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VII.2. Artist Commissions and Contract Award - Artery Project; Beekman (CR2017-048)March 7, 2017 Council Report 2017-048 Artist Commissions and Contract Award – Artery Project Proposed Action Staff recommends adoption of the following motion: Move to Approve the Public Art Committee Recommendation of Artist Selection and Authorize Staff to Execute the Commissioning Agreement with Each Artist for Art Work to be Designed, Fabricated, and Installed as Part of the Artery Project. Overview As part of the 8th Avenue reconstruction project – The Artery – the City has planned for the installation of four permanent pieces of original commissioned art work. These elements include an illuminated sculpture in front of the Moline building at Excelsior Boulevard and 8th Avenue, a photo-op bench, a street closure device at 8th Avenue and 1st Street where the road narrows to a one-way, and a shade canopy structure that will be located in the Artery plaza. A set budget for each element has been determined and the Commissioning Agreement requires the artist to design, fabricate, and install the artwork for that amount. An additional 5% of the budget is allocated towards having the artwork certified by a licensed engineer for structural integrity. Primary Issues to Consider Process Artists Selected Next Steps Supporting Information Commissioning Agreement Request for Qualifications Artist Applications ___________________________ Meg Beekman Community Development Coordinator Council Report 2017-048 Page 2 Financial Impact: $_$178,500_Budgeted: Y/N Y Source: _LCA TOD Grant and Art Dedication Related Documents (CIP, ERP, etc.): _______________________________________ Notes:_______________________________________________________________ Analysis of the Issues Process The City and its consultants worked with the Public Art Committee to develop a request for qualifications (RFQ) that was advertised nationwide. The RFQ was issued in November 2016 and an informational meeting for interested artists was held at the Hopkins Center for Arts in December. The RFQ closed in January and the City received applications from 94 different artists. The RFQ was written in such a way that an artist could apply for one or more of the four artworks included in the RFQ. An initial review of the applications and round of cuts was done and then the Public Art Committee met over two additional meetings to review the remaining applications and make recommendations on which artist would be the best fit for each of the four pieces. Their recommendation was unanimous. In addition to the four pieces of sculpture, the RFQ included a request for proposals for a number of metal panels that will be used as screening elements. The response to that specific element of the request was not strong and after much discussion with the Public Art Committee, it was determined that it would be better to pull that element out of this request and do a separate RFP directed specifically to Minnesota artists. This item will be brought to the Council at a later date. Artists Selected After careful review and much discussion, the Public Art Committee is recommending the following artists for each element: Illuminated Sculpture – James Brenner, Minneapolis, MN - http://www.jamesbrenner.com/ Photo-op Bench – Ben Zamora, Seattle, WA –www.benzamora.com Road Closure – Andrea Myklebust and Stanton Sears, Stockholm, WI – www.myklebustsears.com Shade Canopy – Jason Klimoski and Lesley Chang, Brooklyn, NY – www.studiokca.com Next Steps Once the contracts are executed with each artist, Staff and our consultants will meet with each artist to familiarize them with the City of Hopkins, the Artery project and the Council Report 2017-048 Page 3 context of each piece. Artists will create several concept drawings, which will be reviewed by the Public Art Committee. Once a concept is settled on the artist will begin work on detailed drawings and a description of their piece. These documents will be reviewed by City staff, Bolton & Menk, and a public art conservator who will review the work through the lens of vandalism prevention and long term maintenance. Comments will be gathered and shared with the artists, who will incorporate the feedback and then provide detailed technical drawings to the City for review and approval. Once the detailed technical drawings are approved by the City fabrication of the work may begin. Once fabrication is complete the City will review and approve the final piece prior to installation. Once the City has approved the completed work, the artist may install the piece. Staff anticipates that the artwork will be installed in October of this year, though adjustments to that schedule may be necessary as work on the pieces progresses. Recommendation Staff recommends approval of the Public Art Committee’s recommendation of artist selection and to authorize staff to execute the Commissioning Agreement with each artist for artwork to be designed, fabricated, and installed as part of the Artery project. It should be noted that minor modifications to the contract may be made by staff before final execution of the Commission Agreement takes place. 1 494810v2 AMB HP145-9 PUBLIC ART DESIGN AND COMMISSIONING AGREEMENT This PUBLIC ART DESIGN AND COMMISSIONING AGREEMENT (the “Agreement”) is made byand between the cityof Hopkins, a municipal corporation underthe laws ofthe state of Minnesota (the “City”), and _________________(“Artist”), an independent contractor. WHEREAS, the City desires to enter into this Agreement in order to commission Artist to complete certain art projects related to public improvements within the City known as “The Artery” (the “Project”); WHEREAS,Cityis authorizedtoenterintothisAgreementpursuanttoMinnesotaStatutes,section 412.221; WHEREAS, the Citypublished a request for qualifications for artists to complete the Project; WHEREAS, the Artist has indicated a desire to create for City an original artwork in a professional manner, and the Cityhas deemed that the Artist possesses the requisite qualifications; NOW THEREFORE, the parties mutuallyagree as follows: 1.ServicestobeProvided.Artist agrees toprovideCitywithartisticprofessional services as set forth in this Agreement (“Scope of Services” or “Services” or “Artwork”). The specific Services related to the art project undertaken by Artist are outlined in Exhibit A, attached hereto. TheServicesandobligationsreferencedinthis Agreement,includingthoseinExhibit A shall be incorporated into this Agreement by reference. All Services and obligations shall be provided in a manner consistent with the level of care and skill ordinarily exercised by professionals currentlyproviding similar artistic development services. 2.Artist’s Obligations. 2.1. The Artist shall perform all services and furnish all supplies, material and/or equipmentasnecessaryforthedesignandfabricationoftheArtworkattheSiteinaccordance withthespecifiedschedule.Servicesshall beperformedinaprofessionalmannerandinstrict compliance with all terms and conditions in this Agreement. 2.2. The Artist shall determinethe artistic expression, design, dimensions andmaterials of the Artwork, subject to review and acceptance by the City as set forth in this Agreement. To ensure that the Artwork as installed shall not interfere with the intended use of the Site, pedestrian and other traffic flow, parking, and safety devices and procedures at the Site, the Artist’s proposal shall be reviewed and approved by the City, other applicable city departments such as Public Works or Planning and, where appropriate, the project architect to ensure compliance with these objectives. 2.3. TheArtist shall preparethedesignconcept andthecorrespondingbudget describedin this Agreement. The design concept shall include a description of all materials and products utilized in the Artwork and the required routine care and upkeep involved. 2 494810v2 AMB HP145-9 2.4. Artist shall attend public information meetings with the general public, attend design and construction coordination meetings with City, general contractor, architect and other parties, as appropriate, to communicate about the Artwork and to ensure appropriate integration and/or installation of the Artwork. 2.5. The Artist shall complete the fabrication of the Artwork bythe scheduled installation date as provided in this Agreement. 2.6. The Artist shall secure any and all required licenses, permits and similar legal authorizationsattheArtist’sexpenseasmaybenecessaryfortheinstallationandmaintenance of the Artwork at the Site. 2.7. The Artist shall arrange, and be responsible for, the transportation, subsurface site requirements, and installation of the Artwork in consultation with the City. If the Artist does not install the Artwork themselves, Artist shall supervise and approve the installation at the Artist’s expense. 2.8. Artist shall provide required insurance in amounts and limits specified in this Agreement. 2.9. Artist shall provide a list of all subcontractors along with a copy of the agreement between the Artist and each subcontractor. 2.10. Artist shall provide a maintenance manual with a description of all materials and products utilized in the Artwork and the required care and upkeep involved. 2.11. Artist shall provide photographic documentation of the Artwork. 2.12. Artist shall be available with reasonable advance notice for meetings, ceremonies and the like, as necessary. 3.City’s Obligations. 3.1. The City shall perform all obligations in strict compliance with all terms and conditions in this Agreement. 3.2. The City shall be responsible for providing the Artist, at no expense to the Artist, copies of existing designs, drawings, reports, list of required permits, and other existing relevant data, if any, which is needed byArtist in order to perform. 3.3. The Cityshall be responsible for compliance with all applicablelaws and regulations, including but not limited to zoning or environmental regulations, and shall explain any limitations imposed bysuch laws and/or regulations to the Artist. 3.4. The City shall prepare the Site in accordance with the specifications detailed in the approved design concept in this Agreement. The City shall be responsible for all expenses, labor and equipment to prepare the Site for the timely transportation and installation of the 3 494810v2 AMB HP145-9 Artwork. The City shall complete the Site preparations by the scheduled installation date as provided in this Agreement or shall contact the Artist in writing informing him or her of any delays. 3.5 The Cityshall provide and install a plaque on or near the Artwork containing a credit to the Artist and a copyright notice substantiallyin the following form: Copyright © [Artist’s name, date of publication]. 3.6. TheCityshall notpermitanyuseoftheArtist’s nameormisuseoftheArtworkwhich would reflect discredit on the Artist’s reputation as an artist or which would violate the spirit of the Artwork, to the extent that such use or misuse is within the City’s direct control. 3.7. The City shall be responsible for leading the Artist through the required review process. The City shall be responsible for organizing and scheduling meetings with review entities, the conservator, the design team, the community, etc. and for providing the Artist written instructions for the materials required at such meetings. 4.Design. A.Concept 4.1. The Artist shall visit, examine,research andconsider theSite andsurroundingarea. If applicable, the Artist shall also consult with representatives of the community and consider their input and concerns. 4.2. The Artist was selected pursuant to a request for qualifications organized for the procurement of an artist to design and fabricate Artwork suitable for the current project. Within 30 days of the execution ofthis Agreement, the Artist shall submit tothe Citythree or more design concepts in the form of conceptual color drawings, as are required to present a general representation of the Artwork. 4.3. Within 14 days after the Artist submits concepts, the City shall provide comments to the Artist regarding the concepts, indicating which is preferred and why. B.Schematic 4.4. Within 30 days after the City submits comments on the concepts, the Artist shall submit to the City the design concept (the “Design”) in the form of detailed color drawings, as are required to present a meaningful representation of the Artwork. The Design will include: a description of the method bywhich the Artwork is to be fabricated and installed; a description of any operational, maintenance and conservation requirements for the Artwork; a description of the placement of the Artwork at the Site and any site preparations that may be required by the City including, but not limited to, any changes or modifications to any utilitysystem or structure of the Site as necessary. 4.5. TheDesignmustprovidesufficientdetailtopermittheCitytoassurecompliancewith applicable local, state or federal laws, ordinances and/or regulations. 4 494810v2 AMB HP145-9 C.Approval 4.6. Within 60 days after the Artist submits the Design, the City shall notify the Artist whetherit approves ordisapproves of the Design. The Cityshall have discretion in approving outright or with modifications, or rejecting the Design. The Cityshall notifythe Artist of any modifications to the Design as are necessary for the Artwork to comply with any applicable laws, ordinances and/or regulations and other reasons including, but not limited to, ensuring the physical integrity of the Artwork or its installation at the Site. If agreed upon by both parties, such modifications will become a part of the accepted Design. 4.7. If the City requests modifications to the Design, the City will submit to the Artist in writing the modifications being requested and the reasons for such modifications. In such event, the Artist will submit a Revised Design within 15 days after the City has notified the Artist of the requested modifications. The Artist will not be paid an additional fee for modifications to the Design. D.Redesign 4.8. The Revised Design will reflect changes made to address the City’s stated modification requests, as well as anyadjustments in the schedule that maybe necessary. The Cityshall notifytheArtistinwritingwhetherit approves ordisapprovesoftherevisedDesign within 10 days after the Artist submits the revised design. 4.9. If the Artist refuses to revise the Design pursuant to this section, or if the Artist fails to adequately revise the Design in the judgment of the City, this Agreement shall terminate and the parties shall be under no further obligation to each other as of the date of such termination. The effective date of termination shall be the date the City submits its written disapproval of the Revised Design to the Artist. The City shall submit to the Artist a written termination notice with the disapproval. The termination notice shall advise the Artist that this Agreement has been terminated pursuant to this section. The termination notice shall notify the Artist that the Artist is entitled to retain the compensation paid prior to the termination date, and that the Parties are under no further obligation to each other. The termination notice shall confirm that the Artist shall retain ownership of all Designs, Revised Designs and renderings thereof submitted hereunder. E.Final/Construction Documents 4.10. Within 30 days after the City submits notice of approval of the Revised Design, the Artist shallprepareandpresent totheCitytechnicaldrawings detailingeveryphysical feature of the construction of the Artwork and its integration with the Site. These drawings and supplementary documents shall indicate any issues involved in the construction, integration and maintenance of the Artwork, as well as anythird partysubcontractors needed to work on the project. 4.11. Where appropriate, the Artist shall present such drawings to a qualified structural and/or electrical engineer, licensed by the state of Minnesota and paid by the Artist, for certification that the Artwork will be of adequate structural integrity and/or comply with all 5 494810v2 AMB HP145-9 electrical codes. The Artist shall provide the Citywith such certification, signed and stamped bya structural and/or electrical engineer licensed in the state of Minnesota. 4.12. Where appropriate, the Artist shall provide detailed design and installation documentation for subsurface structural footings required. Layout and design shall be coordinated with the Agency. 4.13. Where appropriate, the Artist shall provide electrical design and installation documentation required. All electrical feed point locations shall be coordinated with the Agency. 4.14. Within 15 days after the Artist submits the technical drawings to the City, the City shall notifythe Artist inwritingwhetherit approvesor disapproves of thetechnical drawings. If the City approves of the technical drawings the Artist shall commence fabrication of the Artwork. If the City disapproves of the drawings, the Artist shall have 10 days to revise the drawings in accordance with the reasons for the City’s disapproval and resubmit revised technical drawings to the City. 4.15. Where appropriate, the City shall present the Design to a qualified conservator, who will make recommendations on the maintenance of the Artwork and the City shall provide a written copyof the conservator’s recommendations to the Artist. 5.Budget, Payment Schedule, Construction Schedule and Progress Reports. A.Budget 5.1. The City has set a predetermined budget of $______________ for the Artwork. The actual cost to the Cityshall not exceed this amount. 5.2. Certification of the Artwork bya qualified engineer, licensed bythe state and paid by the Artist, is required to ensure that the Artwork will be of adequate structural integrity. The Artist shall collect and submit invoices for the certification of the Artwork and submit them to the City for reimbursement up to the amount of 5 percent of the allocated budget for the Artwork. B.Schedule 5.3. The Artist shall notify the City of the tentative schedule for the fabrication and installation of the Artwork, including a schedule for the submission of progress reports and inspections if any. The Schedule maybe amended bywritten agreement. 5.4. The installation of the Artwork shall be substantiallycompleted byOctober 31, 2017. 5.5. Artist shall be paid 50% of the total contract price upon execution of this Agreement. Artistshallbepaid40%ofthetotalcontractpriceuponacceptancebytheCityofthetechnical drawings and prior to the commencement of fabrication. Artist shall be paid the final 10% of 6 494810v2 AMB HP145-9 the total contract price upon full acceptance of the Artwork by the City, pursuant to this Agreement. 6.Fabrication Stage. 6.1 The Artist shall fabricate and be responsible for the installation of the Artwork in substantial conformitywiththeDesign. TheArtistmaynot deviatefrom theapproveddesign without written approval of the City. 6.2. If the Artwork is being constructed on-site, the Artist shall avoid creating nuisance conditions arisingout ofthe Artist’s operations. Prior to requestingauthorization to transport andinstalltheArtwork,theArtistshallberequiredtoprovidetheCitywithalistofallworkers or subcontractors and equipment to be used along with the hours of operation and the scope of worktobe performedon site. All additional workers orsubcontractors must provide proof of insurance prior to entering the site. 6.3. The Artist shall provide photo documentation and updates of the fabrication process from time to time, or upon request by the City. The City shall have the right to review the Artwork at reasonable times during the fabrication. 6.4. IftheCity,uponreviewoftheArtwork,determinesthattheArtworkdoesnotconform to the Design or Revised Design, the City reserves the right to notify the Artist in writing of the deficiencies and that the Cityintends to withhold the next budget installment. 6.5. The Artist will promptlycure the City’s objections and will notifythe Cityin writing of completion of the cure. The City shall promptly review the Artwork, and upon approval shall release the next budget installment. If the Artist disputes the City’s determination that the Artwork does not conform, the Artist shall promptlysubmit reasons in writing to the City within 5 days of the City’s prior notification to the contrary. The Cityshall make reasonable efforts to resolve the dispute withthe Artist in good faith. However, final determination as to whether the Artist has complied with the terms of this Agreement shall remain with the City. 6.6. The Artist shall notify the City in writing when fabrication of the Artwork has been completed,andthattheArtworkisreadyfordeliveryandinstallationattheSiteiftheArtwork was fabricated off-site. 6.6. The Cityshall inspect the Artwork within 5 days after receiving notification pursuant to this section prior to installation, to determine that the Artwork conforms to the Design and togivefinalapprovaloftheArtwork.TheCityshallnotunreasonablywithholdfinalapproval of the fabricated Artwork. In the event that the City does withhold final approval, the City shall submit the reasons for such disapproval in writing within 5 day of examining the fabricated Artwork. The Artist shall then have 5 days from the date of the City’s notice of the disapproval to make the necessary adjustments to the fabricated Artwork in accordance with such writing. The Artist shall not be penalized for anydelayin the deliveryand installation of the Artwork to the Site unless the Artist has willfully and substantially deviated from the Design without the prior approval of the City. The Artist shall then be held responsible for any expenses incurred in correcting such deviation. 7 494810v2 AMB HP145-9 6.7. The City shall promptly notify the Artist of any delays impacting installation of the Artwork. Anyadditional storage fees incurred as a result of such delays are the responsibility of the City. The Artist shall be required to inspect the Site prior to the transportation and installation of the Artwork and shall notify the City of any adverse Site conditions that will impact the installation of the Artwork which are in need of correction. 7. Changes. Changes to Design Prior to the execution of any change in the approved design, the Artist shall present proposed changes in writing to the City for further review and approval. The Artist must provideadetaileddescriptionofanysignificant changes intheartisticexpression, design,dimensions,andmaterialsoftheArtworkthatisneitherpermittedbynorinsubstantial conformity with the already approved design. A significant change is any change which materially affects installation, scheduling, site preparation or maintenance of the Artwork or the concept of the Artwork as represented in the Design. 7.1. If the City approves the changes, the City shall promptly notify the Artist in writing. The Citywill also make the required presentations to anyapproval bodies. 7.2. If the City disapproves of the changes, the City shall promptly notify the Artist in writing and the Artist shall continue to fabricate the Artwork in substantial conformity with the Design. 8.Installation. 8.1. Upon the City’s final approval of the fabricated Artwork, as being in conformity with the Design, the Artist shall deliver and be responsible for the installation of the completed Artwork to the Site in accordance with the schedule provided for in this Agreement. Transportation fees shall be paid bythe Artist. 8.2. All subsurface footings requirements and electrical conduit modifications to the work provided by the City shall be the responsibility of the Artist and shall be coordinated with the Agency at no additional cost to the City. 8.3. The Artist will coordinatecloselywiththeCityto ascertainthat theSiteis prepared to receive the Artwork. Artist must notify City of any adverse conditions at the Site that would affect or impede the installation of the Artwork. The Artist is responsible for timely installation of the Artwork. The Artist will confer and coordinate with the City to ensure timelycoordinationwiththeCity’s constructionteam.Artistmaynot installtheArtworkuntil authorized to do so bythe City. 8.4. The Artist shall be present to supervise the installation of the Artwork. 8.5. Upon written acceptance of the installation, the Artwork shall be deemed to be in the custodyof the Cityfor purposes of this Agreement. 8 494810v2 AMB HP145-9 8.6. Within 10 days after installation of the Artwork, the Artist shall furnish the City with a full written narrative description of the Artwork. 8.7. Upon installation of the Artwork, the Artist shall provide the City with written instructions for the appropriate maintenance and preservation of the Artwork along with product data sheets for anymaterial or finish used. The Artwork must be durable, takinginto considerationthat the Siteis an unsecured public space that maybe exposed to elements such as weather, temperature variation, and considerable movement of people and equipment. Artist must ensure that all maintenance requirements will be reasonable in terms of time and expense. The Cityis responsible for the proper care and maintenance of the Artwork. 9.Approval and Acceptance. 9.1. The Artist shall notifythe Cityin writingwhen all services as requiredof both Parties bythis Agreement priortothis paragraphhavebeencompletedinsubstantial conformitywith the Design. 9.2. The Cityshall promptlynotifythe Artist of its final acceptance of the Artwork within 10 days after the Artist submitted written notice pursuant to paragraph (a) above. The effective dateof final acceptance shall be thedatethe Citysubmits writtennotice tothe Artist of its final acceptance of the Artwork. The final acceptance shall be understood to mean that the Cityacknowledges completion of the Artwork in substantial conformity with the Design, and that theCityconfirms that all services as required of both Parties bythis Agreement prior to paragraph (c) of this section have been completed. Title to the Artwork passes upon final acceptance and final payment. 9.3. If the Citydisputes that all the services have been performed, the Cityshall notifythe Artist in writing of those services the Artist has failed to perform within 10 days after the Artist submitted written notice pursuant to this section. The Artist shall promptly perform those services indicated by the City. 9.4. If the Artist disputes the City’s determination that not all services have been performed, the Artist shall submit reasons in writing to the City within 10 days of the City’s priornotificationtothecontrary. TheCityshallmakereasonableeffortstoresolvethedispute with the Artist in good faith. However, final determination as to whether all services have been performed shall remain with the City. 9.5. Upon the resolution of any disputes that arise under this section, the City shall notify the Artist of its final acceptance of the Artwork. 9.6. After final acceptance of the Artwork, the Artist shall be available at such time(s) as may be mutually agreed upon by the City and the Artist to attend any public meetings and community outreach functions, as well as any inauguration or presentation ceremonies relating to the dedication of the Artwork. 9.7. DuringsuchpublicpresentationsbytheArtist,theArtistshallacknowledgetheCity’s role in funding the Artwork. 9 494810v2 AMB HP145-9 9.8. TheCityshall besolelyresponsibleforcoordinatingpublicinformationmaterials and activities related to public presentations. 10. Taxes. 10.1. Anystateorfederalsales,useorexcisetaxes,orsimilarchargesrelatingtotheservices and materials under this Agreement shall be paid by the Artist in a timely fashion. The City shall report payments made to the Artist annually to the Internal Revenue Department in a 1099 statement. 11. Duration. 11.1. This Agreement shall be effective on the date that this contract has been signed by bothparties,and,unlessterminatedearlierpursuanttosuchprovisionsintheAgreement,shall extend until final acceptance by the City or submission of final payment to the Artist by the City, whichever is later. Extension of time of performance hereunder may be granted upon the request of one Party and the consent of the other thereto, which consent shall not be unreasonablywithheld. Such extension shall be in writing and signed byboth parties. 11.2. The City shall grant to the Artist a reasonable extension of time in the event that conditions beyond the Artist’s control render timely performance of the Artist’s services impossible or unduly burdensome. All such performance obligations shall be suspended for the duration of the condition. Both parties shall take all reasonable steps during the existence of the condition to assure performance of their contractual obligations when the condition no longer exists. Failuretofulfill contractual obligations duetoconditions beyond eitherParty’s reasonable control will not be considered a breach of contract, provided that such obligations shall be suspended onlyfor the duration of such conditions. 12. Risk of Loss. TheArtistshallbeartheriskoflossordamagetotheArtworkuntiltheCity’sfinalacceptance oftheArtwork. TheArtist shalltakesuchmeasuresas arereasonablynecessarytoprotectthe Artwork from loss or damage. The City shall bear the risk of loss or damage to the Artwork prior to final acceptance onlyif, during such time, the partiallyor whollycompleted Artwork is in the custody, control or supervision of the City or its agent(s) for the purposes of transporting, storing, installing or performing other services to the Artwork. 13. Artist’s Representations and Warranties. 13.1 Warranties of Title a.The Artist represents and warrants that: b.the Artwork is solelythe result of the artistic effort of the Artist; 10 494810v2 AMB HP145-9 c.exceptasotherwisedisclosedinwritingtotheCity,theArtworkisuniqueandoriginal and does not infringe upon anycopyright or the rights of anyperson; d.the Artwork has not been accepted for sale elsewhere; e.theArtisthasnotsold,assigned,transferred,licensed,granted,encumberedorutilized the Artwork or any element thereof or any copyright related thereto which may affect or impair the rights granted pursuant to this Agreement; f.the Artwork is free and clear of anyliens from any source whatsoever. g.AllArtworkcreatedorperformedbytheArtistunderthisAgreement,whethercreated bythe Artist alone or in collaboration with others, shall be whollyoriginal with the Artist and shall not infringe upon or violate the rights of anythird party. h.The Artist has the full power to enter into and perform this Agreement and to make the grant of rights contained in this Agreement. i.Allservicesperformedhereundershallbeperformedinaccordancewithallapplicable laws, regulations, ordinances, etc. and with all necessarycare, skill, and diligence. j.These representations and warranties shall survive the termination or other extinction of this Agreement. 14. Warranties of Qualityand Condition. 14.1. The Artist represents andwarrants that all work will be performed in accordance with professional “workmanlike” standards and free from defective or inferior materials and workmanship (including any defects consisting of “inherent vice,” or qualities that cause or accelerate deterioration of the Artwork) for two years after the date of final acceptance bythe City. 14.2. The Artist represents and warrants that the Artwork and the materials used are not currentlyknown to be harmful to public health and safety. 14.3. The Artist represents and warrants that reasonable maintenance of the Artwork will not require procedures substantially in excess of those described in the maintenance and preservation recommendations submitted bythe Artist. 14.4. If within two years the City observes anybreach of warrantydescribed in this section that is curable by the Artist, in the discretion of the City, the Artist shall, at the request of the City, cure the breach promptly, satisfactorily, and consistent with professional conservation standards, at no expense to the City. The City shall give notice to the Artist of such breach with reasonable promptness. 14.5. If after two years the City observes any breach of warranty described in this section that is curable by the Artist, in the discretion of the City, the City shall contact the Artist to 11 494810v2 AMB HP145-9 make or supervise repairs or restorations at a reasonable fee during the Artist’s lifetime. The Artist shall have the right of first refusal to make or supervise repairs or restorations. Should the Artist be unavailable or unwilling to accept reasonable compensation under the industry standard, the City may seek the services of a qualified restorative conservator and maintenance expert. 14.6. If within two years the City observes a breach of warranty described in this section thatisnotcurablebytheArtist,theArtistis responsibleforreimbursingtheCityfordamages, expenses and loss incurred by the City as a result of the breach. However, if the Artist disclosed the risk of this breach in the Proposal and the City accepted that it may occur, it shall not be deemed a breach for purposes of this section. 14.7. Acceptable Standard of Display. Artist represents and warrants that: 14.8. General routine cleaning and repair of the Artwork and any associated working parts and/or equipment will maintain the Artwork within an acceptable reasonable standard of public display. 14.9. Foreseeable exposure to the elements and general wear and tear will cause the Artwork to experience only minor repairable damages and will not cause the Artwork to fall below an acceptable reasonable standard of public display. 14.10. With general routine cleaning and repair, and within the context of foreseeable exposure to the elements and general wear and tear, the Artwork will not experience irreparable conditions that do not fall within an acceptable standard of public display, including mold, rust, fracturing, staining, chipping, tearing, abrading and peeling. 14.11. Manufacturer’s Warranties. Totheextent the Artwork incorporates products covered bya manufacturer’s warranty, Artist shall provide copies of such warranties to the City. 14.12. Theforegoingwarrantiesareconditional,andshallbevoidedbythefailureoftheCity to maintain the Artwork in accordance with the Artist’s specifications and the applicable conservationstandards. If theCityfails tomaintaintheArtworkingoodcondition,theArtist, in addition to other rights or remedies the Artist may have in equity or at law, shall have the right to disown the Artwork as the Artist’s creation and request that all credits be removed from the Artwork and reproductions thereof until the Artwork’s condition is satisfactorily repaired. 15. Insurance. 15.1. The Artist acknowledges that until final acceptance of the Artwork by the City under this Agreement, any injury to property or persons caused by the Artist’s Artwork or any damage to, theft of, vandalism to, or acts of God affecting the Artist’s Artwork are the sole responsibility of the Artist, including, but not limited to, any loss occurring during the creation, storage, transportation or deliveryof the Artist’s Artwork, regardless of where such loss occurs. 12 494810v2 AMB HP145-9 15.2. Terms for the procurement and duration of insurance are provided in Exhibit B, attached hereto. 15.3. Required insurance policies are described in Exhibit B, attached hereto. 16. Indemnity. Artist shall indemnify, protect, defend and hold harmless the City and its subdivisions, officials, employees and agents (each a “Covered Person”) from and against all liabilities, obligations, losses, damages, judgments, costs or expenses (including legal fees and costs of investigation) (“collectively “Losses”) arising from, in connection with or caused by: (a) any personal injury or property damage caused, directly or indirectly, by any act or omission of Artist;or(b)anyinfringementofpatent,copyright,trademark,tradesecretorotherproprietary right caused by Artist. Notwithstanding the foregoing, Artist shall have no obligation under this section with respect to any Loss that is caused solely by the active negligence or willful misconduct of the Covered Party and is not contributed to by any act or omission (including any failure to perform any duty imposed by law) by Artist. Artist acknowledges and agrees that its obligation to defend in this section: (i) is an immediate obligation, independent of its other obligations hereunder; (ii) applies to any Loss which actuallyor potentiallyfalls within the scope of this section, regardless of whether the applicable allegations are or may be groundless, false or fraudulent; and (iii) arises at and continues after the time the Loss is tendered to Artist. 17. Title. Legal and equitable Title to the Artwork shall pass to the City upon the City’s written final acceptance and payment for the Artwork pursuant to this Agreement. 18. Ownership of Documents. One set of presentation materials prepared and submitted under this Agreement shall be retained bythe Cityfor possible exhibition and to hold for permanent safekeeping. 19. Copyright Ownership. Notwithstanding anyterm of this Agreement, the Artist retains all rights under the Copyright Act of 1976, 17 U.S.C. § 101 et seq., as the sole author of the Artwork for the duration of the copyright. 20. Reproduction Rights. 20.1. In view of the intention that the final Artwork shall be unique, the Artist shall not make any additional exact duplicate reproductions of the final Artwork, nor shall the Artist grant permission to others to do so except with the written permission of the City. However, nothingshall prevent theArtist from creatingfutureArtworksintheArtist’smannerandstyle of artistic expression. 13 494810v2 AMB HP145-9 20.2. The Artist grants to the City and its assigns an irrevocable license to make two- dimensional reproductions of the Artwork for non-commercial purposes, including, but not limited to, reproductions used in brochures, media publicity, and exhibition catalogues or othersimilarpublicationsprovidedthattheserightsareexercisedinatastefulandprofessional manner. 20.3. All reproductions bytheCityshall contain acredit tothe Artist anda copyright notice in substantiallythe following form: Copyright © [Artist’s name, date of publication]. 20.4. The Artist shall use the Artist’s best efforts in any public showing or resume use of reproductions to give acknowledgment to the City in substantially the following form: “an original Artwork commissioned by and in the public art collection of the City of Hopkins, MN.” 20.5. The Artist may, at the Artist’s expense, cause to be registered with the United States Register of Copyrights, a copyright in the Artwork in the Artist’s name. 20.6. If the City wishes to make reproductions of the Artwork for commercial purposes, including, but not limited to, tee shirts, post cards and posters, the Parties shall execute a separate agreement to address the terms of the license granted by the Artist and the royalty the Artist shall receive. 20.7. ThirdPartyInfringement. TheCityisnotresponsibleforanythirdpartyinfringement of Artist’s copyright and not responsible for protecting the intellectual property rights of Artist. 21. Artist’s Rights. 21.1. The Artist retains all rights under state and federal laws including §106A of the Copyright Act of 1976. 21.2. The Cityagrees that it will not intentionallyalter, modify, change, destroyor damage the Artwork without first obtaining permission from the Artist. 21.3. If any alteration or damage to the Artwork occurs, the Artist shall have the right to disclaim authorship of the Artwork in addition to any remedies the Artist may have in law or equity under this contract. Upon written request, the City shall remove the identification plaque and all attributive references to the Artist at its own expense within 21 days of receipt of the notice. 21.4. No provision of this Agreement shall obligate the City to alter or remove any such attributive reference printed or published priorto the City’s receipt of such notice. The Artist maytake such other action as the Artist maychoose in order to disavow the Artwork. 22. Alterations of Site or Removal of Artwork. 14 494810v2 AMB HP145-9 22.1. The City shall notify the Artist in writing upon adoption of a plan of construction or alteration of the Site which would entail removal or relocation of the Artwork which might result in the Artwork being destroyed, distorted or modified. The Artist shall be granted the right of consultation regarding the removal or relocation of the Artwork. If the Artwork cannot be successfully removed or relocated as determined by the City, the Artist may disavow the Artwork or have the Artwork returned to the Artist at the Artist’s expense. 22.2. The Artwork may be removed, relocated, or destroyed by the City should the Artist and the City not reach mutual agreement on the removal or relocation of the Artwork after a period not to exceed 90 days after written notice to the Artist. During the 90 day period, the Parties shall engage in good faith negotiations concerning the Artwork’s removal or relocation. 22.3. In the event of changes in building codes or zoning laws or regulations that cause the Artwork to be in conflict with such codes, laws or regulations, the City may authorize the removal or relocation of the Artwork without the Artist’s prior permission. In the alternative, the City may commission the Artist by a separate agreement to make any necessary changes to the Artwork to render it in conformitywith such codes, laws or regulations. 22.4. If the Cityreasonablydetermines that the Artwork presents imminent harm or hazard to the public, other than as a result of the City’s failure to maintain the Artwork as required under this Agreement, the City may authorize the removal of the Artwork without the prior approval of the Artist. 22.5. This clause is intended to replace and substitute for the rights of the Artist under the Visual Artists’ Rights Act to the extent that anyportion of this Agreement is in direct conflict with those rights. The parties acknowledge that this Agreement supersedes that law to the extent that this Agreement is in direct conflict therewith. 23.Term.This Agreement shall become effective upon signature of all parties and approval by the City Council and shall remain in effect unless and until the project is completed, or until the Agreement is terminated pursuant to this Agreement. The completion date for the Services is outlined in Exhibit A, attached hereto. 24. Termination.In addition to any terms contained within this Agreement, this Agreement may be terminated as follows: 24.1 The parties, by mutual written agreement, may terminate this Agreement at any time. 24.2 Artist may terminate this Agreement in the event of a breach of the Agreement by the City upon providing ten (10) days written notice to the City. Upon termination pursuant to this clause, Artist shall not be entitled to any additional compensation, including any pro-rata portion of non-completed payments upon date of termination. 15 494810v2 AMB HP145-9 24.3 The City Council may terminate this Agreement at any time for any cause upon written notice to Artist, or for no reason or cause upon ten (10) days written notice to Artist. Upon receipt of such notice, Artist shall immediately cease all work to complete the Services. Upon termination pursuant to this clause, Artist shall not be entitled to any additional compensation, including any pro-rata portion of non- completed payments upon date of termination. 24.4 The City may terminate this Agreement immediately upon Artist’s failure to have in force any insurance required by this Agreement. 25. Remedies. 25.1 In the event of a termination of this Agreement by City because of a breach by Artist, City may complete the Services either by itself or by contract with other persons or entities, or any combination thereof. 25.2 The foregoing remedies provided to City for breach of this Agreement by Artist shall not be exclusive. Cityshall be entitled to exercise anyone or more other legal or equitable remedies available because of Artist’s breach. 26. Records/Inspection.This Agreement is subject to the requirements of Minnesota Statutes, Section16C.05,subd. 5. Artist agrees that Cityor anyauthorizedrepresentatives mayhave access to and the right to examine, audit, excerpt, and transcribe any books, documents, papers, records, or other materials during normal business hours and as often as deemed necessary. Artist further agrees to maintain these materials, records, and documents for six years from the date of the termination of this Agreement. 27. Subcontracting; Assignment.Artist shall not subcontract or assign, sublet, or transfer any rights under or interest (including, but without limitation, moneys that may become due or moneys that are due) in the Agreement without the prior written consent of the City. Any assignment in violation of this provision is null and void. Unless specifically stated to the contrary in any written consent to an assignment, no assignment will release or discharge the assignor from any duty or responsibility under this Agreement. 28. Independent Contractor.Artist shall be deemed an independent contractor. Artist’s duties will be performed with the understanding that Artist has special expertise as to the services which Artist is to perform and is customarily engaged in the independent performance of the same or similar services for others. The manner in which the services are performed shall be controlled by Artist; however, the nature of the services and the results to be achieved shall be specified by City. Artist is not to be deemed an employee or agent of City and has no authority to make any binding commitments or obligations on behalf of City except to the extent expressly provided herein. All services provided by Artist pursuant to this Agreement shall be provided by Artist as an independent contractor and not as an employee of the City for any purpose, including but not limited to: income tax withholding, workers compensation, unemployment compensation, FICA taxes, liability for torts and eligibility for employee benefits. 16 494810v2 AMB HP145-9 29. Compliance with Laws.Artist shall exercise due professional care to comply with applicable federal, state and local laws, rules, ordinances and regulations in effect as of the date Artist agrees to provide the applicable services detailed this Agreement or any supplemental letter agreement. 30. Notices.Anynotices permitted or required bythis Agreement shall be deemed given when personally delivered or upon deposit in the United States mail, postage fully prepaid, certified, and return receipt requested, addressed to: Artist:_____________________ _____________________ _____________________ City:City of Hopkins 1010 1st St. S. Hopkins, MN 55343 Orsuchotheraddress as eitherpartymayprovidetotheotherbynotice giveninaccordance with this provision. 31. Attorney Fees.In the event of any action to enforce or interpret this Agreement, the prevailing party shall be entitled to recover from the losing party reasonable attorney fees incurred in the proceeding, as set by the court, at trial, on appeal or upon review. 32. Entire Agreement; Amendments.This Agreement, any attached exhibits and any addenda or amendments signed by the parties shall constitute the entire agreement between the City andArtist,andsupersedes anyotherwrittenororal agreements betweentheCityandArtist. This Agreement can only be modified or amended in writing signed by the Cityand Artist. 33. Third Party Rights.The parties to this Agreement do not intend to confer on any third party any rights under this Agreement. 34. Choice of Law and Venue.This Agreement shall be governed by and construed in accordance with the laws of the state of Minnesota. Any disputes, controversies, or claims arising out of this Agreement shall be heard in the state or federal courts of Minnesota, and all parties tothis Agreement waiveanyobjectiontothejurisdictionofthesecourts, whether based on convenience or otherwise. 35. WorkProductsandOwnershipofDocuments.Allrecords,information,materialsandother work products, including, but not limited to the completed reports, drawings, plans, and specifications prepared and developed in connection with the provision of services pursuant tothis Agreement shall becomethepropertyoftheCity,but reproductions ofsuch records, information, materials and other work products in whole or in part maybe retained by Paradise. 36. Agreement Not Exclusive.The City retains the right to hire other marketing and promotion professionals for other matters, in the City’s sole discretion. 17 494810v2 AMB HP145-9 37. Data Practices Act Compliance.Any and all data provided to Artist, received from Artist, created, collected, received, stored, used, maintained, or disseminated by Artist pursuant to this Agreement shall be administered in accordance with, and is subject to the requirements of the Minnesota Government Data Practices Act, Minnesota Statutes, Chapter 13. This paragraph does not create a duty on the part of Artist to provide access to public data to the public if the public data are available from the City, except as required by the terms of this Agreement. 38. NoDiscrimination. Artistagreesnottodiscriminateinprovidingproductsandservicesunder this Agreement on the basis of race, color, sex, creed, national origin, disability, age, sexual orientation, status with regard to public assistance, or religion. Violation of any part of this provision maylead to immediate termination of this Agreement. 39.Survivability. All covenants, indemnities, guarantees, releases, representations, and warranties of either party or the parties and any undischarged obligations of the parties arising prior to the expiration or termination of this Agreement, shall survive such expiration or termination. 40.Severability. In the event a court of competent jurisdiction determines that any provision of this Agreement is unenforceable, such ruling shall not affect the validity or enforceability of any other provision. Any invalid or unenforceable provision shall be deemed severed from this Agreement to the extent of its invalidityor unenforceability, and this Agreement shall be construed and enforced as if the Agreement did not contain that particular provision to the extent of its invalidity or unenforceability. [SIGNATURE PAGE FOLLOWS] 18 494810v2 AMB HP145-9 IN WITNESS WHEREOF,the parties hereto have executed, or caused to be executed by their duly authorized officials, this Agreement for Professional Services in duplicate on the respective dates indicated below. CITY OF HOPKINS By: _____________________________ Molly Cummings Its: Mayor By: _____________________________ Mike Mornson Its: City Administrator ARTIST By: ____________________________ By: ____________________________ A-1 494810v2 AMB HP145-9 EXHIBIT A Project-Specific Scope of Service Specific Scope of Project: Substantial Completion Date: October 31, 2017 Completion Date: Project Milestones: B-1 494810v2 AMB HP145-9 Exhibit B Insurance Terms Artist shall maintain at Artist’s sole expense, insurance coverage for itself, including the following: Workers Compensation, if required by state law, and General Liability in an amount of not less than $1 million per occurrence (except onlystatutorylimits for workers compensation coverage) and at least $2 million aggregate coverage and an umbrella policy with limits of at least $1 million, and will provide information as to specific limits upon receipt of signed Agreement. Such insurance must cover all losses related to this Agreement. Artist shall provide City with a current certificate(s) of liability insurance for all insurance coverage referenced above. Such certificate(s) of General Liability insurance shall list the City as an additional insured and all certificate(s) of liability insurance shall contain a statement that such policies of insurance shall not be canceled or amended unless sixty (60) days written notice is provided to the City (or ten (10) days written notice in the event of non-payment of premium). Acceptance of a certificate of insurance that does not comply with these requirements does not operate as a waiver of Artist’s or any other party’s obligations hereunder. In addition, Artist shall cause all vendors and participants to maintain insurance coverage for all vendors and participants at tourism-related events conducted pursuant to this Agreement. Requ estf orQ u al i f i c at i ons ( RFQ ) November17 , 2016 The C i t y ofH opki ns i s pl eased t o i nvi t e ar t i st s t o su bmi tt hei rqu al i fi cat i ons t o be consi d er ed forsever alpu bl i c ar tpr oj ect s t hatwi l lsett he st age foran exci t i ng new gat eway t o hi st or i c d ownt own H opki ns –t he A r t er y. B ackgr ou nd The A r t er yi s t he c onnec t i on, vi a8 t h A venu e, bet ween M ai nst r eetH opk i ns and t he pr oposed Downt own H opk i ns L RTS t at i on on t he Gr een L i ne Ext ensi on. The d esi gn of t he A r t er yi nc l u d es at wo- wayc yc l e t r ac k , an expansi ve ped est r i an wal kway, gat her i ng pl ac es and ou t d oor“ r ooms, ” and one- wayau t omobi l e t r af f i c. The i nt enti s t o c r eat e an envi r onmentt hati nspi r es peopl e t o come t o H opk i ns vi aL RTort hei rbi k e, and mot i vat es t hem t o r et u r n. “ P ed est r i an- sed u ct i ve” i s how t he C i t yofH opk i ns d esc r i bes t he i nt end ed exper i ence. W hati s t he i nspi r at i on? The d esi gn oft he A r t er yhas been i nspi r ed byH opk i ns’ i nd u st r i al past–i nc l u d i ng M i nneapol i s M ol i ne and t he vi t al r ai l r oad and st r eet c arl i ne –and byt he f u t u r e, f eat u r i ng l i ghtr ai l t r ansi t , i nc r eased bi k e t r af f i c and an i nvi gor at ed M ai nst r eet . Goal s fort he pu bl i c ar ton t he A r t er y: C ommu ni c at e H opk i ns’ u ni qu e st or y( hi st or yand d i ver se c u l t u r e) C ombi ne f i xed and ever - c hangi ngar t wor k C r eat e oppor t u ni t i es f ori nt er ac t i on bet ween ar tand au d i ence A ppeal t o awi d e r ange ofpeopl e Over vi ew ofar toppor t u ni t i es: Thi s RFQ seek s ar t i st s qu al i f i ed t o d esi gn and c r eat e f u nc t i onal and sc u l pt u r al el ement s t hatwi l l be i nst al l ed as par toft he l ar gerst r eetc onst r u ct i on pr oj ec tsc hed u l ed f or spr i ng/ su mmer2017 . Ther e ar e f i ve oppor t u ni t i es i d ent i f i ed bel ow. A ppl i c ant s may expr ess i nt er esti n one ormor e ( u pt o f i ve) . 1. Stre e t Cl os ure Scul p ture B u d get : $30, 000 pl u s 5% d esi gn al l owanc e W e ant i c i pat e t hat8 t h A venu e wi l l per i od i c al l ybe c l osed t o vehi c l es i n or d ert o su ppor t st r eetf ai r s, f ar mer ’ s mar k et s, orot herpu bl i c event s. Thi s scu l pt u r al pr oj ec tal so f u nc t i ons as ac r eat i ve r oad c l osu r e d evi c e. P l ease not e t hatt hi s pr oj ec tmu stmeet M UTC D c od es f orpu bl i c saf et y. ( S ee l i nkon pr oj ec twebsi t e. ) Fi nal i st s wi l l be gi ven f u l l d et ai l s ofc od e and saf et yr equ i r ement s. 2. Ph oto Op Be nch B u d get : $25, 000 pl u s 5% d esi gn al l owanc e W e bel i eve ever ygr eatpl ac e need s an oppor t u ni t yt o t ak e an awesome sel f i e, gr ou p shotorwed d i ngphot o. Thi s sc u l pt u r al seat i ngel ementshou l d spu rpu bl i c i nt er ac t i on. The su r f ac e ar ear eser ved f ort he benc hi s 20’ l ongx 8 ’ wi d e. 3. Sh ade Canop y B u d get : $65, 000 pl u s 5% d esi gn al l owanc e O ne oft he u ni qu e el ement s al ongt he A r t er yi s al ar ge gat her i ngspac e t hat i nc or por at es asmal l pl aza/ per f or mance space al ongt he st r eet . The shad e canopy d oesn’ tneed t o covert he ent i r e 30x40- f ootar ear eser ved f ort he gat her i ngspac e, bu ti t shou l d hel pd ef i ne t hi s spac e as ad est i nat i on al ongt he c or r i d orand pr ovi d e an ac ou st i cal benef i tf ort he spac e. C r eat i ve l i ght i ngi s enc ou r aged . Not e: spec i f i c d esi gn gu i d el i nes and engi neer i ngr equ i r ement s wi l l be pr ovi d ed t o f i nal i st s. 4.Il l um i nate d Scul p ture B u d get : $50, 000 pl u s 5% d esi gn al l owance A k eyd evel opmentsi t e al ongt he A r t er yi s c u r r ent l yu nd erc onst r u c t i on. W hen c ompl et ed i n t he f al l of2017 , The M ol i ne, a241- u ni tapar t mentbu i l d i ng, wi l l c r eat e a d r amat i c anchor . A f oc al poi ntoft he d evel opmentwi l l be an i l l u mi nat ed sc u l pt u r e. The i nt er esti s i n havi ngapi ec e t hatl ook s gr eatd ayorni ght , and i s at t ent i on- gr abbi ng— even f r om t he L RTst at i on pl at f or m ac r oss t he st r eet— yeti s saf e t o t he manybi k er s and wal k er s c omi ngand goi ngt hr ou ght he pu bl i c spac e. The sc u l pt u r e mu stf i twi t hi n aspac e no l ar gert han 6 f eetd i amet erand no t al l ert han 6 f eet . 5.Art Scre e n Pane l s(Grap h i c De s i gn Onl y) B u d get : $1000 persel ec t ed panel d esi gn The A r t er yi s f u l l ofoppor t u ni t i es f orar t i st - i nspi r ed d esi gn el ement s. O ne k eyar eaof i mpl ement at i on ar e sc r een panel s t hatpr ovi d e avi su al bar r i erbet ween t he ad j acent su r f ac e par k i ngl ot s and t he ped est r i an- r eal m oft he A r t er y. Thi s wi l l be an oppor t u ni t y f oru p- and - c omi ngar t i st s t o su bmi tar t wor kt o be c onsi d er ed f ori mpl ement at i on. A r t sc r een panel s wi l l be appr oxi mat el y3’ wi d e and 5’ t al l . A r t i st s maysu bmi tsi ngl e panel d esi gns orl ongerd esi gns t hatu se u pt o 3 c onsec u t i ve panel s. The ar t i st - pr ovi d ed d esi gns wi l l be f abr i c at ed and i nst al l ed al ongt he A r t er yst r eet sc ape byt he C i t yof H opk i ns. A l l sel ec t ed d esi gns wi l l be l aserorpl asmac u ti nt o st eel / al u mi nu m panel s, mod i f i cat i ons t o d esi gn wi l l be att he d i sc r et i on oft he f abr i c at or s and C i t yofH opk i ns. Fabr i c at i on and i nst al l at i on wi l l notbe t he r esponsi bi l i t yoft he ar t i st . A r t i st s ar e not r equ i r ed t o su bmi twor ksampl es orpr of essi onal r ef er enc es t o be consi d er ed . I fyou ar e sel ec t ed t o wor kon one ormor e oft he ar tpi ec es, t he scope ofwor kf ort hi s pr oj ec twi l l gener al l yi nc l u d e, bu tnotbe l i mi t ed t o, t he f ol l owi ng: - P r ovi d e asc hemat i c d esi gn pr oposal f orar t wor katt he A r t er ybased on est abl i shed pr oj ec tgoal s; - P r ovi d e c ostest i mat es f ord esi gn, f abr i c at i on, and i nst al l at i on t o d et er mi ne f easi bi l i t yoft he pr oj ec twi t hi n t he avai l abl e bu d get ; -P r ovi d e d i mensi oned d r awi ngs d epi c t i ngu ni qu e d et ai l i ngand i nc l u d i ngal l nec essar yspec i f i c at i ons as r equ i r ed f orc er t i f i c at i on, i nspec t i on and appr oval pr i ort o f abr i c at i on and i nst al l at i on; - P r ovi d e st r u c t u r al d r awi ngs st amped byS t r u c t u r al Engi neeroft he S t at e of M i nnesot a. ; and -Fabr i c at e and i nst al l t he ar t wor ki n ac c or d ance wi t ht he t er ms and cond i t i ons of t he cont r ac tand t he appr oved d esi gn d evel opmentand const r u c t i on d oc u ment s. El i gi bi l i t y A ppl i c ant s who ar e i nd epend entar t i st s orar t i stt eams r esi d i ngi n t he Uni t ed S t at es ar e el i gi bl e t o appl ywi t hapr ef er enc e gi ven t o l ocal M i nnesot aar t i st s. Respond er s su bmi t t i ngqu al i f i c at i ons f ort hi s RFQ mu stbe atl east18 year s ofage, and have su c c essf u l l ymanaged and compl et ed atl eastone pu bl i c ar tpr oj ec twi t habu d getofat l east$20, 000 ( wi t ht he exc ept i on oft he ar tscr een panel s –gr aphi c d esi gn) . S u bmi t t al A ppl i c at i ons mu stbe su bmi t t ed t hr ou ghC aFÉ ™. Du pl i c at e, i nc ompl et e orl at e su bmi ssi ons wi l l notbe c onsi d er ed . A l l c ost s i nc u r r ed i n r espond i ngt o t hi s RFP wi l l be bor ne byt he appl i c ant . Fai l u r e t o pr ovi d e anyoft he pu bl i shed r equ i r ement s wi l l r esu l ti n d i squ al i f i c at i on. A ppl i cant s mu stsu bmi tal l mat er i al s vi at he C aFÉ ™syst em. A ppl i c at i ons i n anyot herf or matwi l l notbe c onsi d er ed , i nc l u d i ngbu tnotl i mi t ed t o: e- mai l , f ac si mi l e, har d c opi es, ext er nal har d d r i ves, i n- per son d el i ver y, and C Ds. Eval u at i on ofappl i c ant ’ s st at ementofi nt er estand qu al i f i cat i ons wi l lbe c ond u ct ed by t he H opk i ns P u bl i c A r tC ommi t t ee, who wi l l r epr esentt he pu bl i c i nt er estd u r i ngt he pr oc ess ofar t wor ksel ec t i on. The H opk i ns P u bl i c A r tC ommi t t ee has si x member s. I t i nc l u d es r epr esent at i ves oft he c ommu ni t yand C i t yst af f . Thi s gr ou pofi nd i vi d u al s d et er mi nes t he sc ope oft he pr oj ec t , met hod ofac qu i si t i on, t ype ofcompet i t i on, and who mayappl y. The C ommi t t ee r ecommend s cont r ac t or s t o t he H opk i ns C i t yC ou nc i l f or si t e- spec i f i c c ommi ssi ons and / orar t wor kt o pu r c hase. I ti s ant i c i pat ed t hatf r om t he su bmi t t ed appl i c at i ons, t he c ommi t t ee wi l l sel ec tagr ou pof f i nal i st s, c ond u cti nt er vi ews and t hen sel ec tone ar t i storar t i stt eam t o ent eri nt o a c ont r ac t , d evel opaf i nal d esi gn and compl et e eachpr oposed pr oj ec t . The f i nal d esi gn i s su bj ec tt o appr oval byt he H opk i ns P u bl i c A r tC ommi t t ee, wi t ht he assi st anc e ofa c onsu l t ant , and t he H opk i ns C i t yC ou nc i l . Cri te ri a: S el ec t i on off i nal i st s wi l l be based on t he f ol l owi ngc r i t er i a: Q u al i t yofwr i t t en mat er i al s Q u al i t yofwor ksampl es A bi l i t yofar t i st ( s)t o c ompl et e pr oj ec tbased on bi o and pr i orwor kexper i enc e S el ec t i on ofar t wor k s pr oposed byf i nal i st s wi l lbe based on t he f ol l owi ngc r i t er i a: A r t wor kc r eat es avi su al l yi nt er est i ngexper i enc e f orA r t er yvi si t or s, i nvi t i ng peopl e t o u se and expl or e t he c or r i d or . A r t wor kshou l d be vi su al l yengagi ng. A r t wor ki s i nt er est i ngr egar d l ess ofseason and enc ou r ages peopl e t o enj oyt he spac e i n wi nt er . A r t wor ki s r esponsi ve t o t he si t e d esi gn, sc al e and f u nc t i on ( i nc l u d i ng su r r ou nd i ngbu i l d i ngs)as wel l as t he hi st or i c al nat u r e and geogr aphi c mak e- u pof t he si t e. A r t wor k s mu stbe l ow mai nt enanc e and d u r abl e, abl e t o wi t hst and ext r eme weat herc ond i t i ons. A r t wor kd esi gn mu stconsi d erf i r e cod e and saf et yr equ i r ement s. A r t i st i c pr oc ess orar t wor kc onsi d er s oppor t u ni t i es f orc ommu ni t yengagementor soc i al i nt er act i on. A r t wor kr ef l ec t s t he val u es, cu l t u r es, and d i ver si t yofH opk i ns. Ap p l i cati on De adl i ne The de adl i ne forap p l i cati on s ub m i s s i on th rough CAFÉTM i sJanuary 13, 2017. O t herk eyd at es ar e as f ol l ows: RFQ A nnou nced / A r t i st s I nvi t ed : November17 , 2016 Inform ati on Me e ti ng: De ce m b e r10, 2016 Dead l i ne f orS u bmi ssi on: J anu ar y13, 2017 C ommi t t ee r evi ew and sel ec t i on off i nal i st s J anu ar y/ Febr u ar y( TB D) Fi nal i stI nt er vi ews; f i nal i st s mu stpr esenti n per son orvi aS k ype: Febr u ar y2017 ( TB D) C ont r ac twi t hsel ec t ed ar t i st / t eam: M ar c h2017 Desi gn d evel opment : A pr i l –J u ne 2017 A nt i c i pat ed pr oj ec tcompl et i on: O c t ober2017 Thi s RFQ d oes notobl i gat e t he C i t yt o awar d ac ont r ac torcompl et e t he pr oj ec t , and t he C i t yr eser ves t he r i ghtt o c anc el t he sol i c i t at i on i fi ti s c onsi d er ed t o be i n i t s best i nt er est . The C i t yal so r eser ves t he r i ghtt o wai ve mi nori nf or mal i t i es and , not wi t hst and i nganyt hi ngher ei n t o t he cont r ar y, r ej ec tanyand al l pr oposal s r ec ei ved i n r esponse t o t hi s RFQ . More Inform ati on Formor e i nf or mat i on on t hi s cal l , pl ease go t o t he pr oj ec twebsi t e: ht t p: / / www. hopk i nsmn. c om/ d evel opment / c u r r ent / ei ght h- ar t er y/ r f q. php. Ther e you wi l l f i nd l i nk s t o pr oj ec tpl ans, d esi gn boar d s, and c od e r equ i r ement s f ort he st r eetc l osu r e el ement . I fyou have spec i f i c qu est i ons, pl ease emai l you rqu est i ons t o mbeek man@ hopk i nsmn. com . Ther e wi l l be an i nf or mat i onal meet i ngon t he c al l on December10, 2016, att he H opk i ns C ent erf ort he A r t s, 1111 M ai nst r eet , H opk i ns, f r om 1: 00- 2: 00 p. m. Sup p orti ng Inform ati on A ppl i c at i on f or m Call ID: 1005285 Artist ID: 66998 Status: Received Ben Zamora Contact Partner Contact via Email Phone Cell Web Site Mailing Address Home Phone benzamora@gmail.com 206 349-7438 206 3497438 www.benzamora.com 1738 Alki Avenue SW Seattle WA USA 98102 Custom Answers Please indicate the Artery opportunities you are interested in: 1. Street Closure Sculpture 2. Photo Op Bench 3. Shade Canopy 4. Illuminated Sculpture What interests you about the Artery project? (Please specify which of the opportunities you wish to be considered for, and why) For this project, I will create a new monumental work that will serve as a vibrant focal point for this diverse community. I strive to create a new powerful work that embodies the spirit and identity of this community. It will serve as a beacon from afar and an interactive experience when close, and allow for a unique sense of wonder and intrigue. It will work in collaboration with the architecture, integrated as an essential element. It will serve as place for personal reflection and contemplation, while also allowing for the larger group experience for people of all ages. Describe your design process, and how you would approach each of the projects you’ve expressed interest in (please use project # when referencing each opportunity) With my larger public art projects, I try to accomplish a deep level of intimacy with the viewer, while understanding that from far away, the work has to resonate similarly on a different scale. My process begins by connecting with the community and environment; I aim to create bold new works that are in tune with its surroundings. I attempt to understand the identity of a community and the existing landscape. From here, I move into preliminary sketches and 3-D drawings, eventually ending with completed renderings and plans. Over the course of my process, I continue my dialogue with the community, confer with fabricators, and balance ideas with budget. What is your experience working with fabricators, and using durable materials in harsh climates? I have created much of my work in collaboration with a fabricator. I lead with a vision of a new piece wants and an idea of how to achieve it, but the fabricator has been instrumental in offering new solutions that I wouldn't have thought of which creates new possibilities and inspiring artistic opportunities; I consider a fabricator to be a core collaborator. With my outdoor work, durability is crucial. I have created tall sculptures in the desert of California that needed to withstand extreme heat and high winds; while in Seattle, I have created a number of large-scale projects which were designed to endure heavy rain and temperature changes. What is your experience collaborating with architects, design professionals and community groups? Describe yourexperience working with communities. I aim to create bold work with sensitivity and attention to how art creates a dialogue with community and its environment. Currently, I'm in process of creating a new permanent sculpture along the Duwamish River in Seattle. I began by requesting a dinner, and a few weeks later the community attended a picnic on the site of this future park. Here, I had an opportunity to engage with people who would eventually live with my sculpture as part of the fabric of their neighborhood. To me, it was critical to learn how this community uses their public spaces and what their dreams are for this space. Now, I continue to meet with community leaders and project stakeholders on the development of this project, maintaining a connection between the community and the project. Also crucial has been a strong collaboration with the landscape architect who is creating this park with me. Together we are focused on the balance between utility and experience to uniquely serve this community. Which of your work samples illustrate that you have successfully completed at least one publicly-funded commission project with a budget of $20,000 or more? ALONE. STANDING IN THE MIDDLE OF DARKNESS. INVISIBLE. 2015 Seattle, Duwamish River Funding provided by: Port of Seattle, 4Culture, City of Seattle, Seattle Public Utilites Price: $30,000 Call ID: 1005285 Artist ID: 66998 Status: Received Ben Zamora (Continued) Dimensions: 12' x 15' x 8' Description: This work is a light based sculpture designed to reflect the natural surroundings and serve as a point of connection between the viewer and the environment. As day shifts to night, the viewer and the surrounding environment disappear, leaving a floating lit portal of light. Please provide a brief overview of the primary applicant’s background and experience with examples of relevant recent work. If applicant is part of a team, please provide brief biographical information about each team member. Ben Zamora is an American artist, whose work is primarily based in light. Over the last few years, Zamora has developed an impressive body of work that creates a dialogue between the viewer and their environment, while addressing universal themes of life, transformation, and transcendence. His work draws on primary natural elements fire, water, earth and sun, distilling these elements down to a visceral response and creating experiences that are boldly immersive and intimate, engaging the viewer as an active participant. He has created large-scale installations and sculptures for the Park Avenue Armory in New York, The Coachella Valley Music and Arts Festival, Art Basel/Design Miami, Kunsthalle Krems in Austria, The Frye Art Museum, Suyama Space, as well as a number of other galleries, museums, private art collections, and public art projects. Professional referencesInclude the names and contact information for three individuals with whom you have worked or collaborated with, orwho have commissioned your work in the past. At least one of these references should be a project manager or thecommissioning agency for projects presented in the work samples. Actual letters of reference are not required and willnot be accepted. NICOLE KISTLER Curator, Duwamish Revealed nk@nicolekistler.com 206.601.0360 ALAN MASKIN Architect, Olson Kundig Architects alan@olsonkundig.com 206.465.2405 ELIZABETH SPAVENTO Curator, All Rise espavento@gmail.com 716.861.1688 Art Detail Category Statement I make work that connects people and places, and creates experiences. My work seeks to create a dialogue between the viewer and their environment allowing for experiences that are boldly immersive and intimate while engaging the viewer as an active participant. My work is bold and commanding, but I aim to do so with sensitivity and a specific attention to how a work of art can have a dialogue with a community and its environment. I have created large-scale installations and sculptures for the Park Avenue Armory in New York, The Coachella Music and Arts Festival, Kunsthalle Krems in Austria, Art Basel/Design Miami, and a number of galleries, museums, and public art projects. Call ID: 1005285 Artist ID: 66998 Status: Received Ben Zamora (Continued) ALONE. STANDING. IN THE MIDDLE OF DARKNESS. INVISIBLE. Sculpture 12' x 15' x 8' $25000.00 2015 ALONE. STANDING. IN THE MIDDLE OF DARKNESS. INVISIBLE. Sculpture 12' x 15' x 8' $25000.00 2015 ALONE. STANDING. IN THE MIDDLE OF DARKNESS. INVISIBLE. Sculpture 12' x 15' x 8' $25000.00 2015 ALONE. STANDING. IN THE MIDDLE OF DARKNESS. INVISIBLE. Sculpture 12' x 15' x 8' $25000.00 2015 WHO WITH THEIR FEAR IS PUT BESIDE THEIR PART Installation 25' x 35' x 50' $50000.00 2016 WHO WITH THEIR FEAR IS PUT BESIDE THEIR PART Installation 25' x 35' x 50' $50000.00 2016 PASSAGE Light Installation/ Sculpture 50' x 35' x 2' $30000.00 2014 APEX V2 - COACHELLA Installation 35' x 100' x 8' $30000.00 2013 PRAXIS Light Installation/ Sculpture 22' x 100' x 100' $50000.00 2015 FADE|DISAPPEAR COMPLETELY Sculpture 8' x 3' x 2' $12000.00 2015 FADE|DISAPPEAR COMPLETELY Sculpture 8' x 3' x 2' $12000.00 2015 FLEXN Light Installation/ Sculpture 40' x 160' x 1' $100000.00 2015 Call ID: 1018575 Artist ID: 269641 Status: Received Jason Klimoski Contact Partner Contact via Email Phone Cell Web Site Mailing Address Lesley Chang Cell Phone jason@studiokca.com 917 7209992 917 3313697 www.studiokca.com 55 Washington Street Brooklyn NY 11201 Custom Answers Please indicate the Artery opportunities you are interested in: We are interested in the following three (3) Artery opportunities: #2. Photo Op Bench #3. Shade Canopy #4. Illuminated Sculpture What interests you about the Artery project? (Please specify which of the opportunities you wish to be considered for, and why) We want to help tell the story of Hopkin's bright future, based around a strong community, new modes of transportation, and healthy living. It's an opportunity to lend our skills to a project in Minnesota (where I spent much time growing up), and create objects and spaces that relate Hopkin's interesting industrial past to its present, through materials and light- something we love doing. #2 Photo Op Bench, is an ideal size to evoke a sense of movement and tell the story of Hopkin's transformation through time, across 20' of space. #3 Shade Canopy, could become a fantastic gathering place (both day and night) by creating a structure using materials that highlight the pedestrian/biking culture that will continue to grow and expand. #4 Illuminated Sculpture, using light to become a beacon that recalls Hopkin's industrial transportation past while it says hello to future light rail users, could be an opportunity to make something spectacular and meaningful for residents and visitors. Describe your design process, and how you would approach each of the projects you’ve expressed interest in (please use project # when referencing each opportunity) Whether small or large, from #2 Photo Bench, #3 Shade Canopy, to #4 Illuminated Sculpture, each project we design, engineer, and fabricate, starts the same way. First, we visit the site, then we meet and listen to the directive and desires/hopes/dreams of the people involved in purposing the project. Then, we research the site's history (and future). We then work to develop a concept for the form and function of what it is we will create. We also begin to research materials, both new and re-purposed materials, so that not only does the object, but the material the object is made from, reinforces the story we want to tell with what we are creating. We also believe in involving the community as much as we can in the process. What is your experience working with fabricators, and using durable materials in harsh climates? We have a great working relationship with a team of fabricators throughout the country- steel, aluminum, and wood, in particular. Because we have experience in construction and engineering (in Minnesota, New York, and California) we provide detailed plans and fabrication drawings- we have even done portions of the fabrication ourselves for some of the more complicated projects. All of the projects that we have designed and built are engineered to withstand the conditions of their particular environment. We have an extensive understanding of materials and work with only those materials and/or structural systems that make sense for each particular site and environment. For example, we have built a cloud that withstood three tropical storms and a small hurricane (without a foundation), and we have built a shell that withstood extreme heat and cold. What is your experience collaborating with architects, design professionals and community groups? Describe yourexperience working with communities. The unique aspect of our studio, is that we are a collection of architects, artists, lighting designers, and fabricators. Our process is one of collaboration between the design fields. We have also worked closely with community groups to not only shape the projects that we've done, but to organize the groups to help create the piece itself. For the Head in the Clouds Pavilion, 288 volunteers from the community, organized by us over the course of several weekends, helped assemble the components that created the actual pavilion. To see everyone coming together to create something for and by the community, is one of the most rewarding aspects of our work. For the NASA Orbit Pavilion, we have been involved in giving talks to STEM education programs inside the pavilion, to inspire kids to become interested in NASA and its ongoing missions and in architecture and design and the opportunities the profession provides to create spaces like the shell. Call ID: 1018575 Artist ID: 269641 Status: Received Jason Klimoski (Continued) Which of your work samples illustrate that you have successfully completed at least one publicly-funded commission project with a budget of $20,000 or more? Head in the Clouds, 2013 Rosetta, 2014 NASA Orbit Pavilion, 2015 NASA Orbit Pavilion (West Coast), 2016 Please provide a brief overview of the primary applicant’s background and experience with examples of relevant recent work. If applicant is part of a team, please provide brief biographical information about each team member. Jason Klimoski is an award-winning architect and lighting designer, who co-founded StudioKCA (Studio Klimoski Chang Architects) in 2011 with his partner Lesley Chang. Jason spearheads designs for clients looking for unique lighting, sculptures, and spaces that respond to their site and program requirements in imaginative ways, bringing joy and wonder to those who see and interact with his creations. Jason grew up in Madison, Wisconsin and moved to Minneapolis at 18 to attend the University of Minnesota-Twin Cities. It was there that he got his start exploring sculpture and lighting, and where he received his Bachelor of Arts in architecture and history summa cum laude. He also received the university's Katherine E. Sullivan Scholarship Award, and the Design Excellence Award from the Danish Institute for Study Abroad in 2000. He went on to receive his Master in Architecture from Harvard University's Graduate School of Design in 2004. He furthered his training with the renowned lighting designer Ingo Maurer in New York and in Munich, Germany, and as a senior designer at Skidmore, Owings and Merrill in New York where he lead design projects such as the Four Seasons Hotel in City Santa Fe, Mexico, the W Hotel in Denver, and the Manhattan West Project for Brookfield Properties. Jason's designs have been featured widely in publications such as Wired, Architectural Digest, Wallpaper*, Fast Company, Interior Design, Architectural Record, Wall Street Journal, Los Angeles Times, The New York Times, Time Out New York, New York Magazine, and broadcast on television and media outlets such as CNN, Discovery Channel, and The Weather Channel. His designs have won awards and recognition, including: 2016 Fast Company Magazine Innovation By Design Award, Honorable Mention 2016 Chicago Athenaeum Museum of Architecture and Design, American Architecture Award, 1 of 2 Awards received 2016 Chicago Athenaeum Museum of Architecture and Design, American Architecture Award, 2 of 2 Awards received 2016 American Institute of Architecture Brooklyn Queens, Design Merit Award 2016 Society of American Registered Architects, Design Award of Excellence 2016 Architizer A+ Design Award, Finalist, Category: Cultural Pavilion 2015 The Architect's Newspaper, Best of Design Young Architect Award, Honorable Mention 2015 Interior Design Magazine, Best of Year Honoree, Category: Installation 2015 Van Alen Institute, Flatiron Plaza Design Competition, Finalist 2014 American Institute of Architects National, Small Project Award 2014 Architizer A+ Design Award, Finalist, Category: Cultural Pavilion 2013 Interior Design Magazine, Best of Year Award, Category: Installation 2013 Interior Design Magazine, Best of Year Honoree, Category: Lighting 2013 Architectural Record Magazine, Editor's Picks, International Contemporary Furniture Fair, Category: Lighting 2012 American Institute of Architects New York, City of Dreams Pavilion Competition, Winner Select commissioned installations and exhibitions include: The Huntington Library, Art Collection, and Botanical Gardens, San Marino, CA (2016-2017); Intrepid Sea, Air, Space Museum, New York, NY (2015); New York University, New York, NY (2015); The Exploratorium Museum, San Francisco, CA (2015); Brooklyn Bridge Park, Brooklyn, NY (2014); Jockey Club, Sao Paulo, Brazil (2014); American Institute of Architects National Convention, Chicago, IL (2014); Governors Island, New York, NY (2013). Select institutional, non-profit, and corporate clients include: NASA; Friends of Governors Island New York; World Science Festival; American Institute of Architects New York; Figment Project; Nestle; Breitling; Mondolez International; The Coca-Cola Company; and Kimpton Hotels & Restaurants. Professional referencesInclude the names and contact information for three individuals with whom you have worked or collaborated with, orwho have commissioned your work in the past. At least one of these references should be a project manager or thecommissioning agency for projects presented in the work samples. Actual letters of reference are not required and willnot be accepted. Mr. David Koren Executive Director Figment Project (646) 391-4729 davidkoren@figmentproject.org Ms. Caroline Gelb Associate Director / Project Manager World Science Festival (917) 281-5755 Call ID: 1018575 Artist ID: 269641 Status: Received Jason Klimoski (Continued) cgelb@worldsciencefestival.com Mr. Larry Burik Vice President of Facilities The Huntington Library, Art Collection and Botanical Gardens (626) 405-2252 lburik@huntington.org Art Detail Category Statement I have been looking for an opportunity to create something for Minnesota for quite some time. It was the University of Minnesota that awarded me the Katherine E. Sullivan Scholarship when I was 19 and opened my eyes to the world of art and design. My first sculpture (made from 893 used machine pistons donated by a local machine shop) was exhibited at the University of Minnesota when I was 21. Those years I attended U of M are where my interest in art and lighting design began. Now, many years later, my partner Lesley Chang and I have an award-winning design studio with projects ranging in scale and complexity from lighting fixtures in New York, to traveling pavilions and installations pieces for NASA's Jet Propulsion Lab and the European Space Agency. Large or small, each project we design, engineer, and fabricate, explores how materials can be crafted or purposed to tell a story and provide a unique opportunity to the people visiting. Head in the Clouds Pavilion recycled plastic bottles, water, aluminum, netting 18' x 23' x 45' $30000.00 2013 Head in the Clouds Pavilion recycled plastic bottles, water, aluminum, netting 18' x 23' x 45' $30000.00 2013 Rosetta steel, water, mister, LED 9" x 14" x 50" $40000.00 2014 Rosetta steel, water, mister, LED 9' x 14' x 50' $40000.00 2014 Key to My Heart keys, steel, LED 18' x 10' x 40' $28000.00 2014 Key to My Heart keys, steel, LED 18' x 10' x 40' $28000.00 2014 Call ID: 1018575 Artist ID: 269641 Status: Received Jason Klimoski (Continued) Golden Ribbon metal, LED 10' x 16' x 68' $28000.00 2015 Golden Ribbon metal, LED 10" x 16" x 68" $28000.00 2015 NASA Orbit Pavilion aluminum, speakers, plywood 17" x 38" x 42" $115000.00 2015 NASA Orbit Pavilion aluminum, speakers, plywood 17' x 38' x 42' $115000.00 2015 NASA Orbit Pavilion (West Coast) aluminum, speakers, plywood 17' x 38' x 42' $115000.00 2016 NASA Orbit Pavilion (West Coast) aluminum, speakers, plywood 17' x 38' x 42' $115000.00 2016 Call ID: 1019643 Artist ID: 57 Status: Received Andrea Myklebust Contact Partner Contact via Email Phone Cell Web Site Mailing Address Stanton G. Sears Cell Phone myklebust.sears@gmail.com 715 448-2074 612 599-9047 www.myklebustsears.com N3049 Nelson Lane Stockholm WI USA 54769 Custom Answers Please indicate the Artery opportunities you are interested in: We are interested in the Street Closure Sculpture, the Photo Op Bench, Shade Canopy, and the Illuminated Sculpture projects. What interests you about the Artery project? (Please specify which of the opportunities you wish to be considered for, and why) We have long been interested in creating artwork which serves a functional purpose, and which can help to create a sense of place in towns and cities. The Artery project is interesting because it is clear that the City of Hopkins and the project designers have thoroughly considered the site, and the art opportunities outlined in the RFQ are designed to yield functional, architecturally-integrated works which are specific to their site and the context of their community. This is the kind of project in which we like to be involved! Describe your design process, and how you would approach each of the projects you’ve expressed interest in (please use project # when referencing each opportunity) Each of the different projects in which we have indicated an interest will have their own unique challenges to be met; the technical specifications of the road closure sculpture, for example, the structural demands of the shade canopy, or the hardware/software needs of the illuminated sculpture all come to mind - but our broad approach to all of our projects is this: We begin with a process of inquiry and research. The needs of the community, the stories people want and need to tell, drive our design process and generate the narrative content of our work. Working in concert with community stakeholders, members of the design team, and the people who will care for and maintain the completed artwork, we develop a design which reflects the unique character of the site, can be built and installed for the budget available, and reasonably maintained for a long period of time. We make art which connects people to places. What is your experience working with fabricators, and using durable materials in harsh climates? During the twenty-plus years of our collaborative partnership, we have completed more than sixty public artworks for sites from Alaska to Florida, with the majority of our projects sited in the upper midwest. We combine hands-on sculptural production in our studio with work executed by fabricators, depending upon the needs of the project. For the projects in the Artery rfq, production would be completed mostly within our studio, with water-jet cutting work, bronze casting, or large-scale metal fabrication happening in concert with trusted fabricators. What is your experience collaborating with architects, design professionals and community groups? Describe yourexperience working with communities. Most of our projects over the years have been designed in collaboration with larger design teams including architects, engineers,maintenance people, and community members. We enjoy the process of interaction with all of these groups and feel that this collaborative process is at the core of any successful public art project. Our work with communities has included conducting visioning sessions, organizing volunteers, and conducting community art-making workshops. The exact scope of community engagement in a given project is driven by the needs of that site and community. Which of your work samples illustrate that you have successfully completed at least one publicly-funded commission project with a budget of $20,000 or more? All of the work samples we are showing you in this rfq had budgets over $20,000. Most of the projects we are using to illustrate our portfolio had budgets between $50 - $100,000. Please provide a brief overview of the primary applicant’s background and experience with examples of relevant recent work. If applicant is part of a team, please provide brief biographical information about each team member. Established in 1993, the Myklebust+Sears Studio is located approximately one hour downriver from Saint Paul, near the Mississippi Call ID: 1019643 Artist ID: 57 Status: Received Andrea Myklebust (Continued) River in Pepin County, WI. Our 4,500 square foot facility is fully equipped for range of traditional sculptural processes and design work, including community research, visioning, and outreach, CAD rendering and LED lighting design. Andrea Myklebust is a sculptor and alumna of Macalester College in St. Paul, Minnesota. An architect's daughter, her work has included volunteer service in community development initiatives to encourage the creation of a lively public realm in towns and cities. Stanton Sears is a sculptor and a professor of art at Macalester College, St Paul. He holds degrees from the Rhode Island School of Design and Penn State. In addition to the fine arts, his training has included significant study in architecture and landscape architecture. Other members of our team include John Myklebust (Andrea's father), a registered architect and lighting designer, who develops lighting elements in our projects, selects fixtures, and handles wiring and programming. Devin and Alek Vollmer and Grayson Sears, the artists' sons, assist in CAD rendering, fabrication, and installation of art projects. Professional referencesInclude the names and contact information for three individuals with whom you have worked or collaborated with, orwho have commissioned your work in the past. At least one of these references should be a project manager or thecommissioning agency for projects presented in the work samples. Actual letters of reference are not required and willnot be accepted. Blackland Prairie Song Matthew D. McComb, RLA, ASLA, CA | Landscape Architect City of Allen, Parks & Recreation Department 214.509.4721 mmccomb@cityofallen.org AllenParks.org Allegory of Excelsior, Louisiana Avenue Bridge Tom Harmening, City of Saint Louis Park 5005 Minnetonka Boulevard Saint Louis Park, MN 55416 952/924.2580 THARMENING@stlouispark.org P.S. - Wish You Were Here, Stoneboats Mary Altman, Public Arts Administrator Minneapolis Community Planning and Economic Development Office 210 City Hall Minneapolis, MN 55415 612/673.3006 612/673.2728 fax mary.altman@ci.minneapolis.mn.us Kagin Plaza Mark Dickinson, Physical Plant, Director Macalester College 1600 Grand Avenue Saint Paul, MN 55105 651/696.6140 dickinsonm@macalester.edu Art Detail Category Statement Stanton and I have worked as a collaborative team for more than twenty years. Our design process begins with a period of research related to the unique needs of the site and its community. We distill this research into a design which reflects the special character of the project site. We are "makers," and our projects feature sculptural elements which are hand made; modeled and cast in bronze, glass or other materials, or carved in stone. Many of our recent projects include water-jet cut elements which are developed from hand-drawn renderings, and much of our recent work has featured programmable LED lighting; giving our works a responsive and dynamic nighttime presence. We are deeply committed to ecologically-sound practices in our studio. Since 2012, power for the production of our work has come from an on-site PV array, and we use recycled/repurposed materials in our work whenever possible. Call ID: 1019643 Artist ID: 57 Status: Received Andrea Myklebust (Continued) We believe in the power of art to connect people to places. LifeRing Cast bronze, limestone 8' x 17' x 4' $50000.00 LifeRing Cast bronze, limestone 8' x 17' x 4' $50000.00 Net/Shoe/Glove/Ball/ Ball/Ball Carved Indiana Limestone 13' x 2' x 4' $64000.00 Net/Shoe/Glove/Ball/ Ball/Ball Carved Indiana Limestone 13' x 2' x 4' $64000.00 P.S. - Wish You Were Here Bronze, steel, limestone... 9' x 4' x 26' $55000.00 P.S. - Wish You Were Here Bronze, steel, limestone... 9' x 4' x 26' $55000.00 Whirlwind Cast Bronze 20' x 2' x 2' $77500.00 2008 Whirlwind Cast bronze 20' x 2' x 2' $77500.00 2008 Reflect/Radiate/ Accumulate Carved natural boulders, weathering steel 10' x 45' x 45' $95000.00 2007 Reflect/Radiate/ Accumulate Carved natural boulders, weathering steel 10' x 45' x 45' $95000.00 2007 Building Block Beacon Stainless steel, limestone, light 23' x 8' x 4' $50000.00 2010 Building Block Beacon Stainless steel, limestone, light 23' x 8' x 4' $50000.00 2010 Call ID: 1021176 Artist ID: 77302 Status: Received James Brenner Contact Partner Contact via Email Phone Cell Web Site Mailing Address Cell Phone jim@jamesbrenner.com 312 203-1031 312 203.1031 jamesbrenner.com 1720 Madison St NE 12 Minneapolis MN USA 55413 Custom Answers Please indicate the Artery opportunities you are interested in: Street Closure, Shade Canopy and Light sculpture. I work with steel, glass, and light. By using the same materials and esthetics in all three projects there can be a continuity that will make whole collection greater than the sum of its parts. My site-responsive approach ensures that projects are designed to create a cohesive, attractive and unique sense of place. The Innovation Field Backstop is one of a series of projects including In Flux and Double Flux, located in a Minneapolis Park that relate in material and design in order to tie in with other pre-existing elements in the commons. The theme of "innovation" refers to the influences of both Thomas Edison (for whom the nearby high school is named) and fireman Louis Rober (credited with bringing the sport of softball to Minneapolis). Fabricated with Cor-Ten all weathering steel, sculpted green jade float glass, galvanized steel and solar-powered LED lights, Innovation Field Backstop is durable and requires little maintenance. What interests you about the Artery project? (Please specify which of the opportunities you wish to be considered for, and why) I am interested in creating a sense of place that invites the community to come into a outdoor "room" and interact with it, be apart of it. This sense of placemaking is exactly the approach that drives my work. I believe my use of industrial materials is well suited to the overall vision of this project. I am interested in being a part of a whole that is greater than the sum of its parts. i.e. a recent project for the City of Bloomington, MN titled Convergence, is a landmark in a developing corridor that intersects pedestrian, automotive, and light rail traffic. Reflecting the form of the roundabout that surrounds Convergence, the open circle frames and redirects the viewer's attention to the sky. The sculpted glass in the artwork reflects refracted light as the sunlight passes through it, and the fiber optic LED lighting illuminates the form at night. Shifting from red to yellow to blue, the lights represent each of the three primary demographics of the South Loop community. Describe your design process, and how you would approach each of the projects you’ve expressed interest in (please use project # when referencing each opportunity) For #1 Street Closure, #3 Shade Canopy and #4 Illuminated Sculpture: My process of working with a community and site is not unusual, I listen, interoperate, react, engage, dream, vision, re-engage, execute the vision in a virtual world, then create the the work in the real world. I survey the site, talk with stakeholders, talk with community members, study the industrial history, create some sketches, solidify concepts, create CAD drawings, review concepts with stakeholders. upon acceptance review drawings with structural engineer, fabricate in my studio, install on time, document, celebrate with an opening ceremony. What is your experience working with fabricators, and using durable materials in harsh climates? I am the artist, designer, fabricator, installer. I live and work in Minnesota with durable materials. Everything I do is built to last under the harshest of conditions. The durable materials of Glass and Steel have comparable expansion and contraction rates making them a fit for our climate of extreme temperature differences. What is your experience collaborating with architects, design professionals and community groups? Describe yourexperience working with communities. The City of Minneapolis Holland Commons project was the most diverse group of collaborators. There are six projects on the Commons Call ID: 1021176 Artist ID: 77302 Status: Received James Brenner (Continued) all with different agencies and groups. "In-Flux" was on park land funded by Art in Public Places Program. I worked with the City of Minneapolis Public Art Administrator, Art Conservator, Holland Nieghborhood Improvement Association, Park District Landscape Architect, a structural engineer, excavator, concrete contractor, electrician, city inspector. We did workshops with Edison High School - a group of students interviewed community members and asked how they would describe a Northeaster, what was important to them, what were some of there memories of the park. Out of those interviews we cast the text in iron and incorporated it into the concrete pad. "Double-Flux" same professional except it was on City Land and fund by the Nieghborhood Revitalization Project I worked with the Water District, Innovation Field same plus Historical society, etc. Which of your work samples illustrate that you have successfully completed at least one publicly-funded commission project with a budget of $20,000 or more? All Please provide a brief overview of the primary applicant’s background and experience with examples of relevant recent work. If applicant is part of a team, please provide brief biographical information about each team member. I have made sculpture my profession sense 1997. Please see resume below JAMESBRENNER s c u l p t u r e 1720 MADISON ST NE 12 MINNEAPOLIS, MN 55413 JIM@JAMESBRENNER.COM (312) 203-1031 EDUCATION 1997 The School of the Art Institute of Chicago, Master of Fine Arts, Sculpture, Chicago, IL 1995 University of Minnesota, Bachelor of Fine Arts, Studio Art, Minneapolis, MN SELECTED EXHIBITIONS AND INSTALLATIONS (1997-2013) 2015 Beyond Boundaries, TEDA Contemporary Art Museum, Tianjin China 2015 Transforming Community, Westbeth Gallery, New York, NY 2014 Coalescence, Talsi Regional Museum, Talsi, Latvia North Star: Ursula, Petvale Open Air Museum Installation, Sable, Latvia Water: A Universal Human Right, Convergence, Robert Morris University Art Gallery, Chicago, IL Blue River, Mississippi Watershed Management Organization Installation, Minneapolis, MN 2013 Green Light Project, Holland Green Collection, Art and Energy Grant Installation, Edison H.S, Minneapolis, MN Out of the Earth, Jacksson Contemporary Art, Columbus, IN Maquette and Small Sculpture Show, Franconia in the City, Minneapolis, MN Life-Boundary-Art, Museum of TianJin Academy of Fine Arts, TianJin, P. R. China 2012 Concerning Water, Phipps Center for the Arts, Hudson, WI Franconia in the City Exhibition, Franconia in the City, Minneapolis, MN Edison, Edison H.S., Minneapolis, MN 2011 Nimbus, Green Exchange Building, Chicago, IL JW Marriot Hotel, Chicago, IL Columbus Iron Sculpture Exhibition, Columbus Area Arts Council, Columbus, IN Living Green Expo, Fine Arts Exhibition Building, St. Paul, MN Women and Water Rights II: Rivers of Regeneration, Finlandia University Gallery, Hancock, MI Iron Cast, Oasis Gallery, Marquette, MI 2010 Brenner, Larson, Walters, Colleen Harper Gallery, Chicago, IL Water Matters, Cascade Meadow Wetlands and Science Center, Rochester Arts Center, Rochester, MN Double Flux, Holland Green Collection, Jackson Square Park, Minneapolis, MN Innovation Field, Jackson Square Park, Minneapolis, MN Women and Water Rights, Katherine E. Nash Gallery, University of Minnesota, Minneapolis, MN 2009 Paradise Pour Exhibition, Columbus Museum of Art and Design & Columbus Area Arts Council, Columbus, IN In Flux, Holland Green Collection, Jackson Square Park, Minneapolis, MN 2008 Sound Sculpture Opening Performance, Mt Greenwood Park, Chicago IL You Are Here, Iron Paradise, Columbus Area Arts Council, Columbus IN Lee County Sculpture, Clear Water Park, Ft. Myers, FL Explore Fulton, Chicago Sculpture Works, Chicago IL Sarasota Season of Sculpture: International Invitational, Bay Front, Sarasota, FL (catalogue) 2007 Columbus Iron Sculpture Exhibition, Columbus Area Arts Council, Columbus, IN Sarasota Season of Sculpture: International Invitational, Bay Front, Sarasota, FL (catalogue) Ferrous Aurora, Lizzards Art Gallery Duluth, MN Sun Pictures to Mega Pixels, Williamsburg Art & History Center, Williamsburg, Brooklyn, NY 2006 In the Footsteps of Giants, Invitational Outdoor Cast Iron Sculpture Exhibition, Museum of Iron, Coalbrookdale, Ironbridge World Heritage Site, England Iron 2006, Ironbridge Gorge Museum, Coalbrookdale, Telford, England Iron Artists, Franconia Sculpture Park, Franconia, MN Jamie's Gallery Inaugural Exhibition, Chicago Sculpture Works Chicago, IL Columbus Iron Sculpture Exhibition, Columbus Area Arts Council, Columbus, IN Columbus Indiana Public Sculpture Invitational, Columbus Area Arts Council, Columbus, IN A Place at The Table, Arc Gallery, Chicago, IL 2005 Snowbird Contemporary Cast Iron Exhibition, New Orleans Sculpture Lab, New Orleans, LA Call ID: 1021176 Artist ID: 77302 Status: Received James Brenner (Continued) Six Artists, Chicago Sculpture Works, Chicago, IL A Place at The Table, United Theological Seminaries Galleries, New Brighton, MN Iron Artists, Franconia Sculpture Park, Shafer, MN On The Sky, Emily Davis Gallery, Akron, OH Aurora Pours, Red Mug Gallery, Superior, MN A Place at The Table, University of Wisconsin, River Falls, WI 2004 A Ton of Sculpture, New Orleans Sculpture Lab, New Orleans, LA Iron Artists, Franconia Sculpture Park, Shafer, MN A Place at the Table, WCA Exhibition, YWCA, Minneapolis, MN 2003 Artists on The Map, Chicago, IL Turn Up the Heat 2500 degrees, J Pepper Inn Art Gallery, Knife River, MN 2002 Gateway Sculpture Project, Minneapolis, MN Iron Artists, Franconia Sculpture Park, Shafer, MN Wandell Sculpture Garden, Meadowbrook Park, Urbana, IL Open Studio Sculpture Exhibition, Chicago Sculpture Works, Chicago, IL 2001 Riverplex Exhibition, Peoria Art Guild, Peoria, IL Department of Space and Land Reclamation Project, Chicago, IL Iron Artists, Franconia Sculpture Park, Shafer, MN 2000 Elements 2000, Snug Harbor Cultural Center, New York, NY The Figure in Contemporary Sculpture, Tweed Museum of Art, Duluth, MN Summer/Fall Exhibit, Discovery Museum, Bridgeport, CT Pier Walk 2000 Exhibition, Navy Pier, Chicago, IL (Juror, Beej Nierengarten-Smith Founding Director and Curator, Laumeier Sculpture Park and Museum, St. Louis, MO) Pier Walk 2000 Maquette Exhibition, James R. Thompson Center, Chicago, IL (Juror, Beej Nierengarten- Smith, Founding Director and Curator, Laumeier Sculpture Park and Museum, St. Louis, MO) Hidden Treasures, Christopher Art Gallery, Prairie State College, Chicago Heights, IL 1999 Cast Metal Invitational Exhibition, Laxfield, Suffolk, England Midwest Regional Exhibition, Beacon Street Gallery, Chicago, IL Redefining Feminism, University of Illinois, Dekalb, IL Pier Walk '99 Exhibition, Navy Pier, Chicago, IL (Juror: Brooke Barrie, Director Grounds for Sculpture, Hamilton, NJ [catalogue]) Pier Walk '99 Maquette Exhibition, Vedanta Gallery, Chicago, IL Navy Pier, Chicago, IL (Juror: Brooke Barrie, Director Grounds for Sculpture, Hamilton, NJ) Sculptural Objects Functional Art, Navy Pier, Chicago, IL. 1998 Artabounds, Chicago Children's Museum, Chicago, IL Ferroscious, Bodybuilder & Sportsman Gallery, Chicago, IL Pier Walk '98, Navy Pier, Chicago, IL (Juror: George W. Neubert, Director Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska, Lincoln, NE [catalogue]) Pier Walk '98 Maquette Exhibition, Wood Street Gallery, Chicago, IL (Juror: George W. Neubert, Director Sheldon Memorial Art Gallery and Sculpture Garden, University of Nebraska, Lincoln, NE) Gateway Sculpture Project, Minneapolis, MN Franconia Sculpture Park Exhibition, Shafer, MN 1997 Cast Metal Invitational Exhibition, Yew Tree Farm, Laxfield, Suffolk, England Celebration of Art and Artists, Franconia Sculpture Park, Shafer, MN Inaugural Show, New York Mills Sculpture Park, New York Mills, MN Passages and Obstructions, ARC Gallery, Rawspace, Chicago, IL James Brenner and Elisa Abeloff, Contemporary Art Workshop, Chicago, IL PUBLIC COMMISSIONS 2012 City of Minneapolis, Edison, Edison High School, Minneapolis, MN 2010 City of Lisle, Garfield Basin, Lisle, IL City of Minneapolis, Double Flux, Jackson Square Park, Minneapolis, MN City of Minneapolis, Innovation Field, Jackson Square Park, Minneapolis, MN 2009 City of Evanston, Blue Line, Evanston IL City of Minneapolis, In Flux, Jackson Square Park, Minneapolis, MN 2008 City of Chicago, Gong Tower, Mt Greenwood Park, Chicago IL City of Chicago, Spiral Bells, Mt Greenwood Park, Chicago IL City of Chicago, Cosmos Xylophones, Mt Greenwood Park, Chicago IL City of Chicago, Tongue Drums, Mt Greenwood Park, Chicago IL 2007 Green Hills Library, North Side Butterfly, Palos Hills, IL 2005 City of Wilmette, Wilmette Tower, Wilmette Jr. High School, Wilmette, IL City of Wilmette, Wilmette Tower II, Wilmette Jr. High School, Wilmette, IL City of Wilmette, Stratified Elements, Wilmette Jr. High School, Wilmette, IL 2004 City of Chicago, Entryway, Margate Park Field House, Chicago, IL City of Chicago, Dragonfly, Margate Park Field House, Chicago, IL City of Chicago, Butterfly, Margate Park Field House, Chicago, IL City of Chicago, Bumblebee, Margate Park Field House, Chicago, IL 2000 Western Sculpture Park, Tree Bracelet Project, St. Paul, MN 1997 New York Mills Sculpture Park, Corn Patch Project, New York Mills, MN 1996 Karen Sontag Sattel, Phoenix Rising (Iron), Government Center, Minneapolis, MN. CORPORATE COMMISSIONS 2012 Walsh Construction, Walsh Works, Corporate Headquarters, Chicago, IL Mahogany Builders, Gaudi Façade, Corporate Headquarters, Chicago, IL 2011 Baum Development LLC, Wash, Green Exchange Building, Chicago, IL JW Marriot Hotel, Valeo, Chicago, IL 2007 Patti Gilford Fine Arts, River Towers, Left Bank at K Station, Chicago, IL Call ID: 1021176 Artist ID: 77302 Status: Received James Brenner (Continued) 2000 Chicago Public Art Group/Gallery 37, Binary Project, DeVry Institute of Technology, Chicago, IL Ceridian Corporation, Elements, Minneapolis, MN 1998 Mycogen Seeds Corporation, Corn Cob Collaborative, Minneapolis, MN VISITING ARTIST 2013 CES/Cunningham Foundry, Paradise Pour: Arts and Industry, Columbus, IN Franconia Sculpture Park, Valentine's Day Pour, Shafer, MN 2012 Franconia Sculpture Park, Community Collaborative Hot Metal Pour, Shafer, MN Waldorf School, Michaelmas Star Project, Minneapolis, MN 2011 CES/Cunningham Foundry, Paradise Pour: Arts and Industry, Columbus, IN 2010 CES/Cunningham Foundry, Paradise Pour: Arts and Industry, Columbus, IN 2009 CES/Cunningham Foundry, Paradise Pour: Arts and Industry, Columbus, IN Alfred University, Iron Casting Cast in Iron, Alfred, NY 2008 CES/Cunningham Foundry, Paradise Pour: Arts and Industry, Columbus, IN 2007 CES/Cunningham Foundry, Paradise Pour: Arts and Industry, Columbus, IN 2006 5th International Conference on Cast Iron Art, Darby Project, Coalbrookdale, England CES/Cunningham Foundry, Paradise Pour: Arts and Industry, Columbus, IN Franconia Sculpture Park, Iron Butterfly Project, Shafer, MN 2001 Rochester Institute of Technology, The Big Pour, Rochester, NY 2000 Western Sculpture Park, Tree Bracelet Project, St. Paul, MN DeVry Institute of Technology/Gallery 37, Binary Project, Chicago, IL 1999 Yew Tree Farm, US/UK Contemporary Cast Iron Sculpture Project, Laxfield, Suffolk, England 1998 Franconia Sculpture Park, US/UK Contemporary Cast Iron Sculpture Project, Shafer, MN 1997 New York Mills Sculpture Park, Corn Patch Project, New York Mills, MN 1996 Hitchcock Industries, Phoenix Project / Guns and Metal Project, Minneapolis, MN SELECTED COLLECTIONS 2009 Alfred University, Iron Casting Cast in Iron, School of Art and Design, Alfred, NY 2007 Green Hills Library, North Side Butterfly, Palos Hills, IL 2006 Ironbridge Gorge Museum, Footprint, Coalbrookdale, Telford, England 2005 City of Wilmette, Wilmette Tower, Wilmette Tower II, Stratified Elements, Wilmette Jr. High School, Wilmette, IL 2004 City of Chicago Margate Park Fieldhouse, Entryway, Dragonfly, Butterfly, Bumblebee, Chicago, IL 2000 Robert and Karen Duncan, KrisCross, Lincoln, NE DeVry Institute of Technology, Binary Project, Chicago, IL Ceridian Corporation, Elements, Minneapolis, MN Western Sculpture Park, Tree Bracelet Project, St. Paul, MN 1998 Lewis Manilow, Passage, Governor's State University, IL Mycogen Seeds Corporation, Corn Cob Collaborative, Minneapolis, MN 1997 New York Mills Sculpture Park, Corn Patch Project, N.Y. Mills, MN John and Ann Oppenheimer, Pea Pod, Chicago, IL 1996 Smurfit/Stone, Found and Reclaimed, Salt Lake City, UT 1995 Tunnel Mill Historical Landmark, From Fire Iron Is Born, By Fire Iron is Tamed, Rochester, MN SELECTED AWARDS AND HONORS 2014 Artist Initiative Grant, Minnesota State Arts Board, Minneapolis, MN 2013 Art as Energy Grant, Minnesota Center for Energy and Environment, Minneapolis, MN 1997 Jerome / Franconia Emerging Artist Grant, Franconia Sculpture Park, Shafer, MN 1996 Cozzi Iron and Metal Honorarium, Cozzi Sculpture Exhibition, Chicago, IL 1995 Kohler Conference Award, Conference on Contemporary Cast Iron Art, Birmingham, AL 1994 HD Smith Award, University of Minnesota, Minneapolis, MN Professional referencesInclude the names and contact information for three individuals with whom you have worked or collaborated with, orwho have commissioned your work in the past. At least one of these references should be a project manager or thecommissioning agency for projects presented in the work samples. Actual letters of reference are not required and willnot be accepted. Jack Becker Founding Director and Director of Community Services Forecast Public Art 2300 Myrtle Avenue, Suite 160, St. Paul, MN 55114 651-641-1128 ext.101 jack@forecastpublicart.org Larry Lee Community Development Director City of Bloomington 1800 West Old Shakopee Road, Bloomington, MN 55431 952-563-8780 llee@BloomingtonMN.gov John Hock Artistic Director & CEO, Franconia Sculpture Park 29836 St. Croix Trail Call ID: 1021176 Artist ID: 77302 Status: Received James Brenner (Continued) Shafer, MN 55074 651-257-6668 johnhock@franconia.com Mary Altman Public Arts Administrator, City of Minneapolis 105 5th Avenue South, #200 Minneapolis, MN 55401 Mary.Altman@minneapolismn.gov (612) 673-3006 Art Detail Category Statement I am very enthusiastic about the opportunity of working with the City of Hopkins. I have a passion for public art and over 20 years of experience in the field. As a Minneapolis-based professional artist, I create interdisciplinary, participatory and proactive sculptures that serve as platforms for social dialogue. My work ranges from large- scale, interactive steel sculptures; to collaborative, public art projects; to synergetic iron casting events. My art has been site-specific, content-driven public art that actively creates connections and networks between a physical space and the intangibles of the community that surround it. My work considers the surrounding physical and social environments in the process of creation. My work asks the viewer not only to observe, but also to engage as participant either in the process of the making or the way the sculpture is experienced. I would be honored to create an artwork that acts as a beacon for the spirit of its community. Influx (Holland Commons Project) COR-TEN steel, sculpted jade glass, fiber optic light 8' x 6' x 6' $80000.00 Influx (Detail, Holland Commons Project) COR-TEN steel, sculpted jade glass, fiber optic light 8' x 6' x 6' $80000.00 Influx (Holland Commons Project) COR-TEN steel, sculpted jade glass, fiber optic light 8' x 6' x 6' $80000.00 Double Flux (Holland Commons Project) COR-TEN steel, sculpted jade glass, fiber optic light 10' x 10' x 5' $398000.00 Double Flux (Holland Commons Project) COR-TEN steel, sculpted jade glass, fiber optic light 10' x 10' x 5' $57000.00 Green Light Project (Holland Commons Project) COR-TEN steel, sculpted jade glass, fiber optic light 15' x 12' x 12' Call ID: 1021176 Artist ID: 77302 Status: Received James Brenner (Continued) Innovation Field (Holland Commons Project) COR-TEN steel, sculpted jade glass, LED lighti 45' x 23' x 15' $398000.00 2010 Blue Line steel, sculpted glass, LED lightl 170' x 8' x 1' $55000.00 2013 Blue Line Steel, sculpted glass, LED light 170" x 8" x 1" $55000.00 2009 River Towers Steel, sculpted jade glass, LED light 12' x 4' x 4' $65000.00 2007 Convergence CorTen Steel, sculpted jade glass, fiber optic light 25' x 25' x 2' $110000.00 2015 Convergence CorTen Steel, sculpted jade glass, fiber optic light 25' x 25' x 2' $198000.00 2015