PUBLIC ART IN ARLINGTON
Arlington Public Art Master Plan
Presentation on the Main Points
of the Draft Master Plan
This presentation on the highlights of the draft Public Art Master Plan was presented to the County's Open Space Master Plan Task Force on September 17 and the Arlington Commission for the Arts on September 24, 2003. The entire draft is expected to be posted on this site for public review in November, 2003. Public forums introducing the draft plan in tandem with the Open Space Master Plan will be scheduled in December, 2003 and January, 2004.
Please Note: This file may take some time to download.
Summary of Findings to Date
History of the Public Art Master Planning Process
November 2, 2002
A charrette for Arlington County’s Public Art Master Plan was held on Saturday, November 2, 2002, at the Washington-Lee High School. Some 60 Arlingtonians spent the morning and afternoon brainstorming about how public art can improve public places in the County, and strengthen Arlington’s civic identity. The consulting team presented its research and findings so far, and participants discussed places in the County that might be priority areas for public art, as well as general themes or ideas that might inspire projects throughout the County.
The specific areas that the charrette considered were the Rosslyn–Ballston Corridor, Four Mile Run (from the Potomac to the boundary with Falls Church), Columbia Pike and Shirlington. The charrette also considered Westover as a prime example of a neighborhood center. The goal was to understand the bigger picture of how these areas are regarded as civic places and community places, and to help the consultants attach some priority to the projects or locations that participants thought were most important.
The themes the charrette considered were "Federal Arlington" (Arlington’s long and continually evolving relationship with the federal government); "Historic Arlington" (the many layers of development and activity that have shaped the County) and "Global Arlington" (the ways in which Arlington is now networked with the rest of the world).
The discussions were wide-ranging and diverse, yet they all underscored public art’s potential for creating places that bring Arlington’s civic and cultural identity to life. The charrette break-out groups proposed creative, innovative projects that took a dynamic, engaged approach to exploring the County’s history, ecology and civic life.
One recurring theme was creating projects that unite Arlington by recognizing its diversity and layered history—such as a "language bowl" representing the many languages that Arlingtonians call their native tongue; a "central history place" with active displays about the County’s past, present and future; and a "speaker’s corner" that celebrates and continues the County’s tradition of civic engagement.
Several teams suggested planning art projects that evolved in space and time, connecting different parts of the County and relating to long-term ecological and historical processes. These included a "history trail" that addresses little-known aspects of the County’s evolution, involving artists in the design of buses and streetcars, creating linear landscapes in both urban corridors and along trails, as well as linking festivals and parades to community arts initiatives. The Public Art Master Plan will provide specific guidance on projects that the County’s public art program should undertake over the next few years. The plan is an outgrowth of the County’s public art policy, adopted by the County Board in 2000. The charrette was a major step in the public outreach phase of the planning process.
The consulting team of Todd Bressi, Jennifer McGregor and Brian Harner are compiling the findings of the charrette, which will be posted on this website in the near future.
The consultants expect to present a draft plan to the Arts Commission and the Open Space Master Plan task force this winter. The Master Plan will be finalized for consideration by the Arts Commission and the County Board this spring.
To learn more about the Public Art Master Plan or to add your name to an email list to be alerted of ongoing news about the Public Art Master Plan, contact staff coordinator Angela Adams at 703/228-1849, or email at email@example.com.
Todd W. Bressi, Jennifer McGregor, Brian
1. Public art has a tremendous potential to create a stronger sense of identity in Arlington at a variety of scales -- county, corridor, neighborhood. Art projects, whatever their scale, whatever their media, should be intimately linked to the image of Arlington. Creating a sense of identity can mean linking projects to:
Our goal will be to outline ways that Arlington's identity can be articulated through public art. Through the public meetings, research and charrette, we will explore in more depth how residents and workers think about Arlington's civic identity, visual character and gathering places.
2. Public art projects that relate to a sense of place and identity for the county as a whole should be given the highest priority. We would propose exploring a checklist of criteria that could be used to evaluate specific opportunities. The checklist might consider whether:
3. Public art projects should be focused around specific initiatives in order to best use time and energy and to maximize the impact of projects. We are proposing to focus our next stages of research around several general opportunities and themes:
During the next phase of research we plan to identify and detail a more thorough list of opportunities, recommend priorities, and prepare an information database for the most important projects.
4. In addition to site-specific projects, the county's public art program should explore several other types of opportunities:
These recommendations will take into consideration key issues such as interagency coordination, funding, site control, phasing and maintenance that are important to the success of such initiatives.
5. There is a strong interest among County agencies for projects that are integrated with architecture, infrastructure or landscape, or which evolve through design team or collaborative approaches. Such projects can have an extraordinary impact on public places, but also require great expertise to be successful. In the next phase we plan to look closely at the collaborative or design team approaches that have been attempted in Arlington, and the experience that has been gained.
6. Establishing a manageable workload and a structure to deliver these services is one of our highest priorities for the community and public art program. We would like to explore ways that the program can divide its efforts between "special initiative" projects and "advisory" projects.
Special initiatives would be those projects that are of the highest priority and in which the public art staff is most thoroughly involvement in management from start to finish.
Advisory projects would be those which are initiated by other public agencies, private developers or civic groups, under county requirements or voluntarily, and on which the public art staff would provide advisory services on a limited basis. The public art program might consider organizing these services on a consulting basis, and collect fees for such services through budget transfers, contracts or grants.
7. The public art program should establish an evaluation procedure for art projects and the process that was followed to commission, design and build them. Such evaluations can provide feedback and direction for future projects.
To view and print the Public Art Policy online, you will need Adobe Acrobat Reader. If you are unable to download, view and print the document, please contact Arlington County Cultural Affairs Division Public Art Projects Curator, Jennifer Riddell, at firstname.lastname@example.org to request one by mail.
If you would like to add your name to the visual arts opportunities mail list, please email Jennifer Riddell at the above email or send a postcard to:
Request for Qualifications Number 451-03
The Arlington County, Virginia, Public Art Program seeks an artist, preferably residing within 75 miles of the Washington, DC metropolitan area, to work with the Fire Department and community members over a 5 - 8 year period to create artworks that will be incorporated into multiple station construction/renovation projects, enhancing the stations' visual character and highlighting their role in providing the community with world-class fire, emergency medical and public safety services.
Deadline for applications is November 25, 2003, 2 p.m.
Please contact Jennifer Riddell, Public Art Projects Curator at email@example.com for fax 703-228-3328 to be mailed a hard copy version of the project description.
The City of San Antonio seeks artist submittals for its San Antonio International Airport Terminal Expansion Project.
Public art opportunities offered by organizations not affiliated with Arlington county will be posted here periodically as a service to artists. If you have a call to artists you wish to post, please email firstname.lastname@example.org with the text of the information and a link to your website.
If you are an Arlington resident, and are interested in being a member of an Art Advisory Panel, which convene periodically to help select artists for Public Art Projects, please send you name and address to Jennifer Riddell, Public Art Curator.
TITLE: Ancestral Memories
TITLE: Ballston Pedestrian Bridge
TITLE: Brick Paving Design
TITLE: Eternal Truths
Family (David, Hoggit and Adoniyya)
TITLE: Rosslyn Station Artwork
TITLE: Standing At The Crossroads: The Freedman's Village Gate
TITLE: Triumph of Literature
TITLE: Barcroft Park Multicultural Stage Mural
Pictured above: Left: Bridget Belkacemi, Center: Daniel A. Wilke, Right: Susan Jeffries
TITLE: On Site/Off Site
Condensed History (Caveman, Pocohontas, Captain John Smith and Pop Pop)
TITLE: Dominion Dum
TITLE: Wake Up and Smell the Roses
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