CAC 03 11 1999T4t!t 4 stP Q"
CULTURAL ARTS COMMISSION AGENDA
La Quinta Civic Center Study Session Room
78-495 Calle Tampico - La Quinta, CA 92253
March 11, 1999
7:00 PM
I. CALL TO ORDER
A. Pledge of Allegiance
B. Roll Call
II. PUBLIC COMMENT
The Chair reserves the right to limit discussion on any topic to five minutes or less.
III. CONFIRMATION OF AGENDA
Corrections, deletions or reorganization of the agenda
IV. CONSENT CALENDAR
A. Approval of Minutes of February 11, 1999
B. Arts in Public Places Financial Report
C. Monthly Department Report for February 1999
V. PUBLIC HEARING
VI. BUSINESS ITEMS
A. Selection of Civic Center Art Committee Members
B. Artist Bank Application
C. Discussion of Commission Vacancy
D. Reflections - Shamis
E. Temporary Art Contract
F. Discussion of Site List for Public Artwork
VII. CORRESPONDENCE AND WRITTEN MATERIALS
A. Letters sent to Judy Vossler & Leah Williams
B. Architecture & Landscaping Review Committee Meeting Minutes of January 6, 1999
VIII. COMMISSIONER ITEMS
IX. ADJOURNMENT
NEXT MEETING INFORMATION
April 8, 1999 7:00 PM
La Quinta Civic Center Study Session Room
C:\MyData\CRI STAL\CAC\AG N3-11.wpd
IV. CONSENT CALENDAR B.
City of La Quinta
Recap Arts in Public Places
Available Funds 0228/1999
Deposits collected through development
Interest earned
City Contribution
Total Sources
Less expenditures:
Operating expenses
Art purchased
Total Uses
Equity Available before encumbrances and committments:
Add back Accounts Payable
Reduction for Interest Receivable
Cash Available before encumbrances and committments:
Less Encumbrances
Less Commitments:
Balance of De Martino Sculpture for Civic Center
Balance of K.Emerson & A.Dematteis - Fritz Burns Park
Balance Hwy 111 TDC Shopping Center - Paid
Balance Hwy 111 TDC Shopping Center - Credits
Balance Hwy 111 TDC Shopping Center - Future
Balance Ministrelli TT25429
Deposits committed to Rancho La Quinta - Paid
Deposits committed to Rancho La Quinta - Credits
Balance of Art Fernandez - Fritz Burns Park
Balance Marcia Gibbons-L.Q. Car Wash
Balance Eagle Hardware -Credit
Balance Washington St. Bridge-Navarrete/Nolmes & Narver
Balance Washington St. Bridge-Navarrete/Nolmes & Narver
Balance Washington St. Bridge -Artwork Construction
Obelisks Pilot Program -City Street Markers
Landscaping for Artpiece-Hwy111Mash. St
Total Commitments
Total available funds through
(13,217.00)
(1,260.37)
0.00
(9,418.07)
(14,581.93)
Me
WIN
(3,600.00)
0.00
0.00
(1,284.00)
(35, 362.00)
(21,618.50)
(8,217.25)
(19, 000.00)
$805,233.51
106, 097.27
50, 000.00
961, 330.78
(13,874.23)
(390,671.88)
(404,546.11)
556,784.67
0.00
0.00
556,784.67
0.00
(127, 559.12)
0228/1999 $429,225.55
File: APP.WK4
City of La Quinta
Arts in Public Places
Recap Expenditures
Inception to 02/28/1999
Operating Expenses: Expended
Conference - Phoenix
07/24/92
Bank of America
821.66
07/31/92
Meg Robertson
244.08
$1,065.74
10/15/92
A.E.S.
23.70
01/12/93
Jerry Allan
2,275.00
03/10/93
Regents - University of Calif.
105.00
03/31/93
Martin & Chapman
242.05
03/31/94
City of La Quinta Admin Fee
6,000.00
05/10/95
Rositas Shamis - Reimburse for supplies
35.91
06/30/98
Charrie Chappie Travel
325.21
06/30/98
Elaine Reynolds Travel
360.61
06/30/98
Rosita Shamis Travel
2,141.01
06/30/98
Susan Benay Travel
1,125.32
06/30/98
Americans For The Arts Registration
150.00
09/30/98
Susan Benay Travel - Reverse
(1,125.32)
01/25/99
Art in La Quinta Inserts (Arrow Printing)
1,150.00
Total Operating Expenses
$13,874.23
Total
Balance of
Art Purchases-
Commitments
Expended
Commitments
06/09/92
Adams/Truman PTA
n/a
$846.00
0.00
04/14/93
Louis De Martino
73,500.00
60,283.00
13,217.00
06/29/94
K.Emerson & A.Dematteis
51,000.00
49,739.63
1,260.37
07/31/92
Hwy 111 TDC - Paid
47,578.99
47,578.99
0.00
07/31/92
Hwy 111 TDC - Credits
10,810.63
1,392.56
9,418.07
07/31/92
Hwy 111 TDC - Future
36,610.38
22,028.45
14,581.93
12/15/92
Ministrelli TT25429
15,000.00
15,000.00
0.00
06/06/95
Bear Creek Path Art Work
5,000.00
5,000.00
0.00
01/16/96
Fritz Burns Park
16,786.00
16,786.00
0.00
05/21/96
Rancho La Quinta - Paid
35,000.00
35,000.00
0.00
0521/96
Rancho La Quinta - Credit
35,000.00
35,000.00
0.00
12/17/96
Fritz Burns Park - Art Fernandez
40,600.00
37,000.00
3,600.00
06/17/97
Marcia Gibbons-L.Q. Car Wash
10,000.00
10,000.00
0.00
06/17/97
Eagle Hardware -Credit
43,000.00
43,000.00
0.00
05/05/98
Washington St. Bridge-Navarrete/Holmes & Nary
3,000.00
1,716.00
1,284.00
09/15/98
Washington St. Bridge-Navarrete/Holmes & Nary
39,500.00
4,138.00
35,362.00
1020/98
Washington St. Bridge -Artwork Construction
21,999.00
380.50
21,618.50
07/07/98
Obelisks Pilot Program -City Street Markers
14,000.00
5,782.75
8,217.25
07/07/98
Landscaping for Artpiece-Hwy111Mash. St
19,000.00
0.00
19,000.00
Total Art Purchases $517 385.00 $390,671.88 $127,559.12
File: APP.WK4
City of La Quinta
Recap Arts in Public Places Interest Earned
FY 1990/91
FY 1991 /92
FY 1992/93
FY 1993/94
FY 1994/95
FY 1995/96
FY 1996/97
FY 1997/98
Total Accumulated Interest
FY 1998/99 Interest YTD
interest Through
Annual
Interest
3,525.59
11,646.54
12,156.96
7,137.38
11,444.17
14,109.65
16,170.79
14,845.19
15, 061.00
02/28/1999 106, 097.27
File: APP.WK4
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IV. CONSENT CALENDAR C.
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Fr
CF`y OF
CULTURAL ARTS COMMISSION MEETING
DATE: March 11, 1999
ITEM TITLE: Monthly Department Report for February 1999
RECOMMENDATION:
Receive and file.
BACKGROUND:
The Community Services Department completes a monthly Department Report consisting of
attendance figures for all programs, upcoming events and meetings attended. The Department
Report is transmitted to the City Council on the second Council meeting of every month.
Horvitz, Commblpity Services Director
Attachment: Mon-thfyUepartment Report
MEMO.DR
TO:
FROM:
VIA:
DATE:
SUBJECT
T4tyl 4 4tPQ"
MEMORANDUM
Honorable Mayor and Members of the City Council
Marni Kunsman, Recreation Supervisor
Dodie Horvitz, Community Services Director
March 16, 1999
Transmittal of Community Services Department Report for the Month of
February 1999
UPCOMING EVENTS OF THE COMMUNITY SERVICES DEPARTMENT FOR THE MONTH OF
APRIL 1999:
April 2 Complimentary Ballroom Dance Lessons, Sr. Center
April 5 Spring Break, Camelot Park Excursion
April 5 Youth Tennis Lessons, Session 3, Fritz Burns Park
April 5 Adult Tennis Lessons, Session 3, Fritz Burns Park
April 6 Spring Break, Ice Skating Excursion
April 7 Spring Break, Bowling Excursion to Desert Lanes
April 8 Disaster Preparedness Seminar, Sr. Center
April 8 Spring Break, Trip to the Movies
April 9 Spring Break Finale, Oasis Water Park
April 10 California Poppy Festival Excursion, City of Lancaster
April 10 Start Your Own Internet Business, Evening Workshop, Sr. Center
April 10 Ballroom Dance Classes at the Club, Session 3
April 13 Basic Guitar Classes, Session 3, La Quinta High School
April 14 "Y2K: Doomsday or Just Another Saturday?" Seminar, Sr. Center
April 15 Volunteer Recognition Luncheon, Sr. Center
April 17 Annual Spring La Quinta & Pizza Hut 2 on 2 Grass Volleyball Tournament
April 17 Basic Dog Obedience Training, Session 3, Fritz Burns Park
April 20 Free Hearing Consultation & Hearing Aid Check, Sr. Center
April 22 "Women & Money" Seminar, Sr. Center
April 22 Healthy Cooking Class, Sr. Center
April 22 Culture in the Courtyard, La Quinta Civic Center Courtyard
April 23 Shopping Excursion to Fashion Island in Newport Beach
April 24 California Trails Day Observed
April 27 1155 Alive" Mature Driving Course, Sr. Center
Attend.08
T4ht 4 a (P Q"
COMMUNITY SERVICES DEPARTMENT
ATTENDANCE REPORT FOR THE MONTH OF FEBRUARY 1999
SUMMARY SHEET
Meeting s Per Month
1999
1998
Variance
1999
1998
Programs
Leisure Class Total
�52
234
286
66
25
Special Events Total
215
0
215
2
0
Adult Sports Total
404
1152
-748
20
10
Senior Center Programs
2,837
2,410
427
147
121
Program Total:
3976
3796
180
235
156
Facility Use Attendance
Senior Center Services
1296
1226
70
22
24
Dept. Information & Referra
125
N/A
N/A
La Quinta Sports Complex
La Quinta AYSO
400
480
-80
4
8
La Quinta Sports &Youth
Facility Use Total:
600
1 2421
0
1706
600
590
1
27
0
32
PARTICIPATION
GRAND TOTAL
6 379
5,5021
770
262
188
* Information for 1998 not available
1999
1998
Variance
Volunteer Hours
Senior Center
909
1,075
-166
Meals on Wheels
63
50
13
Volunteer Total:
972
1125
-153
Revenue
__
1
Sr. Center Revenue
$7,041
1 $4,723
$2,318
Recreation Programs
$4,5241
$2,800
$1,724
Rental Income
$4951
$1,323
($828
—i--—
Revenue Total:
Al2,0601
$8,846
$3,214
Page 1
Youth and Adult Recreation Attendance
1999
j 1999 1998
19981
1999
Meetin
gs
Participants
Total Participation j
Participants
Total Participation
Variance
1999
1998
Leisure Classes
Low Impact Aerobics
Low Impact Plus
9
_ 5
63 1
35
0
0
0
0
63
35
7
7
0
0
Youth Tennis
7
281
0
0
28
4
0
Adult Tennis
6
241
0
0
24
4
0
Ballroom Dancing, Sat
7
211
0
0
21
3
0
Ballroom Dancing, Tu.. & Th.
9
541
0
0
54
6
0
Creative Stamping
4
4
0
0
4
1
0
Basic Guitar, Session 1
12
961
14
56
40
8
4
Beg. Computers, Mon.
9
36
9
36
0
4
4
Beg. Computers, Tues.
10
40
10
40
0
4
4
Int. Computers, Wed.
j 10
40
10
40
0
4
4
Beg.Computers, Thurs.
Internet Seminar
_ _ 10
5
40
5
10
0
40
0
0
5
4
1
4
0
Anatomy of Golf Swing—
_
2
8
4
16
-8
4
4
Money Management Seminar
10
10
0
0
10
1
0
Basic Dog Obedience
4
16
6
6
10
4
1
Leisure Class Subtotal
119
520
63
234
286
66
25
Special Events
_
Culture in the Courtyard
15
151
0
01
15
1
0
Adult Soccer Final Four
_
200
2001
0
0
200
1
0
Special Events Subtotal
_
215
215
j 0
0
215
2
0
Information & Referral
I L 125
125
"
N/A
N/A
N/A
Adult Sports
Open Basketball Mon. & Tu.
Open Volleyball Sat.
Open Basketball Sat.
Adult Volleyball League
30
0
14
60
30
0
141
_ 180
0
0
0
72
0
0
0
432
30
0
14
-252
8
4
4
3
0
0
0
6
Adult Soccer League
180
180
180
720
-540
1
4
Adult Sports Subtotal
_
284
404
252
1152
-748
20
10
i
* Prior information not available;
_
_
I
Page 2
_
1§WLUU1
_
ister
arts an.o
9 98
Registered
Total
ota
eetrngs
Participants
Participalloe
artrci atron
arrance
1999
1 998
Senior ctivities
Annual Art Show
130
130
117
117
13
1
1
Billiards
3
3
10
10
-7
n/a
n/a
Bridge. ACBL
Bridge, Duplicate/Social
Bridge, Novice Practice
296
383
32
296
383
32
303
424
0
303
424
0
-7
-41
32
4
11
4
4
14
0
Creative Writing Club
39
39
58
58
-19
4
4
computer Lab
7
7
0
0
7
2
1
Dog Training
21
21
16
16
5
1
1
Games
4
4
0
0
4
2
0
Golden Tones
51
51
84
84
-33
4
4
Ice Cream Social
32
32
0
0
32
2
2
Monthly Birthday Party
35
35
29
29
6
1
1
Monthly Luncheon
101
101
111
111
-10
1
1
Movie Time
29
29
51
51
-22
4
4
Putting Green
24
24
0
0
24
n/a
n/a
Seminars
12
12
7
7
5
3
3
Sounds of Music
152
152
0
0
152
1
0
Television Viewing
55
55
48
48
7
n/a
n/a
Tennis
83
83
36
36
47
5
4
Tennis Social
8
8
0
0
8
1
0
Senior Activity otal
1497
1497
1294
1294
203
51
44
-Senior Leisure Courses
Ballroom Dance
24
94
14
54
40
8
4
Computer
95
179
74
134
45
32
24
Exercise
87
438
63
382
56
15
11
Healthy Cookin-g Class
18
18
0
0
18
1
0
Landscape/Garden Class
9
40
0
0
40
4
0
Spanish Lessons
Senior Lelisure ourseS Total
41
274
123
892
33
184
99
669
24
223
3
63
3
42
enior Leisure Classes
Arts and Crafts
23
23
52
52
-29
4
4
Bridge Lessons
280
280
243
243
37
12
13
Ceramics
37
37
21
21
16
4
4
Painting
22
22
42
42
-20
4
4
Tap Dance
36
36
23
23
13
3
3
Watercolor
31
31
36
36
-5
3
3
Yoga
Senior Leisure Classes Total
19
448
19
448
30
447
30
447
-11
1
3
33
4
35
2219
2837
1925
2410
427
147
121
enior ervices
A.A.R.P. "55 Alive"
38
38
50
50
-12
0
• 0
AARP Tax -Aide
47
47
41
41
6
4
4
Ambassadors
93
93
86
86
7
n/a
n/a
Blood Pressure Check
70
70
65
65
5
4
4
FIND Food Distribution
561
561
507
507
54
4
4
Friends Meeting
7
7
0
0
7
1
0
Hearing Consultation
5
5
6
6
-1
1
1
Information/Referral/Outreach
382
382
382
382
0
n/a
n/a
Legal Consultation
7
7
4
4
3
1
1
Medicare Consultation
2
2
3
3
-1
n/a
n/a
PACE Exercise
36
36
73
73
-37
4
8
Putting Green Dedication
37
37
0
0
37
1
0
SHARE meeting/sign-up
11
11
9
9
2
2
2
TOTAL SENIOR SERVICES
1296
1296
1226
1226
70
22
24
3515
4133
3151
3636
4971
1691
145
Page s
VI. BUSINESS ITEM A.
04 ��cz ���VINW
U S
Fc�M OF
CULTURAL ARTS COMMISSION MEETING
DATE: March 11, 1999
ITEM TITLE: Selection of Civic Center Art Committee Members
RECOMMENDATION:
As deemed appropriate by the Commission.
BACKGROUND AND OVERVIEW:
Since 1989, the City has been selecting artwork from the La Quinta Arts Foundation
to be displayed at City Hall. Two Council Members, and members of the Cultural Arts
Commission will review the artwork at the Festival in March in light of a purchase for
City Hall.
The Committee will be considering where the purchased artwork should be placed at
City Hall or the Senior Center, or whether existing artwork on display at City Hall
should be moved to the Senior Center.
ALTERNATIVES:
The alternatives available to the Commission are:
1. Select two Commissioners to serve on the Civic Center Art Purchase
Committee; or
Protide staff with alternative direction.
Dodie Horvitz, Copity Services Director
C:\MyData\CRISTAL\CAC\CACRPT.034.wpd
VI. BUSINESS ITEM B.
04 �cz ��r fINW
V �
of TN��
CULTURAL ARTS COMMISSION MEETING
DATE: March 11, 1999
ITEM TITLE: Artist Bank Application
RECOMMENDATION:
Approve the Artist Bank Application.
BACKGROUND AND OVERVIEW:
The Commission has reviewed and recommended changes to the Artist Bank
Application (Attachment A). Staff has made the recommended changes as directed
by the Commission.
ALTERNATIVES:
The alternatives available to the Commission are:
1 . Approve the Artist Bank Application as submitted; or
2. Make changes and approve the Artist Bank Application with changes; or
3. Do not approve the Artist Bank Application; or
4. Provide staff with alternative direction.
Horvitz, 9,(J-m—mNnity Services Director
Attachment A: A- tiseBank Application
AACACRPT.012.wpd
D Q" ATTACHMENT A
ARTIST'S BANK APPLICATION
The City of La Quinta, in an effort to integrate artwork into the City, is inviting artists to provide the
following information for the Artist Bank. The City's primary goal is to place the appropriate artist(s) with
the project that would complement both the development and the artist, thereby enhancing the City. Please
tell us how you envision artwork being incorporated into the following areas of development:
"Landscaping": how could you incorporate your artwork effectively into a commercial project (i.e., shopping
center, commercial building, streetscape, parking lot, etc.)?
"Architectural design or detailing" of a building other than to be an art piece placed at the site?
"Signs" as monument or directional signage for a project?
If you feel there are additional areas that your artwork could be incorporated into the project, please
explain.
Please submit slides, drawings, etc., of your artwork that may be kept in our reference files:
APPDOC.001
T4ht 4 a 44 Q"
Artist's Bank Application
Name
Primary Discipline
Telephone Day (
Mailing Address
Alternate Contact Person
Telephone ( )
Art Work is Appropriate for: Inside
Telephone Evening ( )
Price Range Of Work $
I Have Prior Experience In Placing Public Art Pieces: Yes
Outside
No
If Yes, Please List The Locations, Project Name And Date You Were Commissioned:
Your information will be used for reference and referral when the Community Services Department meets
with prospective developers. If you have any questions, please feel free to contact us (760-777-7090).
Please return to:
Community Services Department
P. O. Box 1504 (78-495 Calle Tampico)
La Quinta CA 92253.
APPDOC.001
01 VI. BUSINESS ITEM C
�0J.-� c'
� 2
V S
CF`y OF
CULTURAL ARTS COMMISSION MEETING
DATE: March 11, 1999
ITEM TITLE: Discussion of Commission Vacancy
RECOMMENDATION:
As deemed appropriate by Commission.
BACKGROUND AND OVERVIEW:
With the vacancy created by the resignation of Commissioner Vossler, the City Council
has determined to allow that position to remain vacant through this fiscal year.
Chairperson Hull requested that the Commission be kept as a seven member
Commission and that the vacancy be filled.
ALTERNATIVES:
The alternatives available to the Commission are:
1 . Support the seven member Commission recommendation to the City
Council; or
2. Do not support the seven member Commission recommendation to the
City Council; or
3. Provide staff with alternate direction.
010NOBT116"I
9.. UM
unity Services Director
AACACRPT.013.wpd
VI. BUSINESS ITEM A
U S
CF`y OF TNti�
CULTURAL ARTS COMMISSION MEETING
DATE: March 11, 1999
ITEM TITLE: Reflections
RECOMMENDATION:
As deemed appropriate by the Commission.
BACKGROUND AND OVERVIEW:
Commissioner Shamis distributed information on "Reflections" at the Commission meeting of
February 11, 1999. This program is a presentation of the McCallum Theatre for teachers to
experience three live focus works (Attachment A). Commissioner Shamis would like to request
that the Cultural Arts Commission make a recommendation to the City Council that the City fund
four teachers from La Quinta schools to attend the upcoming session this summer at a cost of
approximately $4000. Currently, there are no funds identified in the Community Service budget
to accommodate this request.
ALTERNATIVES:
The alternatives available to the Commission are:
1 . Support the concept of funding La Quinta teachers to attend the McCallum Theatre
Institute;
2. Do not support funding of La Quinta teachers to attend the McCallum Theatre
Institute;
3. Send a letter to Desert Sands Unified School District strongly supporting the
program and requesting additional funds be budgeted for this next fiscal year; or
04 rovide staff with alternate direction.
Dodie Horvitz, C munity Services Director
Attachment A: �. Iections" McCallum Theatre Institute Summer Season 1998
A:\CACRPT.014.wpd
0 i
INTRODUCTION
by Kajsa Thuresson-Frary, Education Director
In June 1998, the McCallum Theatre Institute presented its first Aesthetic
Education Program Summer Session - a week-long workshop where 26 classroom
teachers extensively and experientially studied three live focus works - Jazz Tap
Ensemble (dance), The Chameleons (theatre), and Bimbetta (music). Each partici-
pating teacher had to write an essay in three parts summarizing their Summer
Session journal's most significant ideas, analyzing and discussing one of the focus
works, and commenting on the aesthetic education philosophy.
The teachers' essays are filled with many discoveries - about dance, music and
theatre; about themselves; about teaching and learning; about students and
schools; about the world and our place in it. It is through these essays that much
of their experience is revealed to us, and it was through the process of writing
that they reflected and came to better understand their own discoveries.
In the following pages we share with you a selection of excerpts from their
essays, which are not only a reflection of the teachers' personal experiences, but
of the Institute itself. It is through the words of these teachers that we get an
understanding of the experience of being a participant in the Aesthetic Education
Program at the McCallum Theatre Institute.
Enjoy!
It is not the incorporation of aesthetic education into the school's curricula that makes the
significant difference. It is the teacher who makes the difference; his/her own cherishing of
experiences with the arts; his/her own reflections on the way particular encounters have opened
vistas, revealed alternative ways of living and being, exposed some ultimate mysteries.
Maxine Green, June 30,1998
It is only upon reflection that we comprehend experience.
John Dewey
2
Philosophy of Aesthetic Education
The Aesthetic Education Program (AEP) can most simply be defined as an approach
to teaching and learning in the arts. Students, educators and teaching artists work
side by side to deepen their understanding of themselves and the world through
active engagement with specific works of art - focus works.
The approach to this work is based on the belief that the arts should be studied in
an active, experiential way. This process includes activities designed to explore the
formal elements of each art form, active reflection, inquiry and contextual re-
search. The aesthetic education philosophy is concerned with discovery, action,
problem solving and questioning. Skills of perception are developed as well as un-
derstandings of the relationship of aesthetic experiences to other educational and
human experiences.
The McCallum Theatre Institute (MTI) models its Aesthetic Education Program af-
ter Lincoln Center Institute, NY. Lincoln Center Institute has dedicated over
twenty-four years to the practice of aesthetic education. In partnership, MTI and
Lincoln Center Institute continue to develop new ways of thinking and facilitating
the practice of aesthetic education.
Rather than being given a set of aesthetic guidelines or vocabulary with which to understand and
discuss works of art, I was given a set of experiences, pre- and post -performance, that would en-
able me to become an active learner. The formal language of music, dance or drama was rarely
used to discuss the works that we viewed and performed. Instead, we spoke in our own words
that came from our experience, emotional and intellectual understanding. Gradually, many of the
formal aesthetic words were used, but we discovered them on our own, through our own question-
ing, analyzing, and discussion of the works at hand. Consequently, the aesthetic values and con-
cepts that we discussed were the result of real learning rather than the traditional repetition of
words. Our aesthetic values grew from within our beliefs and experiences.
Ed Keesling, Yucca Valley Elementary, Yucca Valley
In it's ideal form, aesthetic education is simplistic in its design. That is exactly what makes it a
perfect vehicle to use in education. Its inherent philosophy is centered on the undying premise
that there is no right or wrong answer. Our true expression is at the heart of this belief. Isn't
that what education should be about? Exploration? True learning is achieved with lasting effect
when the individual is allowed to experiment, and through this experimentation realize knowledge.
To be instructed is critical. But, for education to succeed, the learner must solve or find a solu-
tion through trial and error. I can tell you how to balance a bicycle while riding. I can demon-
strate it for you. I can lecture on the properties of physics. But, until you get on that bicycle and
put into practice what was explained, you will never learn how to do it for yourself.
Tack Grasso, Tames Monroe Elementary School, Bermuda Dunes
3
I would say that the core of aesthetic education is discovery. One goes through a series of experi-
ences on their way to discovery of their own. Through this discovery, connections are made within
a piece [of art] and within ourselves. Having the element of the unknown before a performance
made me search for those elements I experienced in preparation for my discovery. This is not a
new concept ... I have been in CSIN, California Science Network, which teaches the concept of
constructivism. This is a way of teaching and learning that helps students to construct their own
knowledge from the experience provided. I would have never thought that this concept could be
brought forth into arts education.
Carole Bailey Tames E. Carter Elementary School Palm Desert
Aesthetic education is like a window to another world, a window accessed by all five senses and all
of the seven intelligences. A window not limited to what the eye can see. A window which gives stu-
dents a vision of the world existing outside of this valley, which transcends their narrow range of
experience. A window of hope for an expanded enriched future. A window made available by partici-
pation in the Summer Session Aesthetic Education program. As teachers, we have experienced the
window's offerings; when we open it for our students, we will share again together. The enrichment
is there for all of us young and old. There is no longer a dichotomy between we the teachers, and
they the students. Through the AEP we become a universal humanity. The AEP broadens our expe-
riential bases, and propels us into the affective domain where we privileged few can rise above the
cognitive domain where the masses operate, to borrow from Benjamin Bloom.
Lynn Brockway, Coachella Valley High School, Coachella
With our culturally diverse student population, aesthetic education offers great opportunities for
children to self -express (without fear of censorship) while being able to bring their experiences
and feelings into the learning process. Metacognition, the ability to understand how we think and
act, is a chief component of aesthetic education.
Tack Grasso, Tames Monroe Elementary School, Bermuda Dunes
Very few elementary or high school students listen to a lecture or read a book and learn. These in-
tellectual activities are only supplementary to the real act of learning. Learning aesthetics, like
learning anything else requires experience, repetition, dialogue and evaluation. One does not learn
how to make baskets in basketball by watching Michael Jordan shoot baskets, although it might
help, one learns by shooting baskets. Arts education is much the same. Watching and listening to
art works will help us learn, but without practicing and working on our own, learning is incomplete,
shallow and slowly acquired ...The aesthetic values we form through our experiences, our thought,
and our feelings form the parameters by which we perceive the world around us. The world we see
from the bottom of a hole is much different than the one we see from the top of the mountain.
Ed Keesling, Yucca Valley Elementary, Yucca Valley
I, along with other teachers in the workshop, battled at first with the notion that aesthetic educa-
tion must be some thing that we could put in our bags and take back to implement in our classrooms
in September. There must be a guide or a teacher's edition or something tangible that would help
us teach the arts aesthetically to our students. I soon learned to put aside that notion and to ac-
cept that I was there not necessarily for my students, but for myself... Aesthetic education is
powerful in its simplicity. Though it is a natural learning process, it cannot be taught using the tra-
ditional methods. In fact, it cannot be taught at all. Learning aesthetically must be experienced
through inquiry, brainstorming, prioritizing, revising, synthesizing and evaluating. Goals and objec-
tives exist in aesthetic education, but they exist to guide and facilitate, not to restrict and narrow
the learning process. The underlying structure of objectives promotes creativity and critical think-
ing. Educational themes are presented as problems to solve intrapersonally as well as interperson-
ally. Aesthetic education is equally individually personal as it is totally communal. My experience and
learning is crucial to yours. There is an acceptance and safety in risk -taking in the aesthetic educa-
tional process. Reflective thinking and sharing is essential to opening the minds to each other as
learners and to the world.
Patricia Deragisch, .Tohn F. Kennedy Elementary School Indio
Works of art as objects of study
Basic to the Aesthetic Education Program is the belief that works of art are inex-
haustible - repeated encounters with the same work yield new insights.
Encounters with works of art can change people, causing them to view the artwork
and the world in a new way. Art works do not immediately reveal all there is to be
seen. Perception can be compared to peeling the layers of an onion - art works can
be seen on many levels and from many perspectives.
Writing in my journal, following the Jazz Tap Ensembles performance, some immediate thoughts
"jumped out" at me - SYNERGY! ENERGY! EXPRESSION! LOVE! The synergy was obvious in the
beautiful way the group worked together and coordinated the music with the dance. There was
wonderful choreography and musical direction incorporated throughout the performance. Jazz Tap
Ensembles energy was dynamic. It encompassed their entire work. One definition of work is "the
capacity of acting, operating, or producing an effect." Without question, this work exemplified
that. Their energy was controlled, yet powerful, and omnipresent. It was a force, as much a part of
the work as the music and dance were themselves. When one is privy to such artistry, it enables
the mundane to become the sublime. The arts, manifested by a group such as the Jazz Tap Ensem-
ble, allow each of us to experience the better part of man's [human] nature.
Tack Grasso, ,Tames Monroe Elementary School, Bermuda Dunes
5
Bimbetta brought the most controversy to the class. Some thought the group had adulterated the
music for commercial purposes. I believe they truly love their music and developed their unique
style to reach today's audience. We had a healthy debate on that topic. They were brave to be so
innovative and yet so true to the heart of their music. I am sure they have inspired many an audi-
ence with their creativity to seek out more Baroque music in the future. I know I have since lis-
tened to some and enjoyed it more because of their uniqueness.
Nettie Roberts, Tomes Workman Middle School Cathedral City
[While watching Bimbetta] I was engaged from beginning to end. I teach seventh grade social stud-
ies, which focuses on world history from the fall of the Roman Empire until the end of the Renais-
sance. So this particular performance fits very well into my curricula. I am really looking forward
to bring my students to see them perform. I was very appreciative of how accessible they made
medieval music for people who might otherwise not have been engaged. The opportunity that Bim-
betta provides young people and the exposure to "new" and different sounds for them is great. I
know that among my classmates there were those who felt that too much liberty was taken by the
women in their presentation. I would disagree. Bimbetta provides an opportunity for individuals to
have a pleasurable new experience without it seeming so foreign as to be beyond their ability to
grasp. I loved how they were able to make 16th and 171h century music in a foreign language meaning-
ful to the audience, even though they could not follow the actual lyrics. Some argued that this de-
tracted from the quality of the performance, I think it made the performance.
Mark Baldwin, Raymond Cree Middle School Palm Springs
The scenarios they [The Chameleons] created for their act were very powerful ... Their insights
and key projections interjected feelings of every kind within their works. The feelings ranged from
fear to sublime happiness. Their depiction of the life cycle was so powerful that I cried both times
I saw it even after I knew what to be prepared for.
Christine Cvijetic, Raymond Cree Middle School, Palm Springs
Because of past experiences I assumed The Chameleons would be non -speaking, white faced per-
formers like the ones on street corners. The performances completely changed my perception of
this art form. I found myself enjoying it because of the added dimension of voice and special ef-
fects ... I had not realized just how much body control was needed to perform. This aspect of the
performance was so amazing, with such energy and control. I felt that with the variety of scenes,
the performance was kept at a high pitch. There wasn't any part of the program that lost my at-
tention.
Tackle Roach, Valley View Elementary School, Coachella
6
Exploring contextual information through the use of re-
sources
Works of art are not created in isolation. The work of art is an expression of the
artist who exists in a time, place and who lives within a cultural context. Therefore,
insight can be heightened by further study of the contextual information that sur-
rounds a work of art.
MTI is currently planning the establishment of a resource center, which, with its
collection of focus work materials, would support inquiries of historical, social and
cultural aspects of the work. Contextual research can fuel the educational process
between teachers and teaching artists during Summer Session as well as during the
school year. Resources are useful in developing units of study and offer additional
hooks into the focus works and possible connections to existing school curriculum.
In considering this focus work [Bimbetta] in conjunction with my class, several possibilities come to
mind. I bring in music for each of the various civilizations that we cover in class, as well as occa-
sionally have students make some simple instruments from the time period and culture we are
studying. We have made rain sticks, drums and pan flutes. I have brought in sitars, psalteries, and
recorders. We listen to classical and folk music from China, Japan, Africa, Central America, and
Europe. However, rarely do I use music that has a lot of lyrics, primarily because I think that the
language barrier can also act as a barrier to the enjoyment of the music. Bimbetta allows me to
cross that barrier by providing a means for making meaning of the lyrics ... I would like to make
Bimbetta a culminating experience at the end of the Middle Ages Unit that we do in class.
Mark Baldwin, Raymond Cree Middle School Palm Springs
7
The role of the teacher
MTI believes that a teachers role is to facilitate learning while continuing to learn.
The teacher is the central figure in the student's school experience and can be a
key agent for change in the way the arts are presented within a school. In the
classroom, the teacher and teaching artist collaborate to create the conditions for
learning about a specific work of art. Central to this process is planning through a
brainstorming session about the work of art out of which a focus for curriculum is
developed. The teaching artist and the classroom teachers (special subject area or
grade level teacher, or arts specialist) design activities that will be carried out by
the teaching artist and the teachers, together and independently.
I had to look outside of just viewing a piece [of art] as to how it might relate to my classroom set-
ting. As teachers, we are constantly looking for things to implement into our classrooms for the
betterment of our students. In case of this [past] summer's Institute, I had to look within myself
and not into my students' eyes.
Carole Bailey, Tomes E Carter Elementary School Palm Desert
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Aesthetic Education is one of the biggest things lacking in our educational system. With cutbacks,
art and music teachers are now extinct in the elementary schools and teachers are asked to now
teach the arts along with everything else. This is the area where most teachers spend the least
amount of time. I am one of those teachers. Yes, I teach the arts but in a specific 30 minutes in a
day. However, I have now come to realize that the arts can be incorporated into every subject
area.
Stacy Espinoza, Oasis School, Thermal
I must admit that the catch all phrase "I do not know and I do not understand" was the best! It
freed me and let me know that aesthetic education was a learning process, which I have only just
begun. The first few days of the workshop I was very frustrated because I did not have a neat lit-
tle box to put it all in so I could take it back to my classroom and do something right away in
September. I wanted something tangible that would help me teach aesthetic education to my stu-
dents. Then I finally realized that in order to teach aesthetic education to my students I must
first experience [it] myself. That's when I took that phrase to heart! With that in mind, I let go of
my preconceived ideas and needs and then I really started enjoying and internalizing the process.
Shari Riter, ,Tohn F. Kennedy Elementary school rndio
Once one can see the simple, the minute, the unexpected and examine the purpose of one small
piece of the puzzle, one may learn how the whole of a piece or body of work may have come about.
The experience demonstrated to me that there was a new way to focus on creativity, that direc-
tion can be given for students to be creative without stifling their expression. It is the questions
asked and the guidance given that open up the paths of creativity. The teachers have a responsibil-
ity to help enlighten the student, to help make connections for the student ... The activities need
to be structured in such a way that just enough information is given in order to provide the child
the ability to feel they have discovered something of their very own.
8 Lynda Monday, Tohn F. Kennedy Elementary School, Indio
I thought prior to beginning the AEP at the McCallum that the [teaching] artists of the theatre
would be helping me to become a better drama coach to my grade school students. However, I dis-
covered that the AEP is not about instruction but it is about experience. Students are striving to
create meaning for themselves and it is important to facilitate empowerment and support to those
students.
Carrie Jessie Macy, Valley View Elementary School Coachella
I have personally experienced, as a workshop participant, that works of art are inexhaustible. Each
time one encounters the some work of art, new insights are gained. It is not unusual for a perfor-
mance or a piece of visual art to change people. This, in turn, also causes them to look at art and
the world in a different and new way. Educators must open their students to see the work of art on
many levels and at various angles. One of the most exciting elements of this adventure is that the
teachers, serving as a guide, will continue to learn and understand along with the students. As a
predominant figure in a student's school experience, the teacher has the opportunity to stretch
the arts across all areas of the curriculum.
Deborah R. Tauber, Martin Van Buren Elementary School, Indio
I agreed to attend this McCallum Theatre Institute Summer Session on aesthetic education be-
cause Ann Reinhagen, Oasis School principal, asked me to, and, because if I did, my second grade
students would be able to get some field trips. All field trips to the McCallum Theatre that I
heard of had been worthwhile, and I had been able to take a class there only once in all of these
years; so I walked in - but with a lot of anxiety. Dance, music, theatre - these are not my strong
suits. However, I made a commitment to myself to take the attitude "I can do this" with each ac-
tivity and participate fully. Each day of the week I began to feel less insecure in class, and to an-
ticipate the next day more. By the last day, I realized that the totality had added up to a very em-
powering agenda.
Catherine S. Roe, Oasis School, Thermal
9
The role of the teaching artist
Professional artists are central to the Aesthetic Education Program concept. The
teaching artist helps to bridge the gap between the artwork and the perceiver - he
or she designs activities that enable people to more fully understand key features of
the work. Insight, commitment, knowledge, experience and love for their art form
make the teaching artists invaluable to the AEP.
I feel comfortable with the active participation, discovery and questioning aspects of aesthetic ed-
ucation. Using the fine arts to facilitate learning will make teaching and learning more fun, more
effective, and enrich the lives of my students. The teaching artist concept is incredibly helpful and
makes the whole concept possible. The artists helped us so much during Summer Session, not only
doing direct teaching, but also in our small group projects... Surprisingly for me, I am looking for-
ward to making the fine arts an integral part of academic instruction.
Catherine 5. Boe, Oasis School Thermal
By the time we were led into the performance with these activities [by the teaching artists], we
had many subliminal impressions waiting to burst into consciousness when we recognized them in
the actual performance. It was such fun! Doing it that way creates a multi -dimensional appreciation
and empathetic sharing instead of the isolation of viewing a performance without prior knowledge.
I am confident that's how my students will feel too.
Lynn Brockway, Coachella Valley High School, Coachella
Learning to look and hear
The Aesthetic Education program is based on the belief that knowledge changes and
enriches perception and that knowledge is gained through direct experience. Per-
ceivers do not immediately see all there is to be seen in a work. One must learn to
look - learn by participating, viewing, reflecting, inquiring and discussing.
I must show that there is safety in risk -taking in aesthetic education and especially in my class-
room. I want to provide an atmosphere to open our minds to each other and to the world around us.
I want to look at what I already know, ask questions about what I don't know, and then go searching
in a variety of ways to find the answers. This is what I want for myself and my classroom. This is
what I am discovering through the experience of aesthetic education.
Shari Riter, ,Tohn F. Kennedy Elementary school, Indio
10
What I now find happening to me is that connections are being made that I never knew existed be-
fore. I always saw everything very compartmentalized. Music, dance, fine arts, and theatre were
mostly separate entities and needed to be viewed solely on the basis of what was the most predom-
inant thing happening before my eyes. In other words, in theatre I should pay attention to the dia-
logue, the acting, and try to follow the plot. In dance, I would watch the feet, the hands and body
movements ... I could look at a painting or touch a sculpture but never realize that these pieces
have a perspective. I would stand in awe of technique, not knowing what technique was. I would
stand in awe because someone had shown this artist how to "do" art. I felt somehow that anything
I could do or offer would never want to see the light of day. That makes a person feel as if life will
pass them by and they are not worthy of any contribution ... I am fully aware how fragmented -my
aesthetic education was.
Lynda Monday, Tohn F. Kennedy Elementary School Indio
Insights - the process of creating art
In working daily with professional artists during Summer Session and by solving
artistic problems posed during workshops, teachers gain a heightened understanding
of the choices artists make throughout the process of creating works of art. A work
of art does not spring complete into the artist's mind, but is created as the result
of a deliberate, time-consuming and at times frustrating process of choice -making.
An initial vision is worked out in the medium: clay, words, movement .. . Just as
the artist's vision transforms the medium, so too, the medium transforms the
artist's vision. It is our belief that the perceivers will be better prepared to see
the record of the artist's work and the artist's process if they themselves have
worked within a medium to execute their own vision.
Our next exercise of finding forms of relationships was interesting. I enjoyed the statue idea to
take a relationship, for example brother/sister, and sculpture it into a still piece. There were some
very nice pieces of art. I found it really interesting how everyone perceives things so differently.
Patti Brummel, Palm Desert High School, Palm Desert
One exercise we did today was to list as many relationships as we could, and then try to act one out
in pairs. The scenes were amazingly imaginative. I especially liked the dog and owner. I liked also
having to extend the scene. The exercise was, I wrote at the time, "a celebration of the human
body and the infinite shades of expression and meaning it can convey. It challenged us to observe
more closely and analyze simple movements that you might take for granted. What shapes our per-
ception and why do we perceive a certain thing in a certain way?"
Corinne Griswold, Tames Workman Middle School, Cathedral City
The exercises we did before the [Chameleons] performance showed me how little I know about
mime. I needed to be reminded about restraint in movement and the ability of minimal gestures to
mean larger things. We also focused on relationships and how they can be shown in a single gesture
or pose.
11 Andrea Walker, Gerald R. Ford Elementary School, Palm Desert
Each workshop began with an examination of what we wanted to know and culminated in creating an
experience which produced learning and understanding through reflection and sharing. During the
workshop week, seemingly unrelated activities in expression, movement, and sound, began to have
meaning and cohesiveness as an educational method. The "I don't know why I'm doing this" became
"This is making sense to me," because an increased learning and understanding was happening
through the activities and performances. An aesthetic educational experience of the arts cannot
be taught from a manual, a lecture or a video. It had to be experienced through discovery. It had
to flow from the participants' previously "known and owned" knowledge in order to create new
knowledge and understanding.
Patricia Deragisch, Tohn f. Kennedy Elementary School Indio
Connection between doing and learning
One of the fundamental concepts propelling the Aesthetic Education Program is the
belief that the only way one truly learns is through purposeful activity - solving real
problems felt to be important. By solving artistic problems posed by teaching artists
and creating simple works of art, teachers learn about the arts in a real tangible
way.
Students who hear seventeenth century baroque love songs sung by the group Bimbetta will under-
stand that people in that time had the same concerns as the students do. By exposing the students
to the lyrics and rhythms beforehand, the students will have the tools to bridge the gap of culture
and time to arrive at a deeper understanding of what the history book is about. It gives students
confidence by giving them tools to analyze. I agree with Maxine Green, who said "For me, this is
one of the distinguishing characteristics of the arts in general - not poetry alone, this ability to
open new doors in experience, to open perspectives on something beyond the actual."
Corinne Griswold, Tames Workimn Middle School, Cathedral City
Collaborative learning
One of the instructional methods often used by our teaching artists is problem solv-
ing in small groups. As a result of participating in this process, teachers and stu-
dents gain an understanding of the collaborative process that is part of artistic cre-
ation. Many teachers come to see collaborative planning and learning as a method
that would work in other areas of the curriculum as well.
Curriculum cannot simply be duplicated and passed around as though we all have generic classrooms.
Curriculum planning comes from knowing the pieces we are working with and knowing our students.
It comes from knowing our objectives and deciding how we want to get there. However, it is hard
to imagine planning in isolation. I enjoy the give and take of team planning and as I read my journal
I see that this issue comes up more than once. The teaching artists did not just plop down with a
succinct lesson in hand. They worked together brainstorming, letting the imagination go wild to the
possibilities and then focusing on key ideas and goals. In my own experience as a teacher I've found
this is how I work best.
12 Keri Gill, Coachella Valley High School, Coachella
Encouraging reflection through keeping a journal
Journal writing is an integral part of the Summer Session experience. It is an ongo-
ing record of what one does, notices and thinks. Journals track the evolution of
thoughts and experiences over time. Through this recorded journey, one has the
ability to go back, to reflect on where one has been and where one is going. Writing
down thoughts, reactions, perceptions, new information and questions intensifies and
makes each individual's life experiences. We encourage both teachers and students
to keep ongoing journals to reflect on their units of study.
One of the most significant ideas I received that was resonated throughout the journal (and may
sound trite) was that the performing arts is a universal language that reflects our human experi-
ences. All the activities we participated in and the three incredible performances we saw touched
everyone in the commonality of our race - the human one. Just how it touched us came from our
life histories that we brought to the program. It was very interesting to have follow up discussions
with various people in the group and see the different reactions and interpretations to the works
and activities.
Nethe Roberts, Tomes Workman Middle School Cathedral City
Much of my journal contains personal reflection. Most of the questions posed were used as an intro
to the emotions we would witness and experience, a way to make concrete the abstract of the art.
As actors, dancers and musicians we could summon up our own experience to help create the piece
of work and to better understand what we were to experience. This seems similar to the reader's
response theory of literature. We bring our own life experience to the piece. First the writing
would help bring up thoughts and emotions floating inside us and then the physical activities that
followed would give them life.
lueri Gill, Coachella Valley High School, Coachella
The Summer [Session] workshops of aesthetic education provided a great experience and under-
standing of art. This was accomplished through all the workshop activities, group discussions and
personal journals. Even though I was learning something new in every moment during the workshop,
I felt that journal writing had the strongest impact on me. During journal writing I was able to ana-
lyze, meditate and internalize the learning from each activity. Indeed, journal writing gave me the
opportunity to write my personal opinions and reflections about questions by the workshop leaders
or the performances. It was the time to connect what I knew with the new information. I also felt
that it was my special time to be with my soul. Moreover, during this time I focused on the con-
cepts to be learned and their relationship in the real world.
Maria Rodriguez, Oasis School, Thermal
13
The journal gave me the opportunity to make my comments about the works.without having to share
them. I wrote what I truly felt and what naturally came to my mind ... Aside from the liberty of
expression, I realized through my writing that I did have ideas about the works of art. Before
[Summer Session] I would think that maybe I did not know how to analyze a work of art. I did not
think I was knowledgeable enough in the arts to discuss performances. Now I feel that my ideas
are valid.
Maribel Ldpez, Oasis 5chool, Thermal
Encouraging reflection through keeping an open journal
Open journals transform blank paper lining the walls of the workshop room into tan-
gible records of learning and reflective experiences of each workshop community.
Teaching artists and participants use the open journal as a tool for collective brain-
storming, posing questions, making connections, and contributing contextual informa-
tion about the works of art under study. Through the open journal, the participants
reflect on their aesthetic experiences and track the process of inquiry. As the ses-
sion progresses, the group builds an overflowing record of activities, insights, ques-
tions, and "a -ha" moments, creating a map of their aesthetic journey.
My experience and learning is crucial to yours. There is an atmosphere of acceptance and risk -
taking in the aesthetic educational process. Reflective thinking and sharing is essential to opening
the minds to each other and the world.
Patricia Deragisch, Tohn F. Kennedy Elementary 5ch00% Indio
Desire to share insights with students
In addition to growing and learning, participating teachers become more aware of
how they can begin to open up the world of the arts to their students. The essays
reveal a genuine desire and concrete plans to help students experience what they
themselves experienced.
The life experiences of the children we see day to day are more limited than we know. I see aes-
thetic education as giving our children a magical gift, with endless possibilities, opening the way to
an incredible world that speaks to their deepest and best self. It is like sharing the wonder of the
caterpillar turning into the chrysalis turning into the butterfly with a child the first time. What an
opportunity and privilege to be part of this program!
Nettie Roberts, Tames Workman Middle 5choo/, Cathedral City
14
Sometimes what is laid as the groundwork first, is what is most important in a learning setting
later. It dictates the effect of all subsequent learning after the point of initiation if well exe-
cuted, which this was. Gradually I was released from and helped to remember my first response
instinct, which was to secure my own place by judging others, not knowing how deeply limiting that
action is in the discovery of the sometimes hidden talents (and potential friends) of the others in
the group. I wrote in my journal: "When we begin a journey without judgement, the world opens it-
self up to Us." ... It is this tone set early in the year which will also either open up our children or
shut them down to the learning lessons both in school and in life.
Barbara Bergman, Valley View School Coachella
A student is more than the sum of the logic and skill he [or she] has obtained. A student needs to
understand the rich culture from whence he [or she] sprang and the incredible achievements of
the great minds that came before him [or her]. To leave a child without a heritage and a sense of
creative worth is to leave him [or her] incomplete.
Clayton Wilson, Raymond Cree Middle School Palm Springs
The aesthetic education philosophy puts a name on what I have instinctively known both as a stu-
dent and as a teacher for many years ... The arts are available to all students despite their aca-
demic ability. By involving them as both spectators and participants in the arts through the aes-
thetic education program my hope is that they will discover some understanding of themselves and
the human condition that no one can grade them on. Perhaps they will have an instant of that joy
that comes with self-expression and seek more of it as they move into middle school.
Andrea Walker, Gerald R. Ford Elementary School, palm Desert
Value of art to our society
Expression through art is one of the fundamental human activities. Artists present
us with their own questions and visions of the world. Our understanding of the hu-
man condition is deepened as a result of their work.
My concern is that school districts will think aesthetic education is only for the "gifted"
student ... As though dynamic, challenging and creative work belonged only to a certain select
group. In my experience all students appreciate an "aesthetic" challenge. We are all creative and
gifted if given the right tools and encouragement. As Dr. Teele remarked "it is not how smart you
are but how you are smart."
Keri &A Coachella Valley High School, Coachella
15
On day two, I was anticipating a boring morning hearing some academic theorist drone on about
multiple intelligences. I agreed with the theory, but doubted she would tell me anything I didn't
know already. Was I mistaken. Dr. Teele was so energizing and inspiring. With her story about her
two sons and their different learning styles, and her passionate advocacy of the importance of mul-
tiple intelligences, she drove home to me the importance of emotion in getting students to really
learn and assimilate what they learn.
Corinne Griswold, Tames Workman Middle School Cathedral City
The mere fact that someone felt us worthy of receiving training and studies modeled after Lincoln
Center makes me realize that the community we are in is quite a caring one. To envelope us with in-
spiration and new ideas at quite a cost is still baffling to me ... At the onset of this bright pro-
gram, I felt so special to be part of the notion of the newest program in town.
Michele Vespier, Valley View School Coachella
Art changes the way we look at life
Teachers discover that through aesthetic education the experience of their world
and approach to their everyday lives is changed. They become aware of the impor-
tance of creative problem solving in all aspects of their lives; of finding the ex-
traordinary in the ordinary and in embracing new ideas. Making connections between
the arts and their world through looking, reflecting on their experiences, asking
questions and recognizing the possibilities of what could be, becomes part of their
lived experience.
Aesthetic education allows us to bridge the compartmentalized curriculum and realize that isolated
strands can meet and merge to create wholeness. Much the some way we contain many elements
making up a whole person. What we participated in at the [Summer Session] workshop reminded me
of what I learned through the Bay Area Writing Project and the Cal Lit Project, both of which re-
quired that we move from isolation into bravely showing ourselves to others, starting unfinished
and working together toward a common goal. Aesthetic education allows our creativity to be a
work in progress. Whether it is writing a piece that starts with brainstorming and asks for revision
after revision, or finding what we can bring to a piece of literature, we are asked to show ourselves
to others as unfinished and vulnerable. Yet at the same time, we get to see this process in others.
In fact the whole idea of process becomes important. It is not a means to an end but becomes just
as important as the finished product.
Keri Gill, Coachella Valley High School, Coachella
16
[Maxine] Green says that the arts are a way to break the banal, routine, the habit forming - the
anaesthetic as Dewey defined - a breakthrough is likely to happen when people are provoked to
participate reflectively, perceptually, physically, emotionally and imaginatively in the worlds cre-
ated by art. To come alive! That is how the Institute affected me. This summer has truly been a
crystallizing moment for me and I know my teaching will reflect this from now on.
Helen Jean McCloud, Oasis School, Thermal
Some of the other aspects of the [Chameleons'] performance would be a humorous glimpse at our-
selves, elevating the mundane to the level of art, or perhaps just seeing the beauty of our everyday
lives ... While this was a mime performance, it certainly transcended the traditional "white faced
performances." It challenged the traditional and used sound as a prop, the bare stage challenged
the audience to suspend their disbelief, to see that which was implied. It was an exploration of
contrasts - sound versus silence, talkative woman in a mime vignette. It defied categorization. r
Karren Mitchell, ,Tohn F. Kennedy Elementary School, Indio
On the third day of class, I was really energized and enthusiastic. What a great way to start the
summer; getting inspired, and then having the whole summer to assimilate the ideas, and figure out
how to integrate them most effectively into the program.
Corinne Griswold, Tomes Workman Middle School, Cathedral City
V
1�
17
Bridging the Gap - taking Summer Session into the class-
room
On November 13 1998, MTI presented its first AEP focus performance - the Jazz
Tap Ensemble. For six weeks leading up to the performance, residencies took place
in 9 different Coachella Valley Schools. Four teaching artists, 21 teachers and 573
students participated. Each participating classroom teacher had experienced Summer
Session in June 1998. The following comments taken from their Jazz Tap Ensemble
evaluations allow us to reflect on their experience with the AEP in their work as ed-
ucators.
Transferring my joy from the summer institute to my students, I felt the students were able to
pick up and extend my personal growth. That was exciting! Joyful learning which is also meaningful
learning is a goal I've always had as a teacher - this goal was met. The most significant circum-
stance to me, as a teacher, was actually being a learner with my students. I felt, in many instances,
we were in the same circle - sharing and developing. At the most, I was a facilitator or a guide.
Deborah R. Tauber, Martin Van Buren Elementary School Indio
I now feel empowered to teach and include many of the arts in my lessons. I was shown how to in-
corporate them and given a chance to try it myself before teaching. It was also great to watch Tod
[teaching artist] teach my class and get more ideas about how to work with the students.
Helen Tean McCloud, UOsis Elementary School Thermal
I felt that I was able to give my kids some experiences that they would have otherwise not re-
ceived. Bringing the arts to my classroom makes me feel more fulfilled as a teacher. I think my
kids' exposure to jazz music and tap dancing opened their minds to new experiences in general. Ed-
ucating the whole child is the job of every good teacher. This program has helped me grow as a
teacher and thereby allowing my students to grow.
Carole Bailey, Tames Earl Carter Elementary School, Palm Desert
Highlights from this unit of study was the students' enthusiastic involvement with the project; the
professional and personable attributes of the teaching artist; and the wonderful performance of
the Jazz Tap Ensemble. Personally, as someone who judges the educational "payoff" as a barometer
of significance, I particularly appreciated the students' active participation in this unit of study.
Tack Grasso, Tames Monroe Elementary School, Bermuda Dunes
MCCALLUM THEATRE INSTITUTE
73-000 Fred Waring Drive
Palm Desert, CA 92260
Phone: 760.346.6505
Fax: 760.341.9508
www.mccallum-theatre.org
VI. BUSINESS ITEM E.
U S
cFM of rNtiv
CULTURAL ARTS COMMISSION MEETING
DATE: March 11, 1999
ITEM TITLE: Temporary Art Contract
RECOMMENDATION:
As deemed appropriate by Commission.
BACKGROUND AND OVERVIEW:
Staff submitted the revised draft of the Temporary Art Contract to the City Attorney
for review. It is the opinion of legal counsel that should the changes be made to the
contract, the Art In Public Places funds used to implement the changes would be
subject to challenge. In Ordinance 2.65 (Attachment A) the funds collected for the Art
In Public Places (APP) were intended to provide permanent art pieces that would
benefit the City residents, in section 2.65.080 (C) as when funds are expended, the
art piece becomes the property of and maintained by the City.
To use funds to install, deinstall, and insure an art piece on a temporary basis would
require the ordinance to be revised to include this stipulation. Should the ordinance
be revised, the APP fee becomes subject to challenge under the most recent legislation
stating that all fees collected for a specific purpose must be directly related to a
general benefit and must be voted upon by the general public. Existing fees that were
in place before November 1997, as long as they are not increased, can exist as
established. Increasing fees or changing the benefit to the community subjects that
fee to the approval of the voters. The cost of an election, with the necessary
engineering costs, printing and postage would be an expensive venture, with the APP
facing elimination should the voters not approve the changes.
The City Council would have to authorize the change in the ordinance and authorize
the funds to spent for the necessary steps.
AACACRPT.016.wpd
ATTACHMENT A 2.65.010
Chapter 2.65
ART IN PUBLIC PLACES
Sections:
2.65.010
Intent and purpose.
2.65.020
Findings.
2.65.030
Definitions.
2.65.040
Formation and function of the art in public places commission.
2.65.050
Requirement to provide artwork or pay development fee.
2.65.060
Projects subject to art in public places program requirements.
2.65.070
Processing of arts application.
2.65.080
Regulations for artwork.
2.65.090
Development fee.
2.65.100
Credits —Agreements as to particular projects.
2.65.110
Art in public places fund.
2.65.120
Implementation and administration of this chapter.
2.65.010 Intent and purpose.
A. This chapter may be knowrr and cited as the "La Quinta Art in Public Places Program." The city of
La Quinta has developed a nationwide reputation through the annual La Quinta Arts Festival and other artistic
events, and attracts thousands of visitors every year to view and purchase art and crafts in the city. The public
health, safety and welfare, the preservation and enhancement of property values and economic vitality, as
well as the popularity and prosperity of the community, are dependent upon and enhanced by visually pleasing
and high quality public art.
B. The stated goal of the Cultural Resources Element of the general plan is to provide "enrichment of
the community by adequate cultural and recreational facilities and activities." To implement this goal, the
general plan further states that "the cultural resources of a city encompass those facilities and programs which
refresh, enhance or recreate people's bodies and spirits." Community parks, recreational activities, historic
resources, library facilities and art festivals are included in this classification. The art in public places program
is intended to achieve this purpose by providing visual art throughout the city.
C. Residential and commercial development throughout the city will benefit from public art, both financially
and visually. All property within the city will prosper through the enhancement and preservation of property
values that will result from the location of visual art throughout the city. As such, the cost of providing public
art should be shared. This program is a means of achieving a balanced responsibility of providing a cultural
enhancement.
D. Therefore, the city council declares that artwork in its various physical forms displayed in public venues
in the city constitute public facilities of benefit to the citizens and visitors to the city and in the interest of
the public health, safety and welfare, it is the policy of the city to require acquisition and installation of public
artworks as provided in this chapter. (Ord. 277 § 1 (Exh. A) (part), 1995: Ord. 173 § 1 (part), 1990)
2.65.020 Findings.
The city council makes the following findings in connection with the adoption of the ordinance codified
in this chapter:
A. There is a reasonable relationship between the acquisition of artworks through the an in public places
program and the projects on which the fees provided by this chapter shall be imposed because:
1. Artworks will enhance the real property values within the city generally, including the developments
on which the fees will be imposed, and
2. Artworks will, by enhancing the aesthetic values of the city as a whole, make the city an attractive
place to live and work, thereby making the city more vital; and
B. There is a reasonable relationship between the need for cultural amenities such as art and the developments
upon which the fees provided for herein shall be imposed because the development of real property generally
necessitates that additional costs be incurred and amenities be provided to provide for harmonious and aesthetically
pleasing environments created by the development; and
39 (La Quinta 5-98)
2.65.020
C. The amount of the fee is reasonably related to the artworks to be acquired because the amount of
the fee increases as the value of the development upon which the fee is imposed rises, so there will be a direct
and proportionate relationship between the size of the development and the quantity or quality of artwork
which can be purchased from the fees generated by the development upon which the fees shall be imposed.
(Ord. 277 § 1 (Exh. A) (part), 1995: Ord. 173 § 1 (part), 1990)
2.65.030 Definitions.
As used in this chapter:
A. "Arts application" means the application to be submitted by a project applicant pursuant to Section
2.65.070.
B. "Art in public places fund" means the fund established by Section 2.65.110.
C. "Art site" means any site, upon which the artwork is to be located, on public or private property within
the city which is accessible and visible to the general public.
D. "Artwork" means original creations of art including, but not limited to, the following categories: sculpture,
murals, mosaics, fountains, and paving designs. These categories may be realized through such media as steel,
bronze, stained glass, concrete, wood, ceramic tile and stone, as well as other suitable materials.
E. "Fee" or "fees" means the fees imposed by this chapter.
F. "Projects" means all construction or rehabilitation in the city covered by a single building permit.
G. "Project costs" means the value of the improvements for a project based upon the building permit
valuation submitted. (Ord. 277 § 1 (Exh. A) (part), 1995: Ord. 203 §§ 1, 2, 1992; Ord. 173 § 1 (part), 1990)
2.65.040 Formation and function of the art in public places commission.
A. Commission Composition and Selection. The city council establishes an art in public places commission
(the "commission's composed of seven members appointed directly by the city council from the community.
The commission will submit to the city council a recommendation for ratification of public art to be financed
by the art in public places program and carry out the other functions described in this chapter.
B. Commission Functions. The primary function of the commission will be to prepare an art in public
places plan for recommendation for adoption by the city council and the implementation of such plan by the
city council. To the extent possible, the plan shall identify art sites, artwork and estimates of cost for the artwork
and art sites. In implementation of the plan, the commission shall undertake the following tasks:
1. The commission will be responsible for selecting artworks to be financed by the art in public places
program, using the guidelines for selection as provided for in Section 2.65.080;
2. The commission will work with city staff to develop a list of possible art sites;
3. The commission will seek ways of procuring public art other than through fees such as endowments,
donations, loan programs, trusts and similar means of support;
4. The commission will recommend to the city council agreements for the purchase of commissioning
of artworks, the purchase or lease of art sites and agreements for the purchase and display of artwork or the
repair, maintenance or servicing of artwork. (Ord. 287 § 1 (part), 1996; Ord. 277 § 1 (Exh. A) (part), 1995:
Ord. 247 § 1, 1994; Ord. 230 § 1, 1993; Ord. 226 § 1, 1993; Ord. 173 § 1 (part), 1990)
2.65.050 Requirement to provide artwork or pay development fee.
When a project is subject to the requirements of this chapter pursuant to Section 2.65.060, the project
applicant shall pay a development fee, as described in subsection A of this section, or shall comply with the
provisions of subsection B of this section. Project applicants shall indicate on their art in public places application
whether the project applicant will comply with subsection A or B of this section.
(IA Quints 5-98) 40
2.65.050
A. Development Fees. The project applicants shall pay a fee to be deposited in the art in public places
fund established pursuant to Section 2.65.110 equal to the amount provided in Section 2.65.090 of this chapter
for the project.
B. Provision of Artwork. In lieu of paying the development fee as required by subsection A of this section,
the project applicant may acquire and install an artwork on an art site on or in the vicinity of the project site
pursuant to Section 2.65.100 of this chapter. As a guide, the cost or value of such artwork should approximate
the amount of the fee that would be paid under subsection A of this section. The project applicant shall receive
credit for the fee required by subsection A of this section only in the actual amount of the cost of value of
artwork acquired and installed, plus costs of installation. Only project applicants liable for a fee pursuant to
subsection A of this section that is in excess of five thousand dollars shall be permitted to elect to provide
an artwork pursuant to this subsection unless such project applicant proposes to furnish artwork in excess
of the amount of such fee and in a minimum amount of five thousand dollars. (Ord. 277 § 1 (Exh. A) (part),
1995: Ord. 173 § 1 (part), 1990)
2.65.060 Projects subject to art in public places program requirements.
A. Requirements. The requirements of this chapter shall apply to all works of construction or rehabilitation
for which a building permit is applied for within the city which constitutes or includes the following activities
and which are not subject to the exceptions set forth in subsection B of this section:
1. New commercial and industrial construction;
2. Remodeling, repair or reconstruction of existing commercial or industrial property having project costs
which exceed one hundred thousand dollars in expenditures;
3. Residential subdivision or development of two units or more, whether by detached single-family residential
structures, condominiums, apartments, townhouses or other dwelling units, including the repair, remodeling
or renovation of same, having project costs exceeding one hundred thousand dollars;
4. Individual residential units (defined as not more than one single-family dwelling which is to be constructed
on an individual lot or parcel) having project costs of more than one hundred thousand dollars.
B. Exceptions. The requirements of this chapter shall not apply to the following activities:
1. Public projects;
2. Remodeling, repair or reconstruction of structures which have been damaged by fire, flood, wind,
earthquake or other calamity;
3. Nonprofit social service or cultural institution projects;
4. Low to moderate housing projects as defined by household income in Health and Safety Code Section
50093. (Ord. 277 § 1 (Exh. A) (part), 1995: Ord. 203 §§ 3, 4, 1992; Ord. 173 § 1 (part), 1990)
2.65.070 Processing of arts application.
The requirements and procedures for the processing of art in public places application (an arts application)
shall be as follows:
A. Upon submission of a project application for a project subject to the requirements of this chapter,
the community development department shall provide to the project applicant a copy of the ordinance codified
in this 'chapter and an arts application form.
B. The project applicant shall submit to the community development department a completed arts application
form, describing the manner in which the project applicant intends to establish compliance with this chapter.
The arts application shall include, for project applicants intending to meet the requirements of Section 2.65.040(B),
a complete description of the artwork, the artist creating the artwork, a copy of the contract for commissioning
or purchasing the artwork, if any, the cost or estimated cost of the artwork and installation, the agreement
or means by which the project applicant will meet the requirements of Section 2.65.100 of this chapter, and
a site plan showing the location of the artwork, complete with landscaping, lighting and other appropriate
accessories to complement and protect the artwork.
C. The community development department shall, upon receipt of the arts application, submit the arts
application to the commission.
D. The commission shall, within thirty days from the date of submittal of the application by the community
development department, submit to the city council comments and a recommendation on the proposed arts
application, based upon the guidelines set forth in Section 2.65.080.
41 (La Quinta 9-96)
2.65.070
E. The arts application shall then be submitted to the city council, which may ratify the application based
upon the guidelines set forth in Section 2.65.080. (Ord. 277 § 1 (Exh. A) (part), 1995: Ord. 173 § 1 (part),
1990)
2.65.080 Regulations for artwork.
A. Guidelines. Guidelines for the approval of artwork shall include, but are not limited to, the following
criteria:
1. The artwork shall be easily visible and accessible to the public;
2. The composition of the artwork shall be of appropriate materials in order to be durable against vandalism,
theft and weather, and in order to require a low level of maintenance. The review may consider the proposed
location of the artwork;
3. The artwork shall be related in terms of scale, material, form and content to immediate and adjacent
buildings and landscaping so that it complements the art site and surrounding environment;
4. The artwork shall be designed and constructed by persons experienced in the production of such artwork
and recognized by critics and by his or her peers as one who produces works of art;
5. The artwork shall be appropriately affixed to its site or display.
B. Limitations. The following items are not to be considered as artworks:
1. Art objects which are mass produced from a standard design;
2. Reproductions of original artworks;
3. Decorative, ornamental or functional elements which are designed by a building architect as opposed
to an artist commissioned for the purpose of creating the artwork;
4. Landscape architecture and landscape gardening except where these elements are designed or approved
by the artist and are an integral part of the artwork as created by the artist;
5. Services or utilities necessary to operate or maintain the artwork.
C. Use and Maintenance of Artwork. Artwork acquired by expenditures from the art in public places
fund shall be the property of and maintained by the city. The city may dispose of such artwork at its discretion,
subject to any agreement with artists or otherwise relating to any specific artwork. The artworks acquired
and installed by a project applicant for which credit for the fee required by Section 2.65.040 is given pursuant
to Section 2.65.100 of this chapter shall be the property of and maintained by the project applicant, except
to the extent the city has rights in or to the artwork or the display thereof pursuant to the agreement with
the project applicant entered into pursuant to Section 2.65.100. Alternatively, artwork acquired by the project
applicant in lieu of the fee may be donated to the city to be maintained by the city. (Ord. 277 § 1 (Exh. A)
(part), 1995: Ord. 173 § 1 (part), 1990)
2.65.090 Development fee.
There will be, and there is established, an art in public places fee (referred to occasionally in this chapter
as the "fee" or "fees") to be collected as follows:
A. Fees are to be collected with respect to all projects prior to or at the time of issuance of a building
permit, except in the case of residential developments of more than one dwelling unit, where the fee shall
be collected on a pro rata basis for each dwelling when it receives its final inspection or certificate of occupancy,
whichever occurs first. The director of the community development department, or other such person appointed
by him/her, is appointed as the authorized individual to collect the fees.
B. All residential structures whose project costs is in excess of one hundred thousand dollars will be
charged a fee hereunder equal to the greater of:
1. One-fourth of one percent for that portion of project cost in excess of one hundred thousand dollars;
or
2. Twenty dollars.
C. All commercial developments, industrial developments and nonresidential development within the
city will be charged a fee hereunder equal to the greater of:
1. One-half of one percent of the project costs; or
2. Twenty dollars.
D. The fees will be collected prior to the issuance of any building permit commencing on the date the
ordinance codified in this chapter becomes effective. (Ord. 277 § 1 (Exh. A) (part), 1995: Ord. 203 § 5, 1992;
Ord. 173 § 1 (part), 1990)
(La QuioLa 9-96) 42
2.65.100
2.65.100 Credits --Agreements as to particular projects.
A. A project applicant may apply for a credit against the fee otherwise required to be paid by the project
applicant under Section 2.65.050 of this chapter, of one hundred percent of the cost of an artwork and costs
of installation for including an artwork in an art site subject to this chapter, provided that such work shall
be approved by the commission, and the project shall enter into a written agreement with the city providing
that the artwork shall be installed, maintained and open to public view at reasonable hours for a minimum
period of twenty-five years after installation. The written agreement may be extended by the city for ten-year
increments.
B. Nothing herein shall restrict the city council from waiving the requirements of this chapter, in whole
or in part, with respect to any project otherwise subject to the provisions of this chapter, provided, that the
city council determines that the project applicant has entered into an agreement with the city making provision
for the acquisition and installation of artworks in connection with the development of the project which addresses
the goals and aims of this chapter in a manner equally favorable to or on a basis more favorable to the city
than would be achieved by strict compliance with this chapter. (Ord. 277 § 1 (Exh. A) (part), 1995: Ord. 173
§ 1 (part), 1990)
2.65.110 Art in public places fund.
A. Accounting. The fees imposed pursuant to Section 2.65.090 of this chapter and any other moneys
collected in accordance with provisions of this chapter shall be deposited in a separate account, entitled the
"art in public places fund." The city manager or his/her designee shall establish accounting records sufficient
to identify and control these funds. The amounts held in the art in public places fund shall otherwise be accounted
for, deposited, invested and expensed as provided by law and the practices and policies of the city. The account
containing these funds may be invested along with other moneys of the city and the investment earnings thereon
shall be used for and be subject to the same restrictions established in subsection B of this section.
B. Use of Fund. Expenditures of the fees collected in the art in public places fund may include the following:
1. The cost of artwork and its installation;
2. The cost of purchase or lease of art sites;
3. Waterworks, landscaping, lighting and other objects which are an integral part of the artwork;
4. Frames, mats, pedestals and other objects necessary for the proper presentation of the artwork;
5. Walls, pools, landscaping or other architectural or landscape architectural elements necessary for the
proper aesthetic and structural placement of the artwork;
6. Expenditures for maintenance and repair of artwork;
7. Administrative expenses to otherwise implement any provision of this chapter, however, in no event
shall said administrative expenses exceed five percent of the total funds in the account on July 1st of any
year nor twenty-five thousand dollars in any fiscal year.
D. Endowments. The art in public places fund shall also be used as a depository for endowments, bequests,
grants or donations. Such sums may be expended as set forth in subsection B of this section and for art exhibitions
or displays as approved by the city council.
E. Replacement. For those artworks that have been purchased with moneys from the art in public places
fund or donated to the city, the city may determine to sell or exchange existing artworks for replacement artworks.
Any funds obtained from the sale of artwork shall be credited to the art in public places fund. Artwork owned
privately and on display by in -lieu agreement may be exchanged with city council approval or the original
fee paid to the art in public places fund.
F. Reimbursement. In the event fees have not been committed for a use as specified in subsection B
of this section within two years of their collection, the fees in the art in public places fund shall be distributed
by the director of the community development department to the person or entity who has paid the fees or
in any other manner permitted by law. (Ord. 277 § 1 (Exh. A) (part), 1995: Ord. 173 § 1 (part), 1990)
2.65.120 Implementation and administration of this chapter.
The city may enter into agreements, upon recommendation of the commission or otherwise, for the purchase
or commissioning of artworks, the purchase and the lease of art sites, for insuring artworks, for the display
of artworks on art sites not owned by the city, for installation of artwork or the repair, maintenance of servicing
thereof and for or relating to all other matters necessary or appropriate to implement the art in public places
program. (Ord. 277 § 1 (Exh. A) (part), 1996)
42-1 (La Quinta 5-98)
VI. BUSINESS ITEM F.
TW�p 4 a vQ"
CULTURAL ARTS COMMISSION MEETING
DATE: March 11, 1999
ITEM TITLE: Discussion of Site List for Public Artwork
RECOMMENDATION:
As deemed appropriate by the Commission.
BACKGROUND AND OVERVIEW:
At the November 13, 1998 Cultural Arts Commission meeting, the Commission
reviewed the potential art work sites as established by the Art In Public Places
Commission (Attachment A). The Commissioners were going to visit the sites and
make recommendations as to the first priority of placing a piece of art work. Adams
Park was identified as top priority site (Attachment B).
A priority list can be established and presented to the City Council for approval then
a project can be considered.
ALTERNATIVES:
The alternatives available to the Commission are:
1. Identify and prioritize sites for Art In Public Places;
2. Do not identify and prioritize sites for Art In Public Places; or
Dodie Horvitz, Co
Attachment A:
Attachment B:
staff with alternate direction.
ity Services Director
Potential Artwork Site Locations
Minutes/ November 13, 1998 Cultural Arts Commission Meeting
AACACRPT.017.wpd
POTF-NTIAL ARTWORK SITE LOCATIONS
CORNER LOCATIONS: ATTACHMENT A
❑ Washington Street at 52nd Avenue - The Tradition entrance
• ❑ Jefferson Street/Highway 111 northwest corner- entry sign only
❑ Dune Palms Road southeast corner
❑ Highway 111 frontage - in front of the Auto Dealers
❑ Hwy 111 & Washington Street - northwest and southeast corners
❑ Fred Waring Drive at Washington Street - southeast corner
❑ Miles Avenue at Washington Street - southeast corner
STREET MEDIANS
❑
Jefferson Street
❑
Eisenhower Drive
❑
Calle Tampico
❑
Washington Street
❑
Calle Cadiz
• 0
Avenida Barcelona
PARKS
❑
Frances Hack Park
❑
Fritz Burns Park
❑
Adams Avemte Park
❑
Park across from the La Quinta High School
❑
Calle Tampico at Avenida Bermudas - Park in front of Ace
SITES
❑
Civic Center/Senior Center
❑
Bear Creek Bikepath (sign giving directions/purpose)
❑
Bike Path
❑
DSUSD Administration Center
❑
La Quinta High School
• ❑
La Quinta Elementary Schools
❑
Top of the Cove (south side of Calle Tecate)
❑
La Quinta Museum
F1
SITES IDENTIFIED EACH OF THE LOCATIONS AS BEING POTENTIALLY
•
PERMANENT OR TEMPORARY ART SITES AS FOLLOWS:
a.
Washington Street at 52"d Street
- Permanent
b.
Jefferson Street at Highway I I I
- Permanent
C.
Dune Palms Road southeast corner
- Either
d.
Highway 111 frontage
(in front of the proposed auto dealerships)
- Permanent
e.
Highway I I I and Washington Street
- Both
f.
Fred Waring Drive at Washington Street
- Either
g.
Miles Avenue at Washington Street
- Either
h.
Calle Tampico at Washington Street
- Permanent
i.
Jefferson Street Medians
- Temporary
j.
Eisenhower Drive Medians
- Temporary
k.
Eisenhower Drive Median in front
of the La Quinta Hotel
- Permanent
1.
Calle Tampico Mddians
- Temporary
in.
Washington Street Medians
- Temporary
n.
Calle Cadiz
- Temporary
o.
Avenida Barcelona
- Temporary
P.
Calle Estado
- Temporary
•
q.
Avenida La Fonda
- Temporary
r.
Frances Hack Park
- Permanent
S.
Fritz Burns Park
- Permanent
t.
Adams Avenue Park
- Permanent
U.
Park across from the High School
- Permanent
V.
Park in front of Ace Hardware
- Both
W.
Senior Center
- Both
X.
Civic Center
- Both
Y.
Bear Creek Bikepath
- Permanent
Z.
Desert Sands Unified School Dist.
- Permanent
aa.
La Quinta High School
- Both
bb.
La Quinta Elementary Schools
- Permanent
cc.
Top of the Cove
- Permanent
dd.
La Quinta Historical Museum
- Permanent
0
r
COMMISSIONERS PRIORITIZED THE SITES ACCORDING TO CATEGORIES:
•
a. Corner locations:
1.)
Washington Street at 52"d Avenue
2.)
Calle Tampico at Washington Street
3.)
Once the entry signs had been installed they would review the list
again.
b. Street
Medians
1.)
Calle Tampico
2.)
Washington Street
3.)
Eisenhower Drive
4.)
Jefferson Street
5.)
Avenida Barcelona, Calle Estado, and Avenida La Fonda would be
considered later
C. Parks
'
1.)
Calle Tampico at Avenida Bermudas (park in front of Ace
Hardware)
2.)
Adams Avenue Park
3.)
Park across from the La Quinta High School
d. Other
Sites
1.)
Bear Creek Bikepath
2.)
Senior Center
3.)
Civic Center
4.)
School Sites
0
COMMISSIONERS SELECTED THE PRIORITY SITES:
a. Washington Street at 5211 Street
b. Eisenhower Drive median in front of the La Quinta Hotel
C. Calle Tampico at Avenida Bermudas -the park in front of Ace Hardware
d. Beak Creek Bikepath
CommigsiQjaer Voss, _ asked who is responsible for the art .I in City Hall. ATTACHMENT B
Community Stm4cAs Department was. Commissioner Vossler then su letter ofn Hul�will
commendation to the sc I-er.Ldisplay after the art work' wn. Chairpersoo a letter.
The Commission discussed the ne a Public Places Master Plan since there is no longer an
Art in Public Places Com n. Staff informed the mission that the Plan is needed due to funds
being collect u lic art. Commissioner Chappie and erson Hull will review and update the
Mast an if needed and bring it back to the Commission for revie later date.
C. Discussion of Art Placement
The ion d- scussed various locations for placement of art in La Quinta including the grass area
at the west end of Francis Hack Park, the La Quinta Historical Museum, and the Veterinarian Hospital.
Commissioner Shamis gave a brief history on the priority list the APP Commission made and suggested
everyone go out in cars to the sites and to establish a current priority list. It was moved by Commissioner
Benay/Reynolds to research Adams Street Park as a site for public art. Unanimous.
Staff will check with the Community Development Department for the priority list which the APP
Commission had established. Commissioner Vossler asked if "old land" could be used and suggested that
the corner of Washington and Eisenhower be considered as a location for public art.
Discussion of Temporary Art Contract
It s moved by Commissioner Welch/Benay to continue this item to the next a7��
imous.
E. Authori Expenditure for Pages in Winter/Spring Brochure
Staff inform\en ommission that the amount estimated for 10,000 4-p e, glossy color photos of all
public art lin La Quinta that would be inserted into the C munity Services Department
Winter/Sprieation Brochure would be approximately $2,0 which was higher then originally
reported. Tr of Commerce will also include the inform on in the La Quinta Newsletter. Cost
of the inserom from Art in Public Places Operatin nds. The Commission is responsible for
doing the wnd taki photos of the art and bringin to the Community Services Department by
December mission Vossler will ask Wayn ardner to take the photos, and Commissioner
Chappie wilartist letter d information on art pieces.
VII. CORRESPONDENCE AND WRITTEXMA
A. Break Down of Financial Statement
Ms. Horvitz discussed the repoo4or Art in Public`Kllaces Funds.
B. Bus Stops in La Quinta - eceived and filed
C. Commission Proto & Decorum Guidelines
Comm issionWUelch apologized for not getting the Governor's
D. Arts WiWLetter dated October 22, 1998 - Received and filed.
E. Artrt Participation Day - Received and filed.
ce information to staff in time.
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VII. CORRESPONDENCE & WRITTEN MATERIAL A.
Tityl 4 4a QuMm
78-495 CALLE TAMPICO — LA QUINTA, CALIFORNIA 92253 - (760) 777-7000
TDD (760) 777-1227
February 12, 1999
Ms. Judy Vossler
56-455 Jack Nicklaus Blvd.
La Quinta CA 92253
Dear Judy:
You were missed at our Commission meeting last night. All of our Commissioners
wanted me to express their regret over your leaving us. We have enjoyed working
with you and we will miss your businesslike thinking, the clarity with which you
presented your ideas, and your valuable contributions to our work. We feel privileged
to have had you as a member of our Commission.
We wish you well in your future endeavors, and hope you will continue to think of us
and the role of the arts in our community. Please feel free to share with us your
insights, ideas and concerns anytime. We will always value them.
Sincerely,
Kathryn B., ull, Chair
Cultural Arts Commission
MAILING ADDRESS - P.O. BOX 1504 - LA QUINTA, CALIFORNIA 92253
78-495 CALLE TAMPICO - LA OUINTA, CALIFORNIA 92253 - (760) 777-7000
TDD (760) 777-1227
February 23, 1999
Ms. Leah Williams, Director
The Studio
La Quinta Resort and Club
49-499 Eisenhower Drive
La Quinta CA 92253
Dear Leah:
The Cultural Arts Commission is delighted with the opening of The Studio. It is a wonderful
addition to an already attractive facility. You have created a unique display space for some
of the area's most talented artists. There has been a need for such a gallery, and we
commend you for recognizing that and filling it.
We wish you continued success in its operation. Our community is richer because of
people like you. Thanks for contributing to our society in such a positive way.
Sincerely,
K
Kathair
Cultural Arts Commission
MAILING ADDRESS - P.O. BOX 1504 - LA OUINTA, CALIFORNIA 92253
VII. CORRESPONDENCE & WRITTEN MATERIAL B.
MINUTES
ARCHITECTURE & LANDSCAPING REVIEW COMMITTEE MEETING
A regular meeting held at the La Quinta City Hall
78-495 Calle Tampico, La Quinta, CA
Janu4y 6, 1999
I. CAS TO ORDER
10:00 a.m.
A. Thi eeting of the Architectural and Landscap' g Committee was called to order
at 10:0 by Planning Manager Christin i Iorio who led the flag salute.
B. Committee Mem s present: Bill B itt and Dennis Cunningham.
C. Staff present: Planning M Christine di Iorio, Principal Planner Stan Sawa, and
Executive Secretary Betty er.
II. PUBLIC COMMENT: N
III. CONFIRMATION OYTHE AGENDA: Confirmed.
IV. CONSENT
A. Pl ng Manager Christine di Iorio asked if there were any c ges to the Minutes
f December 3, 1998. There being no corrections, it was move d seconded by
Members Cunningham/Bobbitt to approve the minutes submitted.
--- . JTnariimo app d.
V. " BUSINESS ITEMS:
A. Site Development Permit 98-635; a request of The Woodard Group for approval of
building elevations and landscaping plans for a 24,000 square foot medical office
building located at 43-576 Washington Street.
1. Planning Manager Christine di Iorio presented the information contained in
the staff report, a copy of which is on file in the Community Development
Department. Staff noted a change to the staff report in that there would be no
carport as noted in the staff report.
2. Committee Member Cunningham asked what the use was to the west of the
site. Mr. Stewart Woodard, the applicant, stated commercial. Committee
Member Cunningham stated he was pleased with the design in that the
project would be located at the entry to the City. This quality of architectural
design is not usually seen on this small size of a building. It has some
similarity to the Southwest Community Church to the southwest of the
project and balances the corner.
CAMy Documents\WPD0CS\ALRC1-6-99.WPd 1
Architectural & Landscape Review Committee
January 6, 1999
3. Committee Member Bobbitt asked about the location of the site; was the
building on the corner or set back from Darby Road. Mr. Woodward stated
it would be set back from the corner. Committee Member Bobbitt asked who
owned the corner parcel. Staff stated they did not know at the present time.
Discussion followed regarding the uses of the proposed medical center.
4. Committee Member Bobbitt stated that although Date Palms are an attractive
landscaping tree. He again, has concern about the danger of the crown
breaking. He suggested an alternative tree, the Canarinsis Palm, be used
instead. Mr. Woodard stated they had no objection to changing the tree
species.
5. Committee Member Bobbitt stated that as long the trees are not adjacent to
pedestrian traffic, the Date Palm could be used. Other than the trees, the
proposed plant material is excellent. As to the architecture, he strongly
supported the design.
6. There being no further discussion, it was moved and seconded by Committee
Members Cunningham/Bobbitt to adopt Minute Motion 99-001 approving
Site Development Permit 98-635 as recommended by staff. Unanimously
approved.
B. Site Development Permit 98-640; a request of Century -Crowell Comm ities for
. app al of architectural and landscaping plans for four prototype ns for the
property ocated on the west side of Adams Street, north of e extension of
Westward Drive within Tract 23995.
l . Principal P er Stan Sawa presented the info tion contained in the staff
report, a cop of which is on file in e Community Development
Department. Sta tated the applicant s also asking for approval of the
Del Rey residential totypes use n Tract 27899 as well as the four
Marbella prototypes bein resen for a total of seven prototypes.
2. Committee Member Bobbi6 as if the Marbella and Del Rey were
comparable. Mr. Ed ght, represe gGentury-Crowell Communities,
stated they were a in e of what is exists The applicant stated they were
requesting four pro type residential units fro e Marbella and three from
Del Rey for a t 1 of seven plans to be used in thi tract.
3. Planning anager Christine di Iorio asked how these adds ' nal units would
affect ndition #3 regarding roof styles and roof heights. Mr. ght stated
they ere a variation of roofs, but all were within the same heig ange of
1 to 17 feet.
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