Thursday, February 19, 2015

2015 California Community Foundation Fellowship for Visual Artists

For more than 99 years, CCF has recognized, encouraged and supported the Southern California arts community by funding and nurturing a full range of artistic expressions. The Fellowships for Visual Artists is designed to support local artists in advancing to the next level of professional development.  Must be a resident of Los Angeles County to apply. 

Tuesday, February 17, 2015

Art for Community Concert Hall - Fort Lewis College

Please go to Fort Lewis College web page link above to see RFP for complete information.

Fort Lewis College in Durango, Colorado is inviting interested artists or groups of artists to submit qualifications and an artwork concept for an original two dimensional work, a three dimensional sculptural work, or an LED art work to be installed on an exterior wall of the Community Concert Hall located on our campus.  At this time the College is interested in the artist’s qualifications and the cost anticipated for the artist and the artwork.  Please include that information for the committee’s consideration along with your statement about your vision of the art.  When a work is selected for further consideration, the College will work closely with the artist to create a complete budget for the entire project; including costs beyond the creation of the art such as transportation, installation, and structural requirements (for the artwork and the building).  At that time the proposal will be presented to a donor who has expressed interest is making this project a reality.The Fort Lewis Community Concert Hall was built in 1997 and is a masonry (block), concrete and steel building.

To see what the building looks like and what the feel of the campus, click on the link below:

Move your cursor over campus buildings each will pop up if you click on them. You will find Community Concert Hall in the upper right quadrant of the map.  Click on Concert Hall to see pictures of the building and its setting.  The art would be located on the large wall as seen below.  Please feel free to call Cathy Gore and we will help you find the correct building if you’re having trouble.

The wall is 82 feet wide and 45 feet high and is located on the east side of building. This wall viewed from approximately half of the campus.  You can see from the campus map below student parking surrounds the location for the art.  The College recognizes the opportunity and positive impact the appropriate work of art would provide for thousands of students/staff daily and concert goers on from town for many events over the year.


Prospective bidders may make written inquiries concerning this Request for Proposal to obtain clarification of requirements.  No inquiries will be accepted after February 5, 2015 Inquiries should be emailed to Wayne Hermes, Director of Purchasing  Please state the following in the subject line:  “Inquiry – RFP3143 Public Art Work FLC Community Concert Hall.”



Any questions concerning technical specifications or Statement of Work requirements must be directed to:

Cathy Gore

Fort Lewis College Project Management Office

(970) 247-7561


Any questions concerning submittals, proposal format, contractual terms and a resulting purchase order, must be directed to:

Wayne Hermes

Director of Purchasing

(970) 247-7432



All proposals submitted in response to this RFP will be evaluated by a committee of Fort Lewis College personnel.  Contract and resulting Purchase Order(s) will be awarded to the bidder whose proposal, conforming to this RFP, will be most advantageous to the College, price and other factors considered.  Due to the evaluation procedure for the Request for Proposal, lowest dollar price MAY or MAY NOT indicate the successful awardee.  Price constitutes only one of the several evaluation criteria.

The Evaluation Committee will judge the merit of proposals received in accordance with criteria described below.  This is a closed bid process.  A technical evaluation committee comprised of Fort Lewis College Art Department Faculty and Fort Lewis College Administration will judge the merits of each bid package received in accordance with the criteria stated below.  The recommendations of this committee will be forwarded to the purchasing authority for review and approval.  Failure of the submitter to provide any information requested in the bid may result in disqualification of the proposal.  The sole objective of the evaluation committee will be to recommend the contractor whose proposal is most responsive to FLC’s needs while within the available resources.  The specifications stated in the Request for Proposal package represent the minimum performance necessary for response.

Fort Lewis College reserves the right to:

·        Reject any or all offers and discontinue the RFP process without obligation or liability to any potential Vendor

·        Accept other than the lowest priced offer

·        Award a contract on the basis of initial offers received, without discussions or requests for best and final offers

·        Negotiate a best and final offer after the award

Due to Fort Lewis College's evaluation system for Requests for Proposals, the College cannot sign non-disclosure agreements with any bidder.

The contents of the successful vendor’s proposal in response to this RFP will become contractual obligations and will be incorporated into the final agreement between Fort Lewis College and the selected Vendor(s).

The College reserves the right to reject any and all proposals and to waive informalities and minor irregularities in proposals received and to accept any portion of a proposal or all items bid if deemed in the best interest of the College to do so.

Monday, February 16, 2015

Connective Corridor: Public Art to Complete a Major Streetscape

Request for Qualifications

Location: Connective Corridor - Syracuse, NY

Total funding: $650,000 for an estimated six to ten installations

Submission Deadline: March 1, 2015 by 11:59 p.m. EST. 

Call to Artists

The Connective Corridor in partnership with the Syracuse University College of Visual and Performing Arts invites artists to submit letters of interest and qualifications, along with initial concepts, to be considered for the commission of permanent artwork to be installed at various sites along the Connective Corridor inSyracuse, NY. The call is open to all professional artists and artist teams, based locally, nationally, and internationally. Selected artists should demonstrate expertise in creative placemaking and are welcome to propose work in all media and materials. Creative placemaking is an evolving field of practice that leverages the power of the arts, culture and creativity within the context of community revitalization in ways that catalyze positive economic and social change, and enhance quality of life.

The selection panel is interested in commissioning artists or design teams who are enthusiastic about engaging and collaborating with the university and community on finalized designs for installation. Artists may propose one installation or a thematic series of installations at sites along the Connective Corridor.

Installations will become permanent public art located on properties along the Connective Corridor streetscape (see map attached in site details). Works in the public right-of-way must be accepted, owned and maintained by the City of Syracuse through the Syracuse Public Art Commission (SPAC). 

Conceptual Theme 

“Illuminating the Connective Corridor through Public Art”

The Connective Corridor is an initiative of Syracuse University, the City of Syracuse and Onondaga County that embodies best practices in urban design.Illumination has been a “literal” theme of the Connective Corridor, including innovative lighting projects that highlight the City’s iconic architecture and urban spaces.  Public art along the Connective Corridor will “metaphorically” illuminate the city as a vibrant, radiant place to live, work and engage. Proposals do not need to incorporate lighting as a primary element, but applicants should consider how their work might be creatively illuminated after dark.

All media and materials will be considered. The jury is looking for meaningful enduring work that is informed by the physical aspects of the specific site, as well as Syracuse’s overall historical and cultural context. Applicants are encouraged to think about how their proposals relate to creative placemaking within Syracuse. Engagement will be an important component of this project and successful applicants will work with the steering committee, comprised of university and community members, to finalize proposals. In addition to submitting a Resume/CV and artist statement, artists are asked to submit a letter of interest that reflects why they are interested in a public art project in Syracuse, as well as their approach to community engagement.  Applicants are encouraged to articulate how an initial concept or their body of work relates to the goals of the overall Connective Corridor project, described below. 

Background on Syracuse, NY

Syracuse is the fifth largest city in New York State, with a population of approximately 145,000 and a metropolitan area that exceeds 650,000. It is located at the geographic crossroads of the state, and the Central New York region is the gateway to popular tourism areas such as the Finger Lakes, Thousand Islands, Adirondacks and the Great Lakes. It is within driving distance of major metropolitan regions in the Northeast and Mid-Atlantic, as well as Canadian cities such as Toronto, Ottawa and Montreal.

Syracuse, like many post-industrial cities, is redefining itself as it shifts from a robust manufacturing industry to an innovation economy. It is emerging as a national example of urban revitalization and regional transformation, winning the U.S. Green Building Council’s Global Leadership Award for its commitment to smart growth, sustainability and civic engagement. It was also recently named America’s Best College Town by Travel and Leisure Magazine. The City of Syracuse is seeing an accelerated pattern of investment in downtown neighborhoods and business districts, with more than $350 million in new downtown investment currently underway. More than 40% of that investment activity is new residential development, and downtown residential occupancy is at 99%. Downtown residential population has increased over 30% in the past three years, with much of that growth in the young professional age cohort. The city is compact and walkable, and features striking 19th century architecture that is seeing a new wave of mixed-use redevelopment. The city has a robust arts scene, with 40 museums and galleries, including the nationally known Everson Museum of Art, designed by I.M. Pei, along with live/work neighborhoods for emerging and established artists like the SALT District

Background on the Connective Corridor

The Connective Corridor is a partnership of Syracuse University, the City of Syracuse and Onondaga County, managed through the Syracuse University Office of Community Engagement and Economic Development. Partners leveraged approximately $46 million in external public/private funding to implement improvements along a two-mile urban corridor connecting the University Hill area with downtown business and residential districts. This public solicitation is unique in that it aligns public art within this larger context.

Components of the Connective Corridor include:

  • New complete “green streets” with bike and pedestrian pathways to help create a more livable, walkable community; 

  • New network of green infrastructure to capture and manage 26 million gallons of water annually through a variety of advanced technologies;

  • Redesigned public parks and spaces, along with landscaping and signage for key gateway nodes to central business districts, along with extensive tree planting;

  • A free public bus system connecting campus and community venues, with ridership numbers that have grown from 6,000 to 200,000 rides annually;

  • A better connected arts, cultural and heritage district, with more than 40 cultural/community venues working together to program and co-promote the district;

  • Public spaces featuring interactive technologies and a large-scale outdoor urban video installation;

  • New downtown signage, civic strip wayfinding and the development of an interactive information kiosk system designed to enhance the Syracuse experience;

  • More than 70 building façade improvement projects designed to augment the new complete streetscape; 

  • Innovative lighting projects designed to illuminate the City’s iconic architecture and public spaces through a “Corridor of Light”;

  • A new public art corridor based on principles of creative placemaking;

  • A working partnership with the City of Syracuse and Onondaga County to direct investment in key urban parcels for mixed use redevelopment along the Corridor;

  • Collaborative design with Syracuse University faculty and students that translate multi-disciplinary research and pedagogy into practice through implementation projects.

Location of Art

Projects must be located on properties along the Connective Corridor streetscape. The Connective Corridor is a two-mile east-west urban pathway from Syracuse University to the heart of downtown Syracuse. The “Civic Strip” of the Connective Corridor is a north-south loop around Syracuse’s arts, cultural, heritage, and downtown tourism/convention district. Potential locations have been pre-identified as possible areas of interest (see website for details and photos), however artists are encouraged to explore other locations directly on the Connective Corridor (highlighted in red on the map). Priority locations are indicated on the map on the website below:


The Connective Corridor has allocated $650,000 for permanent public art through this solicitation. These funds will be split among finalists, and the amount per project may vary depending on the scale of the work and site, and the nature of the proposal.  It is anticipated that individual awards will range from $50,000 to $75,000 per installation, however a larger award could be made for a significant proposal at a key site. The panel will also consider larger awards to an artist or design team for a series of installations that “connect” a number of sites thematically. Smaller proposals for modest projects will also be considered. Each award will be structured as a lump sum all-inclusive “design-build” contract for permanent art. Applicants should factor in all costs, including artist’s design fees (including travel), all materials, fabrication, and final installation (including necessary sub-contracted services). Artists are responsible for installation. 

Long-term Conservation

Syracuse is a snowy city and projects will be exposed to extreme temperature differentials, moisture and varied weather conditions. Finalist's proposals should reflect highly durable, UV-resistant materials that lend themselves to long-term conservation and maintenance in four-seasons. Proposals on public property or in the public right-of-way will be reviewed by the City of Syracuse’s Department of Engineering and the Syracuse-Onondaga County Planning Agency for conformity with city regulations, as well as maintenance and durability (see the City’s handy on-line guide).  Artists submitting proposals on public property will need to work with the City of Syracuse’s Public Art Commission through the planning, review process, and approval process (see City’s handy on-link application).  The Syracuse University Office of Community Engagement and Economic Development (CEED) will assist artists that are selected through this process.

Section Process 

Jury panel and steering committee

RFQ responses will be evaluated by a panel of jurors comprised of artists and design professionals who are alumni of Syracuse University, College of Visual and Performing Arts faculty, professional artists and curators, and members of the Syracuse community who have expertise in creative placemaking. A local steering committee is comprised of SU faculty and staff, Syracuse-Onondaga County Planning Agency staff and a representative of the downtown business community.


The jury will select a cohort of semi-finalists based upon the artist’s quality of past work, experience, and interest in specific sites, as demonstrated in responses to the RFQ. Selected artists will be interviewed in April 2015 by the steering committee and jurors.  Artists will be encouraged to visit locations and may be asked to make a public presentation as a guest lecturer at Syracuse University. More details will be given to semi-finalists upon selection. Proposals will be evaluated on the artistic merit, the artist’s consideration of location, engagement with theme and the community, as well as durability.


Following interviews and selection as finalists, artists will be asked to submit final proposals that are site specific within the scope of the project and site selected. Upon review, finalists will enter into a contract process with Syracuse University to commission and install permanent work. Finalists proposing work on public property must secure approval from the Syracuse Public Art Commission (SPAC).

SPAC’s criteria can be viewed via this link:

Finalists proposing work on private property must demonstrate property owner consent and agreement to accept and maintain the work for a period of a minimum of five years. A certificate of liability insurance is required for all finalists, providing evidence of coverage as part of contracts that will developed with individual artists through the Syracuse University Office of Community Engagement and Economic Development (CEED).

Installation of artwork is expected to begin spring 2016 and must be complete by June 30, 2016. As a resource for selected artists, a team of undergraduate and graduate students in a Public Art course in Syracuse University's School of Art is expected to be assigned to each artist. Project management is through the Syracuse University Office of Community Engagement and Economic Development (CEED) and the College of Visual and Performing Arts, with Quinton Fletchall (VPA graduate student and CEED engagement scholar), coordinating this public art solicitation. 

Submission Deadline

All responses must be received no later than 11:59 p.m. EST on March 1, 2015. All materials must be submitted online, via the CaFÉ™ website ( There is no application fee to apply or to use the CaFÉ™ online application system.

Submission Details

Please read this section carefully. Incomplete applications will NOT be considered. The applicant’s name must appear on all materials submitted.

Artists who are interested in submitting their work for review should provide the following material online via the CaFÉ™ web site.

Completed Application Form (on CaFÉ™ application page)

Current Resume/CV (PDF or Word format - up to 4 pages preferred length)

Note: If this is a group submission, please submit a single resume for the whole team, with individual resumes integrated into one document. Also note that there is an opportunity to upload examples of your work later in this application.

Artist Statement & Letter of Interest (PDF or Word format - up to 4 pages preferred length)

In addition to your artist statement please provide a letter of interest addressing the following: Is there something about a particular site, the City of Syracuse or the Connective Corridor that especially intrigues you?  How would you align your conceptual proposal within that context?  Share examples of community projects you have done in the past, and the engagement approach you bring to projects. Do you have an initial concept? If so, please describe.

Examples of Work

Please upload to CaFÉ™ 5 to 20 samples of past and recent work with descriptions. For descriptions of public art installations please also include location, commissioning organization, and budget for the work submitted as illustrative examples.

Instructions on how to format images to CaFÉ™ specifications can be found at Assistance in using the CaFÉ™ system is available during regular business hours by calling 303-629-1166 or 888-562-7232, or via email at

Project Timeline

March 1, 2015:  

RFQ deadline (11:59 p.m. EST)

April 1, 2015:          

Announcement of semi-finalists

April 2015:            

Semi-finalists interviews

May 2015:            

Jury selects finalists

May/June 2015:  

Finalists work with steering committee to finalize locations, budget and actual costs

July/August 2015:  

Preliminary Approval by Syracuse Public Art Commission for projects in the public right-of-way / Contracts with artists developed

September 2015:    

Review and Approval – Artists working in the public right-of-way present proposals to the Syracuse Public Art Commission for approval / Contracts executed

Fall 2015/Winter 2016:        

Fabricate projects

Spring 2016:          

Install projects

June 2016:  

All projects complete and final invoices submitted for reimbursement. Invoices submitted after June 30, 2016 will not be reimbursed.

Additional Information

Questions may be addressed to Quinton Fletchall at

Friday, February 13, 2015

Brand Library Art Galleries Call for Submissions

The Brand Library Art Galleries is accepting submissions from artists, curators, and artist groups for exhibitions to be held in 2015 and early 2016.

Opened in 1969, the Brand Library Art Galleries has a long history of supporting artists and sharing thought provoking and engaging works of art with the public. The 3,200 square foot professional exhibition space offers one of the most stunning municipal exhibition venues in Southern California.

Brand Library Art Galleries showcases work in a variety of styles and media by established and emerging artists, with a focus on Southern California-based artists, living artists, and recent work, however curatorial proposals from outside the region will be considered.


Submission deadline is February 28, 2015. Submissions will be reviewed in March, and notifications made by the end of April. The Gallery Director will invite selected artists, curators, or groups for an interview. Selections are made based on the quality of the artwork or proposal, the degree to which the work corresponds to the Brand Library Art Galleries mission, and the desire to present a diverse yet well-balanced exhibition schedule.

Interviews generally take place in the artist’s studio; in some cases interviews will be conducted at Brand Library Art Galleries with artists asked to bring examples of their work to the interview.  If selected, individual artists will be curated into small group exhibitions with 2 to 4 other artists. The notification and interview timeline is subject to change at the discretion of Brand Library Art Galleries staff.

Artists, curators, or groups not selected may re-apply in the next submission cycle.


  • Individual artists or artist groups who have exhibited at the Brand Library Art Galleries are not eligible for resubmission for four years, however artists who have only exhibited work in the Annual Juried Exhibition are eligible to submit.

  • Works previously displayed in the Brand Library Art Galleries are not eligible to be shown again.

  • No preferential treatment is given to individual members of the Associates of Brand Library, City of Glendale employees, or art associations that have previously exhibited at Brand Library Art Galleries.

Thursday, February 12, 2015

Call for Public Artists for Nicollet Mall, Minneapolis

The City of Minneapolis is pleased to invite public artists to apply to design new public artworks in concert with the Nicollet Mall Redesign. (See page 5 for information on artist eligibility.)

Artist Informational Meeting February 12, 3:30 p.m. Application deadline February 27, midnight, Mountain Standard Time (one hour after Central Standard Time).

For reasonable accommodations or alternative formats please contact Mary Altman, Public Arts Administrator, Community Planning and Economic Development, People who are deaf or hard of hearing can use a relay service to call 311 at 612-673-3000. TTY users call 612-673-2157 or 612-673-2626.

Para asistencia 612-673-2700 - Rau kev pab 612-673-2800 - Hadii aad Caawimaad u baahantahay 612-673-3500.

I. Nicollet Mall

The City of Minneapolis and the Minneapolis Downtown Council are working together to design and rebuild Nicollet Mall. Support from both public and private sector entities is making this possible.

Originally constructed in 1968, and renovated in the late 1980’s. Nicollet Mall was created to strengthen the appeal for retail and downtown investment. Today, Nicollet Mall contains the densest concentration of jobs and market values in the state. Hundreds of employers (US Bank, Wells Fargo, Ameriprise Financial, Target, Macy’s, Fallon Worldwide, RBC Dain, Dorsey & Whitney and Piper Jaffray, to name a few) identify the downtown public realm experience – and Nicollet Mall in particular – as central to recruiting top businesses and talent to the state.

Unlike many suburban malls, Nicollet Mall is a linear outdoor space that connects businesses and residents for nearly a mile. It is also a transit corridor for pedestrians, bicyclists, buses and taxi cabs, and a future streetcar line. Known for its curvilinear form, the space is home to Minneapolis Central Library, sidewalk cafes and events such as the Nicollet Mall Farmers’ Market, and this year featured the All Star parade.

Nicollet Mall by the numbers:

  • 130,000 employees use Nicollet Mall each day.

  • Over 34 million square feet of office space.

  • 3 Fortune 500 companies are headquartered on the Mall (U.S. Bank, Xcel Energy and Target)

  • It is a thoroughfare for more than 140,000 Minnesotans daily.

  • There are 35,000 current downtown Minneapolis residents, and by 2025, the goal is to have 70,000.

II. Nicollet Mall Design and Rebuild

Plans call for the complete reconstruction of the street and sidewalks from building face to building face, for the 12 blocks of the Mall between Washington Avenue and Grant Street. Construction will be completed in 2016-2017. New York-based James Corner Field Operations is leading the Nicollet Mall redesign, along with local firms Snow Kreilich Architects, Coen + Partners and SRF Consulting Group, Inc.. James Corner Field Operations is a landscape architecture and urban design practice renowned for strong contemporary design across a variety of project types and scales. Major projects include the design of the High Line, New York City; Fresh Kills Park, Staten Island; and the Central Waterfront, Seattle.

Detailed information, including the current design and related plans on the mall can be found at these websites:

III. Nicollet Mall Public Art Collection

Nicollet Mall currently features the largest collection of public artworks in Minneapolis, with the exception of the Walker Art Center’s Sculpture Garden. The majority of the collection includes artworks owned by the City that were commissioned as part of the renovation of the Mall in the late 1980’s. These works, which are largely in cast metal and stone, range in scale from the 80 cast iron manhole covers (11 different designs) created by Kate Burke, to a fountain designed by Elliot Offner. They also represent some of the most important artists working in the region at that time from a range of cultural backgrounds. Privately owned works are also located on the Mall, including two works by Brad Goldberg and one by Howard Ben Tre’.

Concurrent to this commissioning process, the City and the Minneapolis Arts Commission is assessing these works and their significance and will be determining which works to reinstall as part of the Mall redesign. It is likely that the many of the works will be returning.

An interactive map on the public art on the mall can be found on the City’s website.

IV. New Public Art Commissions

The City of Minneapolis is seeking public artists/artist teams to design new public artworks to be integrated into the Mall redesign. The project’s goals are to commission new works of art that:

  • Are stimulating and contribute to the Mall’s reputation as a national destination.

  • Engage adults and children at both large scale and detailed (intimate) levels.

  • Contribute to Mall’s vitality and attract visitors.

  • Are compatible with the Mall design and current collection and the needs of the businesses and residents.

  • Are durable and can be maintained in Minneapolis’ climate and urban environment.

Artists may apply to work with the City and the design team to design and create one or more of the following commissions, although each artist or team will only be selected for one. The specific locations for these opportunities on the Mall have not yet been identified. This will be developed in collaboration with the design team and staff.

A. Artist to Engage Local Artists to Create a Series of Suspended Lanterns: $225,000: The purpose of this commission is to engage people on a level of human discovery through a series of lanterns that will be suspended along the Mall. The selected artist will work with the design team to design the basic lantern form and then lead a diverse team of local artists (selected through a future process) to design individual laser-cut patterns for the lanterns. (These artists could also work in non-visual media, such as poetry.) The budget above will include all artists’ fees and cover all fabrication that occurs outside of the budget for non-artistic elements in the project. Artists applying for this commission should have experience in leading a team of artists on a public art project.

B. Artist to Design a Key Feature: $200,000: The current design concept for the Mall includes several special features (the Reading Room, the Theater in the Round, Tree Groves, a Light Walk, etc.) The artist selected for this commission will work with the design team to transform one of these spaces into a work of public art. The above budget will include all artists’ fees and cover all fabrication that occurs outside of the budget for non-artistic elements in the project.

C. Artist to Design and Create a Large Scale Iconic Artwork: ($500,000): The Nicollet Mall project is seeking a large scale work that will contribute to the vitality of the Mall, be one of the iconic features for which the Mall is known, and contribute to the Mall’s reputation as a national destination. This work could be integrated into the functional elements, but this is not required. The current public art collection for the Mall includes several notable pieces by Minnesota and National artists that enhance the Mall experience, but lacks a signature work that draws people to the Mall. This budget includes all artists’ fees, as well as the entire fabrication and installation of the artwork.

D. Artist to Work with the Design Team to Curate/Integrate Public Art into the Mall Design ($75,000): The selected artist will work with the design team, as well as the other selected artists and artists whose works are in the current collection, to curate and integrate all of the artworks seamlessly into the new Mall design and materials. This artist will also create a coordinated/and integrated community engagement effort for the development of Mall public art program. Artists applying for this commission should have experience integrating public art designs into a major public site, and should have interest in developing a strong understanding of and advocating for the works of other public artists.

V. Eligibility

Please read the eligibility requirements over carefully before applying.

A. Eligibility

  • The project is open to artists or artist teams who reside within the United States. Teams are limited to a two artists.

  • Artists applying must be readily available during the timeline and must personally attend the finalist interviews (see section VI.A. below).

  • For Commissions A, B and C in section IV above, artists must have completed at least two major public or private commissions of $75,000 or more.

  • The City of Minneapolis encourages persons from various cultures and ethnic backgrounds to apply, and is seeking artists who have a strong knowledge of working in cities with diverse communities.

  • Artists who are ineligible to apply include current City staff and Minneapolis Arts Commissioners. Organizations, galleries and public art consultants are also ineligible.

The City is open to considering artists who work in a range of media, however, please note that artists should have experience creating durable works of art in climates and circumstances similar to Minneapolis.

B. Compensation

  • Finalists will be selected to be interviewed. Out-of-town finalists will be reimbursed for a modest travel stipend.

  • Selected artists will receive a fee to cover design, fabrication and installation costs. (Some non-artistic elements of the project could also be covered by the construction budget, such as electrical, seating elements, etc. This will be negotiated during the design development process.)  This fee should cover any and all of the costs and expenses associate with fulfilling the Project Tasks outlined in section C below.

A contract between the artist/artist team and the City of Minneapolis will define stages of completion, exact fee and a payment schedule.

C. Project Tasks

Artists/artist teams will collaborate with the project architects and staff. The artists/artist team’s responsibilities include:

1. Developing and refining artistic concepts and designs.

2. Developing designs that comply with all codes and functional requirements, are constructed of durable materials, and require little repair or maintenance.

3. Developing final drawings, models, presentation materials, and other visual and written items.

4. Presenting concepts and designs to committees, boards, community groups, and others.

5. Providing documents for the purpose of the City obtaining approvals from all of the appropriate entities, such as Minneapolis Public Works, Metro Transit and MNDOT.

6. Participating in a thorough design review assessment administered by an art conservator determined by the City.

7. Participating in an ongoing design review and modification process with input from the staff, architects, and appropriate City committees.

8. Providing ongoing updates to City staff.

9. Working closely and coordinating with the consultants and contractors that will be designing and constructing the Mall.

10. Developing cost estimates and a final budget.

11. Developing a maintenance plan for the artwork

12. Fabricating artwork or overseeing fabrication by others

13. Delivering and installing the artwork in coordination with the Mall renovation work.

14. Sub-contracting with professionals to provide all necessary engineering.

15. Providing signed engineering drawings for the artwork and footings, including mechanical and/or electrical portions of the work that are not part of overall Mall reconstruction project.

16. Note, soil and concrete testing, footing excavation, site restoration and the plaque will be provided by others.

17. Carrying adequate insurance coverage for the project as per the City’s General Conditions.

18. Providing the City with copyright privileges to make two-dimensional reproductions for non-profit use, such as brochures, publicity and web-site publications.

19. Providing the City with documentation of the project, including site plans, images of the fabrication process, information on all fabricators and subcontractors and material specifications.

20. If the artwork is integrated into the Mall in a way that it cannot be removed without destroying a portion of the Mall infrastructure, the artist/artist team will be required to waive their rights according to appropriate sections of the Visual Artists Rights Act of 1990.

21. Work with the design team and contractors to coordinate the installation within the overall construction budget and timeline.

VI. Application Process

A. Project Timeline

February 3, 2015, Call for Artists Distributed

February 9, 2015, 4 p.m., First Deadline for Questions

February 12, 3:30 p.m., Artist Informational Meeting, 3:30-4:30 p.m., Minneapolis Central Library, room S-275, 300 Nicollet Mall.

February, 13, 2015, 4 p.m., First Posting of Answers

February 20, 2015, 4 p.m., Final Deadline for Questions

February 24, 2015, 4 p.m., Final Posting of Answers

February 27, 2015, Call for Artists Deadline (midnight, Mountain Standard Time)

Week of March 9, 2015, First Panel Meeting/Finalist Notified

Week of March 23, 2015, Finalists Informational Meeting (Conference Call)

Week of April 13, 2015, Finalists Interviews and Selection of Commissioned Artists

Early May 2015, Council Approval of contract

End of May 2015, Artists under Contract

June 2015, Design Begins

Fall 2014/Winter 2015, Design Reviews and Approvals

Fall 2016/Spring 2017, Installation Complete

B. Proposal Due Date and Submittal Process

Date and Time: Received by February 27 at midnight, Mountain Standard Time (one hour after Central Standard Time)

Application Process:  All materials will be submitted online, via CaFÉ™ website ( There is no application fee to apply or to use the CaFÉ™ system. To view the application, go to, register a username and password, navigate to “Apply to Calls”, and search the list for “Call for Public Artists for Nicollet Mall, Minneapolis”. Assistance in using the CaFÉ™ system is available during regular business hours (Mountain Time) via e-mail at

Artists who submit applications acknowledge that the materials they submit are public information under the Minnesota Government Data Practices Act and may be shared by the City of Minneapolis with members of the public or the media for informational purposes or as otherwise required by the Data Practices Act. Accordingly, they grant a non-exclusive license to the City of Minneapolis to make and distribute a limited number of copies of the submitted materials for the purposes of information and/or evaluation of the artwork related to this RFP and the related Public Art Projects, or as required by the Data Practices Act.

C. Contact for More Information

All questions regarding this proposal must be submitted via email to:

Mary Altman, Public Arts Administrator, City of Minneapolis,

The questions and answers to all artists will be posted on the RFP website according to the timeline listed in section VI.A. above

D. Proposal Format and Submission Materials

Artists who desire to submit for more than one of the commission opportunities listed in section IV above, may either submit one proposal, and indicate in the appropriate question the opportunities for which they are applying, or they may submit multiple proposals, one for each opportunity.

1. Images: Submit ten (10) images of recent work, as relevant to this project

Each image must be labeled a title corresponding with the Image List. No collaged images--one image of each work per file only. Explanatory text should be included on the image list, not within the image itself. Brochures, press-releases, newspaper articles, or web sites should not be submitted and will not be reviewed by the selection panel.

2. Written Materials:

  • Narrative Description: A narrative description Not to exceed two (2) pages including information about: 1) Which of the four opportunities you are applying for described in section IV above; 2) Your approach to the Scope of Services addressing the tasks defined in section II.C above and the opportunities identified in section IV above, and 3)The types of deliverables that you would provide, including sketches, technical drawings, models, electronic presentations, and other visual and written products.

  • Resumes: The current resume(s) of all of the team members involved, including information on background and ability to conduct the tasks listed. Not to exceed two (2) pages per member.

  • Image List: A completed one-page Image List with information on the commissioning entity, dimensions, budget, location and materials for the artwork for each of the 10 images submitted submitted. Not to exceed one (1) page.

  • References: The names, addresses, emails, and daytime phone numbers of three professional references from past projects.

F. Selection Criteria

The criteria listed below will be used for evaluating artist/artist team previous experience, proposed processes and project ideas.

1. Stimulate excellence in urban design and public arts:

  • Is the submission, previous work and/or proposed idea engaging and high quality in concept and construction?

  • Is the quality of the artist’s previous work comparable to other artwork commissioned by the City?

  • Is the artist not over represented in the City’s collection?

  • Does the artist have a significant or engaging body of work?

  • Does the artist have experience collaborating with architects and other professionals?

  • Does the artist have experience with architectural and engineering drawings and methods?

  • Does the artist have experience in comparable projects and artistic disciplines?

2. Enhance community identity and place:

  • Is the artist familiar with the community and setting and its characteristics, including history, identity, geography and cultures?

  • Has the artists’ previous work been appropriate to those communities and settings and the above characteristics?

  • Does the artist have experience integrating artwork into infrastructure and building function?

3. Contribute to community vitality:

  • Has the artists’ previous projects attracted visitors and residents?

  • Does the artists’ previous work or proposed process build capacity between the private and public sectors, artists, arts organizations and community members?

  • Does the artists’ previous work or proposed process encourage civic dialogue about City issues?

  • Do the artists’ previous projects incorporate or address aspects of public safety?

4. Involve a broad range of people/communities:

  • Does the artist have experience working with communities and diverse groups?

  • Does the artist have a demonstrated ability to address ADA regulations as they apply to public art?

  • Does the artists’ previous or proposed process celebrate one or more of the City’s cultural communities?

  • Does the artist have experience in projects that bring people together or create gathering places?

5. Value artists and artistic process:

  • Does the artist have a unique or appropriate cultural, geographic or artistic perspective?

  • Does the proposed project or process appropriately support the integrity of the artwork and the moral rights of the artist?

  • Does the proposed project or design process include the artist and the artistic process as a central element?

6. Use resources wisely:

  • Is the artist’s previous work or proposed project sustainable, secure and technically feasible?

  • Has the artist’s previous work been within the timeline and budget and is the team able to work within the City’s timeline and budget?

G. Selection Panel

The role of the selection panel is to interpret and review team’s previous experience and proposed ideas based on the selection criteria. The panel will include the following representatives: Artist, arts administrator, architect or landscape architect, Arts Commissioner, a project site representative, Public Works staff member, an appropriate community representative, two at-large members.

For the City's General Conditions that apply to this RFP, and for a full color version of the RFP with images, go to: