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CAC 08 10 200014i�p 4 4 Q" CULTURAL ARTS COMMISSION AGENDA La Quinta Civic Center Study Session Room 78-495 Calle Tampico - La Quinta, CA 92253 August 10, 2000 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 July 13, 2000 B. Arts in Public Places Financial Report July, 2000 C. Department Report for June & July 2000 V. PUBLIC HEARING VI. BUSINESS ITEMS A. Work Plan Assignments B. Meet the La Quinta Artist C. Cultural Symposium D. Global Mural Conference VII. CORRESPONDENCE AND WRITTEN MATERIALS A. Letter to Robert Lynch, Executive Director, Americans for the Arts VIII. COMMISSIONER ITEMS IX. ADJOURNMENT NEXT MEETING INFORMATION September 14, 2000 7:00 PM La Quinta Civic Center Study Session Room G:\MyData\CRISTAL\CAC\AGN8-10.wpd City of La Quinta Recap Arts in Public Places Available Funds 07/31/2000 Deposits collected through development $1,239,927.74 Interest earned 151,532.89 City Contribution 50,000.00 Total Sources 1,441,460.63 Less expenditures: Operating expenses (21,536.21) Art purchased (739,408.36) Total Uses (760,944.57) Equity Available before encumbrances and committments: 680,516.06 Add back Accounts Payable 0.00 Reduction for Interest Receivable 0.00 Cash Available before encumbrances and committments: 680,516.06 Less Encumbrances - 0.00 Less Commitments: Balance of De Martino Sculpture for Civic Center (13,217.00) Balance of K.Emerson & A.Dematteis - Fritz Burns Park (960.37) Balance Hwy 111 TDC Shopping Center - Paid 0.00 Balance Hwy 111 TDC Shopping Center - Credits (9,418.07) Balance Hwy 111 TDC Shopping Center - Future (14,581.93) Balance Ministrelli TT25429 0.00 Deposits committed to Rancho La Quinta - Paid 0.00 Deposits committed to Rancho La Quinta - Credits 0.00 Balance of Art Fernandez - Fritz Burns Park 0.00 Balance Marcia Gibbons-L.Q. Car Wash 0.00 Balance Eagle Hardware -Credit 0.00 Balance Washington St. Bridge-Navarrete/Nolmes & Narver 0.00 Balance Washington St. Bridge-Navarrete/Nolmes & Narver (27,353.03) Balance Washington St. Bridge -Artwork Construction (15,091.00) Obelisks Pilot Program -City Street Markers (31,386.50) Landscaping for Artpiece-Hwy111/Wash. St 0.00 Civic Center Art Purchase 0.00 Construction of Base for New Art Piece (2,798.50) City Entrance Monuments (23,723.53) City Entrance Monument Right -of -Way (#655) 0.00 Civic Center Campus (331,226.46) Total Commitments (469,756.39) Total available funds 07/31/2000 $210,759.67 File: APP.WK4 City of La Quinta Arts in Public Places Recap Expenditures Inception to 07/31/2000 Page 1 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 05/07/99 Recreation Brochures 473.50 05/29/99 Summer Brochures (Arrow Printing) 1,239.13 06/30/99 Patrick Welch - Anderson Travel 428.00 06/30/99 Welch/Reynolds - Atlanta Hilton 1,313.28 06/30/99 Susan Benay - Best Western 245.00 06/30/99 Ca Assembly of Local Arts 199.00 06/30/99 Welch/Reynolds - Americans for the Arts Reg. 600.00 06/30/99 Susan Benay - Travel 272.36 08/19/99 US Postmaster: 05/19/1999 Appropriation -Summer Brochure 160.00 08/29/99 Arrow Printing - brochures 1,481.60 11/29/99 CA Assembly of Local Arts 75.00 12/14/99 US Postmaster: Brochure 160.00 01/08/00 Arrow Printing - Brochures 1,636.75 02/11/00 Travel & Conference - Credit (931.64) 03/06/00 Americans for the Arts 150.00 5/2/00 U S Postmaster - postage 160.00 Total Operating Expenses $21,536.21 File: APP.WK4 City of La Quinta Arts in Public Places Recap Expenditures Inception to 07/31/2000 Page 2 Total Balance of Art Purchases: Commitments Expended Commitments 06/09/92 AdamslTruman PTA 846.00 $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 50,039.63 960.37 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 12/15/1992 Ministrelli TT25429 15,000.00 15,000.00 0.00 06/06/1995 Bear Creek Path Art Work 5,000.00 5,000.00 0.00 01/16/1996 Fritz Burns Park 16,786.00 16,786.00 0.00 05/21/1996 Rancho La Quinta - Paid 35,000.00 35,000.00 0.00 05/21/1996 Rancho La Quinta - Credit 35,000.00 35,000.00 0.00 12/17/96 Fritz Burns Park - Art Fernandez 37,000.00 37,000.00 0.00 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 07/07/98 Landscaping for Artpiece-Hwy111/Wash. St 18,800.00 18,800.00 0.00 03/16/99 Civic Center Art Purchase 7,327.00 7,327.00 0.00 09/07/99 City Entrance Monument Right -of -Way (#655) 15,000.00 15,000.00 0.00 05/02/00 Construction of Base for New Art Piece -City Hall 2,693.75 2,693.75 0.00 05/05/98 Washington St. Bridge-Navarrete/Holmes & Nan 3,000.00 3,000.00 0.00 09/15/98 Washington St. Bridge-Navarrete/Holmes & Nan 39,500.00 12,146.97 27,353.03 10/20/98 Washington St. Bridge -Artwork Construction 21,999.00 6,908.00 15,091.00 04/06/99 Construction of Base for New Art Piece -City Hall 4,000.00 1,201.50 2,798.50 05/18/99 City Entrance Monuments 299,713.00 275,989.47 23,723.53 07/01/99 Obelisks Pilot Program -City Street Markers 40,000.00 8,613.50 31,386.50 01/18/2000 Civic Center Campus 340,000.00 8,773.54 331,226.46 Total Art Purchases $1,209,164.75 $739,408.36 $469,756.39 File: APP.WK4 City of La Quinta Recap Arts in Public Places Interest Earned Annual Interest FY 1990/91 3,525.59 FY 1991 /92 11,646.54 FY 1992/93 12,156.96 FY 1993/94 7,137.38 FY 1994/95 11,444.17 FY 1995/96 14,109.65 FY 1996/97 16,170.79 FY 1997/98 14,845.19 FY 1998/99 28,328.00 FY 1999/00 32,168.62 Total Accumulated Interest $151,532.89 FY 2000/01 Interest YTD 0.00 Interest Through 07/31/2000 151,532.89 File: APP.WK4 �c 9w5 OF T TO: HONORABLE MAYOR AND MEMBERS OF THE CITY COUNCIL FROM: MARNI KUNSMAN, RECREATION SUPERVISOR VIA: DODIE HORVITZ, COMMUNITY SERVICES DIRECTO DATE: JUNE 20, 2000 SUBJECT: TRANSMITTAL COMMUNITY SERVICES DEPARTMENT REPORT FOR THE MONTH OF MAY 2000 UPCOMING EVENTS OF THE COMMUNITY SERVICES DEPARTMENT FOR THE MONTH OF JULY 2000: July 1 La Quinta Summer Golf Tour, Landmark Golf Club July 7 *"The Benefits of Exercise" Seminar, Senior Center July 8 La Quinta Summer Golf Tour, La Quinta Resort & Club -Dunes Course July 8 Sleep, Dreams & Interpretations Seminar, La Quinta Boys & Girls Club July 10 *Putting Contest, Senior Center July 12 *Disaster Preparedness Seminar, Senior Center July 13 Shopping Excursion to South Coast Plaza or Fashion Island July 14 Intermediate Computers, Boys & Girls Club of La Quinta July 15 La Quinta Summer Golf Tour, Heritage Palms Golf Resort July 15 Beach Train Excursion to the San Clemente Annual Ocean Festival July 15 Mastering Microsoft Excel Computer Seminar, La Quinta Boys & Girls Club July 17 *Adult CPR Class, Senior Center July 18 *Healthy, Quick & Cool Summer Cooking Class, Senior Center July 18 *Free Hearing Consultation and Hearing Aid Check, Senior Center July 20 "How to Win the Money Game" Financial Workshop, Senior Center July 20 *Healthy Cooking Class & Tour at the Heart Hospital July 22 La Quinta Summer Golf Tour, Mission Hills Resort -Pete Dye Course July 22 The Annual Sawdust Festival Excursion, Laguna Beach July 22 * Patriot's Luncheon, Senior Center July 24 *Mature Driver's Course, Senior Center July 25 *Congresswoman Mary Bono's Mobile Office, Senior Center July 26 "Legoland California" Family Excursion, Carlsbad July 26 Gourmet Microwave Cooking, La Quinta Senior Center July 27 Regional American Cooking, La Quinta Senior Center July 29 La Quinta Summer Golf Tour, Mission Hills Resort -Gary Player Course July 31 Pacific Rim Cuisine Cooking Class, Senior Center July 31 Beginning Computers, Boys & Girls Club of La Quinta * Senior Center Program, Class or Event Program Community Services Department Attendance Report for the Month of May 2000 Summary Sheet 2000 1999 Variance Meetings Per Month 2000 1999 Leisure Classes 372 72 300 33 8 Special Events 186 0 186 3 0 Adult Sports 30 790 -460 11 13 Senior Center 1788 1756 32 138 91 Fritz Burns Park Pool 1880 1982 -102 31 31 Program Totals 4256 4600 -44 216 143 Senior Services Senior Center 1015 941 74 15 10 Total 1015 941 74 15 10 sports Complex Use LQ Sports & Youth 6000 5600 400 22 22 Total 6000 5600 400 22 22 Total Programs 11271 111411 430 253 175 U-..— Senior Center 830 765 65 Meals on Wheels 64 52 12 Total Volunteer Hours 894 817 77 11A. -fkl.. Dnvenno Senior Center $ 2,939.50 $ 3,540.00 $ 600.50 Community Services $ 4,296.20 $ 3,108.00 $ 1,188.20 Rental Income $ 673.00 $ 135.00 $ 538.00 Total Revenue $ 7,908.70 $ 6,783.00 $ 1,125.70 Veor to data Senior Center $68,068.00 $34,467.91 $33,600.09 Community Services $70,534.90 $46,447.00 $24,087.90 Rental Income $9,072.50 $14,287.00 -$5,214.50 Total Revenue to Date $147,675.40 $95,201.91 $52,473.49 V0w Community Services Program Report for May 2000 2000 1999 �vvv Participants Total Participation Participants Total Participation Variance Meetings Meetings Leisure Classes Beg. Computers Mon. 10 40 0 0 40 4 0 Beg. Computers Tues. 7 35 0 0 35 5 0 Beg. Computers Wed. 9 45 0 0 45 5 0 French Conversation 16 80 0 0 80 5 0 Low Impact Aerobics 14 126 9 72 54 9 8 Internet Business 6 6 0 0 6 1 0 Int. Ballroom Dance 10 40 0 0 40 4 0 Totals 721 3721 91 721 3001 33 8 2nnn 1999 LVVV Participants ---- Total Participation Participants Total Participation Variance Meetings Meetings Special Events 1 0 Newport Beach Trip 7 7 0 0 7 Soccer League Finals 80 80 0 0 80 1 0 AI odonas Excursion 991 991 01 0 99 1 A00 Totals 186 186 0 0 186 3 •nnn 4000 2nnn 1999 &W%f-- Participants Total Participation Participants Total Participation Variance Meetings Meetings Adult Sports 90 90 50 50 40 9 9 Open Basketball M/T Adult Soccer League 120 240 185 740 -500 2 4 Totals 2101 3301 2351 790 -460 11 13 Recreation Totals 468 888 244 862 26 47 21 Page 2 003 - Senior Center -Attendance —We—g—lsWrW Totali ota I eetm s artici ants art�ci anon a �c� antsIYartici anon anance 2000 11999 Senior Activities Bono's Mobile Office 2 2 0 0 2 1 0 Bridge, ACBL 203 203 180 180 23 5 4 Brid e, Duplicate/Social 343 343 293 293 50 12 12 Census 2000 81 81 0 0 81 n/a Ina Golden Tones 68 68 0 0 68 61 0 ice Cream Social 58 58 68 68 -10 51 4 Monthly Birthday Party 28 28 31 31 -3 11 1 Monthly Luncheon 66 66 84 84 -18 11 1 Movie Time 70 70 58 58 12 81 4 Putting Contest 6 6 12 12 -6 11 1 Seminars 16 16 98 98 -82 31 4 Step Out for Seniors 42 42 89 89 -47 1 1 Television Viewing 35 35 44 44 -9 n/a n/a Tennis 132 132 37 37 95 13 4 Senior Activity Total 1150 1150 994 994 156 57 36 Senior Leisure Courses Ballroom Dance 6 8 18 41 -33 4 5 Ceramics 10 33 12 42 -9 41 4 Computer 26 56 62 80 -24 ill 10 Computer Tutor 17 17 0 0 17 17 0 Exercise 57 388 66 409 -21 18 16 Spanish Lessons 8 14 0 0 14 3 0 Senior Leisure Courses Total 124 516 158 572 . -56 57 35 Senior Leisure Classes Arts and Crafts 19 19 18 18 1 41 4 Bridge Lessons 33 33 135 135 -102 6 8 Painting 16 16 14 14 2 5 4 Quilting 24 24 23 23 1 4 4 Tap Dance 30 30 0 0 30 5 0 Senior Leisure Classes Total 122 122 190 190 -68 24 20 TOTAL SENIOR PROGRAMS 1396 1788 1342 1756 32 138 91 Senior Services A.AR.P. "55 Alive' 52 52 38 38 14 2 2 Ambassadors 80 80 58 58 22 n/a n/a Blood Pressure Check 47 47 40 40 7 51 4 FIND Food Distribution 414 414 454 454 -40 41 4 Information/Referral/Outreach 372 372 351 351 21 n/a n/a Legal Consultation 26 26 0 0 26 2 0 Medicare Consultation 20 20 0 0 20 n/a n/a Share Meetings/Sign-up 4 4 0 0 4 2 0 TOTAL SENIOR SERVICES 1015 1015 941 941 74 15 10 SENIOR CENTER TOTAL 2411 28031 2283 2697 106 1531 101 Page 3 004 v BUSINESS ITEM A. T4t!t 4 4wQ" CULTURAL ARTS COMMISSION MEETING DATE: August 10, 2000 ITEM TITLE: Commission Work Plan Assignments RECOMMENDATION: As deemed appropriate by the Commission. BACKGROUND AND OVERVIEW: This item was continued from the meeting of July 13, 2000. On July 5, 2000 the City Council reviewed and approved the Cultural Arts Commission 2000-2001 Work Plan with minor changes. The changes include adding the words "including the" and deleting the word "Pieces" from the "Placement of Public Art and Civic Center Campus Art Pieces". The revised title reads "Placement of Public Art and the Civic Center Campus Artwork". A copy of the final Work Plan was provided in your last packet, please bring this information to the meeting for discussion. The Commission can begin assigning and completing tasks as outlined in the Work Plan. ALTERNATIVES: The alternatives available to the Commission are: 1. Designate Commissioners to begin tasks as defined in the Work Plan; or 2. Do not designate Commissioners to begin tasks as defined in the Work Plan; or 3. rProvide Aaff with alternate direction. ��J:1 i S.. rrm nity Services Director S:\Community Services\CAComm\CACRPT.016.wpd CITY OF LA QUINTA CULTURAL ARTS COMMISSION WORK PLAN 2000101 Approved by City Council July 5, 2000 Cultural Arts Commission Work Plan July 2000 Task: Annual Work Plan Completion Date: May 2001 Participants: Commissioners Suggested Resources: Commissioners, Staff Steps to Completion: 0 Review existing assignments 0 Review programs being offered by other Cities. • Suggest assignments to fill any voids Staff Time: 3-4 hours per plan Fiscal Commitment: None Staff Role: Provide support and act as liaison to City Council Council Role: Review and approve Work Plan Goal: Chapter 2.75.040 (4) of Ordinance 317: "Make recommendations to the City Council concerning the resources and needs on the subject of the arts..." 2 Cultural Arts Commission Work Plan July 2000 Task: Placement of Public Art Including the Civic Center Campus Artwork Completion Date: On -going Participants: Commissioners, Staff Suggested Resources: Commissioners, City Council, Residents Steps To Completion: • Inventory current artwork and sites • Schedule artists for Cultural Arts Commission meeting • Review the proposed artwork • Make a recommendation to the City Council regarding the artwork and recommend the appropriation of a specific amount to be committed to the site Staff Time: 40 hours per month Fiscal Commitment: Funds appropriated from the Art in Public Places Account per City Council authorization Staff Role: Consider site, art piece and appropriation of funds Council Role: Provide support and subject to final City Council approval Goal: Chapter 2.75.040 (12) 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. (15) The Commission will make recommendations to the City Council for the commissioning of artworks, the purchase or lease of art sites, agreements for the purchase and display of artwork, or the repair, maintenance or servicing of artwork. 3 Cultural Arts Commission Work Plan July 2000 Task: Temporary Art Placement Program Completion Date: On going Participants: Commissioners Suggested Resources: Commissioners, local artists and art galleries Steps To Completion: • Notify artists that the program exists • Once requests have been received, work with developers/land owners and artists to select a predetermined site specific art piece for a location to recommend to Council • Obtain City Council approval Staff Time: 4-6 hours per piece Fiscal Commitment: None at this time Staff Role: Provide support and act as a liaison to City Council Council Role: Provide support and review and approval of contract Goal: Chapter 2.75.040 (4) Make recommendations to the City Council concerning the resources and needs of the community on the subject of the arts, opportunities for participation of artists and performers in City sponsored activities, and ways to encourage community involvement. 4 Cultural Arts Commission Work Plan July 2000 Task: Develop Public Art Program Information Completion Date: On going Participants: Commissioners, Staff Suggested Resources: Staff, Commissioners, printed materials, activity calendars, lists of organizations Steps To Completion: • Work with City Council to determine the best method to inform the public about the Public Art Program • Commissioners to design and draft contents of the information for Commission review and recommendation to the City Council for their approval • Publish information in current City brochures, on the City's Website and Chamber of Commerce map Staff Time: 6-8 hours per publication Fiscal Commitment: Costs would need to be determined for the printing Staff Role: Provide support and liaison with City Council Council Role: Consideration of content and funding Goal: Chapter 2.75.040 (4) Make recommendations to the City Council concerning the resources and needs of the community on the subject of the arts, opportunities for participation of artists and performers in City sponsored activities and way to encourage community involvement. E Cultural Arts Commission Work Plan July 2000 Task: Coachella Valley Cultural Conferences, Workshops, & Events Completion Date: On -going Participants: Commissioners, City Council Suggested Resources: Community members, City Council, Coachella Valley Cities, private cultural arts interests, State and Federal sources Steps to Completion: • Recommend to Council proposed conferences, workshops & events • Maintain leadership role in conferences, workshops & events • Recommend to Council a date, time, and location for the conferences, workshops & events • Work with Coachella Valley Cities to determine proposed speakers and budget for consideration by Council • Solicit contributions to off -set the costs as approved by Council • Prepare an outline for the meeting • Invite the speakers/artists • Advertise the conferences, workshops & events as approved by Council • Conduct the conferences, workshops & events Staff Time: 10-12 hours per event Fiscal Commitment: $3,000 Staff Role: Provide support and act as a liaison to City Council Council Role: Review purpose of conferences, workshops & events and consider participation and budgets for events Goal: Chapter 2.75.040 (6) Work cooperatively with City boards, commissions and committees, and other public and private organization in promoting art and cultural activities within the City. Cultural Arts Commission Work Plan July 2000 Task: Review Art In Public Places Master Plan Completion Date: Continued to 2001-2002 Participants: Commissioners Suggested Resources: Commissioners, Community Members Steps To Completion: • Review, re-evaluate and coordinate the cultural elements of the City's Master Plan, Art In Public Places Plan and other related plans for appropriate components for recommendation to Council in one Art In Public Places Master Plan • Include appropriate components as identified Staff Time: 1-2 hours per month Fiscal Commitment: None Staff Role: Act as liaison to City Council, provide technical support to Commission Council Role: Provide direction and periodic review of progress Goal: Chapter 2.75.040 (11) of Ordinance 317: "Maintain and Implement the Art In Public Places Plan subject to approval by the City Council..." 7 Cultural Arts Commission Work Plan July 2000 Task: Research and Solicit Grants Completion Date: On going Participants: Commissioners Suggested Resources: Commissioners, Web Sites, Arts Organizations, Foundations and Corporations Steps To Completion: • Review appropriate funding sources with staff • Make recommendations to Council in accordance with Council policy • Support staff submission of application to organization for consideration Staff Time: 6 hours per grant Fiscal Commitment: None Staff Role: Provide support and act as a liaison to City Council Council Role: Provide support, review and approve applications Goal: Chapter 2.75.040 (2) of Ordinance 317: Make recommendations for research and solicitation of grants and donations. : Cultural Arts Commission Work Plan July 2000 Task: "Meet the La Quinta Artist" Completion Date: Bi-Monthly Participants: Commissioners Suggested Resources: Commissioners, Staff, Residents, Media sources Steps To Completion: • A local artist representing a different medium will be randomly selected to be showcased in the La Quinta Chamber of Commerce Newsletter and at other cultural events with a "snapshot" of their work and history Staff Time: 1 hour per month Fiscal Commitment: None Staff Role: Provide support and act as liaison to City Council Council Role: Provide direction and support, review and consider the program Goal: Chapter 2.75.040 (10) Develop public art awareness through the presentations of speakers, forums, mixers and special events. 0 A BUSINESS ITEM B. w� CFh1 OF T1 CULTURAL ARTS COMMISSION MEETING DATE: August 10, 2000 ITEM TITLE: "Meet the La Quinta Artist" RECOMMENDATION: Select an artist to be highlighted at "Meet the La Quinta Artist" for the months of September and October, 2000. BACKGROUND AND OVERVIEW: The Cultural Arts Commission, as a task in the annual Work Plan, highlights one artist every two months. The selection criteria states that the artist must either reside in or have a studio in La Quinta. Once the artist is selected by the Commission, the Commissioner appointed to this task will contact the artist and get a "snapshot" of them and provide a brief write up on them and their medium. This information is provided in the La Quinta Chamber of Commerce Newsletter, on the City of La Quinta page. It is also the appointed Commissioners responsibility to inform and confirm the recipients attendance at the "Culture in the Courtyard" event. Various arts have been represented in this program. The following is a list of the artists and their medium: Betty Cheney, Literary arts Ann Wolfe, Painter Steve Berliner, Pianist Kevin Henry, Pianist, Song writer Joyce Spizer, Author ALTERNATIVES: The alternatives available to the Commission are: 1 . Select an artist to be highlighted as "Meet the La Quinta Artist" for the months of September and October, 2000; or S:\Community Services\CAComm\CACRPT.023.wpd 2. Do not select an artist to be highlighted as "Meet the La Quinta Artist" for the months of September and October, 2000; or 3. Provide staff with alternate direction. Dodie Horvitz, Communitb SLffrviNs Director S:\Community Services\CAComm\CACRPT.023.wpd -:- ^'I. BUSINESS ITEM C. U rY Incwou.m� Y� OF I1iti9 CULTURAL ARTS COMMISSION MEETING DATE: August 10, 2000 ITEM TITLE: Cultural Symposium RECOMMENDATION: As deemed appropriate by the Cultural Arts Commission. BACKGROUND AND OVERVIEW: At the July 13, 2000 Cultural Arts Commission meeting, the Commission approved the formation of a steering committee, a sub -committee, a fund raising committee and a publicity committee. Each of these committees would meet after July 13 to develop ideas to be brought before the Cultural Arts Commission for consideration. These ideas will be presented to the Commission at the August 10, 2000 Cultural Arts Commission meeting. The steering committee will be comprised of Rosita Shamis, Carl Aggiolosso, Gayle Young and Richard Boudreau. This committee will be responsible for planning the Symposium. The sub -committee will be comprised of Rosita Shamis and Kathryn Hull. This committee will be responsible for writing letters to the participants. Commissioners McMillian and Woodard were appointed to the fund raising committee. One task the fund raising committee was given was to determine a dollar amount to be solicited from businesses to offset the cost of the symposium. The fund raising committee would benefit from an established budget for the symposium. With this information, the fund raising committee will have clear direction as to the additional funds that might be needed for the symposium. The City Council has authorized $3,000 to be used for the symposium. Mr. Jack Mackie has requested approximately $1,300 to participate as the keynote speaker, leaving a balance of approximately $1 ,700 for the symposium. S:\Community Services\CAComm\CACRPT.022.wpd Commissioners Diamond and Reynolds were appointed to the publicity committee. The publicity committee has been charged with developing the invitation and providing press releases for the event. This committee will be responsible for providing staff with the information regarding the invitations. Staff will then coordinate the printing of the invitations through sources used by the City of La Quinta. The City of La Quinta has an established procedure for issuing press releases. This committee will provide staff with the press release and staff will process the information according to the procedure. Each of these committees will give an update to the Cultural Arts Commission and seek additional direction from the Cultural Arts Commission regarding further action. ALTERNATIVES: The alternatives available to the Commission are: 1. Develop a budget for the symposium; authorize the established donation amount to be requested from businesses; authorize the design of the invitation; and authorize press release information; or 2. Provide staff with alternate direction. YV Dodie Horvitz, om pity Services Director SACommunity Services\CAComm\CACRPT.022.wpd ;ph, LA QUINTA CULTURAL ARTS COMMISSION Symposium / Fund Raising "Potential Donors" BUILDERS I DEVELOPERS: LA QUINTA HOTEL KSL DEVELOPMENT AFFILIATED CONSTRUCTION RANCHO LA QUINTA TRADITION THE RESERVE BIGHORN GOLF CLUB mmZ9TRfiLLI DFV. COMPANIES THE FEDDERLY COMPANMS BRISTOL CONSTRUCTION BUSINESSES CLIFFHOUSE CALIFORNIA POOLS VALLEY BANK HOMEDEPOT LANDMARK COMMUNICATION V!VA LOWE HARDWARE Larry Lichliter, Executive Vice President, CEO Doug Yavanain, Director of Community Affairs Richard Oliphant, Owner Bill Dawson, Director of Sales Dave Chapman, President Mel Waite, Director of Sales Carol Kimble, Director of Sales Peter Ministrelii, owner Mike Fedderly, Owner John Canavan, Owner Richard Bowden Jim Judy Vossler Dennis Washington Judy Vossler & Diane Adolph VI. BUSINESS ITEM D. U w5 G� OF T19 CULTURAL ARTS COMMISSION MEETING DATE: August 10, 2000 ITEM TITLE: Global Mural Conference RECOMMENDATION: As deemed appropriate by the Cultural Arts Commission. BACKGROUND AND OVERVIEW: This item was continued from the meeting of July 13, 2000. The first Global Mural Conference is being held in Twentynine Palms October 22-27, 2000. Attachment A is the flyer that describes the events and guest speakers. The Cultural Arts Commission has a budget of $1,700 to send Commissioners to the CALAA and American's for the Arts Conferences. This amount is adequate to send one Commissioner to each conference. The $400 Global Mural Conference fee has not been budgeted. Should the Commission desire, the Global Mural Conference fee and related expenses can be used from the existing travel budget. By reallocating the funds to this conference, Commissioners may be unable to attend the CALAA or American's for the Arts Conferences. As with all travel and conferences, the City Council must approve the participation in the conference. ALTERNATIVES: The alternatives available to the Commission are: 1 . Authorize one or more Commissioners to attend the Global Mural Conference and direct staff to forward the request for City Council consideration; or 2. Do not authorize one or more Commissioners to attend the Global Mural Conference; or 311 ProvicVe/staff with alternate direction. Dodie Horvitz, Comm�'Ly Services Director Attachment A-. Glob"ural Conference Flyer S:\Community Services\CAComm\CACRPT.029.wpd From World .:lass Murals to ATTACHMENT A World Class Conference Global Mural Conference COMES TO THE, UNITED STATES ome to the desert southwest this Fall for the first Global Mural Conference ever held in the United States —in Twentynine Palms, California, where vibrant murals and sculptures have rejuvenated the community. Learn how public art and tourism bring economic health to communities that develop their power. Check the conference program on the following pages. Artists, community developers, and advocates of sustainable growth will all find events full of inspiration and direction. October is beautiful in the desert. The Morongo Basin, which includes the towns of Twentynine Palms, Joshua Tree, and Yucca Valley, and the Marine Corps Air Ground Combat Center, is adjacent to the magnificent Joshua Tree National Park. Participants will have opportunities to visit them all. And the desert resorts of greater Palm Springs are just down the road. Choose the six -day package or one -day specials. All you need for registration is included inside. Experience the Southwest, meet the artists, studcJ arts and tourism, Jevc/o a Plan and enhance your communitcJ. SUNDAY, OCTOBER 22 9am-6pm Registration 1 Oam-4pm Art Gallery Show 1-3pm World Organization Meeting 3-4pm Mural Tours 6:30-7:30pm Wine 81 Cheese Reception 7:30pm Opening Ceremonies Evening Entertainment MONDAY, OCTOBER 23 9-10:30am Artist 8z Vendor Exhibits Open WORKSHOPS: 10:45am-12noon Encouraging, Invigorating 81 Sustaining Tourism By Terry Marks 1 2-1 pm lunch 1 :30-3pm The Community's Role in Public Art By Dan Sawatzky 3:30-5pm Public Art: A Global Economic Development Strategy By Karl Schutz EVENING EVENT/SPEAKER: 6-7pm dinner 7-8pm The Essential Fun of Art By Jay Schlossberg -Cohen TUESDAY, OCTOBER 24 WORKSHOPS: 8:30-10am The Many Sides of Mural Art By Johanna Poethig 10-10:45am break/exhibits 10:45am-12 noon Successful Partnerships By Jennifer Nutter 12-1 pm lunch 1-1:30pm exhibits 1:30-3pm Mural Project Development Forum Our panel of experts will discuss the entire process: Essential ingredients, tailoring a program to an individual community, lessons learned, tips for success die maintenance of outdoor art, and much more. A great opportunity to share. Bring your questions and experience. 3-3:30 exhibits 3:30-6pm Explore on your own 6-9pm EVENING EVENT/SPEAKER: Evening '.Inds the Stars Joshua Tree National Park Old Western BBQ Cook Out, Western Entertainment, 8i Speaker from Joshua Tree National Park WEDNESDAY, OCTOBER 25 10am-5pm Pre -Registered Tours and Activities 5-7pm Reception with Huell Howser-Local Supporter and popular Television Personality. Host of California's Gold. 7pm_? Morongo Basin Night Life Experience the Old West in Pioneertown, Catch a Flick Under the Stars at the Smith's Ranch Drive -In, Line Dance at Kickers, 8z MORE. THURSDAY, OCTOBER 26 WORKSHOPS: 10:45am-12 noon loam-12 noon 12-1:30 1:30-3:30pm 6:30-? FRIDAY, OCTOBER 27 IOam-12 noon 12-5:30pm 7:15-1 Opm Public Art as Cure By Jay Schlossberg -Cohen break/exhibits lunch "Art Imitating Life Imitating Art Imitating Life" By John Pugh EVENING EVENT: Dinner 8z Dancing at Pappy and Harriet's Pioneertown, California "Home of the Great Old Western Movie Set" World Organization Meeting "Take A Hike "with your gourmet sack lunch DINNER/EVENING EVENT Closing Ceremonies Awards 81 Passing of the Flag for Global Mural Conference 2002 For more information call 1 -877-MURAL29 (687-2529) or visit our web -site: www.29paims.com/2000. For information on local accomodations: www.stay29.com. Attendees) Address Phone: Full Conference T Day Registration Exhibit Booth e-ma $400 ic L)a s Mural by Master of trompe Poeil murals John Pugh To be unveiled during the Conference. Artist's Statement: '9 am a trompe I'oeil artist. I have found that by painting life- size illusions I can communicate with a very large audience. It seems almost universal that people take delight in being visually tricked. Once captivated by the illusion the viewer is lured to cross an artist threshold and thus be seduced into exploring the concept of the piece. I have also found that by creating architectural illusion that integrates both optically and aesthetically with the existing environment the art transcends the 'separateness' that public art sometimes produces. " Credit Card Payment: Visa/MasterCard - — Cardhoider" - Number - Expiration Date - Signature - Please make checks payable to GMC2000. $100 per day (days —, and ) $100 Total Enclosed: Some Points of Interest is Twentynine Palms... Twentynine Palms Art Gallery - Gift Shop and Gallery, featuring the fine work of local and visiting artists (760) 367-7819. Mural Gallery 81 Welcome Center - Gallery and gift shop for the Twentynine Palms Mural Project. Chamber of Commerce Visitor Center - located at the Joshua Park Mining Town. (760) 367-3445. )oshua Tree National Park - entrance to headquarters on National Park Drive; a self -guided tour through "Oasis of Mara, "800,000 acres of protected desert wilderness - camping, hiking, rock climbing, gorgeous sunsets 8i spectacular star gazing. (760) 367-751 1. Luckie Park - public swimming pool, picnic areas, sport fields, walking track 8Z playground equipment. 29 Palms Historical Society Museum - housed in the area's first school house and oldest public building. (760) 367-2366. RoadRunner Dunes Golf Course - 9 hole year-round golf course (760) 367-5770. Gey or Twcnt nif (f EESZ-ESZZ6 H0 VINino Hl HI 1 N08 HIS 111 HO 1 N311H 06Z6b SOIONA38 3N I Hl3-0H0 HIN I (10 Hl A Al 10 'Palms Home to -the globally recognized Mural Project, largest and fastest growing Marine Corps base in the United States, and headquarters to Joshua Tree National Park. 901 'ON 3lMad v3 'sWled R LLZ376 eluwoJlleD 'Ruled au/uXJuaM.L alVd 99 X09.O.d aselsod TA 000.7 a3uajaluoD leinW legoID ale8 lia8�_ P.O. Box 1504 78-495 CALLE TAMPICO LA QUINTA, CALIFORNIA 92253 July 11, 2000 Mr. Robert Lynch, Executive Director Americans for the Arts 1000 Vermont Avenue, NW Washington, DC 20005 Dear Mr. Lynch: VII. CORR. cu WRITTEN MATERIAL A. ' Rau& (760) 7 7 7 - 7 0 0 0 (TDD) (760) 777-1227 This letter is a result of our conversation when you were at the Americans for the Arts Conference in Los Angeles. We are inviting you to attend our Cultural Symposium on Saturday, November 4, 2000, in La Quinta, California. Please circle this date on your calendar, and as our plans are more firmly in place, we will provide you with additional information. We would like you to be the moderator for the double panel addressing issues in four areas and their impact on the arts: Community, Business, Education, and Government. We have panalists who include a developer, an arts consultant, educators, an architect, a Senator, an Assemblyman, and the Executive Director of the California Arts Council. Your broad knowledge will serve them well as the moderator. Jack Mackie from Seattle is the keynote speaker. We hope your schedule will allow you to be in Southern California in November. We know your presence will provide a positive impact and confirm the value of arts in the community. Thank you for considering this invitation. We look forward to having you with us. Sincerely, Rosita Shamir ----- Cultural Arts Commission c: Cultural Arts Commission G AMyData\CRI STA L\CAC\LTR.012.wpd �a Q'c BUSINESS ITEM C. v _ 5 ti5 c�M OF TY�� CULTURAL ARTS COMMISSION MEETING DATE: July 13, 2000 ITEM TITLE: Civic Center Campus Art Work Proposals RECOMMENDATION: Review the Civic Center Campus Art Work Proposals and make recommendations for City Council consideration at the July 18, 2000 City Council meeting. FISCAL IMPLICATIONS: At the January 18, 2000 City Council meeting, the City Council allocated $340,000 from the Art in Public Places program fund to purchase art work for the Civic Center Campus project. On June 20, 2000 the City Council approved the Bronze Relief Map component to be incorporated into the Civic Center Campus as part of the Art in Public Places program. The cost of the Bronze Relief Map is $35,094.17, leaving a balance of $304,905.83 in the Civic Center Campus Artwork allocation, as provided in Attachment A. BACKGROUND AND OVERVIEW: At the January 18, 2000 City Council meeting, the City Council approved the site amenities of the Civic Center Campus to include five artistic components: a bronze relief map depicting the original City of La Quinta boundaries at the time of incorporation; bridge railing enhancements; acknowledgment areas for celebrities, sports figures and veterans; a linear water feature; and pavement amenities. At the March 7, 2000 City Council meeting, a Request for Qualifications (RFQ) was approved and sent out to 94 artists for possible submission of proposals for the Civic Center Campus. Six concepts were submitted for consideration: one bronze relief map, two bridge railing enhancements and four sculptures. At the May 2, 2000 City Council meeting, the City Council approved the general concept of the Bronze Relief Map by Artist Sandy Swan, and did not accept the other proposals. S:\Community Services\CAComm\CACRPT.019.wpd 03 ♦ Waterlily pads with Dragonflies or Butterflies as submitted by Bill Ware (Attachment F) See page 54 of this report for the Project Descriptions Cost: $47,000. See page 57 of this report for the budget submitted for this project. ♦ "Tree of Life" as submitted by Miguel and Carlos De La Torres (Attachment G) See page 60 of this report for the Project Description. Cost: $100,650. See page 65 for the budget submitted for this project. ♦ Palm Tree Water Feature as submitted by Tom McGraw (Attachment H) See page 67 of this report for the Project Description. Cost: $39,000. Pavement Amenities: ♦ Mosaic Directional Signage, City Logo, Decorative Design as submitted by Tom McGraw (Attachment 1) See page 74 of this report for the Project Description. Cost: $300 per square foot installed. ♦ "Labyrinth" as submitted by William Cain (Attachment J) See page 101 of this report for the Project Description. Cost: $62,200. See page 101 of this report for the budget submitted for this project. ♦ "Cahuilla Trail Map" as submitted by Miguel and Carlos De La Torre (Attachment K ) See page 107 of this report for the Project Description. Cost: $82,170. See page 109 of this report for the budget submitted for this project. ♦ Mosaic Native American Themes, Indigenous Plants, Animal Imprints as submitted by Peter Ladochy (Attachment L) See page 118 of this report for the Project Description. Cost: $150 per square foot plus installation. ♦ Animal Track Imprints as submitted by Sandy Swan (Attachment M) See page 134 of this report for the Project Description. Cost: $13,085 plus additional tracks. See page 135 of this report for the budget submitted for this project. S:\Community Services\CAComm\CACRPT.019.wpd 004 Acknowledgment Areas: ♦ Themed Tiled Sculptures as submitted by Peter Ladochy (Attachment N) See page 143 of this report for the Project Description. Cost: $65,000 each sculpture. See page 143 of this report for the budget submitted for this project. ♦ La Quinta Mountain Range as submitted by Bill Ware (Attachment O) See page 148 of this report for the Project Description. Cost: $83,000. See page 153 of this report for the budget submitted for this project. ♦ "Wish Upon A Star" Tribute Walls as submitted by Gwen Hughes and Rick Barber (Attachment P) See page 157 of this report for the Project Description. Cost: $57,750 See page 157 of this report for the budget submitted for this project. ♦ Vertical Sculptures as submitted by Roberto Salas (Attachment Q) See page 163 of this report for the Project Description. Cost: $47,500 See page 164 of this report for the budget submitted for this project. ♦ Memorial Monuments as submitted by Peter Urbon (Attachment R) See page 177 of this report for the Project Description. Cost: $240,000 plus additional costs. See page 177 of this report for the budget submitted for this project. ♦ Memorial Monuments as submitted by Li Tie (Attachment S) See page 183 of this report for the Project Description. Cost: $60,000. See page 183 of this report for the budget submitted for this project. Additional projects that were submitted for consideration but not identified by the City Council as components of the Civic Center Campus in the second RFQ include three linear water features: one bronze casting of an abstract water feature sculpture by Peter Urbon, a series of multi -colored obelisks water feature presented by Tom McGraw, and the "Canal Fountain" as presented by Carlos and Miguel De La Torrre. The artists were notified that the City Council did not solicit linear water feature proposals in the second RFQ. However, due to the linear water feature being a component in the first RFQ for the Civic Center Campus, the artists requested that the Cultural Arts Commission consider their proposals. S:\Community Services\CAComm\CACRPT.019.wpd 005 For the Commission's consideration: ♦ Bronze Casting of an Abstract Feature as submitted by Peter Urbon (Attachment T) See page 187 of this report for the Project Description. Cost: $215,000. See page 187 of this report for the budget submitted for this project. ♦ Multi -Colored Obelisks as submitted by Tom McGraw (Attachment U) See page 198 of this report for the Project Description. Cost: Estimated cost of $60,000. ♦ "Canal Fountain" as submitted by Carlos and Miguel De La Torre (Attachment V) See page 203 of this report for the Project Description. Cost: Estimated cost of $86,350. See page 212 of this report for the budget submitted for this project. FINDINGS AND ALTERNATIVES: The alternatives available to the Commission include: 1. Review the Civic Center Campus Art Work Proposals and make recommendations to be forwarded to the City Council for consideration at the July 18, 2000 City Council meeting; or 2. Do not review the Civic Center Campus Art Work Proposals and make recommendations to be forwarded to the City Council for consideration at the July 18, 2000 City Council meeting; or 3. Provide staff with alternative direction. Respkctfully submitted, Horvitz,'Co unity Services Director Attachments: A. Civic Center Campus Art Work Budget B. Minutes of the June 20, 2000 City Council Meeting (Unavailable as of this report) C. Bouncing Sphere Submitted by Robert Ellison D. "Gift from the Creator" Submitted by Johnny "Bear" S:\Community Services\CAComm\CACRPT.019.wpd 006 Contreras E. Butterflies or Birds Submitted by Bill Ware F. Waterlily Pads with Dragonflies or Butterflies Submitted by Bill Ware G. "Tree of Life" Submitted by Miguel and Carlos De La Torre H. Palm Tree Submitted by Tom McGraw I. Mosaic Signage Submitted by Tom McGraw J. "Labyrinth" Submitted by William Cain K. "Cahuilla Trail Map" Submitted by Miguel and Carlos De La Torre L. Mosaic Native American Themes Submitted by Peter Ladochy M. Animal Tracks Submitted by Sandy Swan N. Themed Tile Sculptures Submitted by Peter Ladochy 0. "La Quinta Mountain Range" Submitted by Bill Ware P. "Wish Upon A Star" Submitted by Gwen Hughes Q. Vertical Sculptures Submitted by Roberto Salas R. Memorial Monuments Submitted by Peter Urbon S. Memorial Monuments Submitted by Li Tie T. Bronze Casting Water Feature Submitted by Peter Urbon U. Multi -Colored Obelisks Submitted by Tom McGraw V. Canal Fountain Submitted by Carlos and Miguel De La Torre S:\Community Services\CAComm\CACRPT.019.wpd 07 Civic Center Campus Art Work Budget ATTACHMENT A Account # 701-000-255-211 $340,000 June 20, 2000 Sandy Swan -Bronze Relief Map $35,094.17 First Payment upon Project Approval $8773.54 50% of project completed $8773.54 75% of project completed $8773.54 Project Completion $8773.54 Balance $304,905.83 008 ATTACHMENT B Unavailable as of this report f1p9 ,iARobert W. Ellison ATTACHMENT C City of La Quinta June 9, 2000 P.O. Box 1504 78-495 Calle Tampico La Quirrta, CA 92253 RE: Civic Center Campus Artwork Projects Dear Selection Committee Members: Thank you for the opportunity to present my credentials for the Civic Center Campus Artwork Projects. Enclosed please find 10 slides with slide list, resume, references, a preliminary sketch with a written description, proposal including maintenance, SASE and this letter of interest. My art experience spans over three decades and includes installations at San Francisco Civic Center Plaza, Oakland City Center, City of Mountain View City Hall, U.S. Dept. Of Energy Fermi -Lab and numerous other venues. I have successfully completed commissions for Sonoma County, Santa Rosa, CA; Municipality of Anchorage, Anchorage, AK; State of Rhode Island & Providence Plantations, Providence, RI; and many other municipal and private settings. I would be delighted for the opportunity to work with you in developing an appropriate solution for this project. The sculptures in the submitted slides share similar characteristics the sculpture with water feature proposed for your site. They show a variety of forms, scale, color and surface treatment, physical relationships and other content statements. The pieces shown are large and easily seen and recognized from a distance. The sculpture I produce is colorful, joyous, animated and visually interactive. My goal is to design and produce artwork that can be enjoyed by all members of the community. I have developed a portfolio of sculptural solutions (form and format) and an enthusiasm for developing new and specific solutions to unique situations. I believe that 'successful" public art is about creating a sense of place. The artwork will be physically and intellectually accessible and be integral to its site. In addition, it should integrate with the work of other design professionals and be of the .highest quality to assure perpetuity and safety. The artwork will also speak to a multi- dimensional society that is specific,to La Quinta. Most importantly, the artwork should serve the public by enhancing the quality of life; contributing to La Quinta's cultural excellence and reputation. In past public art projects, I have tried to design artwork that is comfortable and inspiring. Artwork should reach all people, not just those who visit galleries and museums. Art should positively affect everyone's everyday life. As a creator of public art, I must be an advocate for the community, and I have a moral responsibility to produce an atmosphere of mutual understanding. Public art is most successful through collaboration. In the past I have collaborated with Mr. Lennon Hamilton, architectural engineer and Berkeley resident, on multiple projects. Mr. Hamilton and Mr. David Presbrey (architect)and Mr. Dennis O'Day (engineer) structurally engineered °Time Wave", a 30 foot tall clock tower with a four foot square base able to withstand 100 mph winds. Mr. Dale Porath (architect), and Mr. John McGee (engineer) assisted in another clock tower for Anchorage, Alaska where we had to deal with such issues as freezing temperatures, permafrost and requirements of the local school system. I have also worked with Mr. Joe Gaffney (engineer) and Mr. Donald Dakin, (architectural engineer) on the requirements for "Sun Zone" which was installed in front of the Sonoma County Administration Building. At this site, the landscaping, lighting, and concrete walkways have been a large part of this project. "Sun Zone" has a permanent shadow below it cast into the concrete. For most projects, I have attended city council meetings, neighborhood meetings and been available for discussions. I am willing to revise a design to address safety, aesthetic, or other issues. I enjoy working as a team with architects, landscape architects, planners, contractors and engineers. The process is familiar to me; from concept to maquette, to revision, to implementation and installation. All projects have been completeyyon schedule and within budget. I look forward to hearing from you. Sincerely Rout W. Ellison Encl. RWE/ab Robert W. Ellison, Sculptor 6480 Eagle Ridge Rd., Penngrove, CA 94951 Tel. & Fax: 707 795-9775 E-Mail: EllisonArt@aol.com i1i0 Robert W. Ellison Project Description The enclosed sketch is a very preliminary concept solution for the sculptural water feature for the Civic Center Campus Artwork Project. The imagery of this work, is that of a bouncing sphere which has be centrifugally spun off a large sweeping ovoid form. The curvilinear flight path is traced as it bounces across the surface of the water. This spherical form is not unlike the golf balls seen on many of La Quinta's world class golf courses. The difference with this sculptural rendition is that instead of the normal terminal "plunk" outcome, this ball magically bounces across the surface of the water and continues... sort of a "golfer's dream"! It will have significant presence and relate to the scale of the surrounding area. This will be an intriguing and easily recognizable landmark. The format of this work allows the water to be pumped up to a chosen height, and sprayed out of the sphere where it cascades down to the water's surface. This achieves the verticality of a geyser in an alternative way. The sphere itself would be a "dandelion" type fountain. This would create a multifaceted ball, similar to the dimples of a golf ball. This proposed piece is approximately 25 feet long and 14 feet high. The circular form is depicted on the shoreline (either the mainland or the island), but could occur in the water as well. The bouncing traces are across the surface of the water. The materials for this artwork would be fully welded color coated steel, stainless steel, concrete, copper pipe and all appropriate pump and filter equipment. The steel surfaces will be ground smooth, primered with epoxy and color coated with catalyzed urethane. The surface treatment is the same coating used on offshore oil rigs and tankers, and is smooth and inviting to the touch. It does not corrode in acid pollution, defies scratches and chips, and is generally considered to be "maintenance free". The foundation will be either concrete piers or driven pilings, depending on the recommendation of engineering studies and soils reports. Maintenance requirements will be fully addressed when the final format is selected, but should be no greater than those of any pumped water feature. It will be designed for seismic safety and other requirements can be easily incorporated. It is non -toxic and environmentally sound. The quality of workmanship, the design, and the strict engineering standards of the artwork assure public safety and durability of the work. The budget for this work will be a minimum of $125,000 and a maximum of $150,000. A detailed budget and description of the foundation will be presented along with the maquette if this proposal is selected. All fabrication is done in house, ensuring high quality workmanship and the best possible value for the price. Robert W. Ellison, Sculptor 6480 Eagle Ridge Rd., Penngrove, CA 94951 Tel. & Fax: 707 795-9775 E-Mail: EllisonArt@,aol.com o11 EllisonArt@aol.com Robert W. Ellison 6480 Eagle Ridge Road Penngrove, CA 94951 Tel./Fax 707-795-9775 www.robertellison.com SELECTED COMMISSIONS FOR PUBLIC & CORPORATE SCULPTURE "Mr. Zebra & Friends" 1999 site: Alameda County Recorder's Office Commissioned by: Alameda County Arts Council "Sweep" 1999 site: Rohnert Park Cultural Arts Center, Rohnert Park, CA commissioned by the Rohnert Park Association for the Arts "Sun Zone" 1998 site: Sonoma County Administration Center, Santa Rosa, CA commissioned by Cultural Arts Council of Sonoma Co. "Ascent 1998 site: Cedar Rapids, IA commissioned by: City of Cedar Rapids "Time Wave" 1997 site: Shepard Building, Providence, RI commissioned by Rhode Island State Council on the Arts "Point to the Time" 1996 site: Kincaid Elementary School, Anchorage, AK commissioned by: Municipality of Anchorage "Time Travel" 1996 site: Kincaid Elementary School, Anchorage, AK commissioned by: Municipality of Anchorage "Contest" 1990 site: University of Wisconsin, Platteville, WI commissioned by: University of Wisconsin "Borbourygmi" 1979 site: Di Rosa Preserve, Napa, CA commissioned by: Di Rosa Preserve, Rene Di Rosa "X-Position" 1976 site: Washington State University, Pullman, WA commissioned by: Washington State University "Untitled" 1969 site: Lansing, MI commissioned by: Universal Steel Corp. 01- 2 ..obert W. Ellison - Resume Page 2 EDUCATION B.F.A., Michigan State University M.F.A., Michigan State University SELECTED SOLO EXHIBITIONS Sculptural Invitational, Meuso Valle D' Aosta, Torino, Italy Contract Design Center, San Francisco, CA American President Lines Headquarters, Oakland, CA Victor Fischer Galleries, San Francisco, CA San Francisco State University, San Francisco, CA Rabak & Russel Gallery, San Francisco, CA San Francisco Academy of Art College, San Francisco, CA San Francisco Redevelopment Agency, San Francisco, CA San Francisco Civic Center Plaza, San Francisco, CA Mills College Art Gallery, San Francisco, CA James Willis Gallery, San Francisco, CA SELECTED GROUP EXHIBITIONS Art Around Town, Redding CA, SoFo 2 Gallery, Cultural Arts Council of Sonoma County Next Level Communications, Rohnert Park, CA William Zimmer Gallery/Stevenswood, Mendocino, CA The Olive Grove Sculpture Garden, St. Helena, CA Syntex Corporation 50 Year Anniversary Show, Palo Alto, CA La Quinta Sculpture Park, La Quinta, CA City of Palm Desert, Palm Desert, CA Northshore Sculpture Park, Skokie, IL Fermi Lab U.S. Dept. of Energy, Batavia, IL Oakland City Center, Oakland, CA People's Choice Project, Concord, CA Laguna Beach Museum of Modem Art, Laguna Beach, CA SELECTED INSTALLATIONS San Francisco Civic Center, San Francisco, CA American President Lines, Oakland, CA Syntex Corp., Palo Alto, CA Lincoln Park, Los Altos, CA China Camp Design Center, San Raphael, CA AWARDS AND HONORS Purchase Recommendation, "People's Choice Project", Concord, CA Feature Exhibit, Bicentennial San Francisco Art Festival First Place Award, 21 st Annual All California Show Laguna Beach Museum of Art Purchase Prize, San Francisco Art Festival First Place Award, Detroit Institute of Arts TEACHING Michigan State University, Lansing, MI Lansing Community College, Lansing, MI College of Marin, Kentfield, CA San Francisco Academy of Art College PROFESSIONAL ORGANIZATIONS Artists Equity - Pacific Rim Sculpture Group 1969 1971 1995 1995 1992 1991 1988 1984 1984 1978 1977 1977 1976 2000 1999 1999 1998 1998 1994 1994 1994 1993 1991 1991 1990 1975 1990 1976 1975 1974 1974 1971 1970 - 1971 1971 - 1972 1973 - 1978 1996 - 1996 - Sonoma County Cultural Arts Council 013 Robert W. Ellison - Resume Page 3 Professional References Randy Rosenbaum Executive Director Rhode Island State Council On the Arts 95 Cedar Street Providence, RI 02903 401-277-3880 Jocelyn Young Curator of Public Art Municipality of Anchorage 121 West Seventh Avenue Anchorage, AK 99519-6473 907-343-6473 John Mominee, Director Center for the Arts Student Center 174 University of Wisconsin -Platteville Paltteville, WI 53818 608-342-1451 Tim Danesi, Commissioner Rohnert Park Association for the Arts 6400 Meadow Pines Ave. Rohnert Park, CA 94928 707-584-5477 R. Lennon Hamilton, Architect P.O. Box 9495 Berkeley, CA 94709 510 525-4564 Ed Fritz, Project Coordinator County of Sonoma, Architecture Division 2300County Center Dr., Suite A-220 Santa Rosa, CA 95403 707-527-3472 Reuben Weinzveg, Art Consultant 6024 Fredericks Road Sebastopol, CA 95472 707-829-0670 Craig Black, Artist (MFA) 7224 Cold Springs Road Penngrove, CA 94951 707-664-8868 014 Municipality Of Anchorage March 23, 1997 121 West _,eventh Avenue P.O. Box 196650 % aichoragc, )laska 99519-6650 httl�://«��t'.ci.virhoraae.ak.i5 Telephone: (907) 343-4326 Fax: (907) 343-6149 Rick Mystr0771. All awr- :LNCI-IOR•\GE NIUSEITAI OF11ISTORI' AND :IIZT To Whom it May Concern: I am delighted to write a letter of recommendation for Robert w. Ellison. I worked with Robert on a large 1% for Art commission for the Anchorage School District and everyone felt it went extremely well. The large, 30 foot high clocktower is the tallest and one of the favorite 1% for Art pieces in our collection. This.piece, with its' accompanying interior sculpture (steel floor piece with suspended elements) was selected from a national competition with three other finalists. Robert's models were superior and he immediately comprehended the concepts the identified by the school. The quality of his finished work is excellent. He has extremely high standards and it's obvious in his work, he is a perfectionist. Large, painted, steel pieces with clockworks tied to existing systems and massive concrete foundations, are not produced and installed without some hitches and Robert was delightful to work with throughout the entire process. He approached the tense moments, which had nothing to do with his work, with problem -solving and a wonderful sense of humor. He was patient with the tiresome bureaucratic process and he didn't wince too often when he received Alaskan sized bills for things that were out of his control. Robert was dependable and I could always rely on receiving information when he promised. This is important when our installation period is only 4 month long. I enjoyed working with Robert and I would enjoy working with him again in the public art program. I would give him the highest possible recommendation. Please call me (907) 343-6473 if you have any questions about the quality of his work or his ability to begin a project and bring it to completion. Sincerely, Rio"cel Y g, CuZ r of Public Art chorage useum of History and Art MOD 015 STATE OF RHODE ISLAND AND PROVIDENCE PLANTATIONS M RI STATE COUNCIL ON THE ARTS 95 Cedar Street, Suite 103 Providence, R.I. 02903 (401) 277 - 3880 TDD / VOICE February 3, 1999 To Whom It May Concern: This is a letter of support for the work of Robert Ellison, an artist who has created an extraordinary work for the Rhode Island State Council on the Arts' Public Art Program. In the realm of public art, the ability to work cooperatively and expeditiously is valued. In Robert Ellison those attributes are present in great abundance while, at the same time, maintaining a sense of artistic integrity that does not compromise his finished project. Speaking as an administrator, I value the ability to work with an artist of his caliber in such a cooperative and easy going manner. Speaking as an artist, I value the quality and craftsmanship that he brings to his work and would not hesitate to work with him again in the future. I would be happy to respond to any questions about our experience with Robert Ellison. Please feel free to call me at 401/222-3883 if there is anything further you wish to Executive Director o16 U V Q U 0) cc to O 0 Q C) aci� Uc� cc Q c �'U 0 0 ) W 'o O is « Q co O C O p _ > > cc O s U c U W V U- N C a o atL X� ai c c 0 'ts Asa o m CO y E � U E ts c m N m c Co 0 O a) e m > to ca w ' y o 7 O (n -C V m L .+ cc >. 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U Y Q � V c o C 0 ►� VQ� oco O U Z � Q � p �� co ac E Lo m � al -oilW o> °' � Q w CL c o U occ CD c 'a ca 'fl E 55 L N 0L O c ++c!E m,l°^a�oi 3 a�0�o V/ L w C I ✓ U O N N Ccm cc - C O �) caw -c ca o.o O D) N d V'p.=+ � W V I_D t v 0 CU D y 0); t ch - co c� C N X X � U) v/ T a� a� coO ° L rn G I T T V Qi 'Q C e� 0 a� C d -; N U p cc O N O c0 .«+ — O fain aco0Z J m W a O 0 dN �o t/i 2 Cl) a.. 'O o T N O N N 0) a) a /R1 L_ 1 ', Y ATTACHMENT D P.O. Box 8115 ,Valley Center, ,CA 192,082 ,(760)74-97,6557 VNY BEAR Hello Hawwka, I would like to begin by saying what an honor it is to participate in this process. I am a Kumeyaay Native residing on San Pasqual Reservation and my son is 1 Cahuilla, which in turn allows me to be very ,familiar with the areas oral and physical history. With this said, I would like to'propose an art piece that is not only esthetically pleasing but with cultural integrity as it would be a representative of all that I am as a Native American `.Artist bringing both honor and pride for the City of La Quinta. 1 My prior experience as a commercial artist for the City of,Santa Fe Springs has allowed me the appreciation for the process the city goes through when commissioning artists for city projects. During the process !`:was able to work with all departments of the city staff, city architect, planning department for / permits, engineering with drawings and maintenance for care. The reason for having a General Contracting licensee is to pull permits and know, the process first hand, understand building codes and application of materials ; a General Contractor was an integral part of this art project for the Cityro� e Springs. 1 ,x From the first moment of visiting the sight I felt that my preliminary were right on target the area is draped with mountains and canyons whicK perfect accent for an elevated life size piece, which would be ascending R mountain top. I hope to depict a particular ascend "coming down" in the ar 1 the base of the piece. At this point I envision an elevated base - - -_ - - in the lake bel ow much like the Areas Mountains, with contouring lines ace the base into the figure. With the foundation base melting into the bronze above I hope to create a change in texture consistent with the peaks of the ridges. The figure would be a Cahuilla women accenting like the water from clouds to the earth down the streams to the valley, wind would be obvious in movement of her hair and dress, she would have a Cahuilla fashioned bask which would be distributing water to the area, represent of a GIFT FROM THI CREATOR! 0 C Quiet Sunsets Johnny Bear KUMEYAAY • P.O. BOY 85 • VALLEY CENTER, CA 92082 • PHONE 760-749-6557 0 0 021 OBIECTIVE JOHNNY BEAR Balance is the kev to the worldbf understanding. I hope to bring ideas to life and envoke an interest that leads to understanding with my art. I am passionate about the feelings we all try to express, and,when I am able to create my understanding in form it's awesome. SUMMARY OF QUALIFICATIONS ■ I am a local California Native American`Commercial artist and a General Contractor. ■ I am committed to quality workmanship, and enjov working in or with a team. ■ I have life experiences that have broadened my ability to create art needed to represent the diverse culture in any area. ART ACH IEV EM ENT 1999 ■ Private Commission - $ 8,500 Bust Sculpture ■ Heritage Center Inc. Red Cloud Art Exhibit ls' Place Sculpture Pride" 1997 . March 1997 $5 ■ City of Santa Fe Springs, Commissioned ^I�,Of Sculpture ■ Commissioned private party ~$?,000 Alabaster Sculpture ,i-r inNT ■ Palomar College ■ Art •- Foundry — 3 years Shell Molds & Patinas ■ Sculpture Foundry ■ American Indian Studies ■ Escondido High School — 1981 COMMUNITY SERVICES ■ Board Member for American Indian Services ■ Land and Housing at the San Pasqual Reservation ■ Site monitor for SPR working with archeologists ■ State Parks and Recreation on trial building tribal representative ■ Panel Member for the National Convention on cultural diversity in 1 Mission Trail Park ■ Tribal Cultural Lasion • KUMEYAAY • P.O. BOY 85 • VALLEY CENTER, CA 92082 • PHONE 760-749-6557 U 0 0 0 0 0 SIST DISTRICT, CALIFORNIA COMMITTEE ON APPROPRIATIONS SUBCOMMITTEES: NATIONAL SECURITY LEGISLATIVE DISTRICT OF COLUMBIA Conganss of the'United &toteo House of Repreuntatioeo �ifthington, PC 20515-0551 February 25, 1998 ❑ 2231 RAYBURN HOUSE OFFICE BUBO WASHINGTON. DC 20Sts-0S6l 1202122S44ti 12021225-2155e FAX ❑ 412 WEST VALLEY PARKWAY SURE 320 ESCONDIDO. CA e2026 1e191737-OM 01191727-5122 FAX WORLD WIOE WEB: htip://www.house.goy/cunningha It is a pleasure to write on behalf of Johnny "Bear" Contreras, a Native American commercial artist and general contractor from Valley Center. Over the past several years, I have ,met and reviewed the qualifications of many individuals. I am always impressed with those who spend additional time and energy to .improve their knowledge, enhance their overall training, and go the extra distance to distinguish themselves in their respective fields. It is my hope that you will review Johnny `Bear" Contreras' qualifications when selecting an artist for this project. Thank you for your consideration. w"` 0 Sincerely, Randy "Duke" Cunningham Member of Congress PRINTED ON RECYCLED PAPER 0 0 0 J 0 • 023 = A., .. • .. "sue'; •. 11710 Telegraph Road • CA • 90670-3058 • (562) 868-0511 • Fax (562) 868-7112 • vvww.santafesprings.org June 25, 1998 I am pleased to recommend artist Johnny Contreras as a candidate for public art projects. He recently completed a commission for our public art committee, the Heritage Arts Advisory Committee. Although this was his first public art commission, he showed that he could work successfully with a diverse range of individuals that were involved with this project. His bronze artwork, "The Journey," is a beautifully crafted piece that has been received well by this community. Please contact me if you would like additional information about this artist. 0 /�� Margaret Hammon Cultural Services Supervisor I(on;dd S. Fa•maa. \IapK A11-n L %harp. Ma)iw 11n)=1•anII—rc j City Omfwil 1J Wil• Gnnrilcz • Gwnlw• %linnchan Ifaty 1'uutam City \Lm.t�a•r IAm I' —,.'!I 0 [1 V - 1 u�ry ttu�u�! � 111111C11 � 1JL' 1� 1' 1L�L' rJ %0 rye SAN DIEGO COUNCIL National Advisory Board San Diesto Council Chairman Chairman V. Jay Wadman CEO Hal F. Jensen Wadman Corporation President & CEO Development Corp Vice-ChairmanladusaW L Pawneearry EchoHawk. J.D. Vice -Chairman Board lylembers June 18, 1998 Inheritance Sonny Chief John T. Alexander. M.D. Paurna Band Thomas E. Atcitn of Mission Indians President The Navajo Nation Secretary Lee M. Brower President Dorothy Tavui San P+W Sual Band Brower Financial Services of Mission Mans Richard L. Cheney Council blernbers Vice -President & G.bf Ream's Food Stores . John T. Alexander, M.D. Dennis L. Dobson. D.D.S. Robert F. Driver Chairman To Whom It May Concern: Don Calac Tribal Council Member Driver Companies Rincon Band Ross N. Farnsworth of .%Iiuion Indians President CEO I am grateful to have JohnnyBear Contreras on the Board of American Billy Casper Vincent F Gordacan Indian Services. He is an unusually talented Native American sculptor and Golf Pro President & CEO Bio-Fine Pharmaceutical. Inc. artist who is also committed to making a difference by helping others. �y 1 Contreru Tara Han Public Reladoas President The Compliance Alliance As well as chairing AIS, I am the Chairman of Palomar Grading & Paving, JAnisa pt; Bob Hope Entertainer/Actor Inc. and President and Chairman of Industrial Development Corp. and the /Sculohnny San Pasyaal sand Hal F. Jensen President and Chairman of Palomar Aggregates, all Escondido ofMission ians Ind President & CEO Industrial Development Corp headquartered businesses. I am, therefore, particularly committed to this Robert F. Driver Chairman Traci NIcCany President community and am very interested in its aesthetics. Having a first hand Driver Companies Indian Gaming knowledge of the beauty and sensitivity of Johnny's work, I highly Ed Loman Johnny Miller GolfPro & Commentator recommend him for this commission. You will find him capable, Principal valley center High school Richard A. Parkinson President responsive and conunitted. Associated Food Stores Robert Martin President &CEO W. Bradford Perkinson CEO Please do not hesitate to call me if you would like additional information. Martin Builders Morongo Band Ace Reprographics. Inc. of Mission Indians Paul Ream Owns Ream's Food Stores -_ Sincere _ •---.... _- —. —.—Keith Reilly , President & CEO Mike Reid Romero General Constrvcdon Golf Pro Blake M. RoneySean President & CO Salisbury Sportscaster NuSkin International ESPN Sean Salisbury S PN aster . Jensen Bryan D. Seltzer CEO Roy W. Simmons halrman Seltzer Enterprises Chairman of the Board Zion 's Bancorporation Robert Smith Farrell M. Smith Chairman President Pala Band ExerPlay. Inc. of Mission Indians Jeff P. Smith Chairman Daniel J. Tucker Smith's Food do Drug Centers Chairman - California. Nevada Phillip Smith. M.D. Indian Gaming Association Navajo Sycuan Band Robert E. Wells of Mission Indians Steve Youngg 21's Stacey Young QB. S.F. Artn iei inr Forever Young Foundation American Indian Services • 2150 N. Centre City Parkway # C • Escondido, CA 92026 • (760) 741-8432 • Fax: (760) 7434761 r M 7 5 KtIBLR*1'1•. DRIVER ('11-MR%IAN IAll:lafl1", June 24. 1999 COPY, Re: Johnm BLar t,;cnl Icntcn Johnm Bear Conlercas, in my opinion, is a classic case. for in his earlier stage of manhood he made a complete reversal of his lifest)1e. He not only discovered that hr lutd the potential of becoming a great artist but vdiat is just as important he has becom' an oulstanding:itiien. He married hib girlf6usid and took on respaiuibiIitics of bci ig a father by txi,►g a foster parcel Tlic success of Isis art has become Htll knot%n but what is rc;tlh• important is his dcdicatioo to his pcoltfc helping them to upgrade their liNes amd their self-cste m fie is not onl% a #real credit to the Indian tribe lie belongs to. tail our communilc as a %%Ix,k I ant vcn proud 10 reconiuxnd Juluiny Bew Conicrvis as he is al gmai human being. S?-r( . Driver RFD:cj t p rl nu\ (i it) • San cahlorni., 92112 vvc II LI I c 2 � % - 10 1 NA, It 9-1 .11 7Z @AFSI 1 W&[Sl I JJL 4f 0 10 10 027 B-4 SUNDAY, MAY 4, 1997 (E) ARTIST Continued from B-1 counseling, sessions. During those times of self-examination, he remembered how he used to tell his friends in construction that he wanted to be artist, yet he never tried. This time he would. "I knew it would be part of the healing process, part of con- fronting the things that made me drink," he said. "I started carving." Sobering up can leave a drinker with certain cravings, and Contreras said he answered those with coffee. The coffee shop he frequented, the Pan- nikin in Encinitas, happened to be above the San Dieguito Art Guild's gallery. Contreras met people at the gallery, and they talked him into bringing some of his work to the art sales the guild holds on a lawn outside the Pannikin. His first piece, a portrait re- lief carved in canary wood, sold for $75. The same customer also bought one of his wooden boxes for $35. It had been about four months since he took his last drink, and Contreras was begin- ning -to realize his dream. About eight months ago, he stopped by Robert Freeman's art gallery to Rincon for more encouragement. "He just came by the studio one day and said he wanted to be an artist," the 58-year-old Freeman said. The newcomer quickly im- pressed the seasoned artist.. "What struck me about John- ny was how fast he is," he said. "I think it comes from his con- struction work." Contreras said when he used to do construction, he was al- ways saying the buildings should have more designs, but he was just a worker without control. He started meeting with Indi- an artists from other tribes in powwows. One was in Santa Fe Springs, a town of only 16,000 dolphin, and Freeman devel- oped the sketch more. They then made a small model of what the sculpture would look like, and the city awarded him the work. Once the work is completed, Contreras said he will_ take_it to. , a foundry in Oxnard to be cast in bronze. The project has in- spired Contreras to think about opening his own foundry some. day, and for now he will contin- ue as an artist while operating his own construction business, Native Designs. His quick journey from con- struction worker to commis- sioned sculptor seems to have been' helped by a number of co- incidences, from being in the right place at the right time to meeting the right people. But Contreras believes there are no coincidences, only interlocking moments that are part of a greater plan. One of those more poignant moments for Contreras came while having dinner with the family of the girl who will be memorialized. He told the fami- but very supportive of public art. It was there that he met Mar- garet Hammond, the park direc- tor in charge of the land where the powwow was held. "I told her all my stuff has. feelings," he recalled. "It's a way of expressing myself" Contreras soon learned that Hammond also is the city's di- rector of public art, and she told him the city was looking for an artist to create a memorial to a city employee's daughter who had died of leukemia. Hammond already was taken with Contreras' spiritual connec- tion to his work, and she became more so when he talked about the connection Californians have with the ocean. The girl had a fondness for dolphins, and Contreras told Hammond how dolphins are very important in his people's tradition, as they help those who have passed away on their jour- ney to the other side. Contreras sketched an idea for a sculpture of a girl and ly that he was considering using the face of his niece, Christie, for the girl in the statue. The girl's mother then told him th also was the name of her dau€ ter. ■ A rose — the "Phoenix" award — to Rincon. artist John- ny Contreras. Divorced, an alco- holic and arrested for .drunken driving, Contreras sat in jail in 1995, contemplating his failed life. But instead of spiraling even further downward, he took an extraordinary turn. He ,T stopped drinking and decided Va- to pursue his dream of becom- ing an artist. A testament to the power of self-determination and healing, Contreras recently and his first major commis- sion — to create a $50,000 sculpture for.the city of Santa Fe Springs — after only two years of developing his art. Con- treras'. emergence as an artist, and his successful.stand against . drinking, make him an excep- tional role model for the young residents of the Rincon Indian Reservation who are searching for their own paths. If the youth follow Contreras' example, they will likely find themselves in good and healthy places. •U 029 I C r i 0 P 5 AMEWCAN INDIAN SERVICES DIEGO COUNCIL HOSTS 2ND ANNUAL AIS SAN M NATIVE AMERICAN CELEBRIT - PRO -A SanDiego Council seentiry/t __rer, Dorothy Tavul directing student vnlnnteers at registration. San Diego Council memoers l,■,..— Contreras, an a t=Wsculptor from the San Pasqual Bank of Mission Indians donated a priceless cedar box with carved ivory to the silent auction. Jpruig 177 / 19" Native American Celebrity Pro -Am First place -Inners. TAKING THEIR LUMPS (coat from page 1) ` of Paiute Indians, making sure their horses and small animals were healthy for at least one more year. The visit was coordinated by American Indian Services in an ongoing effort to help various tribes with agriculture and veterinary projects. The tribe gave reservation residents notice that the veterinarians were corning, and when they arrived, Stanfield and other ranchers were waiting with their horses. All the horses and also some dogs and cats were eventually vaccinated thanks to the time donated by the three doctors and vaccines donated by Fort Dodge Animal Health in Overland Park, Kansas. Dobson This was the second visit for Dr. Yoeny and her husband, Dr. Dennis Dobson. Yoeny is a licensed veterinarian who specializes in small and exotic animals and currently directs the Lake Shore Ostrich Ranch. Her husband, Dennis, is an oral surgeon in Utah. Dennis has been involved with AIS for almost 25 .years. Dr. Keith Hoopes, a retired BYU professor in the Department of Animal Sciences, said he has always had strong feelings about the Indians and with his spare time, wanted to make use of the veterinary license he still holds. The group plans to travel to the Navajo and Havasupai reservations to donate their medical 1 J of a Mentor to Little I %Y ERII , GF.I1ItO i� ll'rilcr f� touch and (itrcmcnther C'hristy. Christy Rcyno%o grew up it WIlit- tier ;nun amended Pioneer High SANTA FI: SPRINGS — As scion Sclutol. After graduation. she work - as She started watching the tcicvi- ed as an oflice aide in the Santa Fe sign show "Flipper" as it little girl, Springs Planning Department. Christy Rcynoso had an instant love A year later, site transferred to the Adair with dolphins. She hought city's Community Services Depart- dolphio statuettes, dolphin pictures, ntcnt. where site first took care of dolphin jewelry. pre-sch:xilers at the Child Devel- Now, a sculpture or a dolphin and oPmcnt Center and then moved to a little girl sits outside the Fancily the city's Lakeview Child Care Center at 10349 Heritage Park Ccntcr. Drive, where friends and children There. Christy aucnded to can rcmember•the woman who lov- * kindergarten through sixth -graders cd the dolphins. before and after school and helped Reynoso, a teacher with the ciiy's run summer programs. day-care facilities, died of leukemia "She created a sumuner rolling in August 1996. when site was 22 skating club." remembers Terry years old. In her honor, the city on Cantachu. her supervisor. "She'd Oct. 17 unveiled "The Journey," a bring new things into the center, and sculpture representing her love for the kids really enjoyed her for children and dolphins. tha(." Created by San Diego County art- Sisters Kimberly and Kristin fists Johnny Contreras and Robert Dcwinslanlcy. now in third and Freemnn. the sculpttite was coin. sixth grade respectively, remember missioncd with donations from fain- playing games and going to the ily, friends and hKal organizations. heath with Christy. "She helped us City Manager Don Powell first suggested to Reynoso's parents. Herlinda and Alfonso Reynoso, that a memorial be erected. They loved the idea and wanted to choose some- thing that all the children Christy. had cared for could enjoy. .�'Thcy draw pictures of ddlphlhs!-1 soil send them to me," said.Herlin-z, da Reynoso, an account clerk in the'" Santa Fe Springs Finance Dcp4h- ni'ent. "I just wanted ihcril to have 03C —I6ete by Erne Gebne "The Journey," which was unveiled at the Santa Fe Springs Family Center, honors Christy Reynosa, who died 14 months ago. Reynosa worked at city day-care facilities and shared her love for dolphins with the children. Bronze Statue Honors Memory Children dig forshclls." Kristinsaid. Herlinda Rcynoso said her daughter had a "very special bond" with the kids. "11'hcncvcr they sce a dolphin ;tnywherc." she said. "they will think of their teacher. Christy." oJe of their own to look•a)and to: 0 low inbal-.gatlierwg rformers and Fair attracts eIndianp •throughout Southwest artists from Johnny Bear Contreras, a member of the San Pasqual band of the Kumeyaay, . will appear at the fair for the first time this year. He has adapted traditional American Indian art for his sculpture, including a bronze statue for the city of Santa Fe Springs, his first commis- . sioned work "I've been working 'round the clock," he said during a break in preparing pieces for the fair. "I'll have three works ready, each representing some aspect of life. "All my pieces have feelings. It's a way of expressing myself. I work every t day, every chance I get to do something. Daybreak reminds me to get the most out of every day." Contreras recently debuted as an artist, but even before he actually tried creating a work of art, he was thinking in artistic terms. He worked in con- y struction, and often told other work- ers and his foreman that the build- ings they were erecting needed more design. The journey from construction ... to art took a while and several turns: drinking, domestic prob- lems, a divorce. As part of his per- sonal recovery, Contreras concen- trated on art and began carving in wood. When his first piece sold, he spent more time carving and began meeting ' with other American Indian artists at pow wows and fairs. Contreras formed his own construc- tion company — Native Designs — to make a living while he creates sculp- tures. The commission also affected his art; he switched from working in wood to bronze. r "lend marble," he added. "The ; pieces for the fair are in alabaster, a . form of marble. `Rising Sun' is how we ' see the dawn, looking east. It is a head, , about one foot in diameter, with wood around the face for hair. It represents the Native American awakening. _ "I've been working on `Mother Earth' a year now. It's one of my larger l pieces, 10-by-14-inches. The form is a butterfly in the rain, which was harder to carve than most of my pieces. "To me it'represents everlasting life. The butterfly has a short life, but it is so beautiful, it gives us hope." i b C 0 f` ohnny Bear Slides I — 9: The Journey Commissioned for the City of Santa Fe Springs -'Bronze life size Dolphin and Young Girl. Completed March 1997. Side 10: Johnny Bear with traditional sage boxes on San Pasqual Indian Reservation. KUMEYAAY • P.O. BOX 85 • VALLEY CENTER, CA 92082 • PHONE 760-7 JQHNNY BEAR r Method of fabrication: Marquee — Material Foam and plastiline Full size positive figure; 3/8 rebar reinforcement, foam balance covered with one - inch of plastiline to five for appendage. The figure and base will be separated. Part of the base will be manufactured on site is the foundation portion that is submerged. Height to be determined with r elevations and esthetic qualities. The base details are covered in the drawings along with material recommendations. I also need to havd\the local engineering department sign off. The actual full size figure will be developed in my studio. I would like to have a r preview of the piece prior to delivery to foundry for casting. I find this a great opportunity to respond to any comments prior to casting. This also gives us a chance to discuss patinas. One of the things that controls quality is the fact that I develop the fu own studio. I also work with the foundry during the molding wax process to assure a quality piece. INSTALLATION I will work with architect and grading contractor to determine scheduling for plumbing, electrical work in subsurface applications. I have appreciation for quality scheduling in projects of this magnitude. My hope i have all the plumbing and electrical along with the foundation base poured ahead of the figure installation needs. I hope to reflect this in my details. . plumbing line location determined pumps would be placed and wired along wi timers. I plan on running tests prior to determine water spread and geyser quali The figure will be spreading water from her basket to the pond below the rate gallons per minute can be valued at this time. Lighting low voltage can also b tested for best results; I will place a silhouette of the figure to test lighting distances. At this time the best locations can be selected. Pond lighting will be of watertight material; some additional ground lighting may be added at this time as well. With plumbing electrical and lighting with foundation complete were ready for the figure installation to the base per detail. The method will be dependent on the extent of construction completion of surrounding area (i.e. walks and soft scape). It's most likely that a small crane or boom truck will suffice. KUMEYAAY • P.O. BOX 85 • VALLEY CENTER, CA 92082 • PHONE 760-749-6567 r 0 0 a E a 0I Rai 9I 9' 0 a 0 9 • • 036 a .hI&1%i�lZS 0 a 9 a ra 0 GY-5ER EXIT 037 0 0 0 0 Dr 7D Cat 2E 10 038 0 b r f. 0 0 0 r „[ IT - t��'r�-�.r= �.�._sluna��r�.� _ate► - 039 0 0 0 p v lu lQ< < pry � D EAR 5 YV�.. i-t,+. W lu �UML . .. .................. I ...... ... . . ..... . . ..... 0 C Bear BUDGET " G f t Frofft"The Creator" Bronze Marquett No Charge Finalization of plans & Details Lyon signing of contract $ 7,800 start of on -site work foundation plumbing, electrical &lighting 0 completion of base plumbing lighting and timers Preview of full size figure at studio --- completed copletion of casting at foundry installation total completion Total cost of beautiful piece b 0 KUMEYAAY • P.O. BOX 85 • VALLEY CENTER, CA 92082 • PHONE 7 10 t1n� 1 nn Bear MAINTENANCE Maintenance for the bronze sculpture "The Gift From The Creator" will be primary patina for the chosen colors. I would like to keep,he patinas on the darker shade side so that there will not be any major color changes through out the life with the piece. The exterior sculpture would have some changes from the initial patina. I find that if one anticipates this with correct initial colors, the changes minimum. The final core is a hot industrial wax job put on while the piece is heated up from.,the patina process. As for the lighting there isn't any unusual standards. The maintenance of the pumps and geyser system can be addressed in the details of my proposal. KUMEYAAY • P.O. BOY 85 • VALLEY CENTER, CA 92082 • PHONE rOW o44 r, June 15, 2000 Dodie Horvitz Community Services Director 78-495 Calle Tampico. La Quinta, CA 92253 Dear Selection Team: Once again, I am interested in being considered for artwork for the La Quinta Civic Center Campus Project I am offering the following preliminary thoughts for your review and consideration. GEYSER WATER FEATURE One approach to integrating art with the geyser would be to work with the natural movement of the water (ripples). Seven large, appropriate to.scale, butterflies or birds that come out,of the water at least 8'. Refer to sketch "A" and "B". Another idea would be to create three large sculptures of water lily pads with cut out butterfly wings and/or dragonflies. Refer to sketch ACTT. All of the water sculptures would be constructed of maintenance free aluminum and stainless steel. I would work closely with the lake and geyser builder to insure proper anchorage of the artwork. This work sets a dialogue with the environment and engages the viewer in.a sense of place. ACKNOWLEDGMENT AREA A somewhat contemporary freestanding bronze sculpture reflecting the La Quinta mountain range. Designed and presented in a way that allows the viewer to walk around the art and read names of selected honorees, or possibly stated history La Quinta facts, such as, "Gem of the Desert" founded in 1982. This'can be done with the use of water-jet.or laser cutting process. My design would include some bolted panels in such a way that they could be unbolted for future cutting of names and then put back into place. The opportunity exist to use art to inspire, welcome, and educate its users. Refer to sketch "D". The enclosed ideas and examples of my work will hopefully generate n�teres� €ate €�F�F�erii�s'�3i��. Sincerely, 0-,> I j, L 1 P4m w William Ware C� 35/D-So2�,l 73- 691 MASSOM S'T • P*M AESA RT CA.922so (A9, WRIAMWME Bill ware was born in Indianapolis, Indiana,. where his artistic talent was noted by his third grade teacher, whom Bill learned when he met her twenty years later, had kept his sketches among her personal mementos. A self-taught artist, Bill attended Baylor University where he was a pre-med major. However, his first love was art and his best marks were m illustrating for Biology and Physiology. Bills commercial art eaperienee began in 1964 in Newport Beach, California as an art director for an art magazine, OraW Cowuy Illustrated. A job illustrating for a teat book publishing company in New York City provided funds to travel to Palma de Mallorca, Spain in 1966. While in New York City, Bill did watetcobrs based on city street scenes. In Spain he continued painting while working as an illustrator for Spanish magazines. In Spain, Bill was inspired by the works of Mira whom he met while there. As an illustrator and cover artist for the Saturday Evening Post, Bill improved his craft while producing many fine works. As an independent artist in Indiana, Bill found success and recognition when the Indiana Convention Center commissioned him to paint a mural. 'This led to a commission from Indiana bell, where he produced paintings of Indiana scenes for an entire high-rise over a one year period One of these paintings won an award and became part of a touring show of corporate art, hanging in the exhibit between Norman Rockwell and N.C. Wyeth. Though Bill's background is in painting, his desire to be involved in Art M Pub& pushed him into creating sculptures and relief pieces using non-ferrous metals. This medium opened up many occasions to work with architects, city planners, and various committees' through the building process. Bill has designed, created and instilled numerous two and three dimensional works for private and public settings. U46 Selected Private Collectors -4Allen Paulson •Vincent Price, Actor -dJulie Nixon Eisenhower -4Jack & Shirlee Hennessy -4Mr. & Mrs. Philip Glass, Chicago -4Dr. Stanford M. Rider, Los Angeles -4Richard Lugar, Senator of Indiana -4Mr. & Mrs. Hal Wallis, Producer and Actor •John Wooden portrait, presented to him upon his retirement Selected Public Collections 4E1i Lilly Corp. .4First Interstate Bank 4The Indiana Convention Center .4A. T. & T. and Bell Laboratory .4PGA WEST Country Club, La Quinta -4Indianapolis 500 Racing Museum Mural -4Morningside Country Club, Rancho Mirage -4Cal Federal Savings & Loan Corporate Office - Wilshire Boulevard Art In Public Places 1982 Palm Desert Civic Center — Palm Desert — Mural 1995 Palm Desert Town Center — Palm Desert --Sculpture 1996 Rancho La Quinta Country Club — La Quinta — Sculpture 1996 Gila Restaurant — Palm Desert — Sculpture 1997 Sunlife Medical Building — Palm Desert — Sculpture 1998 Seventh Day Adventist Church — Palm Desert — Sculpture Selected Bibliography 1989 Myer, Joe Strolling The Galleries — The Desert Sun 1989 Anthony, Kathryn The Texture You'd Love to Touch — Focus/Santa Fe April/May, page 37 1990 Oakton, Bill Imbued With the Spirit — Focus/Santa Fe — August/September, page 64 1990- Guest Life Master Pieces of American Art 1991 1990 Rezendes-Herrick, J. Dyslexia Discovery Opens the Artist's Eyes Teaching and Lecturing 1980 - Ongoing - Schools — Speakers and workshops for students of all levels 1994 - Ongoing - Seminars for the Orton Dyslexia Society conferences 047 PERFESSIONAL REFERENCES !. Mike Fedderly Fedderly Companies 73768 Larrea Palm Desert, CA 92260 760-773-5205 2. William Swank Architect/Developer 15-550 Riveria Drive La Quinta, CA 92253 760-771-3110 3. McFadden and McIntash Architects 72-925 Fred Waring Drive Palm Desert, CA 92260 760-346-8014 4. Robert Whitnry Enjoy Development 8100 Paseo Del Ocaso La Jolla, CA 92037 619-456-22037 5. Holden and Johnson Architects 44-267 Monterey Ave. Palm Desert, CA 92260 6. Tom Colinen The Reserve 760- 568-5599 7. Jace Cheatham Architect DMB 7600 E. Doubletree Scottsdale, AZ 85258 480-367-7000 01 049 ono J '- 049 05© 01 Jul-04-00 03:07P ware#ipp 760 340 5024502 P.01 Obi BUDGET FOR PROPOSED ART FOR THE LA QUINTA CIVIC CENTER PARR PROJECT Water Feature: 1. Seven butterflies, dragonflies or birds. 5' X'6'each 8' out of water Stainless/aluminum Cost: $47,000. 2. Waterlilies with butterflies, dragonflies or-�" Three 8' X 3' pads and 5' X 6' butterflies, dragonflies on—b#e". Stainless/aluminum Cost: $47,000. Cost include: Designs, all materials, cutting, fabrication (welding, grinding and assembly), deliveries,installations (crane, anchorage hardware, working with and assisting landscape architect), and all other appropriate engineers and inspectors needed. I feel this artwork deserves special underwater lighting. The budget above does not reflect the added cost. � ) 3S/o-SO2q • 73- S9/ MASSON Sr * AW AI AE'SAORr CA,12260 U52 SLIDE IDENIFICATION SHEET ARTIST NAME 1. TITLE/ DATE 12 e Cbn SIZE j'7 X / N ' MEDIUM /c, t,, ; h,4 2. TITLE/ DATE `\. i e c, K i nc w ra ..r �l SIZE ' ^� MEDIUM r, L„ ,.,_, S4��I 3. TITLE/ DATE SIZE /S MEDIUM / / 4. TITLE/ DATE /1D S�- o v �.99 SIZE 9 ' �j MEDIUM -A a', .. QI to ,.. '1 � � G � .. c 13 foss C4, 5. TITLE/ SIZE_ MEDIUM DATE Q rYj 4 e, o 0 ).?' ( i/ 6. TITLE/ DATE_nf'ec. � e,15 SIZE - - L /[.j H MEDIUM al, ,„ ,, vl� 7. TITLE/ DATE kp k e 0 e\ V\ I g -�7 (, SIZE MEDIUMCC R t; 8. TITLE/ DATE i SIZE C) ' (o MEDIUM C f / t, 9. TITLE/ DATE SIZE MEDIUM 10.TITLE/ DATE SIZE MEDIUM ATTACHMENT F 053 054 l 2 by � 1 2 Vi � h 4L V 055 6 05G /c COA)12F)v P Jul-04-00 03:07P ware#ipo 760 340.5024502 P.01 057 BUDGET FOR PROPOSED ART FOR THE LA QUINTA CIVIC CENTER PARR PROJECT Water Feature: 1. Seven butterflies, dragonflies or birds. 5' X'6'each 8' out of water Stainless/aluminum Cost: $47,000. 2. Waterlilies with butterflies, dragonflies es=QP*w" Three 8' X 3' pads and 5' X 6' butterflies, dragonflies s `�". Stainless/aluminum Cost: $47,000. Cost include: Designs, all materials, cutting, fabrication (welding, grinding and assembly), deliveries,installations (crane, anchorage hardware, working with and assisting landscape architect), and all other appropriate engineers and inspectors needed. I feel this artwork deserves special underwater lighting. The budget above does not reflect the added cost. a F�6#4) 3S/0-$02Al • 73- S9/ MASSW ST a P.99At MSWg7 G4,12260 ATTACHMENT G 058 AR T PRO POSAL FOR THE CITY OF LA QUINTA A MIGUEL DE E . -RR CARLOS DIE, LA TOIRRE I 11 1-1 059 San Diego, Califomia June 15, 2000 ART IN P*tj3jjI,IC PLACES PROGRA.N,,l CITE' OF LA Q 1.IN'J A, CALIFORNIA CONUSSION MEMBERS; TROUGH THIS LETTER WE WISH TO COMMUNICATE OUR INTEREST IN PARTICIPATING IN THE' CIVIC CENTERA UAL ARPUS TS COM SSION UBLIC PLACES PROGRAM TO THE LA QUINTA WE ARE A TEAM OF TWO BROTHERS WORKING TOGETHER AND OWR COMBINED EXPERIENCE IS AS FOLLOWS; a. 7 YEARS OF COLLABORATION WITH CALIFORNIA ARTIST THERMAN STATOM DOING DESIGN, RESEARCH, DEVELOPMENT, PRODUCTION AND INSTALLATION OF ART PIECES IN PUBLIC PLACES AND PRIVATE COMISSIONS. THE FOLLOWING ARE SOME SAMPLES OF PUBLIC ART DONE IN COLLABORATION WITH THERMAN STATOM; SAN JOSE It: E CINN I"ER. SAN .I( -)SE, C:.AI_.IEORNI.A. IMAGO GAI..I..I:-.I•'.1', PALM DESERT, C'AU ORNIA. TOL,E'DO _mtj SIJi. M` OF ART. T01-FD ), OHIO. CHRISI. EP% Ivli_ISE(JNl. NORFOI.K. VIRGINIA. DAY CARE CENTER, BRO.NX, NEW Y OR.K. r., LOS ANGEL IS CENTRAL,LIBRARY, I -OS ANCIr;L.ES, CALIFORNIA. b. 25 YEARS OF ART WORK WICH INCLUDES SOLOSHOWS, GCOMISROUP ETC. SHOWS, AWARD WINING COMPETITIONS, c. 20 YEARS OF ARQUITECTURAL DESIGN AND SCULPTURE d. STAINED GLASS DESIGN AND PRODUCTION INCLUDING CHAPELS AND PRIVATE COMISSIONS. OUR INTEREST IS FOCUSED ON TWO ASPECTS OF THE CIVIC CENTER CAMPUS PROJECT; a.-- PAVEMENT AMENITIES b: - WATER FEATURE 1 1 1 1 1 1 1 1 1 1 1 1 1 066 b. -WATER FEATURE THE WATER FEATURE THAT WE ENVISION IS BASED ON A PERCEPTION OF THE PERSISTENCE OF THE DESERT LIFE IN A VERY HARSH ENVIROMENT, WE CALL IT `° THE TREE OF LIFE 11, AND THE SHAPE THE OCOTILLO E DRAWING FROM IS A VERY SYMBOLIC DESERT ICON THE PROPOSED WATER SCULPTURE IS DESIGNED TO BE MADE OF STEEL TUBING 8" IN DIAMETER TAPERING TO 2" AT THE TOP. THE TOP ENDS WILL HAVE CIRCULAR WATER SPOUTS WITH A 4 -6 FEET IN DIAMETER. ALONG ITS VERTICAL AXIS THERE WILL BE A SERIES OF GLASS APLICATIONS IN DIFFERENT COLORS. '2o- .25 v lo �d �a�v s�ocr�s r, 1 4i604 DA 061 WATER SCULPTURE " TREE OF LIFE" I PROPOSED SOLUTION �j THE WATER SCULPTURE WILL CONSIST OF 8 TO 12 BRANCHES OF TUBULAR STEEL, 20 - 25 FEET TALL, WELDED AT THE BASE TO A 3/4" STEEL PLATE. THIS PLATE WILL BE BOLTED TO A CONFORMING CON- CRETE BASE THAT HAS ALL THE NESESARY WATER AND ELECTRICITY TERMINALS TO MAKE THE WATER FLOW AND THE ELECTRICITY GLOW. METHOD OF FABRICATION MATERIALS CONSIST OF 4 DIFFERENTDIAMETERS STEEL TUBING; 8", 6", 4", 2", THE TUBING IS CUT IN VARYING LENGTHS FROM BASE TO TOP. AS THE BRANCH FORM RISE THE DIAMETER OF THE PIPE DECREA- SES. TO CREATE A TAPERED BRANCH SECTIONS OF TUBING ARE SPLIT LENGTH WISE, A THIN SLICE IS DISCARDED AND THE TUBE IS RE - WELDED. THE RESULTING SLIGHTLY TAPERED TUBE IS THEN WELDED TO THE NEXT SIZE DOWN WHICH IS ALSO TAPERED. �2a — 2 S U62 EACH SECTION IN JOINED IN A VERY SLIGHT ANGLE VARIATION SO THE OVER ALL EFECT IS OF A SLIGHT ZIG-ZAG. SWIRLS AT THE TOP OF EACH BRANCH IS ER 4 6'TEW SPOUT FEET IN DIAMETER. THE AND SENDS AN UMBRELLA OF PIPE —HOSE SPECIFICATIONS FOR THIS` WILL BE ADDRESS BY THE HYDRAULIC ENGINEER PENDING APPROVAL OF THE PROJECT. GLASS APPLICATIONS THIS GLASS APPLICATIONS WILL BE MOLD FORMED SPECIALLY FOR THIS PROJECT. IT WILL CONSIST OF FOUR DIFFERENT DESIGNS IN A BASIC TRIANGULAR SHAPE WITH GROOVES AND FACETS FOR HIGHLIGHTS. THIS TRIANGLES ' COLORS. WE WILL USE AP OXIMATELLY 30 WILL BE IN 5 DIFFERENT APPLICATIONS PER BRANCH. �J INSTALLATION METHOD THE SITE HE BTEDRANCHES OF B WELDED POSITIONED ON THE LL BE TRUCKED TO THE SITE, PLATE AND WELDED ON SITE. WHEN ALL BRANCHES ARE IN PLACE, WE PROCEED TO ATTACH THE GLASS APPLICATIONS, THE HYDRAULIC TUBING AND WATER SPOUTS. THE BNTI RE SCULPTURE IS THEN LIFTED AND POSITIONED ON THE CONCRETE BASE, BOLTED AND CONNECTIONS ARE THEN MADE. HYDRAULIC SYSTEMS PENDING CONSULTING HYDRAULIC ENGINEER. UNDER WATER LAMPS ARE INSTALLED, CONNECTED AND TESTED. See drawing next page. 1 MAINTENANCE REQUIREMENTS ' HYDRAULIC MAINTENANCE TO BE RECOMMENDED BY TECHNITIAN. METAL SCULPTURE TO BE RE -COATED WITH UV CLEAR COAT PROTECTION AS NEEDED. n 063 064 G�-Ac'�c2 (auZC5 c o ►,-..e> z E i) K A\ S 1 pi I 1 065 San Diego, (,.uifornia June 14, 2000 PROPOSED BUBGET FOR SCULPTURE - FOUNTAIN TREE OF LIFE " 1 ' 1. --- METAL SCULPTURE ' MATERIALS ' STEEL TUBING ---------------------------------- $ 2600.00 STEEL PLATE ----------------------------------- 200.00 HARDWARE ------------------------------------- $ 500.00 ' Sub- total ---------------------------- $ 3300.00 FABRICATION; ' LABOUR $ 10000.00 SAND BLASTING, PRIMING AND PAINTING -------------------------------- ------------$ 1000.00 PAINT COST ------------------------------------ $ 1000.00 ' Sub — total -------------------------- $12000.00 i 2.---- GLASS APLICATIONS------------------------------------- $16000.00 3.---- TRANSPORTATION i RENTAL; ONE FLAT BED TRUCK ONE 14' TRUCK, ' FUEL------------------------------------------------- $ 800.00 ' 4.---- HYDRAULICS; ' PUMPS FILTERS WATER SPOWTS ' CONNECTIONS ANEMOMETER ' CONTROLS, ETC ----------------------------------------------- $15000.00 066 ' S.---- INSTALLATION CRANE-------------------------------------------- $ 3000.00 ' LABOUR ------------------------------------------ $ 2000.00 SCAFOLDING, RENT -------------------------- $ 1000.00 ' WELDING MACHINE, RENT ---------------- $ 200.00 LABOUR EXPENSES; LODGING, MEALS, ETC ------------------------------------- $ 1000.00 ' Sub — total ------------------------- $ 7200.00 ILLUMINATION UNDER WATER LAMPS --------------------- $ 4000.00 ' INSTALLATION -------------------------------- $ 800.00 HARDWARE ------------------------------------ $ 400.00 $ 5200.00 Sub — total -------------------------- STRUCTURAL ENGINEER ---------------------------------- $ 2000.00 7.---- ' STUDIO AND OFFICE--- ------------------------------------ -$ 5000.00 g,____ , 9.---- SIGNAGE--------------- ----------------------------------------- $ 2000.00 10.--- TRAVEL EXPENSES---------------------------------------- -$ 2000.00 11.--- INSURANCE-------------------------------------------------- -$ 1000.00 ------------------ SUB — TOTAL ----------------$ 71500.00 ' -----------------------------------------------$ 20000.00 12.--- HONORARIUM------------------------------------- SUB - TOTAL ----------------$ 91500.00 10 % CONTINGENCY 9150.00 ------------------- T O T A L--------------------$ 100650.00 ' No, F: The. base :for the sculptor is 'lot included In this proposal ATTACHMENT H Uhl THOMAS A. McGRAW CENTRAL ISLAND WATER FEATURE A PALM TREE, THE SYMBOL OF THE DESERT WITH A TRUNK OF HIGH FIRED NATURAL UNGLAZED CLAY ACCENTED WITH LOW FIRED COLORFUL SNAKES AND LIZARDS. THE TRUNK IS FILLED WITH CONCRETE. A STEEL POST IS CENTERED WITHIN TO SUPPORT THE SHADE GIVING PALM FRONDS OF NATURAL RUSTED METAL. NOTE: THE PALM CAN BE PLUMBED WITH A WATER MIST SPRAY. MAINTENANCE REQUIREMENTS: ALL HIGH AND LOW FIRED CERAMIC AND GROUT WILL BE SEALED WITH AQUA MIX SEALER'S CHOICE 15 GOLD FOR MAXIMUM PROTECTION. HOSING WITH A STRONG SPRAY OF WATER WILL KEEP IT CLEAN. NOTE: IF A MIST SPRAY IS USED RUST WILL APPEAR ON SURROUNDING SIDEWALK AREA, HOWEVER A BAKED ENAMEL FINISH ON METAL FRONDS CAN BE HAD AT ADDITIONAL COST. am THOMAS A. McGRAW CITY OF LA QUINTA ART IN PUBLIC PLACES PROGRAM CIVIC CENTER CAMPUS PROJECT WHILE LIVING IN LOS ANGELES, INCLUDED IN MY EXPERIENCES AS A DESIGNER WERE PROJECTS THAT INVOLVED THE DESIGN OF CERAMIC TILE AND CERAMIC TILE SHOWROOMS IN THE UNITED STATES AND EUROPE. IN NEW MEXICO I WAS EMPLOYED BY A SMALL CERAMIC TILE STUDIO, TRADING S SHOWROOM HDEVELOPMENT FES TIME FOR Y, GLAZES, MY CERAMIC DESIGN KILN TIME, THUS BEG LINE. I NOW HAVE RETURNED TO CALIFORNIA WITH A DUAL PURPOSE GOAL. I WISH DEVCHALLENGED, LOP A LENG DSTUDIO ELDERLYLAND ILL AND SSERVICES HARE THE PROFITS. PHYSICALLY AS A RESI RCAMPOP QUINTA I WOULD LIKE TO DISPLAY MY ART IN THE CIVIC CENTER TO SHOW THAT LA QUINTA SUPPORTS ITS LOCAL ARTISTS, AND TO SHOW THE ART COMMUNITY THAT LA QUINTA SUPPORTS ITS LOCAL ARTISTS PO BOX 1128 LA QUINTA CALIFORNIA 92253 THOMAS A. McGRAW PROFESSIONAL REFERENCES GLORIA ZOLDAN ( 310 ) 652 - 1467 9386 SIERRA MAR DRIVE LOS ANGELES, CA. 90069 JOHN DILLON ( 760 ) 324 - 0406 70-810 IRONWOOD DRIVE RANCHO MIRAGE, CA. 92270 DR. JUDY HOWARD 5 PINEWOOD CIRCLE RANCHO MIRAGE, CA. 92270 BARBARA F. KLESS 5455 8th STREET CARPENTERA, CA. 93013 ( 760 ) 202 - 8868 ( 805 ) 684 - 0504 MR. & MRS. THOMAS WEBB ( 949) 770 - 1804 27451 VALDERAS MISSION VIEJO, CA. 92691 070 THOMAS A. McGRAW EDUCATION: PASADENA CITY COLLEGE 1955 - 1957 SCIENCE MAJOR PASADENA CALIFORNIA ART MINOR UNIVERSITY OF CALIFORNIA LOS ANGELES, CALIFORNIA ART CENTER SCHOOL LOS ANGELES NOW PASADENA PROFESSIONAL EXPERIENCE: 1957 - 1959 FINE ARTS 1959 - 1960 COMMERCIAL ILLUSTRATION STARTING UP ONE MAN CERAMIC 1995 TILE SIDEWALK MOSAICS HAND MADE TILE STUDIO IN LA QUINTA, CALIFORNIA WATER FEATURES COUNTER POINT TILE 1988 - 1994 TILE DESIGN SANTA FE, NEW MEXICO SHOWROOM DESIGN SHOWROOM SALES COURDNATING FACTORY PRODUCTION T.A. McGRAW AND ASSOIC. 1977- 1985 PRESIDENT/DESIGNER LOS ANGELES, CALIFORNIA PROJECTS INCLUDING RESTAURANTS, OFFICES,RESIDENCES MEDICAL CLINICS CLOTHING AND CERAMIC TILE SHOWROOMS TILE DESIGN 071 ALBERT C. MARTIN & ASSOC. 1973 - 1977 LOS ANGELES, CALIFORNIA DIRECTOR / DESIGNER PROJ. INCLUDING SPNB NATIONAL HQ FRENCH BANK OF CALIF. STONE & YOUNGBERG HOTELS MAUI, BAHREIN MORGANELLI / HEUMANN 1971 - 1973 DIRECTOR OF DESIGN LOS ANGELES, CALIFORNIA PROJECTS INCLUDING ATLANTIC RICHFIELD GINGE INDUSTRIES COMPUTER SCIENCE CORPORATION HOTELS IN BOSTON AND PITTSBURG MARTIN / BRAT"TRUD 1969 - 1971 VICE PRESIDENT TORRANCE, CALIFORNIA FURNITURE DESIGN SHOWROOM DESIGN COORDINATOR FABRIC DESIGN CATALOGS PUBLIC RELATIONS AND SALES CANNELL AND CHAFFIN 1062 - 1969 CORONA DEL MAR, CALIFORNIA INTERIOR DESIGNER REMODEL C & C MODELS SPEC. HOUSES PUBLIC RELATIONS 079 CITY OF LA QUINTA ART IN PUBLIC PLACES PROGRAM CIVIC CENTER CAMPUS PROGRAM WATER FEATURE SLIDE 11 THE OBELISK A WORK IN PROGRESS LAYOUT OF NUMBERED MOSAICS ON BLUEPRINT BEFORE INSTALLATION SLIDE 12 THE OBELISK, A SYMBOL OF LA QUINTA AS SEEN IN THE COVE AR.EA.STREET SIGNS IS MADE OF CONCRETE WITH A SKIN OF NATURAL HI FIRED UNGLAZED NATURAL CLAYS WITH HI AND LOW FIRED COLORFUL CLAY ACCENTS SLIDE 13 THE WALL MURAL SHOWN IS APPROXIMATELY FIVE FEET HIGH. MADE OF DIFFERENT SHADES OF HIGH FIRED NATURAL CLAY BODIES AFFIXED TO A PAINTED PLASTERED WALL DEPICTING THE NATIVE PLANTS OF THE DESERT. SLIDE 14 THE PALM TREE, A SYMBOL OF THE DESERT WITH A TRUNK OF HIGH FIRED NATURAL CERAMIC ACCENTED WITH LOW FIRED CERAMIC.COLORFUL SNAKES AND LIZARDS, CONCRETE FILLED WITH A STEEL POST TO SUPPORT THE SHADE GIVING PALM FRONDS -OF NATURAL RUSTED METAL. SLIDE 15 THE FOUNTAIN SHOWN APPROXIMATELY THREE AND ONE HALF FEET BY SIX FEET IS MADE OF HIGH FIRED NATURAL CLAY AND DEPICTS THE LIFE GIVING WATER OF THE DESERT SLIDE 16 A FLOWER BOUQUET IN HIGH FIRED CERAMIC MOSAICS CREATES A WALL FOUNTAIN. SLIDE 17 A PROPOSAL FOR THE CITY OF LA QUINTA TO PAINT EXISTING OBELISK STREET MARKERS WHITE, AFFIX 4" X 4" BLUE AND WHITE LETTERED & LA QUINTA CITY LOGO TILES. A PROJECT THAT COULD INCLUDE STUDENT WORKERS 073 SLIDE 18 A MOSAIC OF WISTERIA VINES CREATE A COLORFUL SIDEWALK INSET. HI FIRED GLAZED AND UNGLAZED TILES. SLIDE 19 SIDEWALK INSET - A DESERT MOSAIC OF NATIVE PLANTS, SNAKES, AND LIZARDS. MADE OF HIGH FIRED GLAZED AND UNGLAZED NATURAL CLAY BODIES SLIDE 20 PROPOSED WATER FEATURE A SERIES OF MULTICOLORED TILED OBELISKS A SYMBOL OF LA QUINTA AS SEEN IN THE COVE AREA STREET SIGNS. MADE OF CAST CONCRETE AND -STEEL REBAR WITH A SKIN OF HIGH AND LOW FIRED CERAMIC TILE. THE OBELISKS WILL PROVIDE A SPRAY OF WATER FLOWING DOWN TO A POND OF MULTICOLORED TILE REFLECTING THE COLORS IN THE WATERFALL/LOGO-SIGNS AT THE ENTRANCE TO LA QUINTA 074 THOMAS A. McGRAW PAVEMENT AMENrrJES MOSAIC INSETS ATTACHMENT I SIDE WALK MOSAIC INSETS OF HIGH FIRED CERAMIC MAY INCLUDE LA QUINTA CITY LOGO, USED AS DIRECTIONAL SIGNING TO DENOTE AREAS OF IMPORTANCE, OR BE PURELY DECORATIVE WITH NATIVE PLANTS, NATIVE AMERICAN ARTIFACTS, NATIVE ANIMALS. FOR SIDEWALK PREPARATION SEE ATTACHED PHOTOS. FOAM IS PRESSED INTO CONCRETE WALKWAYS CREATING A RECESS. AFTER THE CONCRETE SETS THE FOAM IS REMOVED. TILE IS SET, AFTER 24 HOURS GROUT IS APPLIED FILLING THE AREAS BETWEEN MOSAICS AND PROVIDING A TEXTURED AREA LEVEL WITH CONCRETE WALKWAY. MAINTENANCE, SIDEWALK ART MAY BE CLEANED BY HOSING. SHOULD AREAS BECOME DAMAGED BY VANDALISM OR MISUSE, MOSAICS MAY BE REPLACED AND RE GROUTED. 075 THOMAS A. McGRAW CITY OF LA QUINTA ART IN PUBLIC PLACES PROGRAM CIVIC CENTER CAMPUS PROJECT WHILE LIVING IN LOS ANGELES, INCLUDED IN MY EXPERIENCES AS A DESIGNER WEJECTS THAT INVOLVED THE DESIGN OF TILE SHOWROOMS IN THE UNITED STATES AND CERAMIC TILE AND CERAMIC EUROPE. IN NEW MEXICO I WAS EMPLOYED BY A SMALL CERAMIC TILE STUDIO, TRADING MY SHOWROOM SALES TIME FOR CLAY, GLAZES, AND KILN TIME, THUS BEGINNING THE DEVELOPMENT OF MY CERAMIC DESIGN LINE. I NOW HAVE RETURNED TO CALIFORNIA WITH A DUAL PURPOSE GOAL. I WISH TO DEVELOP A STUDIO THAT WILL USE THE SERVICES OF THE PHYSICALLY CHALLENGED, ELDERLY, AND ILL AND SHARE THE PROFITS. AS A RESIDENT OF LA QUINTA I WOULD LIKE TO DISPLAY MY ART IN THE CIVIC CENTER CAMPUS TO SHOW THAT LA QUINTA SUPPORTS ITS LOCAL ARTISTS, AND TO SHOW THE ART COMMUNITY THAT LA QUINTA SUPPORTS ITS LOCAL ARTISTS PO BOX 1128 LA QUINTA CALIFORNIA 92253 076 CITY OF LA QUINTA ART IN PUBLIC PLACES PROGRAM CIVIC CENTER CAMPUS PROGRAM MOSAIC SIDEWALK INSETS SLIDE I. LARGE MOSAIC, HI FIRED, UNGLAZED MULTICOLORED NATURAL CLAY BODIES CAP A ARCHED DOORWAY. • INSTALLED OVER PLASTER WITH THIN SET, THEN GROUTED SLIDE 2 CLOSE UP OF DOORWAY CAP. SLIDE 3 THE MOSAIC WALKWAY INSET DEPICT THE NATURAL PLANTS AND CREATURES OF THE DESERT. MADE OF HIGH FIRED NATURAL CLAY BODIES SLIDE 4 THE HIGH FIRED CERAMIC MOSAIC TILES FRAMED IN NATURAL STONE SHOW DESERT LIZARDS AND SNAKES AMID NATIVE DESERT PLANTS SLIDE 5 A CLOSE UP OF NATIVE PLANT INSET SLIDE 6 A STEPPING STONE INSET - MIGRATING GEESE HI FIRED NATURAL CLAY BODIES LOW AND HIGH FIRED GLAZES • APROX 3' X 3' LOW FIRED GLAZES NOT RECOMMENDED FOR HI TRAFFIC AREAS SLIDE 7 SIDE WALK MOSAIC INSET- FOSSIL SHELLS AND FISH OF HI FIRED NATURAL CLAY AND HI FIRED GLAZED TILES SLIDE 8 CLOSE UP OF FOSSIL MOSAIC TILES SLIDE 9 SIDEWALK MOSAIC INSET - WATER PLANTS HI FIRED MOSAIC CERAMIC TILES OF NATURAL CLAYS AND HI FIRED GLAZED TILES SLIDE 10 SIDEWALK MOSAIC INSET - DESERT WILDFOWLERS HI FIRED IN NATURAL CLAY BODIES AND HI FIRED GLAZES. SET IN THIN SET AND GROUTED. 077 THOMAS A. McGRAW PROFESSIONAL REFERENCES GLORIA ZOLDAN ( 310) 652 - 1467 9386 SIERRA MAR DRIVE LOS ANGELES, CA. 90069 JOHN DILLON (760 ) 324 - 0406 70-810 IRONWOOD DRIVE RANCHO MIRAGE, CA. 92270 DR. JUDY HOWARD 5 PINEWOOD CIRCLE RANCHO MIRAGE, CA. 92270 BARBARA F. KLESS 5455 8th STREET CARPENTERA, CA. 93013 ( 760) 202 - 8868 ( 805 ) 684 - 0504 MR. & MRS. THOMAS WEBB ( 949 ) 770 - 1804 27451 VALDERAS MISSION VIEJO, CA. 92691 078 THOMAS A. McGRAW EDUCATION: PASADENA CITY COLLEGE 1955 - 1957 SCIENCE MAJOR PASADENA CALIFORNIA ART MINOR UNIVERSITY OF CALIFORNIA LOS ANGELES, CALIFORNIA ART CENTER SCHOOL LOS ANGELES NOW PASADENA PROFESSIONAL EXPERIENCE: 1957 -1959 FINE ARTS 1959 - 1960 COMMERCIAL ILLUSTRATION STARTING UP ONE MAN CERAMIC 1995 TILE SIDEWALK MURALS OS SCS HAND MADE TILE STUDIO IN WATER FEATURES LA QUINTA, CALIFORNIA COUNTER POINT TILE 1988 - 1994 SHOWROOM DESIGN LE DESIGN SANTA FE, NEW MEXICO SHOWROOM SALES COURDNATING FACTORY PRODUCTION T.A. MCGRAW AND ASSOIC. 1977- 1985 PRESIDENT/DESIGNER LOS ANGELES, CALIFORNIA PROJECTS INCLUDING RESTAURANTS, OFFICES,RESIDENCES MEDICAL CLINICS CLOTHING AND CERAMIC TILE SHOWROOMS TILE DESIGN 079 ALBERT C. MARTIN & ASSOC. 1973 - 1977 LOS ANGELES, CALIFORNIA DIRECTOR / DESIGNER PROJ. INCLUDING SPNB NATIONAL HQ FRENCH BANK OF CALIF. STONE & YOUNGBERG HOTELS MAUI, BAHREIN MORGANELLI / HEUMANN 1971 - 1973 DIRECTOR OF DESIGN LOS ANGELES, CALIFORNIA PROJECTS INCLUDING ATLANTIC RICHFIELD GINGE INDUSTRIES COMPUTER SCIENCE CORPORATION HOTELS IN BOSTON AND PITTSBURG MARTIN / BRATTRUD 1969 - 1971 VICE PRESIDENT TORRANCE, CALIFORNIA FURNITURE DESIGN SHOWROOM DESIGN COORDINATOR FABRIC DESIGN CATALOGS PUBLIC RELATIONS AND SALES CANNELL, AND CHAF'FIN 1962 - 1969 CORONA f)EL MAR, CALIFORNIA INTERIOR DESIGNER REMODEL C & C MODELS SPEC. HOUSES PUBLIC RELATIONS 080 �y i tis L ti s- t I MR9 1-11"', IV_-- LM MENT J U83 MM June 15,2000 Div City of La Quinta Department of Social Services La Quinta Ca. 92253 Dear Sir or Madam: We are a general contracting firm specializing in the construction of single family housing. We had the opportunity to avail ourselves of the artistic talents of William Cain. William was invaluable in his ailrty to foffnat color schemes and architectural details for our projects. We are happy to recommend him to you as a very qualified and professional artist.. During the time we were working with William we experienced his enthusiasm for a project and his dedication to perfection. It is commendable. At' We gladly recommend William Cain on his artistic ability. Sincerely, Richard and Sharon Smalve Owner and manager PHONE: (760) 837-6304 • LA QUINTA, CA 92553 • LIC. #355655 085 It is my belief that having art in public places, in which people can interact with the art and have a participating part in it, enriches the enjoyment and pleasure for the public. I propose to build a walking meditation form called a labyrinth (design and costs attached.) It is my vision that the labyrinth would become a place for the community to gather and discover a place that offers peace, tranquility and beauty. It has been my experience that both adults and children enjoy walking the interweaving pathways. Upon reaching the center, seating will be provided to allow for rest, contemplation, and/or daydreaming. The fact that this art form will be placed near or leading into the lake area will only enrich the experience. I will construct the footpath 36 inches wide to allow those with wheelchairs to follow the pathway and therefore, also, enjoy the experience. I truly hope you will approve my project since I feel the labyrinth interacts with both the environment and spirit of La Quinta. Thank o� r William Cain 086 THE LABYRINTH A labyrinth is an ancient circular diagram found in cultures around the world. Since antiquity, stories of the labyrinth- closely associated with the ancient sagas of the Minotaur, Theseus and Ariadne, and Daedalus and Icarus- have caught the Western imagination. In fact, the labyrinth as an object of contemplation and mediation might be considered the "mandala" of the Western world. GET IN TOUCH WITH YOUR INTUITIVE AND SPIRITUAL SELVES A labyrinth is an intricate pattern, design, symbol, or archetype found in many spiritual and community traditions in various cultures around the world. Although its origins are mysterious, it has been traced back over 3,000 years to what we now know of as Peru, the southwestern United States, Iceland, Crete, Egypt and Indonesia. Unlike a traditional maze, a labyrinth has a single or universal path leading to a center or goal with the same path in reverse leading you back out. A maze, which has many possible paths to choose from, can lead to disorientation and confusion. The labyrinth brings calm and centeredness. Our culture loves efficiency -the `best" way is usually the shortest distance between two points. The labyrinth is the epitome of inefficiency. Walking this circular path takes us out of "doing" and into "being." During the time it takes to walk, our linear persona drops away and we experience our deeper spiritual side. This process seems to tap into an archetypal reservoir that connects us with the universe, our ancestors and ourselves. As we trace the path of the labyrinth we are interweaving mind and magic. This powerful construct can act as a lens that brings our collective unconscious into focus on a personal level while at the same time aligning us with the larger forces at work in the galaxy. THE LABYRINTH: SACRED PATTERN, SACRED PATH "The labyrinth is a model of spiritual cosmology that is quite unrecognizable to the modern mentality since this understanding disappeared after the acceptance of Descartes' world view and the split of the mind/body/spirit. " -Keith Critchlow EARLIEST KNOWN LABYRINTHS Labyrinths are divine imprints. They are universal patterns most likely created in the realm of the collective unconscious, birthed throughout the human psyche and passed down throughout the ages. Labyrinths are mysterious because we do not know the origin of their design, or exactly how they provide a space that allows clarity. Labyrinths can be found in almost every religious tradition around the world. The Kabbala, or Tree of Life, found in the Jewish mystical tradition is an elongated labyrinth figure based on the number 11. The Hopi medicine wheel based on the number 4, and the Man in the Maze are just two of the many Native American labyrinths. Tibetan sand paintings, though not walked, are mandalas, a kind of labyrinth created through meditative state. They hold the experience of transformation within them as well. Labyrinths have been known to the human race for over four thousand years. The oldest European form on record is the Cretan labyrinth, also called the classical seven -circuit labyrinth. It is believed that these designs evolved out of the spiral figure found in nature. Possibly the oldest surviving labyrinth is found in a rock carving at Luzzanas in Sardinia, and dates from 2500-2000 B.C.E. Cretan labyrinths were also imprinted on coins and traced into pottery and other artifacts in ancient civilizations. Researchers note that even though early civilizations were isolated from one another, only one archetypal design of the labyrinth emerged over thousands of years. Remains of a seven -circuit labyrinth can be found of Mount Knossos, on the isle of Crete. The earliest surviving labyrinth designs on a ceramic vessel (c. 1300 B.C.E.) were found at Tell Rifa'at, Syria, and on an inscribed clay tablet (c.1200 B.C.E.) found at Pylos, Peloponnisos, Greece. Researchers suggest that the giant labyrinthine structure built at Fayum in Egypt by King Amenemhet 111 around 1800 B.C.E. was the first labyrinth construction that could be walked through. Herodotus, born about 484 B.C.E., is the first person known to have used the term "labyrinth." Labyrinths are made of many materials. Some have paths outlined in stone. Others are carved into stone. The early Roman -style labyrinths were usually made of mosaic tile. Turf labyrinths, found throughout England, Scandinavia, and Germany are made from mounds of earth covered with grass. Sacred geometry was once considered a divine art, and master builders and masons were held in high esteem. 087 Robert Levior explains: "For the human spirit caught within a spinning universe in an ever confusing flow of events, circumstance and inner turmoil, to seek truth has always been to seek the invariable, whether it is called Ideas, Forms, Archetypes, Numbers or Gods. To enter a temple constructed wholly of invariable geometric proportions is to enter an abode of eternal truth ". Sacred geometry is the key to creating "an abode of eternal truth." The architects approached this lofty ideal by embracing the concept and experience of unity, something we know little about in this postmodern age. The whole of creation was seen as a source for this sacred art. The central concept of unity, symbolized by the circle, stands behind the choice of numbers, proportions, and pattern. In essence, unity creates by dividing itself, so the basic challenge was to demonstrate how "absolute unity can become multiplicity and diversity." Unity and the number I were seen as the same thing. One was singular and as unity it was all- inclusive. By this reasoning, 2 could not simply be two ones placed side by side as it is today. Mirroring the natural pattern of cells multiplying, it is not throughout addition that unity creates diversity but through division. Through the forms of Gothic architecture -the use of circles, squares, and rectangles -sacred geometry attempts to recapture the "orderly movement from an infinite formlessness to an endless interconnected array of forms, and in recreating this mysterious passage form One to Two, it renders it symbolically visible." THE DIFFERENCE BETWEEN A LABYRINTH AND A MAZE I have noticed when I mention the word labyrinth to people without showing them an image, most people think of a maze. The word mare is also frequently used interchangeably with the word labyrinth, creating further confusion. This is understandable since the labyrinth has not been in use for approximately three hundred and fifty years. When I give my thumbnail sketch at the labyrinth to prepare people for their walk, I carefully explain that a labyrinth is different from a maze. Labyrinths are unicursal. They have one well-defined path that leads us into the center and back out again. There are no tricks to it, no dead ends or cul-de-sacs, no intersecting paths. Mazes, on the other hand, are multicursal. They offer a choice of paths, some with many entrances and exits. Dead ends and cul-de-sacs present riddles to be solved. Mazes challenge the choice -making part of ourselves. Often they are made from hedges or other materials that create alleyways to limit the walkers' sight. The unicursal path of the labyrinth is what differentiates it and sets it apart as a spiritual tool. The labyrinth does not engage our thinking minds. It invites our intuiitve, pattern -seeking, symbolic mind to come forth. It presents us with one, but profound, choice. To enter a labyrinth is to choose to walk a spiritual path. CHURCH LABYRINTHS Church labyrinths, also known as pavement labyrinths, make up their own specific category. They are unicursal and are laid on or into the floor. The earliest Christian labyrinth is most likely the one found in the fourth -century basilica of Repartees, Orleansville, in Algeria. The words Sancta Eclesia at the center confirm its use as a Christian treasure. This pavement labyrinth was designed in the classical Roman style and is one of many examples left in the world. In the Roman labyrinth design, the path goes methodically from quadrant to quadrant. This differentiates it from the medieval Christian labyrinth, whose path meanders through all four quadrants, instead of proceeding one by one. The medieval labyrinth is considered a breakthrough in design because it is less linear, and it creates the feeling of not knowing where the path goes next. An early manuscript (c. 860 A.D.) contains a prototype of this medieval design. A more formal drawing appears again in a tenth -century Montpelier manuscript. The earliest labyrinth appearing on a wall is believed to be at St. Lucca Cathedral in Italy and dates from the ninth century. This labyrinth, approximately eighteen by eighteen inches, was designed for people to trace with their fingers before they entered the cathedral. This was understood to be a way of quieting the mind before entering sacred space. PEOPLE WITH DISABILITES Over the years that I have been presenting the labyrinth to the public we have had a number of people with disabilities walk the labyrinth. Wheelchairs work just fine on the labyrinth. Usually it is more meditative for the person in a wheelchair if someone else guides him or her through the labyrinth, because he or she can relinquish control without having to be concerned about moving through and around people. Sometimes people who can walk will not have enough stamina to go the whole distance, nearly a third of a mile, all at one time. When this is the case, I usually keep an eye on them and when they want to sit, they give me a signal and I will walk in with a chair for them to sit on and rest wherever they are. APPROACHES TO WALKING THE CIRCLES OF THE LABYRINTH Gracious Attention: One approach is simply to quiet the mind, choosing to let all thoughts go when they present themselves in your awareness. In this form of walking the labyrinth, the task is to allow a gracious sense of attention to flow through you. You may find tears welling up, or a sense of peace. Your soul may want to be still and rest. Asking a Question: A second approach to the walk is to focus on a question that we have been asking ourselves. Most of us carry questions subliminally. We are looking for clues to life's puzzles, even if we don't realize it. Part of the preparation for your labyrinth walk can be to bring these questions into your conscious mind. I encourage participants to journal their thoughts before they walk or to share what they are looking for with another participant. The listener may then suggest the unspoken questions that he or she can hear. This gives focus and a context in which to hear from the still, small voice within. In this form of process meditation, it is beneficial to amplify the question and the thoughts surrounding it. Really get into it, look at it from all angles, let all else go but your question. Our intentions guide the process. Questions that we take into the labyrinth should be outside the realm of yes and no answers. There is nothing magical about the labyrinth. It simply allows our consciousness to open so the deeper, and perhaps new, parts of ourselves can speak to us more directly. The questions that we formulate should be as close to home as possible. They do not need to be worded articulately, but they need to be asked from the heart and soul of our being, not from our everyday conscious thoughts. The Use of Repetition: Many of us meditate by repeating a word, a mantra, or a phrase over and over to ourselves. There are at least two different theories as to what kind of phrases to use. Those who have learned the contemplative method of Christian centering prayer have been advised to use a word or phrase that does not stir up either positive or negative feelings or thoughts. A word from another language or even a nonsense phrase can accomplish this. Thomas Keating suggests short words such as Abba, which means "Father" in Aramaic, but this can still be a loaded word for many. This approach distracts the restless mind by keeping it busy. The other approach is to find a meaningful phrase which lends itself nicely to the walk. 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Q f= C a� v O O ro o 00 3 o y �° •�°. m vo m'-c v 'S mw tn � aci '�, v ►: -_ • a; o �, � a ,..�' o �: a, �, °� L� 'c. � 'mac � � ,� to ++ U 7 ro O c to tO a ro O ro• O to "17 ro O- O v O u — y L u m m •V c S ura ro y y m V c ro - _ n U m 095 r W 0 0 00 � IC S o WE- U9G A R T G A L L E R Y WILLIAM CAIN Born: Pasadena, California SELECTED EXHIBITIONS 1999 Roberge Gallery, Palm Desert, California 1998 Solo Exhibition, Cain Studio, La Quinta, California 1997 Solo Exhibition, Art Center of Design, Pasadena 1996 California Institute of Arts, California COLLECTIONS Various public and private collections in Los Angeles, New York and Palm Springs EDUCATION Art studies in Los Angeles, New York, Chicago and Hamburg 73 995 El Paseo, Palm Desert, California, 92260, tel 760 340.5045, fax 760 340.9522 A R T G A L L E R Y CONSIGNMENT RECORD As of November 30, 1999 ARTIST: WILLIAM CAIN The following paintings, which have been consigned for sale to the Roberge Gallery, remain the property of William Cain until the artist's net is paid. Title Media Size Artist Net Retail Pony Express Collage 67"06" 4900.00 9800.00 Hi Ho Silver Collage 69"x81" 4900.00 9800.00 Wild, Wild West Collage 46"09" 2250.00 4500.00 Cigareftes `n Whiskey Collage 4T'x38" 2250.00 4500.00 Sitting Bull Collage 50"x42" 2250.00 4500.00 Crazy Horse Collage 45"07" 2250.00 4500.00 Director The Roberge Gallery 73 995 El Paseo, Palm Desert, California, 92260. tel 760 3403045, fax 760 340.9522 098 A R T G A WER ARTIST'S STATEMENT Although I work in various mediums, I particularly enjoy the challenge and freedom of working with mixed media and collage. A great deal of time is spent collecting materials. Layers of paint, found objects and. personal memorabilia are gradually built onto the canvas until a strong foundation has been created, resulting in robust organic feel. Both sides of the canvas are utilized, allowing the piece to be viewed from any angle,.to be placed anywhere in space. Each canvas continues to grow and evolve. Potential owners are free to add their own items. 73 995 El Paseo, Palm Desert, California, 92260, tel 760 340.5045, fax 760 340.9522 099 Leslie O'Neil Michael Moreau Property Management Team 24 hour service P.O. Box 1561 phone: (760) 323.2011 Rancho Mirage, CA 92270 fax: (760) 323.0122 pager. (760) 833.6124 June 1, 2000 To whom it may concern: As a property management professional here in the Cochella Valley, I would be pleased to recommend professional artist William Cain for artistic services needed. William Cain is highly professional, very skilled, and extremely conscientious when it comes to his work. His reputation is understandably important to him, which shows in his enthusiasm to create and master the perfect end result for his client. I highly recommend William Cain and his artistic ability. Sincerely, Michael J. Moreau J m � N 101 METHOD OF CONSTRUCTION FOR LABRYRINTH Thank you for the opportunity to submit my proposal. In building this piece of land art, it is my intention to use local supplies and labor, thus keeping the award monies within the community. To conform with the ADA Act, the pathways will be 36 inches wide with a 2 inch edge or trim on each side. The square footage of this labyrinth will total 6,088 square feet with a 36 inch landscaped pathway around the perimeter. The layout and construction is straightforward (see exhibit A), with approximately four weeks to completion depending on archetech's or builder's schedules. To build the labyrinth, the following protocol will be used: 1. Excavation of 6,088 square feet of earth at 6 inch depth. 2. Placement of 2 inches of gravel and cover with perpherated landscaping weed barrier. 3. Placement of 3 1/4" of sand for solid foundation. 4. Use of colored tinted bricks to outline pathways (see attached color cards.) 5. Placement of desert sand pavers 16"xl6" plus 4 inch centers for pathways. 6. Brush silicone white sand on top of pathways and trim to fill in any cracks (see exhibit A.) LANDSCAPING: 1. Placement of center patio tree (to be decided.) 2. Placement of 36 inch pathways outside perimeter of labyrinth with lying in of aqua pea gravel with small colored stones in blues and greens. 3. Placement of 50 mushroom -head low voltage lighting and 12 gauge wiring running through'/2" of PVC pipe around outside perimeter. Wiring connected to two 500 watt transformers, which will be placed at architect's discretion. 4. Planting of outside perimeter plants (possible choices: rosemary, agave, magenta verbena, and lavender star.) 5. Placement of various colored monument stones (approximate size 4 feet high) intermingled with hand painted Native American petroglyphs and Indian images on stones of various sizes. Use of country ledge stone to form small spirit shrines for leaving of offerings such as flowers, messages, etc... SPECIAL OPERATIONAL REQUIREMNETS: 1. Need of water access/hose outlet. 2. Need of power outlet for two transformers. 3. Access to the site for excavation and material delivery. MAINTENANCE REQUIREMENTS: Maintenance would be of minimum nature except for watering of center patio tree and outside perimeter plants and periodic hosing down of labyrinth. COST: After diligent research into possible building materials and taking into account cost factors, I decided I would use colored tinted bricks and pavers for simplicity of design and durability. Total costs will be determined at contract signing since material cost estimate is only valid for 60 days. As of this date (and as of 60 days), the total approximate cost for materials, labor, and artist's fee is $62,200. Again, thank you for your time in considering my project. I look forward to the opportunity to hearing from you to discuss the details of the project further. �# I i� 0 f►- L •�..Ab J `L N ri �T" •`� i 1� �'r� Y, ') �y Y • • i,.• ��'im �� MYN mot, tg Vt �i�b� `•�,�i i 'S A� n I•f � yy��,, a .r`�'��, �/1'M �fJ�...?: f^F�", KTI ,'..»� ��.�-.•. 1_,Yd^.�.____'�'0-'•�iS�7r'�1"ifi�563aT%f�LiL:ll�Is�i. s.�- :�:$t�9S°+r'�'�� 104 Only KOOLCRETETM precast pavers mix easy installation with professional results If you can mow the lawn or wash the car, you can install a Stepstone patio! Here's How. J Measure the area of your new patio or walkway by multiplying length by width for the total square feet. Divide the total square feet by 1.75 to deter- mine the approximate number of 16"xl6" pavers you'll need. For example, a 10' x 12' patio =120 square feet; divided by 1.75 = 69 KoorcRETE'm pavers. /2 inches of soil. The excavated area must be level to ensure the some amount of sand beneath each paver. Do not dig beyond the prescribed 2 1/2 inches: too much sand destabilizes the pavers. ❑ Install a perimeter containment system made from wood, plastic, or aluminum. (Concrete is another option, although a poured concrete edge is generally installed after the pavers are in place.) When expanding a pool deck, the existing deck serves as one of the contain- ment edges. ❑ Fill and compact one inch of sand into the excavated area. Screed the sand with a screed board set on top of 3/4" PVC pipe After leveling remove pipe and fill gaps with sand. Using a level as your guide, adjust the level of the pavers by adding or removing small amounts of sand. 0 To prevent future weed growth, cover the sand with a layer of plas- tic or other commercial weed barrier, making slits in the plastic for water percolation. Butt the pavers tightly together on top of the sand and/or plastic, then sweep silica sand in the pre -formed gap between the pavers. That's all there is to it! t j ;: Square '� Round 24"x24"x13/4° `;:'?,? �.24"04"xl3/4" Square �' �• Round 16"x16%11/2" ''��; .,�,.. 16"xl6"xl1/2" 105 Ir_j 3-4 Tan/Red/Charrnal 106 40 a, - PAVEMENT AMENITIES ATTACHMENT K FOR THIS AREA WE CHOSE TO USE' POVERA -TREATMENT ON CEMENT WALK WAYS (a " reactive" coloring on cement), IN DIFFE- RENT PARTS OF THE WLKWAY; JUNCTIONS, CAHIULLA INDIANS' PETRO- TI-IE DESIGN IS INSPIRED BY LOCAL GLIPHS WE INTERPRETED THE PET'ROGLIPHS AS TRAILAS AND AS SIN A LOGICACH WE L AND ARE TRYING TO INCORPORATE IT TO THE WALK AESTHETIC WAY WHILE TRYING TO MAINTAIN ITS HISTORICAL SIGNIFICANCE. 107 CAHUILLA TRAIL MAP " pavement amenities PROPOSED SOLUTION ' ■ S WE PROPOSED TO INCORPORATE PARTS OF THE CAHUILLA PEfROGLIPHS ON THE WALKWAYS IN A LARGE SCALE. PARTS OF THE DESIGN WILL EXTEND BEYOND THE BOUNDRIES OF THE PATHS FOLLOWING OUR PATTERNS. IN SOME AREAS GLASS TILE APPLICATIONS WILL BE INCORPORATED AS ACCENTS AND HIGH LIGHTS. ■ METHOD OF FABRICATION ONCE THE WALKWAYS AND ITS EXTENDED AREAS ARE FINISHED BY CONTRACTOR, WE HAVE TO WAIT 30 DAYS FOR CONCRETE TO CURE BEFORE WORK BEGINS. THE PROPOSED DESIGN IS THAN CUT INTO THE CONCRETE WITH A DIAMOND BLADE, THAN THE SELECTED AREAS ARE ISOLATED AND TREATED WITH THE PRE SELECTED COLOR OR TEXTURE. FOR THE GLASS APPLICATIONS A RECESS WILL BE LEFT ON THE SURFACE OF THE CONCRETE SO THE GLASS TILE WILL FIT IN IT AND BE FLUSH WITH WALKWAY SURFACE. GLASS TILE WILL THAN BE GLED IN PLACE AND GROUTED. GLASS TILES WILL BE TREATED TO INCREASE TRACTION COEFICIENT. See draw in next FINALLY THE WHOLE DESIGN AREA WILL BE SEALED. MAINTANANCE REQUIREMENTS THE TREATED AREAS WILL REQUIRE RE SEALING PERIODICALLY, AS LOCAL CONDITIONS REQUIRE. 108 Qt-P SS A Lis C C� L-©GZ i- (G N C. ( G H rtS L "A 'tt-1 1 1 1 1 1 1 1 1 1 1 P Alec. t -)A T, .r .r 4w 4w 40 4w �� 1 109 San Diego,California, June 15, 2000 ' PROPOSED BUDGET FOR ART IN WALKWAYS CAHUILLA TRIL MAP " PAVEMENT TREATMENT: 6600 Square feet of stained, colored and etched concrete ----------------------------- $ 46200.00 2, -- GLASS APPLICA TIONS 300 Custom Class Tiles ------------------------ $ 13500.00 3. -- TRAVEL EXPENSES ------------------------ $ 2000.00 1 4. -- INSURANCE ----------------------------------- $ 1000.00 5. -- HONORARIUM ------------------------------- $ 12000.00 -------------------- Sub-total-------------------- $ 74700.00 6. __ CONTINGENCY 10%----------------------- $ 7470.00 TOTAL ---------------------- $ 82170.00 rt n✓f r: �.F. I,J Ill 1 112 i 1 1 1 1 1 1 1 1 1 1 1 1 i 1 REFERENCES THERMAN STATOM ARTIST 2515 HARMONY GROVE ROAD ESCOMDIDO, CALIFORNIA, 92029 (760) 735 - 8887 MARGARET PORTER-TROUPP GALLERY OWNER 301 SPRUCE STREET SAN DIEGO, CALIFORNIA, 92103 (619) 291- 9096 MR. JAMES DEHLSEN COLLECTOR P. O. BOX # 5734 SANTA BARBARA, CALIFORNIA (805)899-91" 113 1 CARLOS DE LA TORRE ' 1010 UNIVERSITY AV. # 172, SAN DIEGO, CALIFORNIA, 92103 TEL. 760 735 8887 619 232 7546 . BOX # 952 ENSENADA, BAJA CALIFORNIA, MEXICO. P.O, ' TEL. ( DIAL DIRECT FROM U.S. ) 01152 61719429 ADALAJARA JALISCO BORN IN GU , MEXICO, 1952- ' STUDIES; 1975-1974 Arquitectural school, Instituto Tecnologico de Estudios Superiores de Occidente, Guadalajara, Mexico. Escuela de Artes Plasticas de la Universidad de Guadalajara, Mexico. 1971-1975 INDIVIDUAL EXHIBITIONS 1999 Galeria de la Ciudad, Ensenada, B. C. Mexico 1999 Casa de la cultura, Tijuana, Mexico 1988 Galaria de la ezquina, Mexicali, Mexico. 1996 Galeria de la ezquina, Ensenada, Mexico 1995 Galena de la Universidad, UABC, ENSENADA, Mexico. 1995 Instituto de Cultura de Baja California, Mexicali, Mexico. ' 1994 Galeria de la Ciudad, Ensenada, Mexico. 1983 Paisaje Urbano, Morelia, Mexico. ' 1978 Triangulo, Guadalajara, Mexico. 1972 Galeria municipal, Guadalajara, Mexico. ' GROUP SHOWS, AWARDS 1999 VII Bienal del Noroeste, Culiacan ,Mexico. 1999 VI Concurso regional de arte, award, Tijuana, Mexico ' 1997 IV Bienal Universitaria, Award, Tijuana, Mexico. 1998 Aniversario Galeria de la Ciudad, Ensenada, Mexico. 1999 Plastica ensenadense, Ensenada, Mexico. 1998 Colectiva ensenadense, Ensenada, Mexico. 1996 Aniversario I, de C. B. C. 1997 Bienal de Baja California, Mexicali, Mexico. 1995 Porter-Trouppe Gallery, San Diego, California 1987 VII Bienal de Baja California, Award, 1984 Casa de la Cultura, Guadalajara, Mexico. ' 1985 Casa de la cultura, Award, Zapopan, Mexico. 1977 Colectiva, Centro cultural Agua Azul, Guadalajara, Mexico. 1972 Nuevos Valores, Award, Guadalajara, Mexico. ' COLLECTIONS Collection of the State of Baja California. Santo Tomas Cultural Foundation Collection of the University of Baja California. L.A,CETTO Collection. 114 MIGUEL DE LA TORRE BORN IN GUADALAJARA, ,JALISCO, MEXICO IN 1951 STUDIES: 1986 LONG BEACH STATE, SCULPTURE, BLOWN GLASS, CERAMICS. ' DE 1976-1978 ESCUELA DE ARTES PLASTICAS DE LA UNIVERSIDAD GUADALAJARA, MEXICO ' 1971-1975 ARQUITECTURAL SCHOOL, ITESO, GUADALAJARA, MEXICO WORK EXPERIENCE: 2002-1986 DESIGN AND PRODUCTION OF STAINED AND LEADED GLASS 1992-1980 ARQUITECTURAL DESIGN AND CONSTRUCTION SUPERVISION IN PARTNERSHIP WITH ARQUITECT FATHER IN MEXICO. 1980-1975 ARQUITECTURAL DESIGN IN MEXICO. STAIN AND LEADED GLASS CONUSSIONS: ALAMEDA HOTEL, MORELIA, MEXICO. GEMMA RESTAURANT, GUADALAJARA, MEXICO ' SAN FRANCISCO HOTEL, TAPALPA, MEXICO. JAVERIANOS CHAPEL, GUADALAJARA, MEXICO. CARMELITAS DESCALZAS CHAPEL, GUADALAJARA, MEXICO. GROUP SHOWS: 1986 GALERIA DEL EX-CNVENTO DEL CARMEN. 1982 GALERIA AZUL, GUADALAJARA, MEXICO. ' 1979 GALERIA DE ARTES PLSTICAS, GUADALAJARA, MEXICO. 1973 GALERIA MUNICIPAL DE GUADALAJARA, MEXICO. 1972 CASA DE LA CULTURA, GUADALAJARA, MEXICO. ' 1969 PROVIDENCIA GALLERY, GUAD., MEXICO. SCULPTURES IN PUBLIC PLACES GEMMA RESTAURANT, GUAD. MEX.- SAN FRANCISCO HOTEL MEXICO. 1 1 1 1 1 1 1 1 1 1 1 1 1 1 115 SLIDE LIST 1. - LA IGLESIA -- 2,- SAN ANTONIO 3. - LA PARABOLICA 4. - EL CAMINO-------- --------------------------48 X 72 -------------------------35 X 50 ---------------------------33 X 45 5. - LAS VIDES----------------------------------------33 X 45 6. - NOCTURNO---------------------------------------45 X 75 7. - VERANO-------------------------------------------33 X 45 8. - THE RED FLAG----------------------------------33 X 45 9. - CANTAMAR---------------------------------------33 X 45 10.- LA BRUJA DEL MAR----------------------------33 X 45 NOTE 5 L1D6S OF {WZV- D o/u t W ITf4 A gvST TN-srLM4 N ST&ro* ZWOD114a fUguc p2T P�oJ6c7s �iL 8E A m jap* UP04 ize* peter ladocL y, mfa 805-995-3579 116 City of I,aQuinta Art in Public Places C.C. Campus Project ATTACHMENT L An initial commission in LaQuinta was for St. Francis Church. Even at that time I felt the dynamic of a town in scale.respectful of its roots. Further,I feel the visual spirit reflects the indig- enous Natives,plants and animals. It seems natural that I propose works which with a running theme help document the depth of LaQuinta's history while describing,too, its current reality. Please accept some supporting articles which define my process in public art,including that a local mosaic sculpture park dedicated to indigenous tribes. Perhaps its a prelude toward the current proposal. Not unlike the "CCC Project",various elements of the "Chumash- Park" were planned to be integral,artistically & thematically;employing similar building methods and decoration. The "Stations" are,of course connected closely to Indian legend, References: Jeff Hook,City Planner,San Luis Obispo Muriel Wright,pres. Cayucos Mural Society Anthony Orefice,AIA,Grover Beach,CA. Carolyn Miller,Director,Palm Desert Comm. Arts 17 ocean front cayucos, ca 93430 peter ladocl_Y, mfa SLIDE LIST: 805-995-3579 1. The Cayucan. Chumash-Salinan Iiidian mosaic sculpture park based on 40x60 ft. plan: three 9x6 ft. tiled concrete slabs plus encircling wall,tiled 2. Detail from rear of park 3. Cayucan Park,"Underworld",part of Indian legend of 4. Chinatown triptych. 15x35x1 ft. SLO % for Art. Mosaic 6. Rising to Dawn. PD % for Art. 8x8x1 ft. tiled relief w. "Snake Ladder" 6. Morro Bay Library. 650 ft. Mosaic wall 7. Mythology. Holly. Ardmore. mosaic glass and sgraffiti in mortar 8. Guadelupe,at St. Francis of Assisi,LaQuinta. 9. St. Francis. mosaic inlay 10. Fliting. dyed comp. tiles. 3 ft. D. 17 ocean front cayucos, ca 93430 peter ladocl_�, mfa 805-995-3579 118 Civic center Campus Project Proposals description As specific locations for "Acknowledgement Areas" are yet to be defined,please accept the foregoing conceptional depictions. Solutions are inherent in the three tiled sculptures co-ordinated with ambient building geometry and colors which are thematic,as well. Built on slabs with rebar armature,foam and gunnite cover or cement board,the sculptures blend acknowledgement/signature on tiles with color and texture related to abstraction of inherent theme. Tone tufa or related materiel is incorporated in each work. Installation would be the cladding of sculptural forms with prefabricated tile sections,or set by hand,as necc. (please see encl. supporting architect's drawing for tech.) Solution for my "Pavement Amenities" proposal: continuing Native theme -at intervals along the pavement -inlaid mosaic collages,with tile marble mosaic and imprints,would depict indigenous plants and animals as "described" by original Cahuilla Indian artists. Based on scaled panels,templates would be lain flush with the pouring of walk,so that the mosaic panels delivered to site would fit perfectly in its setting bed. Maintenance of tiled sculptures or inlaid mosaics in walk would be nearly negligable as surfaces are tough and grout lines are sealed. An annual damp rag cleaning followed by wiping cleans and helps to retain reflective qualities of mosaics. Budgets: At this writing, proposed cost to complete each A.A. sculpture is circa $60 to $65,000. This may include sub -contract for future tiles produced. Proposed costs for P.A. project,at min. 100 sq.ft. would be circa $150. per ft. plus installation. 17 ocean front cayucos, ca 93430 cid 72 LV ®R W 119 &I peter ladochy, mfa lo STATEMENT OF PURPOSE: 805-995-3579 As a mosaic artist creating for public spaces I attempt to develop for the client that visual idiom with which to identify the project uniquely;and,with Community interaction,help weave common themes into social environment. EDUCATION & EXPERIENCE: Born in Budapest and educated in California,incl. Northrop Aero Institute, State College at Los Angeles and U.C.L.A.; I was introduced to the art of mosaic by Srs. Corita Kent and Magdalene Mary at I.H.C.,Los Angeles;then,studied with L.A. Public Artist,Dr. Joseph Young and Millard Sheets (who) recommended me for graduate studies at Otis Art Institute. Graduated 1969 with BFA/MFA. Design/painting & ceramics. Won Study/travel grants to Europe.Three years as photog with WHO medical team in Denmark.White House health care exhibit. Regional exhibits of paintings and mosaics. Returned to States,A.N. Graphics artist for UCLA/Media Center T.V. for 2 years. Restoration artist at Hearst Castle and Watts Towers for 2 years (tile & mason cert.). Continuing production in studios of art and furnishings for public spaces,%:rith collaborating artists and techs. ART IN PUBLIC SPACES: 1999- Cayucan Sculpture Park grouping of abstract poured shapes,mosaic glass & tile clad; tiled seating wall on 40x60ft. plan. 1997- Ai & Lok (Chinatown),SLO 450 sq.ft. mosaic triptych;suspended in relief 1996— Rising to Dawn,Palm Desert suspended tile relief,8x8x1 ft. w."ladder" 1997- Amtrak depot logo,G.B. 1995- Ramona (a love story) 1985- Past,Present,Future three ft. dia, floor inlaid porcelain mosaic Grover. Beach,CA Community Center;suite of thematic hardwoods veneer reliefs.("Business/Arts Collab.") Morro Bay Library mosaic mural;650 sq.ft. Italian glass tiles. one year community collaboration. 17 ocean front cayucos, ca 93430 peter ladocl, jor, mfa 805-995-3579 121. RESUME ( page 2 ) CONIIERCIAL COWIISSIONS: Watts Redevelopment Agency paintings/workshop Braille Institute,Los Angeles painting The Ardmore Hotel,Hollywood,CA glass mosaic and sgraffito in colored grouts on 8x72 ft. exterior wall Marina Restaurant,Nevada mosaic tiled nautical placques The Patricia Hotel,Copenhagen 72 ft. Venetian glass tiled mural Meon Travel,Algarve,Pcrtugal ten ft. yarn sculpture Twin Dolphins of Morro Bay,CA 9 ft. fibreglass sculpture grouping Home Savings of America,CA. & Tx. 144 sq.ft. glass,tile and gold mosaic murals,each RELIGIOUS COMMISSIONS: St. Patrick's Church,Arroyo Grande,CA 340 sq.ft. running wall mosaics;stained glass; all major furnishings,etc. St. Joseph's Novitiate,Cupertino Hts. suite of full-sized terracotta figures and all major furnishings;tile & wood mosaic,etc. Redeemer Lutheran,Atascadero,CA three -storey wooden reredos w. organ pipes & mosaic inlay;stained glass windows;lighting floors,furniture and furnishings. St. Francis of Assisi,LaQuinta,CA several glass & gold mosaic murals St. John's Church,Encinitas,CA 46x36x2 ft. reredos with crucifix in glu-lam marble & hardwoods veneers;altar,font,podia stained glass windows;marquetry Stations,etc. * Winner,Best design,by IFRAA. Holy Family,Hesperia,CA Ten ft. Diam. natural & dyed hardwoods relief thematic tondo,incl. metallic leaf. Grace Lutheran Church,Albuquerque 12x15x1 ft. glass,tile and hardwoods relief St. Innocent Orthodox,Tarzana,CA ten ft. mosaic glass & gold triptych 17 ocean front cayucos, ca 93430 12, ARTIST'S STATEMENT Original Residents Honored in Cayucos, California by Peter Ladochy Creating "public art" has become a special experience for me as each project is augmented by students and community volunteers all participating in the process. My latest project is a mosaic mural sculpture on B Street in Cayucos; California, honoring the Chumash and Salinan peoples who inhabited this area many vears ago. There is a grouping of concrete forms, each covered with a selection of Byzantine and Venetian glass as well as ceramic tiles. The three concrete arches, each rising to 9 feet, form the shape of a Native American but and incorporate a "Sky World," a "Natural World" and an "Underworld," each with its own identifying svmbols. Another low -to -the -ground arch resembles an overturned canoe; and an encircling "Serpent Wa11," with tiled head and tail and "scales" composed of individual terra costa tiles, each impressed with a handprint of a member of the community, completes the composition. A gift to the community from the Cayucos Mural Socierv, this project was enhanced by generous donations of materials from both local businesses and companies representing the tile industry. For years this mosaic sculpture will serve its communin', reflecting a heritage we all can learn from with pride. Mosaic artist Peter Ladochy points out the Native American symbols incorporated into his newest mural -sculpture in Cayucos, California, dedicated in June 1999. t Photo by Jayson Mellom. The Tribune. San Luis Obispo. Tiie heritage • b oi. % , No. 2. TILE INDUSTRY neWd 123 Y 1 San (ills Obispo Chinatown Beautiful Mosaic Mural 1 Graces Parking structure 1 The voyage of Chinese across the Pacific and their contribution to their new homeland, specifically California and the San Luis Obispo area in the state's Central Coast area are depicted in a mosaic mural that was recently installed on a parking structure in the heart of what was the city's once -thriving Chinatown section. While development has swept away almost all of the old Chinatown, the triptect mural, created by artist Peter Ladochy provides testimony to what went before. "I've done a lot of things that require extensive research," the artist said of this and other projects that involved research as well as creative and technical skills. The mural, which should be read right to left' begins in Old China where a boat embarks on its voy- age across the ocean. In the left panel involvement in the building of the railroad and gold mining are among the activities depicted near the character of the successful businessman. In the middle is the dragon, "the undulating central figure" as described by Ladochy, which unites the mural. 1 Public Art Competition Ladochy was selected for the public art project in a competition which was open to artists from the cen-tral portion of California —from Santa Barbara to Monterey. ' "My mission was to detail, or come up with an idea that best suggested the contribution the Chinese had made," the "So something" artist said. The piece had to be a testimony to the local community, and 1 needed to be large enough to be seen a block away. Large elements, the dragon, and tha Chinese characters, Love on the right and Lok/Double Joy on the left, can be seen at a good distance while other elements are best appreciated at closer range. The artist, a native of Budapest who was educated in California, worked on cartoons in reverse and then applied them to backerboard before beginning to install the ceramic and Venetian glass tile. . Tile was "broken up in such a way to create the flow around the characters,' Ladochy explained. �X*Z*Z+Z*X*X*X*Z*Z*' Ladochy noted assistance on the project from several sources including The Tile Collection in San Luis Obispo, Les Odom Tile of Shell Beach, Dal Tile which donated a quarter ton of the for the pro- ject, and Leroy Pope, a retired Los Angeles the contractor. Without Pope "I wouldn't know how to make the stuff stick to the wall," Ladochy said of his neighbor in the small town of CayucoL Two Ton Mural He also received assistance from local builders when it came time to install the 15 foot by 35 foot, two ton mural. Ladochy has been a solitary artist focusing on public art projects for the past so to as years. He has done mosaics for numerous churches, Home Savings of America branches in California and Texas and others. His work has also included furniture, stained glaze windows, paintings and graphics. He was taught mosaic art and sculpture at Immaculate Heart College in Los Angeles and did graduate work at the Otis Art Institute, and worked as a graphics artist for the UCLA Media Center and flid, restoration work at famed Hearst Castle,and at the Watts Towers in Los Angeles. Ladochy is currently working with a local group of artists who hope to do a mural monument to the Chumash Indians in the form of a sculptural mosaic. They plan a ten foot tall, four-part, snake- like fence on a 40 foot by 6o foot piece of property. O city of sAn Luis oBispo 990 Palm Street, San Luis Obispo, CA 93401-3249 May 29, 1997 Peter Ladochy 17 Ocean Front Cayucos, CA 93430 Subject: Approval and acceptance of the Chinatown Public Art Mural "Love and Double Joy," located at 842 Palm Street. Dear Mr. Ladochy: Community Development Department staff has inspected the Chinatown mural entitled "Love and Double Joy," recently installed on the west elevation of the Palm Street Parking Garage. Staff found the mural's design, installation and materials to be consistent with approved construction permit plans and with plans approved by the City Council and the Architectural Review Commission. Please consider this letter as formal approval and acceptance of the completed artwork. On behalf of City staff, council members, and advisory body members, let me express our appreciation for your outstanding artistic contribution to the City of San Luis Obispo. "Love and Double Joy" is an inspiring tribute to our Chinese-American heritage and to San Luis Obispo's cultural diversity. The mural is a delightful addition to historic Chinatown and will be enjoyed by citizens and visitors alike for many years to come. Arnold Jon, Community Attachment: Final payment c: John Dunn and City Council Jeff Hook, Associate Planner Alice Loh, Cultural Heritage Committee Peggy Mandeville, Architectural Review Commission jh/muralaccept.let V�The City of San Luis Obispo is committed to include the disabled in all of its services, programs and activities. Telecommunications Device for the Deaf (805) 781-7410. 125 RUIZ • MASON • OREFICE, A.I.A.. 1125 grand av ARCHITECTURAL ASSOCIATES (805) 481-8166 To Whom It May Concern, Regarding. Peter Ladochy, MFA grover beach,ca. 93433 In my many years of association with Peter, Ladochy, both professionally and personally, I have found his creative abilities inspire and motivate the recipients of his art. As an organizer and manager, he has carried out all responsibilities given him. He achieves results of technical' and creative performance with a wide range of people and within a wide spectrum of duties. I can recommend his abilities highly and feel the community will benefit from his expertise and unselfish regard for his endeavors. Please feel free to contact me at 481-8166 if I can be of any other assistance. Sincerely, iRMO Ore ice, A.1. A. ARC ITECTS, A.I.A. TO: kl ARCHITECTURE • PLANNING • GRAPHICS • INTERIORS Anthony J. Orefice • Ricky G. Mason Architects 1'26 i cd CD w 0 0 0 O �; 0 0* W Co � C° E O C C7 r„ CD � d ... 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Ay n 0 < C) CD A. 3 w C ' M Q' �. vY N' �< 'Oy CPC;u, Cp G`• GL w . o° �' C.D ... wCL o c v c� ►c w '< c •a c w C: M vv.• c c CD w(so O p CD :+ CD 0 O Q C� C. Q �O ►•t — n .. O y CD ti =r rz CD 0 •�C' CD 3 C w` PC y 0 s CO •`�' 'C3 v' O 0 v, ' peter ladochy, mfa 805-995-3579 Historical Cross walk (series) 13 July 2M example: "Sunrise Bird" 1. Indigenous animal and its ecology (mosaic in "half -tones") 2. The transposed Native design (on compass axis); "Sunrise" form depicts Harmony with plants and animals (Cahuilla) 3. Mosaic pavers & glass depicting,"Aquifer" 4 "Story sign" in English and Cahuilla languages 5. Indigenous (Snake belt) patterns banding as "frame" to "Crosswalk" a 17 ocean front cayucos, ca 93430 peter ladochy, mfa IaQuinta Public Art The Campus projects Cultural Arts Commission 805-9953579 "Historical crosswalks" Mosaics (As if) excavations from colorful,early culture;these sections of "Historical Crosswalks" serve to meld the power of Native design with current reality,and to instruct and amuse all age groups touring the Campus. Each theme connected mosaic pavement contains Native pattern banding as "frame" and the theme of indigenous animal or bird in mosaic;incl. depiction of its power and ecology. Then,a colorful Native interpretation;creating a Cahuilla-styled "sand painting, pottery design or basket elements. These elements"float" on,a. co-ordinated grout tones,b. cut pavers with blue mosaic "grout lines" -representing ancient waters be neath the desert floor. Some pavers are impressed with the subject's "footprints" and there are inlain "fossils and artifacts" from the site. The mosaics are created indirectly and laid professionally on site;grout is to coordinate with ambient tones and surfaces. Because these works attempt to connect with a wide audience; perhaps a part of the projects' "Tour Guide" may indicate the Crosswalk sites,and further indicate the Native "stories" from which they sprang (for kids?). I'd be happy to work with the Historical Society during my research for Cahuilla imagery,in order to add a layer of such information,should I be allowed the mosaics commission. Thank you. W P 17 ocean front cayucos, ca 93430 ATTACHMENT M 127 Pavement Amenities Civic Center Campus Project City of La Quinta Proposal Submitted by Sandy Swan 16 June 2000 SWAI'v 1 desic! IN screen'Print P PROD,�JC�T'-, -War, 128 Cover Letter Enclosed please find my proposal for Pavement Amenities, to be included as part of the La Quinta Civic Center Campus Project. My name is Sandy Swan. I have owned Swan Design & Screenprint since 1982, and have worked full time as a professional commercial artist since 1980. My husband and I have lived in La Quinta since 1980. My proposal is to incorporate tracks of local desert animals into the concrete walk- way as it is poured. Tracks would be stamped into the concrete using footprint casts, taken either from live animals or from tracks collected in the field. Track placement will be planned in advance, in consultation with both the Park and Landscape Architects. Plans for each individual concrete section will be drawn up, with a diagram showing which animal, how many tracks, and how they will be placed (meander, diagonally crossing, in and out along an edge, etc.). All tracks in the pathway would be life size, and accurate as to spacing and placement for stride (walk, trot, .run). I have worked on two previous projects involving animal tracks. The first is a bronze relief panel of local desert animal tracks, which is installed in the Michael Wolfson Park in Rancho Mirage. The original piaster impressions were taken from live animals at the Living Desert (roadrunner, sidewinder, chuckwalla, coyote), the Bighorn Insti- tute (bighorn ram), and the San Diego Zoo (mountain lion). These individual impres- sions were combined into a final bronze relief panel. I was also a consultant for the Living Desert Education Department's. walkway project, which incorporated animal tracks into the walkways around the Education Building and in the wash areas. I assisted with design ideas, shared my methods for collecting tracks, and helped with troubleshooting. The addition of desert animal tracks in the pathways would be interesting, educa- tional and fun for Park visitors. I have watched children at the Living Desert running ahead to see where the tracks in the sidewalk lead. Teachers take their classes on field trips to Wolfson Park, to look at the animal tracks panel and talk about each different animal. The bronze animal track panel is also very popular with blind and visually impaired people who visit Wolfson Park. They are able to 'see" the huge paw of a mountain lion, the X-pattern of a roadrunner's foot, and the beautiful swirls left by the belly scales of a snake. As a possible enhancement to this project, a small bronze plaque could be in- stalled near each set of tracks. The plaque would have a life-size debossed track of the animal, and descriptive text in both raised letters and Braille. This would be informative and beneficial for both sighted and visually impaired park visitors.. 129 Professional References Linda York Director - Coachella Valley Wild Bird Center 46-500 Van Buren Indio, CA 92201 (760) 347-2647 Jim DeForge Director - Bighorn Institute PO Box 262 Palm Desert, CA 92261 (760) 346-7334 Caroline Conway Education Curator - The Living Desert 47-900 Portola Ave. Palm Desert, CA 92260 (760) 346-5694 -Contact for Living Desert sidewalk project Steve Nagle Professor at College of the Desert 43-500 Monterey Ave. Palm Desert, CA 92260 (760) 346-8041 -Contact for Rancho Mirage animal tracks bronze 130 Resum6 Sandy Swan 78-725 Ave. La Fonda La Quinta, Ca 92253 (760) 564-5061 La Quinta resident since 1980, Coachella Valley resident since 1979 1982-present Swan Design & Screenprint 75-161 Sego Lane, Suite E-6 Palm Desert, CA 92211 (760) 836-0999 fax (760) 836-0789 Position: Business Owner Duties: Client consultations, logo design, art prep (both original illustrations and computer graphics), color separations. Daily administration tasks -job scheduling, supervise produc- tion, ordering supplies and materials. 1980-1982 The Living Desert 47-900 Portola Ave. Palm Desert, CA 92260 (760) 346-5694 fax (760) 568-9685 Contact: Chris Crow Position: Graphics Dept. Job Duties: Layout and hand lettering of exhibit panels; illustrations of desert plants, animals and geology (paintings for exhibit panels, pen and ink for publications). Designed the guide map and exhibit symbols for Visitor Guide brochure. 1990 - Topographical bronze map for The Living Desert, in co-operation with the Braille Institute. 1988 - Topographical bronze map and animal footprints panel for the City of Rancho Mirage, Michael S. Wolfson Park, in co-operationwith the Braille Institute. 1983 - First Place, Fine Arts Division/Animals Non-traditional "Kestrels", Riverside County National Date Festival. 1982 - Illustrated "The Living Desert Coloring Book`, still published and sold in the Gift Shop. 1982 - Completed AA Degree in Art, College of the Desert. 131 Suggestions for Desert Animal Tracks Mammals - Desert Bighorn Sheep Coyote - Kangaroo Rat -Raccoon - Pack Rat - Cottontail - Black -tailed Jackrabbit - Kit Fox - Ringtail Cat -Bobcat - Mountain Lion - Round -tail Ground Squirrel - Deer Mouse Reptiles - Side Blotch Lizard - Chuckwalla - Tortoise - Snake - Red Spotted Toad Birds - Quail - Roadrunner - Great -tailed Grackle - Great Blue Heron - Killdeer - Mallard - Raven - Canada Goose - Burrowing Owl - Great White Heron - Mourning Dove Invertebrates - Tarantula - Eleodes Beetle (Stink Bug) - Centipede - Scorpion - Solpugid (Sun Spider) 132 Relevant Projects Mountain Lion Tracks at San Diego Zoo Photo 1 Gary Priest and his staff with Kaibab, the mountain lion. Kaibab is investigating the box filled with wet plaster. Photo 2 Kaibab walked around and stepped over the wet plaster, but did not want to step into it. Photo 3 Gary finally lifted Kaibab's paw and placed it in the plaster to get the impression. (Note: Due to Zoo safety and insurance reasons, only Zoo Staff was permitted to handle Kaibab to obtain these tracks.) 133 Relevant Projects (cont,) Animal Tracks Bronze at Michael S. Wolfson Park Dimensions: 35-1 /2" x 24" x 3/4" Photo 4 Final plaster impression of Kaibab's tracks. Tracks were separated, and cleaned up as needed. Photo 5 Finished animal tracks panel. Tracks include roadrunner, sidewinder, chuckwalla, coyote, bighorn sheep and mountain lion. (Kaibab's tracks are in the upper left corner, and just to the right of center.) 135 Solution PROPOSAL Create patterns of desert animal tracks in the concrete walkways throughout the La Quinta Campus project. Meet with Park and Landscape Architects to discuss placement of tracks and of relevant features (entrances, drinking fountains, benches, landscaping, lake and other water features). Draw up diagrams for each concrete section receiving tracks: type of animal(s), number of tracks, placement and pattern. Collect animal track impressions from resident animals (at Living Desert, Bighorn Institute, Wild Bird Center) and from tracks in the field. Create foot- print casts from tracks. Schedule with concrete contractor for stamping of tracks into concrete as it is poured. DESIGN CONCEPT, TRACKS COLLECTION, FOOTPRINT CAST FABRICATION - Layout overall design of track patterns, create diagrams for 12 walkway sections (each section approx. 8' wide x 10' long). - Collect impressions and create footprint casts for 10 different animal tracks (suggest Bighorn Sheep, Roadrunner, Quail, Coyote, Jackrabbit, Great Blue Heron, Tortoise, Chuckwalla, Eleodes Beetle, Tarantula). - Stamp footprints into 12 concrete sections (per diagrams) Bid Amount: $13,085 Each Additional Concrete Section: - Design and diagram track patterns - Stamp concrete with track patterns Bid Amount: $800-$1075 per section (depending on complexity) Create additional Animal Track Stamps: -Build box for mold - Collect impression - Create footprint cast Bid Amount: $355-$535 (depending on animal) 136 cr _cz M .0 cz E O A N � Nycw0O O00 EEWc N V Ot=pN O� 0QN-V McOmoca c-0Z0>i weEm u) O NZ OO>+cpy•S c°�EP0E0 l0r- 0 -CEO N 0 x .cz m 009• W= L Le (A�O 'E cts `00 X 9 N m CU N .W 4-0 cz .E x O cz 137 Solution (cont.) OPTIONS (not included in quote above) • Identification plaques with Braille and raised text • Mounting posts and installation labor for optional plaques PAYMENT SCHEDULE: 35% deposit on project approval 35% progress payment on completion of pathway diagrams, footprint molds and footprint casts 30% on completion of contract NOT INCLUDED: Sales tax; any city fees or permits; inspection fees, engineering fees (if needed). COPYRIGHT: As artist, Sandy Swan retains original animal tracks, casting molds and patterns. 138 Solution (cont.) CONSIDERATIONS: • Incorporate common animal tracks that residents may recognize from their own yard, or from along City bike paths and hiking trails (Roadrunner, Coyote, Quail). • Include tracks of desert animals not normally seen (Kit Fox, Ringtailed Cat). • Use tracks to tell a story: - Bighorn ewe followed by her Iamb - Water bird and Raccoon tracks around lake edge - Roadrunner stalking and catching an insect - Cottontail tracks hurry across path from one clump of bushes to another - Desert tortoise or Chuckwalla tracks near a planting of Encilia • Use tracks to direct/guide park visitors: - Animal tracks leading into park from entrances invite visitors to follow - Coyote tracks turn off to drinking fountain - Jackrabbit tracks lead to quiet bench set off of main path - Quail tracks lead to sculpture of quail family • incorporate an identification system, so park visitors can identify the tracks and learn a little about the desert animals that live here. • Make sure tracks are not so deep that they would be a hazard. 139 Maintenance Requirements Maintenance for the Animal Tracks will be minimal to none. Dirt and dust can be swept up or hosed off if needed. Normal pedestrian or bike traffic will not damage the tracks. However, skateboard and roller blades should be discouraged, both for safety reasons and the possibility of hard wheels chipping the edges of the tracks. 140 CL E p O c .w to oBa 'A °'d u dpaq yT�gE"5 +�+ O• ` p w ttd a cc .O N C- AC V 07 4) �+ VA w a d L. •�.ot C "�' O... .Oi y d d O - O rl N. .�+ .�.� co 1' p., cc r" •p, 0 eo `~ E E .BE4) d �., G.a RC O"p'd� cd V O NeOC�Oy v N W8aE�dd�m1..O+af y C.O. •� O •d r G.� A C •ucai •� m OOg B v J. d a Tc0d� w 6 9.°'►. 6 e u G'ovv�i $ co �iH cm a t3 d ►0.�) iv-4 ? g �'C °� o C:�.me bi o� eat'Co >0> SO cc o ��o`�° Sco zo�m E' o c a a w w.r.•v d ma a y as E� o�,`�F�n m�,... Ap. z 0.- s `a�� w `' C3 ad m cc A m d 0 co 0 .+ eo > S. 6) — ,0 g F Wit-"y ". op e0 O .c�pps O O CF �gQ '^V]r. .O O'ga ��.py:: 00�a"'y0~''3 C v�W �� i' Gy N.�,r�� A�•a. ol � 0;=`Z Z. g a E5 NN K° ri Y . 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Solutions are inherent in the three tiled sculptures co-ordinated with ambient building geometry and colors which are thematic,as well. Built on slabs with rebar armature,foam and gunnite cover or cement board,the sculptures blend acknowledgement/signature on tiles with color and texture related to abstraction of inherent theme. Tone tufa or related materiel is incorporated in each work. Installation would be the cladding of sculptural forms with prefabricated tile sections,or set by hand,as necc. (please see encl. supporting architect's drawing for tech.) Solution for my "Pavement Amenities" proposal: continuing Native theme -at intervals along the pavement -inlaid mosaic collages,with tile marble mosaic and imprints,would depict indigenous plants and animals as "described" by original Cahuilla Indian artists. Based on scaled panels,templates would be lain flush with the pouring of walk,so that the mosaic panels delivered to site would fit perfectly in its setting bed. Maintenance of tiled sculptures or inlaid mosaics in walk would be nearly negligable as surfaces are tough and grout lines are sealed. An annual damp rag cleaning followed by wiping cleans and helps to retain reflective qualities of mosaics. Budgets: At this writing, proposed cost to complete each A.A. sculpture is circa $60 to $65,000. This may include sub -contract for future tiles produced. Proposed costs for P.A. project,at min. 100 sq.ft. would be circa $150. per ft. plus installation. 17 ocean front cayucos, ca 93430 144 > it 16) ;a G tSl it kN 145 3 3 t W orz 0w4 •rA 44. r-1 M N •rl � N d N S•r > 41 N 00 O N.0 O N E T O 0 W �0.010 �341a N O S x P N W r-I p r-I O forob►N 3W•H UI O s O 0 U r-4 •. b N f0 04100 (N$4 N$4AJ 3 • A.0 W +J 41 01 � toM0 KRl0r-I vN ,a ,i ro `c 4.4 r-44J NW ro 4J Wo'4a 0prd0 aWro° W 0 W4J 0Mw4 U-H to 0 •riw0N r� - tr A (d .01 r'I ra�1 F W 0 �UE w • • .N 41 N Id • �1 .Cr' aa4)F a) a) 44 414.) 146 w O V)b4.) 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PERFESSIONAL REFERENCES !. Mike Fedderly Fedderly Companies 73768 Larrea Palm Desert, CA 92260 760-773-5205 2. William Swank Architect/Developer 15-550 Riveria Drive La Quinta, CA 92253 760-771-3110 3. McFadden and McIntash Architects 72-925 Fred Waring Drive Palm Desert, CA 92260 760-346-8014 4. Robert Whitnry Enjoy Development 8100 Paseo Del Ocaso La Jolla, CA 92037 619-456-22037 5. Holden and Johnson Architects 44-267 Monterey Ave. Palm Desert, CA 92260 6. Tom Colinen The Reserve 760- 568-5599 7. Jace Cheatham Architect DMB 7600 E. Doubletree Scottsdale, AZ 85258 480-367-7000 Ju l -05-00 11 : 03A war-Q# ipp 760 340 5024502 P.01 153 BUDGET FOR PROPOSED ART FOR THE LA QUINTA CIVIC CENTER PARK PROJECT Acknowledgment Area: Mountain View Bronze Memorial Sculpture Cost: $83,000. Cost includes: Artist design, bronze, hardware, patina finish, labor cost, fabrication, deliveries, installation lighting plan, working with and assisting landscape architect, and all other appropriate engineers and inspectors needed.fees. Not included in cost: Base, installation of special lighting, and laser cutting of selected script. Quail Family- Bronze, Edition of one with rights to use as a "Quail Award for casting cost only. Cost: $7,000. f4i 00 3YO-S024 * 73- i'9/ MASS6N bT • P�X M A SaRr CA.4?260 ATTACHMENT P 115(It LA QUINTA CAMPUS PROJECT GWEN HUGHES RICK BARBER COVER LETTER I am interested in participating through my proposals in the La Quinta Campus Project. My name is Gwen Hughes, resident ofLa Quints, and full timeArtist since 1979 when I graduated from Art College. Since then I have displayed my work in over 40 Art Galleries in Canada and the United States. Locally I have worked with the Cahuilla Indian band in painting murals both for their Spa Hotel and their Indian musium. My work has been purchased by the City of -Palm Springs and many Local Business Men and The private Sector. For this project I would like to create "TRIBUTE WALLS " in acknowledgement areas . PROFESSIONAL REFERENCES Simeon F. Grey and Associates. Architects and Builders .......133 Peralta Circle, Palm Springs, Ca. Allen R. Saari. Architect for Lodgco .....4415 Calle Encila, #14 Palm Springs. Ca. Dianne and Evan Mazner, Construction and Buisiness owners, 155 Palm Canyon Dr. Suite A1, Palm Springs 15 75 BIOGRAPHY GWEN HUGHES BORN 1N REGINA, SASK. GRADUATED FROM THE ALBERTA COLLEGE OF ART1979 REPRESENTED BY CANADIAN GALLERIES FRONT GALLERY ...... EDMONTON ALBERTA ASSINIBOIA GALLERY ...... REGINA , SASK WEBSTER GALLERY...... CALGARY.,ALBERTA REPRESENTED BY UNITED STATES GALLERIES TOPS GALLERY .... MALIBU, CA BRYANT GALLERY ... JACKSON , MISS CENTER STREET GALLERY .... JACKSON , WYOMING AGANISH GALLERY...SEDONA , ARIZ. LIMITED EDITIONS IN BRONZE ODE TO WHISTLER'S MOTHER LITTLE DANCER, DEGAS PRINCESS AND THE PEA PIGGY DELIGHT WINNING SPIRIT COLLECTIONS ALBERTA CULTURE ATHABASCA UNIVERSITY BRITISH PETROLEUMS CAN. LTD ROYAL BANK OF CANADA IMPERIAL OIL THE CITY OF CALGARY THE CITY OF PALM SPRINGS COLLECTIONS OF NICK N GETEE,, LII YD H ANDTl ILTONE US PRIVATE ANCOLLECTORS IN ENGLAND, PURCHASES 156 THE CITY OF PALM SPRINGS ARISOKATZ, PALM SPRINGS MOZAIC, PALM SPRINGS AQUA CALIENTE , INDIAN BAND. PALMS SPRINGS HAppy TRAILS, PALM DESERT 157 LA QUINTA CAMPUS PROJECT DESCRIPTION OF PROJECT I propose to construct one wall in "Screen Fashion " , to honoe the Cahuilla Indians , the first settlers here in our region. the screens will consist of steel sections held together by steel palm trees and depicting in Screen one, an Indian maiden puring water into a stream , Screen two a Cahuilla Basket set in a landscape of local plants and mountainscape. The bascket would be made of Steel Wire . The third panel would be an Indian Man pouring seeds into a basket with a backdrop of Valley Vistas with mountains in the background. BID AMOUNT .....$50,000 plus tax WISH UPON A STAR This wall would be polished steel with bronze stars inscribed with the names of people La Quinta wishes to honor . It would mirror our mountain shapes and our La Quinta "GEM" Image. BID AMOUNT ..............$50,000.00plus tax PAYMENT SCHEDULE. 1/3 deposite on project approval 1/3 progess payment upon completion of pieces 1/3 payment upon completion of contract NOT INCLUDED..SALES TAX, ANY CITY FEES OR PERMITS, INSPECTION FEES, ENGINEERING FEES (IF NEEDED) 158 v is -f 3 # t o � g 0 Al r o � r Z m 4 p 160 5. 7. LA QINTA CAMPUS PROJECT SLIDE LIST 1. WOLVES.................LIFSIZE ............STEEL 2. MOUNTAIN SHEEP....... LIFSIZE......... STEEL 3. STORY TELLER....... CLAY SCULPTURE ......18 INCHES TALL 4. VIEW OF SPA MURAL ........PAINTED ON STONE VIEW OF INDIAN MUSEUM MURAL ............ PAINTED ON BLOCK WALLS 6.METAL SCREEN .........13 FEET LONG ......STEEL VIEW OF MURAL FOR INDIAN MUSEUM...... PAINTED ON BLOCK WALLS 8. ELEPHANT TABLE........ STEEL 30" long 40" long 9. GRIZZLY BEAR SCREEN ........... 13FEET LONG 6FEET HIGH 10. CLOSE UP OF INDIAN MUSEUM MURAL 161 LA QUINTA CAMPUS PROJECT GWEN HUGHES RICK BARBER MAINTENANCE REQUIREMENTS Both art pieces will be built in steel and will only need washing with water to remove dirt and dust. 162- Taller Cruzando Traques Roberto Salas PO Box 4873, San Diego, CA 92164 (619) 226-5128 fax 223-8325 June 14, 2000 City of La Quinta Art in Public Places Program Civic Center Campus Project Dear Selection Committee, ATTACHMENT Q I have been working in the field of public art for over fifteen years creating site specific sculptural and mural projects in public settings. These commissions have brought me together with architects, administrators, engineers, and diverse members of the represented communities. My site -specific artworks conceptually integrate local history, community identity, and cultural linkages between people and time. The integration of the community in the development of the artwork has proved essential in public settings. Due to the nature of site specific art, ideas and imagery is the result of interaction with the people who utilize the sites. My work can be found in urban and rural settings, public schools, county buildings, and multi class neighborhoods; any site seeking enhancement. Many of my current and recent projects have been designed for public thoroughfares (road sites and walkways) and public park settings. Presently I am working on the design, sculptures, and child play area for a new park development in the US/Mexico border area of San Diego County. Included in the design, is a sunken sandbox where children seek out and identify relief -sculpted images at its bottom in a process of excavation and discovery, a series of stele sculptures, related benches and walkways. The sandbox imagery was generated through community workshops and discussions. Additionally I have been commissioned to create two separate Martin Luther King, Jr. memorial artworks at two city owned parks. One incorporates a series of road sign sculptures to create an entryway, or corridor to the park. The other, presents a concept of the word dream with five bronze sculpted hands signing the letters a top simulated stone pedestals. My interest in the Civic Center Campus is largely due to my familiarity and success working within public outdoor settings. My intention is to provide a positive experience to communities of diverse populations, who may rarely frequent art institutions, to the visual arts. REFERENCES: PUBLIC ART Christine Fey, City of RENO Planning Department: (702) 334-2303 Kathy Gee, Sacramento Arts Commission: (916) 264-5578 Gail, Goldman, San Diego Commission of Arts and Culture: (619) 533-3050 Micky Gustin, Los Angeles Community Redevelopment Agency: (213) 977-1600 Maya Ensden, Los Angeles County Transportation Commission: (213) 922-2720 Howard Spector, City of Manhattan Beach public Art Program: (310) 545-5621, ext. 326 Taller Cruzando Traques 1- 61 Roberto Salas PROPOSAL DESCRIPTION: ACKNOWLEDGMENT AREAS CONCEPT My interest in the Civic Center Campus Project is largely due to my familiarity and success working within public outdoor settings. I believe that the proposed artwork should not be centered in one place, but should be distributed geographically to visually connect with joggers, students, families, or couples strolling. Due to the scale of the campus site, I am proposing an artwork that works in a sequential series to communicate with the largest audience possible. The distribution of vertical sculptures will graphically depict a narrative of images of veterans, celebrities and sports figures that function individually as well as collectively. MATERIALS/FABRICATION The proposed medium is cut reflective vinyl adhered to an aluminum surface to form the fagade of the artwork. The fagade is attached to a pole, approximately 7 feet tall, and anchored into the ground. These are the traditional materials of Cal Trans road signage. The poles can be shaped or bent to enhance the sculptural design of the work as arcs and curves model the form. With the assistance of digital imaging, the vinyl can be cut with exact precision to include detail and accuracy. The brilliant colors will create a celebratory atmosphere identifying an array of historic personalities. The medium provides accuracy to serve as both as an educational tool and as an aesthetic enhancement. By night, the headlights of passing vehicles on a roadside location or other directed campus lights will activate the reflective properties of the medium illuminating the imagery. HISTORY/MAINTENANCE I have worked with this medium in the past to create road sign sculptures in different cities, with imagery specific to the region. Twelve of these sculptures are located on Park Blvd. in Balboa Park, installed in 1988, and have proved their durability over time. I have also just been commissioned for a series of road sign sculptures celebrating the life of Dr. Martin Luther King, Jr. in Oceanside, CA. Factors of safety, pollution, durability and maintenance have not been issues. They do not take any space away from activity areas or landscaping as the images are supported above ground by narrow poles. As for vandalism, the poles are not easily removed from their concrete settings and any graffiti, which is difficult due to its height, can be replaced or patched over with the reflective vinyl. 164 Taller Cruzando Traques Roberto Salas PRELIMINARY BUDGET MATERIALS .............................. 10,000.00 (aluminum, reflective vinyl, poles, hardware, concrete, etc) FABRICATION/LABOR .................. 12,000.00 INSTALLATION ............................... 6,000.00 INSURANCE .............. . ........ • • • • • • • •• 2,000.00 DOCUMENTATION 00 TRANSPORTATION 00 ARTIST FEE .............................. 15,000.00 TOTAL BUDGET $47,500'00 165 Samples of Celebrities,Veterans and Sport Figures 1606 I 1 16 • fir•.•..? i4 -t^~• y •.It�•i tr '•L• f :• •j� '•`f. � (•tit• Mn ♦y'•t t• •L��,"t �• � fir•, I �' �(�� bar .y •,�.;,�� tf�ft.1AX 0 • v � ' 4 k7 168 r••'�tiY ♦ Ir•L'. '1 . '• • •I ••• • L•�j ♦• •'�i�• I • 'f. 16, ROBERTO SALAS PO Box 4873 San Diego, California 92164 (619) 226-5128 fax (619) 223-8325 email: cruzandotraques@home.com BORN: 1955 EDUCATION: M.F.A., Visual Arts, UNIVERSITY OF CALIFORNIA, SAN DIEGO, 1988. B.F.A., Studio Art, UNIVERSITY OF NEW MEXICO, ALBUQUERQUE, 1985. PUBLIC ART: S FOR SHREVEPORT" 12 Historical Murals, Various sizes, Acrylic. Artistic "ARCHITECTURAL DETAIL and Shrevecorp Urban Work Student Program. Commissioned by Director leading Artist team, J.T.P.A. Youth Shreveport Regional Art Council SRAC. Shreveport, Louisiana. 1998 "SOUTH BAY WATER RECLAMATION PUMP STATION PROJECT" Plaza park,children's sand box and walk ways. Commission by the City of San Diego Commission for Art and Cultural, 1998-2000. "CITY OF CARLSBAD INTERSTATE 5 FREEWAY CORRIDOR MASTER PLAN PROJECT" in collaboration / KTU& A landscape architects. Gateway and seven mile corridor of art and landscape City of Carlsbad,Ca.1997 „AN ARCHITECTURAL QUILT FOR SACRAMENTO", a permanent site specific relief for the 8th and G st. Multipurpose County Building commissioned by the Sacramento Metropolitan Arts Commission, March 1997 "HOPE AT HAND: LIFE LINE TO THE 21ST. CENTURY", digital mural 151x16, image contributions by the Computerized Design I students. Funded by the Nevada State Council on the Arts, and the Advanced Technologies Academy, Las Vegas, NV.1996 "A CELEBRATION OF THE SEA", mural 29 x 150', in collaboration with Valley Park student body, classes 1995-2001, Commissioned by the Alaska State Council on the Arts and Valley Park PTA, Ketchikan, AK, 1995 "GABRIELINO NATION: Spirit of the Sage",mural, 15' x 85 in collaboration with Johanna Poething. Commissioned by Social and Public Art Resource Center (S.P.A.R.C.), San Pedro, CA, 1995 "LIFE IN THE GREAT BASIN", mural 8' x 70', Gymnasium foyer at Wooster High School, Commissioned by Nevada State Council on the Arts, RENO, NV, 1995. "AGAVE AMERICANA", mural 40' x 80', in collaboration with Noel Marquez. Handball court in Robert's Park, Commissioned by New Mexico Arts Division Special Projects Grant and the City of Artesia, NM, 1994. "RICOCHET", mural, 21' x 265', 405 FWY South bound, Commissioned by World Cup USA and SPARC, Social and Public Art Resource Center Los Angeles, CA, 1994. "BAJO EL SOL TEJANO ", mural, 18' x 102', Stephen F. Austin High School, Commissioned by Mexican American Studies Department, University of Houston, Houston, TX, 1994. "CONIC VORTEX ", A concrete and glassphalt circular design set in the paving of the street intersection in downtown Los Angeles, Hope Street Promenade Intersections Project, Commissioned by Community Redevelopment Agency, Los Angeles, CA, 1993 pending. "NEIL ROAD NEIGHBORHOOD ACTIVITY CENTER", Consultant and project artist to develop 18-Acre Park and Family Service Center, Commissioned by C.I.T.Y. 2000 RENO Arts Commission, RENO, NV, 1993-1999. Page 1 17� "BEYOND THIS POINT LIES the REST of the WORLD", Consultant and project artist, Retro fitting upper pier parking lots, incorporating vista points and rail design into structure, brass compass and title embedded into concrete of vista point, concept acknowledges the Pacific Rim and its geographic relationship to Manhattan Beach, Commissioned by City of Manhattan Beach, 1993-1994. "ROAD TRIBUTE TO CESAR CHAVEZ", 14 Reflective road signs commissioned by Walter State College, Sculpture Tour, Morristown, TN, 1993. "LAKEWOOD COMMUNITY MURAL", mural, Community and artist collaboration, 29 x 60', Lakewood Park, Sunnyvale, CA, 1993. "LOS PORTALES DE CHICANO PARK", City Gates Project, Porcelain enamel steel panels and painted surface on pedestrian overpass, Interstate 5 and Coronado Bay Bridge at Chicano Park, San Diego, California. Images from the community integrated into the artwork which links the severed community of Chicano Park. Artist Collaboration San Diego, CA, 1989-1994. "BLUE LINE TOTEMS IN RED: A TRIBUTE TO THE BIG RED CAR CONDUCTORS", A series of painted steel sculptures on the 103rd street station platform, the imagery derived from ticket punch designs used by the conductors of the original Big Red Car Trolley, Los Angeles County Transportation Commission, Los Angeles, CA, 1992-1994. "CROSSROADS FOR YOKOHAMA", mural, San Diego/Yokohama Sister City Exchange Project, supported in part by Lions' Club of Japan and the City of Yokohama, Japan, 1992. "A NOCTURNAL ARRANGEMENT FOR ATLANTA", Six- site specific sculptures constructed of wood, cable and recycled bicycle reflectors for The Art Festival of Atlanta: Site Works, Atlanta, GA, 1992. "A NOCTURNAL COMPOSITION FOR U.T.", 15 reflective road signs commissioned by the University of Tennessee at Knoxville, Sculpture Tour, 1992. "SPIRIT TOTEMS FOR SAINT LOUIS", The Bi-State Development Agency ground breaking sculpture installation for Metro Art at Interstate 70 at 170, 1991. "ROAD TOTEMS", a site specific public art sculptures commissioned for ONSITE'91/ Public Art Works, San Rafael, CA, 1991. "LAS COSAS DE LA VIDA/ THINGS OF LIFE", mural 15' x 49, Artist gift to community, Sunland Park, New Mexico, 1991 "CONIC STRIP FOR L.A.", mural, Social and Public Art Resource Center, Neighborhood Pride: Great Walls Unlimited, Los Angeles, CA, 1991. "CARRUCHAS: A PUBLIC ART PROJECT ON WHEELS ", A series of five hand painted, privately owned automobiles exhibited in a downtown parking lot exhibit, a site specific public art work, Commissioned by Installation Gallery, Art walk '91 and The Community Foundation, San Diego, CA. , 1991. "ENTRE AGUA Y TIERRA", mural, gift of the artist and funded in part by Casa de Cultura. Isla Mujeres, Quintana Roo, Mexico, 1990. "EYE CONES ", a site specific, temporary public art installation commissioned by Installation Gallery, Art walk '90. Downtown, San Diego, CA, 1990. "BUS BENCHES PROJECT FOR EL PASO", 25 painted bus benches interspersed on a 4 mile boulevard, supported in part by El Paso Bench Company and U.T.E.P. El Paso, TX, 1989. Page 2 171 Slide List Roberto Salas 1-5 "Night Vision", 1988 12 reflective road signs, north and south bound on Park BI. Aluminum and reflective vinyl. Balboa Park/ Zoo entry. Owned and commissioned by the City of San Diego, California. 6-10. "A Nocturnal Composition for U.T.", 1992 15 reflective road signs commissioned by the University of Tennessee at Knoxville, Sculpture Tour '92. ATTACHMENT R CaMMo...4 t T'i SeAQ.vrcas Dcit.Ecm Tg-ems cot" -.a: Tiper Pr cc boy- . RE: 1 Fts 4=1vtc CEK'Tt!:. R CAtrcT-' E�� Nis a P-v t z' z l A w, EE Ei�`/ Su a M rr-rr tv G rc c� �- j�jQ,Qt�S�LS �a�R R�vt�-r�y �6u ANC yoc��R. �uc.TvtR�A•t.. a,�TSeoMhll.. sac.�CtTED- _, , iZ.'�'tJ�p�aRTS T-cG U`RES i� ENI�a�I � t,.� Sac. c.1 T�.D • . A,.SC0 L•P•res RE �oR•'I � � �-+riElttRlt) cRT��E�Tt�IR..�� ac.t �� T� �t �tRST'Ti 'REE I v�-0 �c1u�SLST OF' Cc�tzY t L.t tit crt%Q.5kPt17- ��,,p�•rc.S 1�nQ u....t s t-} ED (� (Ttt Cis �$ �zE7 56 S RFUJ EFs ,;.REt.,�PlTt1.�G to Ef�ct-{ SPEGIF-(GSuL3�1�'G't'��1QSG- �u c.. es 4 t'z�'i� • l• G. i ti-� ��TEaR..f'� to $ �c It+c. c R.i lP►c.. Wov t-D ,('�E �oN`PIPti�SEU OF �ovl� SEC't'ICN� �"�i�ff (��gSciR1N� t (a H- k 8 F'c- WOO I�i 1")�FPEiZ�N c .tttil�Lct-f CF lttm MtLl-t-FP'2Y Ak#%-yi tqR vY, lci-F'a N t�-� o f S • St m-1 LASL Gko up (g G ��P►.s�S�A �- J C'o o't"i�� -�- ��KN (S. (�-1-� CEI.�E'�CZITI 0� T) l cT wovtE�T-v Q (�JQ u L.A ,Q Sikcin2-E t't�.Cs OF 4Kt �65 1�d�rc� �CV L��-� •Et�'a-�� -E'Z ....EX C-'E Rl � � GE t,� tsE f I i{,�v£ S� u -7rAvs N.L -+,G*o Pt E:e-- 4=--s S C A- 4Z-7-7 C, PuPrZtS) -7 i & S's L C5 tq C Lit '5-UtT7t5-- . cl —7 t C j3t Gt 7,M-7 0 c� ty\ a& Lft G� t w-a 173 In the world of fine art, Mr. Urbon is autodidactic. However, his vast knowledge of art and antiquities accumulated through a lifetime of study led to his appointment by Christies as their New England representative. After only one season, he left that tune -consuming position to return the full concentration of his energies towards materials research and sculpture. That former activity led to his development of a process to reassemble pulverized stone into sculptural forms by utilizing advanced composite materials technology. Not to be confused with "Cold -Cast" or "Cultured" stone, his material is a clone of the quarried variety except it is much stronger and impervious to acid rain. Over the years Mr. Urbon has been a prolific sculptor having created more than 350 pieces. While he has been sculpting as an avocation for as long as he can remember, he consulted in the field of Aeronautical and Space Engineering for twenty-five years accumulating forty-two patents along the way. A theoretical physicist; he has authored more than 100 technical papers. Mr Urbon has evolved a style of artistic work uniquely his own. He prefers that his art not be labeled as "Modern", "Expressionist", "Abstract" etc... Rather since his output is so multifaceted, he would have it known only as sculpture. e 174 Paintings and drawings — these satisfy our natural penchant for illusion and are, therefore, valuable. But restricted to only height and width they cannot convey those internal energies that are reflected by and excite the surfaces of three-dimensional shapes. Large sensuous monumental forms — these are what I consider the best vehicles to depict the relationships between imagination and reality. There is nothing more pleasing to me, nor more challenging than to suggest in the stillness of bronze an inner motion — now fluid, graceful, controlled, now frenzied, aimless, wild. In order to more fully understand, one must appreciate the fact that this art form demands an inordinate amount of exploration, risk, discipline, and the ability to feel ridiculously inadequate without losing the will to soar. It is with this kind of thinking that I ain most comfortable. After all it represents much of what eve love and admire and fear in life. Peter J. Urbon Sculptor 175 5 • Bronze Logo for the Bank of Boston installed in their principal offices world-wide. • An heroic size "Mermaid", Bronze. The Cameron Collection, Palen Springs, California • "Grace" Cast Marble. The Koelemij Collection, Tallahassee, Florida. • "Mary" A Ballerina, Bronze. The Davis Collection, Har%vichport, Massachusetts. • "Lovers", Bronze. The Martin Collection, Chicago, Illinois. • "Raechel", Cast Marble. The Mir Collection, Camden, Maine. • "Sarcophagus of Pacal", Cast Limestone. The Stien Collection, Joseph, Oregon. • "Hunter/jumper", Bronze. The McNear Collection, Littleton, Massachusetts. • "Angelhair", Bronze. The Parry Collection, Desert Hot Springs, California. • "Lovebirds", Bronze. The Porter Collection, Deerfield, Massachusetts. • "Mayan Queen", Cast Limestone. The Hirafuku Collection, Tokyo, Japan. • "Chacmol King", Bronze. The LeFabour Collection, Paris, France. • "Pensive" and "Catharsis of Yin &- Yang", Cast Marble. LEADERS Magazine Collection, New York, New York. Also, represented in private and corporate collections in: France; Italy; Germany; Nigeria; England; Mexico; Taipei; the Phillippines; Puerto Rico; Canada; Spain; Japan; and throughout the United States. 17 Z.,. 4DE IS FY-rh�AG.mP-RS 1 qa8 6Z F`r- LONG cJ'T'l"'f N �}I�G jET i a 14 It 9f R� Cv�B�►�! � ��Ntit�t� --3 �a t lu i 144� S� L_ 17'7 Mc jVle Rt �L M o �•c v IVla�f�t5 1 G a M M E K D tk'r- *E: k P-6'w WMr-- Mc IOU ..i Alpo top MErc-r5 Sctc�D As (E1Dt�R-,-gyp . � L� Tee Q�� Ma � v rtia' ntr5 btlo� t.-p C3E C�oa�s`c�2uGt'tr D IN.TE S�wc�. &k& uut^sZ ExcervY' r op -r*e- gets REua-Fs P E4c&t So c31E'cz"6Ff ?4A t sir . ��.�.. a.V- TH-a c ufrIM-0 BA=t I-Z 6r FLI -A t-ems Wcc_c_ 14wve A $RoWXE� Pc..Aera=AL WEA :.iL.awC.-iZ S�='cTco AS �e=t�icT�Da^t ST'C{{.�a. to. ,,;(�ouc-� C3E lniSc�ytt3Efl. `i �E uPpt'�l� T�}tZE� �u�AR"[�R� ;dF TrtE ,}- F-r- C3 y 8 FT. bit c-t, 5E A Oo P,- K=D REc.te:frS 4PpPal*W RTC ;To Ti-t L43 Et-D L'D ,;44SEMeL-Y Wtc-A-15C,0100ta—1 d=b ON Q C* +' URZ gk-rt .:'Ge�s� • S t � GE' (~ar � Cat. t= F � G t �'t�l'Z" Q F � �� fR- �--� t.Y-ru vK--sI o rs s PA 1+ 1+ t G R t. w-W Joc�EA 13V ASt*tocmc,- tttE:- C� T- V e�a� ' i E � d4S � • �tut� s's-� CAS �'vS �"-� a 1 me: TIA-6 E LO o vmvc v+Tc Dts FRS SL'M G L`/ 13 Vowaz,o�t_..s. QS e1PrS E,.S (3 tc.Sc!,:.c-u a-e—D Wt T;4 K71 �(I FL-s s-rv�.F'F 1 m Pa-s-Lw.-v E'i fa:v� es Fop, Etc+ Mom u ��.T 178 Il Iz 3 0 c 3 1't I VI I 0 F z 9 r s 179 9 D IL Io X 1 c a � � 0 z i n 181 In 1.82 24 June, 2000 Ms. Dodie Horvitz, Community Services Director City of La Quinta P.O. Box 1504 78-495 Calle Tampico La Quinta, CA 92253 Dear Ms. Horvitz, ATTACHMENT S I am very excited to have this opportunity to work on the Civic Center Campus public art project for the City of La Quinta. First and foremost, I enjoy the challenge of creating art for the whole community, rather than for the usual audiences of art in galleries and museums. Working on projects which allow me to delve into the personality of a particular location and citizenry give an unbeatable sense of belonging and connection between me, my art and the larger community. Add the desert location to this, and the project becomes ideal! Early on in my career as a professional artist, I became involved in public art. In my early twenties, I worked as assistant to the chief artists for three murals in Yuyuantan Park in Beijing, China, as well as two sculptures in Chengde City, north of Beijing. Last year I was commissioned to design (and have already completed and installed) a mural -sized painting for the new addition to the Scripps Hospital in Chula Vista, California. Currently, I am working on another mural design for the San Ysidro Community Center. Of the three Civic Center Campus projects in La Quinta, I am keenly interested in the acknowledgment area site. I would avoid the simple imprint of names on a wall; this is visually boring and would not serve the purpose of giving life to those who are to be rememberedAnstead, I suggest a solid stone foundation supporting a thick resin wall decorated by vivid and eye-catching images of veterans, sports figures and celebrities. I would strive to create a sense of La Quinta's history, it's future, as well as to remember those who have contributed —and will continue to contribute —to both. Overlaying this visual background, I would used bronze letters to form the text to accompany the images. From far away, the words will blend in with the visual background; as the viewer comes closer, the raised words become legible. The method of portrayal is a metaphor for the meaning of the piece(s): one can not discern the individuals who have made contributions from far away —only when one gets to know the community, does one understand the individual contributions of the outstanding (in bronze!) people in the community. Obviously, this is just a preliminary idea and the execution of the details can be discussed and further brainstormed with the engineers and architects designing the Civic Center Campus. I would very much enjoy the opportunity to collaborate on such a project and hope to hear from you soon. Sincerely, Li Tie 183 Description of materials and method of fabrication I propose three separate pieces installed in three locations. Each one will be about 10 feet tall, 4 feet wide and 10 inches thick. They will stand vertically on the ground. I will use three different kinds of material. Stone, transparent resin, and bronze for the letters comprising the names. These are all long lasting materials suited to the hot desert environment. The stone will come from local mountains and can be an emotional reminder of the area. The important part of each piece is the transparent resin in the middle, which I will create in my studio. A commercial vender will make the bronze names which will be placed on each piece later. The stone on the two sides not only supports the resin in the center, but is also meant to create a symbolic foundation with which the contributors both associate and stand out from. They are about 18 inches wide and 6 inches thick. The center part is the transparent resin. It will be about three inches thick. I will place sheets of photo transparency images according to the themes: veterans, sports figures and celebrities. I may also place some real objects associated with the themes in each piece. It will be my task to create the images and artistically compose them to trigger viewers' respect towards the people who have made contributions. Because it is transparent, one can view the images from both sides. In this way, you are not just looking at the names, but what is behind them and supporting them. In addition, I can make the resin in different colors: green for the veteran's piece, blue for the sports figures and red for the celebrities. The top part of each piece will be shaped differently. But together, the shapes of the tops of the three pieces will resemble the shape of mountains in the background of La Quinta City. The names can be placed either on the stone or on the resin; this really depends on whether or not the letters will interfere with the images in the resin. If they do not look good on the resin, they can always be placed on the stone. Installation The resin piece will be lodged between the two pieces of stone. To enforce it. We will draw holes on the two sides of the resin and stone and place a metal stick in the holes to connect the resin and the stone together. (Remember, the resin is 3 inches thick). Then, the entire thing will standing on the ground with their foundation buried 3 or 4 feet underground. Consultation with the architect will be needed for the details of how this will be done. Budget Resin 11,000 Photo transparency 1,500 Transportation to the site from my studio 2,000 Commercial vender for the letters 4,000 Installation 1,500 Stone (including material and preparation labor) 6,000 Artist design fee (including assistant if it is needed) 14,000 ------------------------ Total $ 40,000 VIEW 1815 186, stone peg glass Top View of Instalation stone ■ Ii j bc° t po-dTez Ll µ cE, f i P--- W etT�.l� Fc-�iTU fte;- Sc u c.t�-U ,a AH . o ti A ► 2 F'r. l7 t a. �R sE PETER J . U RBON SCULPTOR 190 P.O. Box 874 RANCHO MIRAGE, CA 92270 760 • 329 • 4917 U"ONITEO: THE MATERIAL In an effort to enlighten those unfamiliar with the substance, we will attempt, in laymen terms, to address what we anticipate would be some of the most frequently asked questions. They are as follows; What is It is a radical new substance of the genesis known as composite material. Just as the term sounds, composites are a combination of two or more components this Stuff to form a new matrix of superior quality This might be in the form of higher anyway? strength or, lighter weight, or greater toughness or, a combination of all of the above plus other characteristics that set it apart from more familiar tangible matter. What do Urbonite®. This is the general term since our base substance is usually combined with other components to enhance the qualities of a large variety of materials. you Call For example: we can literally take rocks apart then put them back together it? again, perfectly cloned but lighter and stronger than the original. We know of no quarried stone we cannot reconstitute. HOW Very strong. Carbon atoms cling together tenaciously. Carbon atoms are a key ingredient in Urbonite®. The result — in a heavyweight comparison, a one ton strong is slab of reinforced concrete a foot thick will support little more than 2,500 tons. it? A similar slab of construction grade Urbonite® will support over 26,000 tons and do it without reinforcement of any kind. Can it be Yes. And as an alternative for many metals, woods, and plastics as well. Especially in those applications which, for example, use steel which may be considered stronger than needed yet is used because the available alternatives are a replacement inadequate. for concrete? How heavy About 115 lbs. per cubic foot, which is about one third less than concrete and is it? only about a forth of the weight of most metals. Is it Premixed components require common sense in handling. After processing, environmentally Urbonite®, in all forms, is less hazardous than Mom's Apple Pie. friendly? I J I Can it Any machine tool used to work metals or stone are suitable for using on Urbonite®. It can be drilled, threaded, turned, milled, ground, and polished. It be can be seamlessly fused to itself, and designs and alphanumerics can be machined? sandblasted into it the way gravestones are marked. However, because it has no grain, bursting chisels are not very effective but shaving chisels work well as do scarfing tools. Are All parts of all variations are readily available worldwide. components plentiful? Can it Urbonite® cannot be melted down, however, broken pieces can be chemically fused together again seamlessly. Scrap can be crushed in a ball mill for use as be reused aggregate in subsequent applications. or recycled? Can Yes. Not only is it compatible with traditional metallic reinforcement devises, it is harmonious with sophisticated objects like carbon and aramid fibers, more Urbonite® be common fabrics like rayon, dacron, nylon and glass are also suitable. reinforced? Can it Most definitely. Because of its exceptional compressive strength (20 times that of concrete) Urbonite® is an excellent candidate for structural beams. be Pre -stressed? What If you wanted to cast a pre -stressed beam, you would first stretch steel cables through the length of the mold using almost enough pull to break the strands. does While the cables are still tight, pour the Urbonite® mixture into the mold and Pre -stressed allow it to cure. When thoroughly hardened (about 1 hour) release the cable mean? anchors at both ends of the beam. The resulting tendency of the cables to contract will have the effect of drawing each end of the beam towards one another. The result is not unlike someone lifting a line of books by applying hand pressure to each end book and squeezing on the interior books without physically touching any of them. Does it require No. Just keep it at room temperature. heat or cold to process? Is it When it comes down to bang -per -buck, it is cheaper than any other material we expensive? know of for the diversity gained. Is it Yes, Urbonite® can be formulated to duplicate the look of the finest cut and esthetically polished stones. attractive? Does it require No. Users can employ technologies ranging from sticks and buckets to high special speed computerized injection molding machines. equipment to process? Is it Yes. Not only is Urbonite® strong, it is very tough and not brittle like concrete earthquake which is actually more fragile than uncooked pasta. resistant? Is it We have not found anything in nature that harms Urbonite®. chemically resistant? Can it Yes, because of its extremely low moisture absorption rate, it is impervious to be used nugrating hydrocarbons from leaking underground petroleum storage tanks for example. underground? Will Only before curing. After curing (solidification) cold will not affect it. We made helical coil springs to demonstrate that we could make our stone flexible. Florida �t State University scientists subjected one spring to a temperature of 77 Kelvin freeze? (more than 320 degrees below zero F.) When it was returned to ambient room temperature it again compressed flawlessly. Size wise, the spring had a 4" inside diameter. The stone "wire" cross-section was %" diameter and it was formed with a 1" pitch (space between revolutions). How much With Urbonite®, you really get what you pay for. Just as you wouldn't compare the cost of wood with the cost of steel on a board foot basis, you shouldn't of a bargain compare the cost of concrete with the cost of Urbonite® on a cubic yard basis. is it? The physical and mechanical properties of each are vastly dissimilar. Must Urbonite® No. In fact, portable processing equipment is currently available which can be be processed set up anywhere electrical power is available. in a special factory? 193 How soon As Quickly as needed. Depending on the application, solidification cycles can be varied from seconds, as for a sprayed surface, to minutes as in filling molds, to does it days as in we don't know what. We do know someone is bound to have a need achieve full for a cycle that will take a preposterously long time - - - as in concrete. strength? What skills In addition to an acute respect for chemical substances, a healthy dose of common sense would be in order. Otherwise, it's about as complicated as baking are needed a cake wherein careful measurements and cross checking of instructions assures to process success. Urbonite®? Is the No. One or two workers, depending on mold size, would suffice per work station. Since products can be cast with a polished surface, finishing functions process can be confined to trimming tasks only. labor intensive? Can complex Yes. Because component particles are chemically reduced to molecular sizes, anything for which molds can be made can be cast in Urbonite® with finite shapes be cast fidelity. Also, since Urbonite® castings can be fused seamlessly to other in Urbonite®? Urbonite® castings, there is no limit to the size of subjects eligible for our technologies. Is Urbonite® Nothing is perfect. However, we have routinely preheated castings at 375' F. in preparation for acid patinas as applied under the flame of an acetylene torch. suitable for high temperature applications? What Polymers consist of a bazillion very small units called mers. In our scheme of things, these itsi-bitsi things or, building blocks, are synthesized from organic are substances that burn and also contain our favorite element — carbon; typical of polymers? these would be phthalic anhydride, meleic anhydride and ethylene or propylene glycol. These chemicals are fused, reacted or, cooked together under vary limiting conditions of mixing, temperature and time. The procedure is done under a blanket of nitrogen to keep oxygen bearing air out. The process is controlled in such a way that the components are only permitted to hook up with one another to make molecular chains of pre -decided lengths. After cooling, the new larger molecules (polymers) are then blended with and dissolved in an unsaturated hydrocarbon to make a substance of colossal aroma. After deodorizing, the chemical processor ships us some of this polymer goop which we use as a vehicle to carry more chemistry in our recipe to produce Urbonite®. 194 How How polymer chains link up to one another chemically is, we think, quite interesting. Consider and accept, if you will, two identical bodies of electrical does charges repulse one another. Conversely accept that dissimilar bodies such as liquid positive and negative or, male and female, are attracted to one another. By Urbonite® agreeing with this axiom; you would have the aporism that dictates why m Urbonite® solidifies. Although our minute molecules cannot easily be made to become a become attached to one another, they have an affinity for the unsaturated solid? hydrocarbon molecules that they have been swimming with. Under the proper conditions, one unsaturated hydrocarbon molecule can "join hands" with two of our polymers. By encouraging enough of this "socializing" to take place via the introduction of a catalyst, the polymer mixture goes from its liquid state through a series of stages until it becomes a solid. Many factors are necessary to create the proper conditions under which this solidification or "cross -linking" can take place. Simply stated, this catalyst or "initiator" is needed for things to happen. In our polymer/unsaturated hydrocarbon mixture, organic peroxides will do the job. However, we prefer custom designed initiators to put our polymer molecules in such a state they cannot resist linking up with a molecule of unsaturated hydrocarbon. When this happens, the unsaturated hydrocarbon molecule gets so activated it joins up with another polymer molecule. Anon and on the molecules dance. The final number we call Urbonite®. 1917 U-1728 Physical and Mechanical Properties (less SICW Whiskers) Molecular Weight (transporter) 10,100 Heat Distortion Temperature ('C) 102 Barcol Hardness 48 - 49 Flexural Strength (psi) 20,935 Flexural Modulus (psi) x 10' 5.26 Tensile Strength (psi) 11,030 Tensile Modulus (psi) x 10' 5.42 Compression Strength (psi) 17,385 % 0 1 Deformation 9.77 Youngs Modulus (psi) x 106 1.361 Elastic Limit 0.0075 IZOD Impact (unnotched) 3.2 % Water Absorption (RT) 0.054 N r .0 O •, t- O 00 ocq co v • ¢, � �' X cfl .. P4 z ca o II w N v II • c, a to •� cq II a rr I I 4 0 rn cp o 000 co r• O I I CJ � � II W o z E-+ z o z �" � w z rA o U z g v� 4 rz� a o A H W z �A �, E� O 00 O n N 000 It t� I� 110 N I LI rp j q _ f Jiii if 1 1"71 t.. 1,98 THOMAS A. McGRAW WATER FEATURE AT PARKING AREA ATTACHMENT U A SERIES OF MULTICOLORD OBELISKS, A SYMBOL OF LA QUINTA AS SEEN IN THE COVE AREA STREET SIGNS. MADE OF CAST CONCRETE AND STEEL REBAR WITH A SKIN OF HIGH AND LOW FIRED CERAMIC TILE. INTERIOR TUBING TO THE TOP OF EACH OBELISK WILL PROVIDE A SPRAY OF WATER FLOWING TO A POND OF MULTICOLORD TILE REFLECTING THE COLORS IN THE WATERFALL/LOGO SIGNS AT THE ENTRANCE TO LA QUINTA. MAINTENANCE REQUIREMENTS: THE SAME AS THE EXISTING ROUND FOUNTAIN AT CITY HALL. T �x �. fir a 4ai�s"ik't 'l �r � r WMid— SIR rm Im, -IW{ t '.. Z 20-1- ATTACHMENT V THE CANAL FOUNTAIN 1,� -0 UNA "Ali OF I (W N D P0, z,;,Z�r V 'OP "ft.- I I I I I I I I I I I I I j 202 San Diego, California June 29, 2000 (1_11'11`11TAY _kR11 (A'A"I'llssION'll, kkl IN P[Tfit C11A OF LA QUIN'I'A, CALIFORNIA CONUSSION MEMBERS; TROUGH THIS LETTER WE WISH TO COMMUNICATE OUR INTEREST IN PARTICIPATING IN THE 'CIVIC CENTER CAMPUS PROJECT', ART IN PUBLIC PLACES PROGRAM TO THE LA QUINTA CULTURAL ARTS COMISSION. WE ARE A TEAM OF TWO BROTHERS WORKING TOGETHER AND OWR COMBINED EXPERIENCE IS AS FOLLOWS; b) 7 YEARS OF COLLABORATION WITH CALIFORNIA ARTIST THERMAN STATOM DOING DESIGN, RESEARCH, DEVELOPMENT, PRODUCTION AND INSTALLATION OF ART PIECES IN PUBLIC PLACES AND PRIVATE COMISSIONS. THE FOLLOWING ARE SOME SAMPLES OF PUBLIC ART DONE IN COLLABORATION WITH THERMAN STATOM; NIA, CAUH)� �, -"J 'INIA, "-FRIMIJ �i i � ! I f S, , 11Z f"ll I- f s 7 Nll Nl_)�� 1 V 1 A LlFfl,,A\( UIS MN'l'�JL." `U'_,(_/k `MA. I` Ll c) 25 YEARS OF ART WORK WICH INCLUDES SOLO SHOWS, GROUP SHOWS, AWARD WINING COMPETITIONS, PRIVATE COMISSINS, ETC. d) 20 YEARS OF ARQUITECTURAL DESIGN AND SCULPTURE. e) STAINED GLASS DESIGN AND PRODUCTION INCLUDING CHAPELS AND PRIVATE COMISSIONS. THE CANAL FOUNTAIN PROJECT 1 I I r F F 0 203 THE CANAL FOUNTAIN PROJECT CONCEPTUAL INTERPRETATION THE IDEA FLOWS FROM THE CANALIZATION AND DISTRIBUTION OF LIFE GIVING ROCKY MOUNTAIN WATER TO THE PALM SPRINGS VALLEY. THE FOUNTAIN -PROJECT CONSIST OF THREE PARTS; a) MONTAINS b) CANAL c) THE VALLEY A ) THE MOUNTAINS ; The idea is to create five pink cantera stone cones 8 to 10 feet high with a five feet base each. At the top of each cone a nozzlewill deliver a constant rain (flow ) of gently cascading water. This water gets collected at the base of the fountain and flows thru the canal. B ) THE CANAL: The canal carries the water down a gentle slope for 40 feet until it desapears on the ground. This canal is made of the same cantera stone as the fountain. C ) THE VALLEY; This area will be an allegory of the lushness that water brings to the valley. A series of gentle water jets that sprouts from the floor level will alternate on and off. This water will seep back to the ground. I I 204 METHOD OF FABRICATION I THE MOUNTAIN —CONES, THE DOWN SLOPE CANAL, AND THE VALLEY PAVEMENT AREA ARE FABRICATED OF PINK CANTERA STONE (A type of sandstone) THAT IS QUARRIED AT PUERTECITOS, BAJA CALIFORNIA, MEXICO. THE STONES ARE QUARRIED AND PRE -CARVED IN MEXICO AND ' THEN TRANSPORTED ACROSS THE BORDER AND ASSAMBLED ON SITE ON A PRE- CAST REINFORCED CONCRETE ' FOUNDATION. I INSTALLATION METHOD i WATER AND ELECTRICITY HOOK UPS WILL BE PRE -INSTALLED ' ACORDING TO FOUNTAIN TECHNICIANS' SPECIFICATIONS. THE STONES WILL BE NUMBERED AND WILL BE PRE -FITTED AS ' THEY ARE CARVED IN THE STUDIO IN MEXICO. ONCE THE INSTALLATION IS COMPLETED, THE FINAL DETAILING IS APLIED ON THE OVER ALL STONE WORK. THE WATER BASIN IS I SEALED. AT THIS POINT THE WHOLE HIDRAULIC SYSTEM IS INSTALLED ' AND TESTED 1 2o15 ' MAINTENANCE REQUIREMENTS ' THE STONE CONES WILL BE CLOSE TOGETHE AT THE BASE IN SUCH A WAY THAT FORMS A CHAMBER AT THE ' BASE WITH AN ACCESS FOR INSTALLING AND SERVICING PIPES AND OTHER HYDRAULIC COMPONENTS. THE REST OF THE SERVICING OF THE FOUNTAIN WORKS WILL BE AS RECOMMENDED BY ' FOUNTAIN TECHNICIAN. l H ion FA - FRONT VIEW 207 208 209 CONE ASSAMBLY VIEW ww-�tNAN ctr n Mc- 5I I I I I I I I I 1 1 I 1 1 1 1 1 1 1 1 219 San Diego, Ca. June 28, 2000 THE CANAL FOUNTAIN PRELIMINARY BUDGET 1.- CANTERA STONE; ff i-'is : t { ,21--------11 - 2.- HYDRAULICS (fountain works) 3.- FOUNDATION; ---------------- ----------------------------$ 2500.00 ----------------------------$ 20000.00 4.- TRANSPORTATION ------------------ --$ 7000.00 ---------$ 2500.00 S.- INSTALLATION ------------------------------------------------------- $ 4000.00 6.- TRAVEL EXPENSES ------------------------------------------------- $ 2000.00 7.- INSURANCE-----------------------------------------------------------$ 1000000 21.q 8.- STRUCTURAL ENGENIREENG---------------------------------- $ 1500.00 9, SIGNAGE-------------------------------------------------------------- $ 1000.00 10.- STUDIO AND OFFICE EXPENSE------------- -$ 1500.00 11.- HONORARIUM ------------------------------------------------------- $13000.00 SUB -TOTAL --------------$ 78500.00 12.10 % CONTINGENCY ----------------------------------------------- $ 7850.00 TOTAL ------------ $ 86350.00