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Call for Artists Resource Guide AMERICANS jQrtheARTS SERVING COMMUNITIES. ENRICHING LIVES. e cans for the Arts Contents WHETHER YOUR PUBLIC ART PROGRAM has been writing calls for artists for years or your organization is just getting started with commissioning public art, the Call for Artists Resource Guide contains information that will help you announce opportunities to artists that clearly describe your projects and give them the information they need to submit applications. 1 / What Is a Call for Artists? 1 / Call Elements: Definitions and Descriptions 4 / Getting the Word Out: Where to Advertise Your Call for Artists ~ The Call for Artists Resource Guide was developed by the Public Art Network (PAN), a program of Americans for the Arts. PAN is designed to provide services to the diverse field of public art and to develop strategies and tools to improve communities through public art. Its key constituents are public art professionals, visual artists, design professionals, as well as communities and organizations planning public art projects and programs. 5 / Sample Request for Qualifications (RFQ) 9 / Sample Request for Proposals (RFP) S£IlVlNG L'{)MMUNfTl£S ttN.lefn~ U\1{S, Copies of this resource guide may be downloaded free of charge on the Public Art Network section of the Americans for the Arts website, www .AmericansForTheArts.or~/PAN. AMERICANS )t>r ¡heARTS Washington Office 1000 Vermont Avenue NW 6th Floor Washington, DC 20005 T 202.371.2830 F 202.371.0424 info®artsusa.ore: www.AmericansForTheArts.oŒ For more information about PAN or Americans for the Arts, e-mail oan@artsusa.org or visit www.AmericansForTheArts.or~/PAN . New York Office One East 53'd Street New York. NY 10022 T 212.223-2787 F 212.980.4857 Author Renee Piechocki Public Art Network Facilitator Americans for the Arts © 2003, Americans for the Arts. Reviewers PAN Services Committee Members Greg Esser and Marc Pally Call for Artists Resource Guide What is a Call for Artists? Public art programs and organizations commissioning public art projects enlist artists to be considered for their projects in a variety of ways, including calls for artists,juried slide registries, and direct invitations. A Call for Artists is an opportunity notice that gives artists the information they need to know in order to appiy to be considered for the project. Issuing a Call for Artists is a standard practice of the public art field. There are currently over 347 public art programs in the United States. They can be rural or urban; government agencies based in municipalities, counties, or statewide; or private nonprofit organizations run independently or as part of a local arts agency. Types of Calls There are two types of Calls for Artists: Requests for Qualifications (RFQ) and Requests for Proposals (RFP). An RFQ asks artists to send in their qual ifications to be reviewed by the selection panel but does not ask for a specific proposal to be submitted. Organizations use RFQs when they choose to work with a smaller pool of artists, or a single artist, based on their qualifications, to develop a detailed proposal for the site at a later stage. An RFP asks artists to submit their qualifications as well as a proposal for a specific site. Organizations use RFPs when they want to solicit proposals from a larger pool of artists or need to solicit proposals based on funding or government regulations. There has been discussion within the field of public art about the appropriateness of RFPs and RFQs. PAN's issue paper, Methods of Artist Selection: Best Practices, discusses this topic online at www.AmericansForTheArts.org/PAN. Public Art Network 1 Call Elements: Definitions and Descriptions Below is a list of content typically found in a Call for Artists, with advice on how to clearly convey your information. Call Summary A brief project summary The Call Summary helps artists quickly decide whether they are interested or eligible for the call, and lets organizations posting your call decide how it should be advertised. Include the project name, commissioning organization. application deadline, project timeline, budget, geographic eligibiiity requirements, and whether it is an RFP or RFQ. Project Description An overview of the artist's scope of services Discuss whether it is a design-team project, a commission of new work, an artist residency, a purchase of existing work, or another type of opportunity. Include a description of the organizations involved with the project. Artwork Goals A list of any predetermined goals for the artwork established by the commissioning organization, funder, or community The specificity of the artwork goals will range by commissioning organization and project. They can be broad-e.g., create a sense of place within the community-or specific-e.g., design streetscape elements that reflect the industrial history of the neighborhood. Artwork Location Description A description of where the artwork will be placed within the commission site Sometimes the location for an artwork is predetermined by the funder, commissioning organization, or community before a Call for Artists is distributed. If this applies to your project, give a highly detaiied description of where the artwork will be located within the site, especially for an RFP. The description should include, but not be limited to: www.AmericansForTheArts.org Call for Artists Resource Guide engineering or architectural information about the location's structure, materials used at the location, visibility within the site, and lighting. If the artwork location is not predetermined, state whether or not the artist will be able to participate in selecting the artwork location(s). Site or Artwork Location Plans Plans, photographs, or other visual information of the site or artwork location If available, or applicable, include plans or photographs for the artwork location and project site. If this is not feasible, post the information online and include a link in the Call for Artists. Site History or Description Information about the site where the artwork will be located Describe the site's function, including what activities will happen there and who uses it. Be sure to include whether or not the site is open to the public, or if the public can see the facility but not enter the site. Aiso include a description or history of the site and community where the artwork will be placed and list additional resources for the artist to research. Budget The amount of funding allocated for the project Clearly state the budget and what aspects of the prqject it must cover, as not all projects have the same project costs allocated within the budget. For example, in a design-team project, the budget may include only the costs of the artist's fee and travel. I n the commissioning of a permanent artwork, project costs may include the artist's fee, travel, and the fabrication, installation, and documentation of the art, in addition to costs such as signage, liability insurance, fine arts insurance, postage, and telephone calls. If the project budget has not been set, clearly state the amount that has been secured and to what range the project may be raised. Public Art Network 2 Artist Eligibility The qualifications that an artist must meet in order to be eligible for a project Questions to consider include: · Must the artist iive in a certain geographic area or is the call open to artists nationally? · Is the call open to professional artists or are students eligible? · Are artist teams eligible for the project? · Must the artist have completed a project with a similar budget, scale, or scope? If you are seeking to reach out to certain types of artists, include a sentence encouraging artists that meet those goals to apply. For example, if the commissioning organization is seeking to reach out to emerging artists, include a statement such as "professional artists who are new to the field of public art are encouraged to apply." Or if the project is one that will involve a high level of interaction in a high school setting, inciude a statement such as "artists who have experience working with young adults are encouraged to apply." This is also the place to include an equal opportunity statement that may be required by the commissioning organization, local municipality, or funder. Appl ication Requirements The list of materials artists should send with their applications Be very specific about the information artists should include with their application materials since it will determine how they are presented to the panel reviewing applications. Typical application requirements include: · Number and type of visual support materials · Annotated support materials list · Resume · References · Letter of interest · Self-addressed stamped envelope (SASE) · Project proposal (for RFPs only). www.AmericansForTheArts.org Call for Artists Resource Guide Visual support materials can include slides, videos, CDs, or prints. If requesting slides, list the number of slides artists may submit and how they should be labeied. If your panei is reviewing videos or CDs, list the length of time the submission must be and the formats you are capable of viewing. If you are reviewing prints, list the number of prints the artist should include. The annotated support materials list allows artists to describe the visual support materials and can include: description, materials, budget, location, client or commissioning organization, and any other relevant project information. The letter of j nterest allows artists to introduce themselves and describe why they are interested in the project, their approach to creating public art, and any past relevant experience. If there is a specific question you would like the artist to address in their letter, be sure to include it in the Call for Artists. If you are issuing an RFP, clearly list the types of materials you would like the artists to submit to best present their work to the review panel. Typical proposal submission materials include: project description, drawings, renderings, budget, photographs, materials list, and timeline. Questions to consider include: Should all of the work submitted be the same format and/or size? Do you want a detailed visual proposal or just a written description of an idea? If artist teams may apply, clearly state if you require additional visual support materials, resume, and references for each team member. Deadline The date by which an application must be either postmarked or received list the date by which an appiication must be postmarked or the date and time by which it must be received at the mailing address. Be sure to state if overnight or express delivery is NOT permitted. Public Art Network 3 Submission Address The address to which the application is mailed Include the mailing address. If overnight or express shipping is allowed, be sure that the address is not a post office box or supply an alternate address for this type of delivery. Selection Process A description of how the applications will be reviewed and an artist selected I nclude the types of people who are on the selection panel, e.g., community represen- tatives, art professionals, agency represen- tatives' and funders. Include the number, or range, of finalists that will be selected and what will be required of the finalists, including proposals, dates for presentations, and travel. State the fee that finai ists will be paid, to what that fee can be allocated, and if a separate travel budget is avaiiable. Selection Criteria A list of the criteria established by the commissioning agency or artist selection panei that will guide them as they evaluate the applications listing the selection criteria establishes the priorities of the artist selection panel. They also assist artists when considering whether or not they should apply for a project. For exampie, if the criteria for an RFQ includes artistic excellence, evidence of working in the field of public art for more than five years, and experience working in community settings, artists new to public art with limited experience with communities will be informed that their qualifications are not a good fit for the project. Prqject Timefine . The timeline the project will follow from artist selection to project completion The timeline includes dates for the following milestones, as they apply: submission deadiine, panel review, finalist notification, and estimated completion and installation of artwork. www.AmericansForTheArts.org Call for Artists Resource Guide Sources for Additional Information A list of resources the artist may consult for additional information on the project site, commissioning organization, community, etc. Providing artists a list of resources they can consult about different aspects of the project can help them decide if they want to apply and if their work is a good fit. In the case of an RFP, the list can be a launching point for research. I nciude website addresses, publications, contact information for organizations, and other information that would be helpful and relevant to artists as they research the project. Resources for Questions The contact information for the person or organization to be called if the artist has a question or needs add~ional information Be clear about whether telephone calls are accepted or if questions may only be submitted by fax or e-mail. Also state whether there is a deadline by which questions must be submitted. Getting the Word Out: Where to Advertise Your Call for Artists The Public Art Network suggests the following resources for posting artist opportunities: Public Art Network Listserv Available to all Americans for the Arts members, this networking tool connects colleagues and acts as a research engine, newsletter, ~nd stage for critical dialogue. Artist opportunities are frequently posted on the listserv as well as in the PAN Week/ye-mail broadcast. Tojoin Americans for the Arts and learn more about the listserv, visit www.AmericansForTheArts/PAN or e-mail membershio@artsusa.or9. E-mail oan@artsusa,ora to submit opportunities. Public Art Review Published by Forecast Public Artworks, this is the only national journal dedicated to public art. It inciudes articles, reviews, book reviews, artist Public Art Network 4 opportunities,job listings, and other informa- tion of value to the field. Opportunities and some articles are posted online. Visit www.forecastart.or~ or www.Dublicartreview,on;J. Milestones This monthly online public art newsletter, produced by the Phoenix Arts Commission, lists artist opportunities, information about projects in Arizona, public art job listings, and general information of interest to the field. Visit the pubiic art program link at www,Phoenix.aov/arts. NYFA Source / NYFA Current The New York Foundation forthe Arts' NYFA Source is an extensive national database of awards, services, and publications for artists of all disciplines. Artists, arts organizations, and the general public can access information on over 2,900 arts organizations, 2,800 award programs, 2,400 service programs, and 900 publications for individual artists nationwide. In addition, the NYFA Current is a free weekly national e-newsletter, Visit www,nvfa.or~ ' ArtistsRegister.com This online slide registry and resource center is a service of WEST AF (Western States Arts Federation). Services inciude postings of artist opportunities, a monthly listserv bulletin, community discussion bulletin boards, and the sale of artist mailing lists. Visit www.artistsreQister.com. ArtsOpportunities.org This free online ciassifieds bank offers information about artist, empioyment, and internship opportunities and connects arts- related organizations with artists, interns, vOiunteers, and potential employees. It is an initiative of the Southern Arts Federation and the Center for Arts Management and Technology at Carnegie Mellon University. Visit www.artsoDoortunities,ora. www.AmericansFarTheArts.arg Call for Artists Resource Guide 5 Sample Request for Qualifications (RFQ) Prospectus for Commissioning Artwork(s) for the Hargraves Community Center in Chapel Hili, North Carolina I. Project Intent The Chapel Hill Public Arts Commission (CHPAC) seeks to commission an artwork or artworks for the Hargraves Community Center in Chapel Hill, North Carolina, under the town's Percent for Art Program. The artwork(s) will be sited in a prominent location or locations throughout the building complex. This artwork(s) should: · Create excitement and interest for the community · Honor and commemorate the rich history of the Center · Celebrate the impact the Center has had on the community · Inspire the young people to remember the past, highlight their activities at the Center, and inspire them to see a legacy that belongs to them and to future generations. The artists' willingness to learn in-depth about the community and have a dialogue with interested community members from which to apply the concepts is integral toward developing the artwork(s). The artwork(s) must be durable, low maintenance, and appropriate to the location. The artist should take into consideration the high amount of pedestrian traffic within the center, light (both natural and electric), and temperature control when designing the artwork. Works in a variety of media and forms will be considered. Examples of media include, but are not limited to: textiles, paint, wood, metal, and photography. A wide variety of forms for the artwork will also be considered, including functional elements such as seating or display cases; artwork integrated into the existing architecture of the buiiding; murals; freestanding sculpture; and photography, among others. Although the CHPAC does not endorse any restrictions on any particular artistic content, in making decisions the project's Artist Selection Panel will consider the fact that users of the building will see this artwork(s). II. Budget The town's Percent for Art budget for this project is $17,000. The CHPAC is currently seeking grants and donations for this project with the expectation that the budget will be raised to $20,000-$25,000. The budget includes all costs associated with the project including, but not limited to: artist's design fee, travel, materials, fabrication costs, documentation, and transportation and installation of the work. Public Art Network www.AmericansForTheArts.org Call for Artists Resource Guide 6 III. Eligibility The project is open to all artists, age 18 and over, regardless of race, color, religion, national origin, gender, age, military status, sexual orientation, marital status, or physical or mental disabiiity. Artist teams are eligible to apply, including teams of artists from multiple disciplines. IV. Time Line March 10, 2003 March 2003 April 3, 2003 Apri I 2003 May 2003 March 2004 Postmark deadline for application materials Artist Selection Panel meets to review materials and choose finalists Finalists interviewed Finalists exhibit proposals at the Hargraves Center Project awarded Artwork installed at the Hargraves Center The Commission reserves the right to change the project timeline. V. How to Apply Artists interested in this project must prepare and submit the following: 1. Letter of Interest. The letter should be no more than one page in length and should explain the artist's interest in the project. 2. Current resume. If submitting as a team, a current resume should be submitted for each team member. 3. Fifteen slides of the artist's work. Slides must be in a clear plastic sheet. Each slide must be numbered, the top of the image indicated, and the artist's name included on the slide. Artists applying as a team may submit 15 slides of each artist's work. 4. Annotated slide list. The slide list must include the artist's name and a brief description of each slide stating its title, date, medium, size, location, and if a commissioned project, the commission budget. 5. References. A list of at least three professional references that have an intimate knowledge of their work and working methods. The list must include comp lete addresses and telephone numbers. 6. SASE. A self-addressed stamped envelope must be included for the return of application materials. 7. Optional. The artist may include up to three selections of support materials such as reviews, news articles, and other related information. Artists interested in being considered should submit the following materials by March 10, 2003 at 5:00 p.m. to: Chapel Hill Publ ic Arts Commission 306 North Columbia Street Chapel Hill, NC 27516 919.968.2888 ex!. 377 Public Art Network www.AmericansForTheArts.org Call for Artists Resource Guide 7 VI. Selection Process An artist selection panel consisting of at least two community members, two representatives from the CHPAC, a Council member from the Town of Chapel Hill, the Town Manager of Chapel Hill or a designee, a representative of the Hargraves Center, and two art professionals will review all artist submissions and select artists to be interviewed for the commission. The finalists will be invited for a site visit and to have a dialogue with the community. The finalists will then be asked to develop a conceptual approach for artwork at the site and to make a presentation of their proposal, including concept, materials, size, weight, hanging requirements, details of maintenance guidelines, and budget. The finalists' proposals will be exhibited at the Hargraves Center for approximately four weeks. The three finalists will be compensated ($300 each) for their participation in this stage of the selection process. The Artist Selection Panel wiil meet again to award the project in May 2003. VII. History of the Hargraves Community Center The William M. Hargraves Community Center, originally known as the Negro Community Center, followed by the Robeson Street Center, was renamed in 1973 for William M. Hargraves, a former Parks and Recreation Commission member who died in an automobile accident. The idea for the construction of a community center for Negroes originated because of the concerns of the Negro Civic Club. The founders of the club noted that Negroes did not have a place to socialize and participate in organized recreational activities. A request to the Town Council to provide recreational facilities for Negroes had been turned down. The white community was able to use the recreational facilities at the University and at the white schools. Lincoln, the school for Negroes, was built without any gyms or other recreational facilities. A Negro Community Center Association was formed for the purpose of securing a site and raising funds for construction and operation of the Center. Louis Graves, editor and owner of the Chapel Hill Weekly, organized the committees that made up the Association. Mr. Graves was instrumental in getting the influential citizens of the community to raise money to purchase the land. The land for the Center was purchased by the Negro Community Center Association on September 8, 1938. The land and was deeded to the Town of Chapel Hill on July 29, 1940 with the stipulation that it be used as a site for a community center and other recreational activities for Negroes. Most of the funding for construction of the Center was provided through the New Deal, Works Progress Administration. Charlie Craige drew the architectural plans, and rock for the building was hauled from his farm. Negro craftsmen were the primary construction workers. Their wives joined in the effort and cooked the meals for the workers. Construction began on January 9, 1941, only to be halted in May by the onset of World War II. In 1942, a Navy Prefl ight School was located on the University's campus. Because of segregation, the Negro Navy Band could not be housed on campus. The Town Council and other influential citizens successfully negotiated with the Secretary of the Navy to finish the construction of the Center. Once construction was completed, the Negro Navy Band was housed in the Center. After the war the Navy turned the Center over to the Town. In 1948, Frank Robinson and Edwin Caldwell, Jr. met with the University's president, Frank Graham, and asked that Negro children be allowed to use the University's pool at least one day a month. After this meeting, all children were banned from using the University's pool. Professors Public Art Network www.AmericansForTheArts.org