 2003, the <strong>Public</strong> <strong>Art</strong> Network<br />
released the first comprehensive, national<br />
survey of public art programs in the United<br />
States. The survey studied budgets, funding<br />
sources, program administration, and how<br />
programs work with artists. The resulting survey<br />
report, <strong>Public</strong> <strong>Art</strong> Programs Fiscal Year 2001:<br />
A Detailed Statistical Report on the Nation’s<br />
<strong>Public</strong> <strong>Art</strong> Programs, is the source for the<br />
public art program information found in this<br />
Monograph. A copy can be ordered from<br />
the Americans for the <strong>Art</strong>s bookstore at<br />
Adams Street Bridge, Longfellow Creek<br />
Habitat Improvement Project, Lorna Jordan,<br />
artist. Photo courtesy of City of Seattle<br />
Office of <strong>Art</strong>s & Cultural Affairs.<br />
A majority of programs either commission or<br />
purchase permanent works of art, such as<br />
sculptures, murals, mosaics, decorative features,<br />
or functional elements. These are typically<br />
viewed as enhancements, contributing to public<br />
improvement or civic construction projects.<br />
Leading programs, such as that of Seattle’s Office<br />
of <strong>Art</strong>s & Cultural Affairs, have sought strategies<br />
to offer more diverse public programming and<br />
artist services, including exhibitions; educational<br />
workshops; slide registries; and sophisticated,<br />
interactive websites.<br />
Private nonprofit organizations, such as the<br />
Tucson Pima (AZ) <strong>Art</strong>s <strong>Council</strong> and the<br />
Regional <strong>Art</strong>s and Culture <strong>Council</strong> in Portland,<br />
OR, also operate public art programs as part of a<br />
larger set of programs and services. A select few,<br />
such as Creative Time and the <strong>Public</strong> <strong>Art</strong> Fund<br />
in New York City, operate independently. The<br />
flexibility of these programs usually results in a<br />
greater diversity of activities, from emerging<br />
artist programs and temporary installations to<br />
community events and educational offerings.<br />
www.AmericansForThe<strong>Art</strong>s.org.<br />
www.AmericansForThe<strong>Art</strong>s.org
March 2004 | Monograph | 3<br />
Legal Status of <strong>Public</strong> <strong>Art</strong> Programs<br />
Survey Highlights: Conservation<br />
19%<br />
Private Nonprofit Programs<br />
According to the responding programs,<br />
commissioned permanent projects represent one<br />
81%<br />
Government Programs<br />
7.8%<br />
half (49 percent) of the nation’s completed<br />
public art projects. Purchases of existing artwork<br />
(14 percent) and commissioned temporary<br />
projects (9 percent) are the next largest<br />
categories of public art projects. Only 8 percent<br />
of the nation’s public art projects are<br />
conservation projects. This finding may reflect<br />
the fact that many policies and ordinances<br />
address the creation of new artworks, but lack<br />
appropriate attention to the conservation and<br />
<strong>Public</strong> art can also be found in urban and rural<br />
sculpture parks, often managed by museums or<br />
arts organizations. Many colleges and<br />
universities have art-on-campus programs, such<br />
as Iowa State University and the University of<br />
Minnesota. And in many communities, public<br />
art is supported by private corporations,<br />
religious organizations, and individual donors.<br />
preservation of existing public art.<br />
There are also independent artists who work<br />
outside the systems described above, including<br />
many folk artists as well as internationally<br />
renowned artists like Christo and Jeanne-Claude.<br />
Minneapolis photographer Wing Young Huie<br />
produced his monumentally scaled, summer-long<br />
Lake Street USA as an independent artist in<br />
2001, encompassing a five-mile corridor of<br />
storefront windows, bus stops, and boarded<br />
window coverings. In addition to grants,<br />
proceeds from the eventual auction of his 600+<br />
photographs helped to defray his expenses.<br />
<strong>Art</strong>ist with one of more than 600<br />
images from Lake Street USA, Wing<br />
Young Huie, artist. Photo courtesy<br />
of FORECAST <strong>Public</strong> <strong>Art</strong>works.<br />
Serving Communities. Enriching Lives.
4 | Monograph | March 2004<br />
Funding and Growth of <strong>Public</strong> <strong>Art</strong> Programs<br />
The amount of public art in the United States<br />
has grown over the past decade, fueled largely<br />
by the growth of commissioning programs run<br />
by city, county, and state governments. The<br />
average budget of the nation’s public art<br />
programs grew 27.4 percent to $779,968 during<br />
2001. In fact, the average public art budget<br />
nearly doubled between 1998 and 2001,<br />
increasing an average of 23.5 percent annually.<br />
In comparison, the total operating budgets of<br />
the umbrella organizations that operate public<br />
art programs grew an average of only 8.6 percent<br />
annually during the same period. Estimated<br />
spending on public art in 2003 is $150 million.<br />
Most public art programs are funded by a<br />
“percent-for-art” strategy—first used in<br />
Philadelphia in 1959—in which a small<br />
portion of capital improvement funds are<br />
allocated for acquiring or commissioning<br />
artwork. Beyond the typical “percent-for-art”<br />
model, there are a variety of funding<br />
mechanisms employed to support public art.<br />
These include annual appropriation,<br />
departmental allocation, hotel/motel tax,<br />
sales tax, tax increment financing, development<br />
fees, foundation grants or private gifts,<br />
corporate sponsorship, benefit auctions, and<br />
fundraising events. Monuments and memorials<br />
are usually funded through a combination of<br />
public and private sources.<br />
Most federally funded public art is handled<br />
through the General Services Administration.<br />
The National Endowment for the <strong>Art</strong>s’ <strong>Art</strong> in<br />
<strong>Public</strong> Places Program began in the mid-1970s<br />
and continued for over two decades. The<br />
nationwide CETA (Comprehensive Employment<br />
Training Act) program of the late 1970s put<br />
hundreds of artists to work in their<br />
communities, on a scale similar to the WPA<br />
programs of the 1930s. Today we see federal<br />
support for public art through such programs<br />
as the U.S. Department of Transportation’s<br />
Transportation Equity Act of the 21st Century<br />
(TEA-21) and <strong>Art</strong> & Community Landscapes,<br />
a partnership of the National Park Service,<br />
the New England Foundation for the <strong>Art</strong>s, and<br />
the NEA. <strong>Public</strong> art initiatives can also be found<br />
within state departments of transportation,<br />
neighborhood revitalization programs, and<br />
community development corporations.<br />
Revenue Sources: Government Programs<br />
Revenue Sources: Private Programs<br />
28% Earned<br />
2% Earned<br />
7% Private<br />
29% Private<br />
43% Government<br />
91% Government<br />
www.AmericansForThe<strong>Art</strong>s.org
March 2004 | Monograph | 5<br />
Defining <strong>Public</strong> <strong>Art</strong><br />
A definition of public art is essential to<br />
establish ordinances, develop permits, and<br />
educate broad audiences. However, as the field<br />
grows and evolves at a rapid pace, developing<br />
a fixed definition is very difficult. The<br />
intention and the desired outcomes of each<br />
program vary. For most public agencies, public<br />
art may be defined as “work created by artists<br />
for places accessible to and used by the<br />
public,” but the variety of public art<br />
encompasses a much broader spectrum of<br />
activities and approaches.<br />
It is important to distinguish between public<br />
art, which takes into account its site and other<br />
contextual issues, and art in public places.<br />
Simply placing a sculpture on a street corner<br />
is not the same as designing a sculpture<br />
specifically for that site by considering its<br />
audience, environmental conditions, the<br />
history of the site, etc. Regardless, art placed<br />
in public can still be quality art and offer the<br />
general public an art experience outside a<br />
museum or gallery setting.<br />
As more artists have entered the public arena,<br />
their art has taken many forms. The field<br />
today encompasses place-making,<br />
environmental activism, cause-related art,<br />
sound installations, interdisciplinary<br />
performance events, community-based<br />
initiatives, and much more. Indeed, public art<br />
is a multifaceted field, open to artists of all<br />
stripes, without predetermined rules or a<br />
mutually agreed upon critical language. This<br />
open-endedness can be a liability for public<br />
agencies seeking to serve a diverse community.<br />
<strong>Art</strong>ists may view it as an asset, however,<br />
liberating them from the constraints imposed<br />
by the commercial marketplace.<br />
Survey Highlights: <strong>Public</strong> <strong>Art</strong> Ordinances<br />
A public art ordinance is the legislation<br />
establishing a public art program within a unit of<br />
government. Generally, a public art ordinance<br />
establishes the financial mechanism that funds<br />
the public art program, identifies the unit of<br />
government or private contractor that will<br />
manage the public art program, and establishes<br />
a basis for the development of public art policies<br />
and/or guidelines.<br />
Three quarters of the programs that responded to<br />
the survey report that they operate with an active<br />
public art ordinance. A few ordinances serve only<br />
to establish the public art program (13.7 percent),<br />
while most also allocate funding (86.3 percent).<br />
Among those that allocate funding:<br />
■<br />
■<br />
■<br />
■<br />
91 percent mandate the allocations (the rest are<br />
voluntary funds);<br />
41 percent allocate funds for conservation;<br />
29 percent allocate funds for program staff; and<br />
21 percent allocate funds for educational<br />
programming.<br />
Interestingly, public art programs that operate<br />
with a public art ordinance tend to have<br />
significantly larger and faster-growing budgets<br />
than those without an ordinance. This is not<br />
surprising since by definition, most ordinances<br />
create a consistent and reliable funding stream<br />
for public art.<br />
Serving Communities. Enriching Lives.
6 | Monograph | March 2004<br />
The process of creating public art necessarily<br />
involves interaction among many interests;<br />
it is a cooperative, somewhat theaterlike<br />
production with many individuals playing a<br />
part in creating a common goal. As people of<br />
different perspectives and positions seek to<br />
make decisions cooperatively, the result<br />
can be dynamic, inviting, engaging, and<br />
sometimes contentious.<br />
Likewise, the experience of viewing public art is<br />
dynamic. The relationship between the work<br />
and its site, its audience, and other contextual<br />
factors all contribute to its impact. Successful<br />
public art evokes meaning in the public realm<br />
while retaining a high artistic quality. Perhaps<br />
most exciting is the fact that the field is<br />
evolving to include different art forms,<br />
traditions, and perspectives.<br />
Why Is <strong>Public</strong> <strong>Art</strong> Important<br />
Imagine, if you can, a world devoid of public<br />
art: no Statue of Liberty, no Eiffel Tower,<br />
no Vietnam Veterans Memorial, no Tribute in<br />
Light. No murals, memorials, or monuments.<br />
What would life be like without fireworks<br />
displays, puppet parades, sculpture parks, and<br />
visionary roadside folk art? These landmarks and<br />
special events enhance our experience of a place<br />
and our quality of life. They engender a sense of<br />
pride and community identity. They reach<br />
audiences outside museums, galleries, and<br />
theaters, and they add to the beauty of everyday<br />
life. They declare the worth of a place and a<br />
time in our shared culture.<br />
How important is the design of our shared<br />
public realm? What is the value of a park or<br />
plaza, or of a free exchange in a welcoming<br />
environment? <strong>Public</strong> art projects offer us a way<br />
to participate in the planning, design, and<br />
creation of communal space. For this reason,<br />
many refer to public art as a democratic art<br />
form. And while democracy can be a messy<br />
process, public art is an integral part of the<br />
fabric of American culture.<br />
<strong>Public</strong> art does many things, most of which can<br />
be divided into four areas. It can:<br />
■<br />
■<br />
■<br />
■<br />
engage civic dialogue and community;<br />
attract attention and economic benefit;<br />
connect artists with communities; and<br />
enhance public appreciation of art.<br />
Tribute in Light Initiative: John Bennett, Gustavo<br />
Bonevardi, Richard Nash Gould, Julian Laverdiere,<br />
Paul Marantz, Paul Myoda. Produced by The<br />
Municipal <strong>Art</strong> Society and Creative Time, with<br />
support from the Battery Park City Authority.<br />
Photo: www.charliesamuels.com.<br />
www.AmericansForThe<strong>Art</strong>s.org
March 2004 | Monograph | 7<br />
“[<strong>Public</strong> art] adds vitality, and it adds<br />
liveliness. It’s important because it’s an<br />
amenity you can add to a building. It’s a<br />
way of showing tenants that you care about<br />
the public space and that you want to give<br />
back to the building.”<br />
Project Row Houses, Rick Lowe,<br />
artist. We Are The People,<br />
Sam Durant, artist. Photo<br />
courtesy of Project Row Houses.<br />
— Developer Michael Staenberg<br />
THF Realty, Overland, MO<br />
Engage Civic Dialogue and Community<br />
During the mid-1990s, in a run-down row of<br />
shotgun houses in Houston, artist Rick Lowe<br />
saw an opportunity to return life and vitality<br />
to an endangered part of that city’s African-<br />
American history. Project Row Houses, a public<br />
art effort involving numerous public and private<br />
entities, demonstrated successful community<br />
building. In addition to artists in residence, the<br />
area around the restored homes featured events<br />
and festivals, renewing residents’ faith in the<br />
power of civic dialogue.<br />
In addition to grand monuments like the<br />
Gateway Arch or Mount Rushmore, which foster<br />
pride and contribute to our cultural heritage,<br />
strategically executed public art can raise<br />
awareness of issues such as racism, gang<br />
violence, and environmental degradation. The<br />
AIDS Memorial Quilt, featuring over 70,000<br />
individual quilts, has been displayed on the<br />
National Mall in Washington, DC. Beyond the<br />
spectacle of a colorful, monumental folk art<br />
installation, the quilt raises awareness of the<br />
AIDS epidemic, generates significant media<br />
attention, and leverages increased support for<br />
research and education.<br />
“<strong>Public</strong> artworks can be more than objects<br />
in space—they can be ideas, places, and<br />
actions. They can reveal the dynamics of<br />
ecological and social processes, tap into<br />
imaginations, and create a sense of place.<br />
I think of my artworks as theaters that<br />
regenerate the environment while triggering<br />
internal emotions and narratives.”<br />
— Lorna Jordan, environmental artist<br />
“The incorporation of art in our public space<br />
helps give expression to our community values.<br />
When we encourage art, we also encourage<br />
creativity and thoughtfulness.”<br />
— Mayor Kevin Foy, Chapel Hill, NC<br />
Serving Communities. Enriching Lives.
8 | Monograph | March 2004<br />
Attract Attention and Economic Benefit<br />
Providence, RI, experienced a revitalization of its<br />
downtown due in part to WaterFire Providence,<br />
a public art event conceived in 1995 by artist<br />
Barnaby Evans. While the concept is simple—<br />
burning fires in the middle of a restored river<br />
channel through downtown, accompanied by<br />
original musical compositions from artists<br />
around the world—it draws thousands of people<br />
several times each year, stimulating the economy<br />
and creating pride.<br />
Thanks to Kathleen Farrell and a handful of<br />
other artists, Joliet, IL, became a mural capital,<br />
attracting positive media attention, tour groups,<br />
and increased community support for the arts.<br />
Many of the murals relate to Joliet’s colorful<br />
history and connect with the city’s Heritage Walk.<br />
Significant funds and attention have been<br />
generated by such projects as Cows on Parade in<br />
Chicago and <strong>Art</strong> on the Street in Cedar Rapids, IA,<br />
supporting a wide variety of causes. <strong>Public</strong> art<br />
can help visitors navigate a city and can generate<br />
cultural tourism. The economic benefits of public<br />
art also include the many businesses contributing<br />
to the field, such as design, fabrication,<br />
engineering, lighting, insurance, and installation.<br />
Indeed, public art services are a growth industry<br />
in communities such as Los Angeles,<br />
Minneapolis, Phoenix, and San Francisco.<br />
Connect <strong>Art</strong>ists with Communities<br />
<strong>Public</strong> art can assume many forms. It is<br />
malleable, able to meet the needs of different<br />
communities and contribute to many types of<br />
projects, from city planning or a river cleanup<br />
to a memorial for a lost hero. <strong>Art</strong>ists bring<br />
creative perspectives to the strategies and<br />
management of such projects, and their efforts<br />
often improve the end result.<br />
As an audience development tool, public art<br />
provides unparalleled access to the arts. Streetpainting<br />
festivals, such as the Italian Street<br />
Painting Festival held annually in San Rafael,<br />
CA, encourage audiences to watch as artists<br />
create temporary masterpieces in chalk on the<br />
street. The May Day Parade in Minneapolis,<br />
hosted by Heart of the Beast Puppet and Mask<br />
Theatre, features community art-making<br />
workshops that invite hundreds of neighborhood<br />
residents to create their own contribution to a<br />
celebratory festival that draws an audience of<br />
50,000 annually.<br />
Enhance <strong>Public</strong> Appreciation of <strong>Art</strong><br />
The artist riding the figure<br />
Charlotte Robinson from<br />
Red Grooms’ Tennessee<br />
Foxtrot Carousel, Copyright<br />
Red Grooms, artist.<br />
Photo by Gary Layda.<br />
<strong>Public</strong> art can inspire awe, draw out deep<br />
emotions, make us smile, engage young people,<br />
and refresh our perspective. Sometimes,<br />
appreciation of public art is found in the details,<br />
the fine craftsmanship, and the sheer artistry.<br />
Red Grooms’ Tennessee Foxtrot Carousel in<br />
Nashville, TN, features a rideable Davy Crockett,<br />
Kitty Wells, Chet Atkins, a big catfish, and<br />
many more colorful characters from the region’s<br />
musical legacy. It’s fun, it’s educational, and<br />
it oozes creativity.<br />
<strong>Art</strong>ists can deliver messages—unfiltered by<br />
galleries, agents, or the media—to targeted<br />
audiences. In fact, every site comes with an<br />
audience. Creative expressions can be directed<br />
to businesspeople downtown; children at a<br />
playground; seniors at a community center;<br />
www.AmericansForThe<strong>Art</strong>s.org
March 2004 | Monograph | 9<br />
or farmers at a grain elevator, such as Tacoumba<br />
Aiken’s giant mural in Good Thunder, MN.<br />
<strong>Public</strong> art can teach us about the diverse<br />
cultures inhabiting our community, and invite<br />
us to consider the role of art and artists in<br />
our society.<br />
Great public art reveals its meaning over time,<br />
rewarding repeated visits. Beyond all that,<br />
public art has the distinct ability to add beauty<br />
to our shared environment; to commemorate,<br />
memorialize, and celebrate; and to transport us,<br />
if only momentarily, out of our daily routine.<br />
<strong>Public</strong> art is for everyone and it is free. Many<br />
people don’t visit museums or attend the<br />
theater; anybody can experience public art.<br />
Critical Issues<br />
G<br />
iven the complexities of developing and<br />
managing public art programs, working as<br />
a professional in the field, and connecting<br />
public art with a broad and diverse audience,<br />
critical issues abound. Discussing complex<br />
topics such as selection processes, funding,<br />
conservation, contracts, copyright, and insurance<br />
could fill a book; many of these issues will be<br />
dealt with in subsequent <strong>Public</strong> <strong>Art</strong> Network<br />
publications and on its website. What follows is<br />
intended to illuminate a select number of critical<br />
Survey Highlights: Working with <strong>Art</strong>ists<br />
■<br />
■<br />
The 102 public art programs that provided information<br />
on the number of artists they have commissioned<br />
report that they have commissioned an average of<br />
79.5 artists since the inception of their program.<br />
According to responding programs, the most common<br />
method used by artists to apply for a public art<br />
commission is an open call (86 percent). Of the open<br />
calls that are circulated, 72 percent of the programs<br />
issue requests for qualifications and 68 percent issue<br />
requests for proposals. Nearly one half (46 percent)<br />
report that artists apply for commissions by invitation<br />
or nomination. Fewer public art programs report<br />
that artists typically apply by joining a slide registry<br />
■<br />
■<br />
(30 percent). Fifteen percent of programs use all three<br />
methods to commission artists. The least common<br />
method used by artists to apply for commissions is<br />
proposing projects directly to the program (15 percent).<br />
The vast majority (83 percent) of public art programs<br />
report that they pay artists for their proposals when<br />
they are finalists for a project.<br />
According to both government and private nonprofit<br />
programs, artist selection panels tend to include the<br />
representation of architects, artists, arts professionals,<br />
business leaders, and community members, as well as<br />
representatives from the commissioning agency and<br />
the public art program. In general, artist selection<br />
panels consist of an average of 8.6 people.<br />
Serving Communities. Enriching Lives.
10 | Monograph | March 2004<br />
issues facing contemporary public art production<br />
and administration, and offer possible solutions<br />
or methods for addressing them.<br />
Education and Incubation<br />
How do artists gain experience in the field of<br />
public art? If you have never had a commission,<br />
how are you going to get one? The <strong>Public</strong> <strong>Art</strong><br />
Network’s field survey found that less than one<br />
half of the responding public art programs<br />
provide educational and/or training opportunities<br />
for artists. Programs that do offer training are<br />
likely to offer open meetings and lecturers. Far<br />
fewer programs offer mentoring or provide<br />
resources for public art educators. Only nine of<br />
the responding programs report that they have a<br />
mentorship program for artists.<br />
American educational institutions are just<br />
beginning to recognize the importance of public<br />
art and design. These are challenging yet<br />
teachable subjects, but few schools have<br />
developed curricula. A handful, like the<br />
University of Southern California and the<br />
University of Washington, offer public art<br />
courses or degree programs for artists or<br />
administrators seeking to enter the field.<br />
From preschool through college and beyond, we<br />
can learn something from public art, and we can<br />
also learn about public art: how to get started;<br />
find support; negotiate with site owners; deal<br />
with bureaucracies; and, most importantly, make<br />
a living at it. More educational tools are needed.<br />
Books, journals, and slide shows are helpful, but<br />
first-hand experience is essential. To gain this,<br />
visit an artist’s studio, attend a community<br />
meeting, and listen to the stories that each<br />
project has to tell and the lessons learned.<br />
For artists new to public art, only a few grant<br />
programs exist that fund artist-initiated projects.<br />
Often, artists need to have experience in public<br />
art in order to gain commissions. The lack of<br />
opportunities for artists to receive funding for<br />
their own public art initiatives makes it<br />
challenging for them to receive that breakthrough<br />
project from a commissioning organization.<br />
FORECAST <strong>Public</strong> <strong>Art</strong>works, a 25-year-old<br />
nonprofit in St. Paul, MN, established a<br />
statewide funding program in 1989 for<br />
independent artists of all disciplines, offering<br />
support for research and development and<br />
for small-scale “demonstration” projects.<br />
FORECAST’s national journal, <strong>Public</strong> <strong>Art</strong><br />
Review, has served as a valuable educational<br />
I have a story to tell you... (2003)<br />
Pepón Osorio, artist. Photo by<br />
Gregory Benson, courtesy of the<br />
Fairmount Park <strong>Art</strong> Association.<br />
www.AmericansForThe<strong>Art</strong>s.org
March 2004 | Monograph | 11<br />
tool since 1989, with many instructors, students,<br />
schools, and libraries as subscribers. Apprenticeships<br />
and internships are also effective ways to<br />
gain hands-on experience with artists and<br />
program administrators.<br />
Diversity<br />
<strong>Public</strong> art reflects the changing demographics of<br />
our society, but it could do even more. Creating<br />
opportunities for diverse and immigrant<br />
populations to participate in public art will<br />
strengthen the overall fabric of our culture and<br />
inform audiences about the creative impulse<br />
found in all cultures.<br />
Unlike the traditional world of art museums,<br />
diverse artists now figure prominently in the<br />
public art field, including such visionaries as<br />
Maya Lin, Suzanne Lacy, Mel Chin, Pepón<br />
Osorio, and Rick Lowe. These and countless<br />
other artists have championed public art as a<br />
humanizing force; strengthened our connections<br />
to the natural world and to each other; and<br />
created a means of communicating ideas and<br />
sharing experiences in a changing, culturally<br />
diverse world.<br />
Philadelphia’s Latino community, for example,<br />
recently celebrated the installation of<br />
internationally renowned artist Pepón Osorio’s<br />
I have a story to tell you…, a set of large-scale<br />
photographic images in the newly renovated<br />
headquarters of Congreso de Latinos Unidos.<br />
The installation was commissioned by the<br />
Fairmount Park <strong>Art</strong> Association as part of their<br />
groundbreaking New-Land-Marks program.<br />
The windows of the main building and the<br />
adjacent, more intimate casita (little house) are<br />
fabricated with photographic images on glass.<br />
To create this community photograph album,<br />
Osorio collected photographs from community<br />
members, seeking images that reflect shared<br />
experience and depict local events that<br />
have impacted community life. Beyond its<br />
empowering attributes for the Latino community,<br />
Osorio’s project offers the community at large a<br />
glimpse at a growing population and with it a<br />
sense of their culture and their values.<br />
Critical Language<br />
Shared vocabulary in the public art field urgently<br />
needs development. Not everybody is on the<br />
same page. Each of us brings a different<br />
perspective and a distinct set of criteria when<br />
deciding what makes good public art. Can the<br />
field develop critical language through shared<br />
sets of evaluation criteria?<br />
Few public art programs currently conduct<br />
evaluations. Only 27 percent of the programs<br />
responding to the field survey stated that they<br />
had conducted an evaluation or assessment of<br />
an individual public art project; 22 percent had<br />
conducted an evaluation or assessment of their<br />
entire program. It is interesting to note that the<br />
survey found that programs that have completed<br />
an evaluation of their entire program have much<br />
larger and more aggressively growing budgets<br />
than those that have not.<br />
<strong>Public</strong> art programs can develop their evaluation<br />
methods by gathering information from local<br />
and national grantmaking organizations about<br />
evaluation processes, working with an evaluation<br />
consultant, and learning about the evaluations<br />
conducted by other public art programs.<br />
Reporting back to the field about the evaluation<br />
mechanism and results via the <strong>Public</strong> <strong>Art</strong><br />
Network, websites, conferences, listservs, and<br />
articles is an essential step toward advancing<br />
awareness of the need and benefits of evaluation.<br />
Critical writing and analysis on public art is<br />
scarce, but it is a skill that needs to be fostered<br />
among the many talented writers in the United<br />
States. Beyond art critics, who tend to be more<br />
interested in aesthetics or art historical concerns,<br />
investigative journalists, social critics,<br />
Serving Communities. Enriching Lives.
12 | Monograph | March 2004<br />
anthropologists, social workers, and the<br />
articulate layperson should all be encouraged<br />
to write and talk publicly about public art<br />
more often.<br />
<strong>Public</strong> artists and program administrators, both<br />
of whom have the greatest involvement and<br />
familiarity with the field, need to gain more<br />
objective critical writing skills to effectively<br />
share their experiences with public art’s larger<br />
audience. <strong>Public</strong> art programs and their parent<br />
agencies should consider partnering with<br />
foundations and the media to support<br />
fellowships for writers and commentators.<br />
Newspapers undoubtedly could do a better<br />
job covering what’s important about public art;<br />
many regard it merely as a photo opportunity<br />
or a human interest story.<br />
Every project has a story to tell, making film<br />
and video and the Internet effective tools for<br />
talking about public art. The complex process,<br />
the many talented artists, and the wide range of<br />
projects can be edited and organized for a broad<br />
audience. We can walk around a sculpture,<br />
observe it during different seasons, hear the<br />
comments of those passing by, and go behind<br />
the scenes.<br />
Television programs such as PBS’s <strong>Art</strong> 21 and<br />
segments occasionally aired on CBS Sunday<br />
Morning are good examples of ways to explore<br />
contemporary art and artists, as they are<br />
accessible to a broad audience and they don’t<br />
“talk down” to viewers. Noteworthy films<br />
include Running Fence, documenting Christo<br />
and Jeanne-Claude’s struggle to install a 22-<br />
mile fabric sculpture in California. More recent<br />
documentaries include the Academy Awardwinning<br />
A Strong Clear Vision about Maya Lin’s<br />
experience creating the Vietnam Veterans<br />
Memorial and other projects, and the 2003<br />
documentary Rivers and Tides about artist Andy<br />
Goldsworthy and his persistent struggle to<br />
create meticulous, fragile, and ephemeral—and<br />
stunningly beautiful—outdoor works of art.<br />
These and other records are tremendous<br />
resources that begin to break down the<br />
language barriers between public art and<br />
its many audiences.<br />
Controversy<br />
<strong>Public</strong> art can become a lightning rod,<br />
especially in complex capital projects,<br />
because it is often the only area where public<br />
participation is invited. <strong>Public</strong> art can also<br />
attract controversy because it uses public<br />
funds and occupies a prominent place in<br />
public spaces. The meaning of great public<br />
art is often not grasped immediately upon<br />
installation; consider the Eiffel Tower, the<br />
Gateway Arch, the Statue of Liberty, and the<br />
Vietnam Veterans Memorial—all controversial.<br />
It wasn’t until years—or even decades—later<br />
that these projects became valued icons, able<br />
to withstand the test of time. It isn’t hard to<br />
offend someone with nudity, political<br />
incorrectness, social commentary, the perceived<br />
unnecessary use of public funds, etc. And<br />
sometimes public art simply doesn’t work.<br />
Let’s face it, there’s plenty of mediocre art out<br />
there, making it difficult to build a case for<br />
future support.<br />
Controversy is a magnet for the media, and<br />
there are plenty of examples. Dennis<br />
Oppenheim’s Blue Shirt project for Milwaukee’s<br />
General Mitchell International Airport faced<br />
overwhelming opposition after the design was<br />
approved by the county’s art committee in 2000.<br />
The monumentally scaled wall-mounted<br />
sculpture of a blue work shirt was the subject<br />
of a legal dispute, based on the fact that the<br />
artist did not complete installation on time.<br />
Oppenheim said the problems with the piece<br />
were not about timing or money, but about<br />
politics. The city government and local press<br />
mounted a campaign against the sculpture,<br />
characterizing it as a pejorative comment on<br />
Milwaukee’s reputation as a blue-collar town.<br />
www.AmericansForThe<strong>Art</strong>s.org
March 2004 | Monograph | 13<br />
Survey Highlights: Visual <strong>Art</strong>ist Rights Act<br />
The Visual <strong>Art</strong>ist Rights Act of 1990 (VARA) is Section<br />
106A of the copyright law. It applies to any work<br />
created after 1990. VARA establishes a definition of<br />
visual art, which includes sculpture. VARA provides<br />
protection beyond the economic rights of the<br />
copyright law, and is distinct from ownership of a copy<br />
of an artwork or of a copyright or any exclusive right<br />
under copyright to that artwork.<br />
VARA is personal to the artist, its protection is for<br />
the life of the artist, and an artist’s VARA rights cannot<br />
be transferred. VARA provides for the artist’s right of<br />
attribution to claim authorship of his or her work; to<br />
prevent the use of his or her name on any work he or<br />
she did not create; and to have his or her name<br />
removed from any work that is distorted, mutilated,<br />
or modified that would reflect with prejudice on the<br />
artist’s reputation.<br />
VARA provides for the artist’s right of integrity to prevent<br />
any intentional distortion, alteration, or destruction of a<br />
work of recognized stature, and any intentional or grossly<br />
negligent destruction of a work in violation of that right.<br />
The artist can waive his or her VARA rights, but a waiver<br />
has to be in writing and must specifically identify the<br />
artwork and the uses of that artwork. The waiver applies<br />
only to the artwork and uses so identified.<br />
Eighty-eight percent of responding public art programs<br />
report that their artist contract complies with VARA.<br />
Similarly, 90 percent of public art programs say that<br />
the artists that they commission retain the copyright of<br />
their work. When the copyright is not maintained by<br />
the artists, most often it becomes the property of the<br />
public art program. A few programs report that they<br />
share a joint copyright with the artists.<br />
Definition by William Gignilliat, Esq., PAN <strong>Council</strong><br />
committee member.<br />
The dispute kept the project on hold for<br />
months, until a revised installation was approved<br />
for completion.<br />
Everyone’s a critic. If you want to find fault<br />
with a public art project at any point in the<br />
process, you can. And, depending on the<br />
situation, there may be a need for “damage<br />
control.” Obtaining written support from key<br />
community leaders and project stakeholders<br />
early on can help.<br />
Strategic planning and obtaining early feedback<br />
helps avoid unwanted controversy. Play your<br />
own devil’s advocate and determine the risks<br />
carefully, then move forward with assurance and<br />
conviction. If you consider the examples listed<br />
here—all considered great works of public art—<br />
controversy can be viewed as a good sign.<br />
Controversy and an abundance of attention<br />
indicate that people are interested, concerned,<br />
or even outraged. This begs the question: why?<br />
The root of this question is at the heart of what<br />
makes public art so compelling.<br />
Serving Communities. Enriching Lives.
14 | Monograph | March 2004<br />
Conclusion<br />
Communities that desire meaningful public<br />
art need to work at it by reaching out and<br />
participating in the effort. After all, the<br />
public is the final beneficiary of public art. As<br />
the demographics and the economics in our<br />
communities change, public art must constantly<br />
prove its value to the public.<br />
Based on the significant number of programs,<br />
the size of their budgets, and the millions of<br />
people affected every day, public art appears to<br />
be gaining recognition. As public art infiltrates<br />
almost every facet of our culture, in myriad<br />
forms, it can help all the arts to regain a<br />
position of value and priority in our society.<br />
We must continue to support public artists;<br />
help them to give shape to our shared identity;<br />
and bring their visions, their energy, their<br />
spirit, and their creative solutions to the<br />
world. Shaping places—with landmarks and<br />
landscapes, events and ideologies—sets the<br />
stage for a critical part of our existence: our<br />
connection with our environment; with our<br />
past, present, and future; and with other<br />
human beings.<br />
About the Author<br />
Jack Becker is founder and artistic director of<br />
FORECAST <strong>Public</strong> <strong>Art</strong>works, which produces<br />
an annual grant program for Minnesota artists,<br />
offers a wide variety of consulting services,<br />
and publishes the national journal <strong>Public</strong><br />
<strong>Art</strong> Review.<br />
About <strong>Public</strong> <strong>Art</strong> Network<br />
PAN is a program of Americans for the <strong>Art</strong>s<br />
designed to provide services to the diverse field<br />
of public art and to develop strategies and tools<br />
to improve communities through public art.<br />
PAN’s key constituents are public art professionals,<br />
visual artists, design professionals, arts<br />
organizations, and communities planning public<br />
art projects and programs. For more information<br />
about PAN, e-mail pan@artsusa.org or visit the<br />
website at www.AmericansForThe<strong>Art</strong>s.org/PAN.<br />
Resources<br />
For more information on the artists, projects,<br />
and organizations in this Monograph,<br />
please see the following websites.<br />
<strong>Art</strong>ists and Projects<br />
<strong>Art</strong> on the Street<br />
www.downtowncr.org<br />
Blue Shirt Project, Dennis Oppenheim, artist<br />
www.home.earthlink.net/~dennisoppenheim<br />
www.jsonline.com/news/metro/oct03/180260.asp<br />
Mel Chin, artist<br />
www.pbs.org/art21/artists/chin<br />
Christo and Jeanne-Claude, artists<br />
www.christojeanneclaude.net<br />
Cows on Parade<br />
www.ci.chi.il.us/Tourism/CowsOnParade/<br />
www.AmericansForThe<strong>Art</strong>s.org
March 2004 | Monograph | 15<br />
Kathleen Farrell, artist<br />
www.canalcor.org/Mural.html<br />
I have a story to tell you…, Pepón Osorio, artist<br />
www.fpaa.org/whatsnew_ded.html<br />
Italian Street Painting Festival<br />
www.youthinarts.org/ispf.htm<br />
Lake Street USA, Wing Young Huie, artist<br />
http://lakestreetusa.walkerart.org<br />
May Day Parade<br />
www.heartofthebeasttheatre.org/mayday<br />
Suzanne Lacy, artist<br />
www.suzannelacy.com<br />
Maya Lin<br />
www.pbs.org/art21/artists/lin<br />
PBS’ <strong>Art</strong> 21<br />
www.pbs.org/art21<br />
Project Row Houses, Rick Lowe, artist<br />
www.projectrowhouses.org<br />
Rivers and Tides<br />
www.roxie.com/rivers.html<br />
Salmon Bone Bridge, Lorna Jordan, artist<br />
www.cityofseattle.net/util/urbancreeks/artNature.htm<br />
A Strong Clear Vision<br />
www.pbs.org/pov/pov1996/mayalin/<br />
Programs and Organizations<br />
Creative Time<br />
www.creativetime.org<br />
<strong>Art</strong> & Community Landscapes<br />
www.nefa.org/grantprog/acl/index.html<br />
FORECAST <strong>Public</strong> <strong>Art</strong>works<br />
www.forecastart.org<br />
Iowa State University’s <strong>Art</strong>-on-Campus Program<br />
www.museums.iastate.edu/AOCFrames.htm<br />
<strong>Public</strong> <strong>Art</strong> Fund<br />
www.publicartfund.org<br />
Regional <strong>Art</strong>s and Culture <strong>Council</strong><br />
www.racc.org<br />
Seattle Office of <strong>Art</strong>s & Cultural Affairs<br />
www.cityofseattle.net/arts<br />
Tucson Pima <strong>Art</strong>s <strong>Council</strong><br />
www.tucsonpimaartscouncil.org<br />
University of Minnesota’s <strong>Public</strong> <strong>Art</strong> on Campus<br />
www.umn.edu<br />
University of Southern California’s <strong>Public</strong> <strong>Art</strong> Studies<br />
Program<br />
http://finearts.usc.edu/pas<br />
University of Washington’s Program on <strong>Public</strong> <strong>Art</strong><br />
www.studypublicart.org<br />
Tennessee Foxtrot Carousel, Red Grooms, artist<br />
www.artsnashville.org/pubart/grooms_tenne.html<br />
Tribute in Light<br />
www.creativetime.org/towers<br />
WaterFire Providence, Barnaby Evans, artist<br />
www.waterfire.com<br />
Serving Communities. Enriching Lives.
Washington Office<br />
1000 Vermont Avenue NW<br />
6th Floor<br />
Washington, DC 20005<br />
T 202.371.2830<br />
F 202.371.0424<br />
New York Office<br />
One East 53rd Street<br />
2nd Floor<br />
New York, NY 10022<br />
T 212.223.2787<br />
F 212.980.4857<br />
info@artsusa.org<br />
www.AmericansForThe<strong>Art</strong>s.org<br />
Author<br />
Jack Becker<br />
Editors<br />
Susan Gillespie<br />
Anne L’Ecuyer<br />
Renee Piechocki<br />
Americans for the <strong>Art</strong>s<br />
Copyright 2004, Americans for the <strong>Art</strong>s.<br />
Printed in the United States.<br />
This Monograph is generously supported by<br />
Did you know that as a member of Americans for the <strong>Art</strong>s you can receive the<br />
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research reports, and advocacy tools. Join the thousands of individuals and<br />
organizations committed to communicating the importance of the arts in our<br />
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For more information on membership, please contact Heather Rowe, director of<br />
professional membership, at 202.371.2830 or membership @ artsusa.org.
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