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Information on the Public Art Master Plan Process

The development of Arlington County's Public Art Master Plan was begun in May 2002, and will establish a vision for public art in the County, identify opportunities for art projects, and propose a short-term list of projects to initiate. The Master Plan, which follows on the Public Art Policy adopted by the County Board in September, 2000, will especially focus on art projects related to: County capital spending projects; developer community-benefit contributions; and, neighborhood improvement and conservation. It will consider the County's parks and public spaces, streets and transportation systems, and community facilities and neighborhood centers as just some of the opportunities for using public art to enrich the design of the County’s public places and facilities. The Master Plan will be a supporting document to the County’s Open Space Master Plan, which currently is being updated.

The Master Plan development is being led by urban planner Todd Bressi, public art consultant Jennifer McGregor — both of New York City — and architect Brian Harner, of Arlington. The process has begun with a series of small, information-gathering exchanges with staff from various County departments as well as citizens and staff of various community organizations. 



Arlington Public Art Master Plan


Presentation on the Main Points of the Draft Master Plan
September, 2003

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

Left:  Arlington citizen and charrette participant Susan McElhinney presents her break-out group's ideas at the November 2 charrette.


Photo by Mark Charette


Todd W. Bressi, Jennifer McGregor, Brian Harner
October, 2002

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:

  •  natural features and landscape elements 

  •  infrastructure elements and public facilities

  •  gathering places and neighborhood centers

  •  ideas and themes that are related to the county's history and culture

 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:

  • the location is visible and accessible, particularly for pedestrians; l

  • the location has multiple public functions or attracts different groups at different times of the day, week or year; 

  • the project is public capital investment or is related to a public planning initiative

  •  the project provides an opportunity to explore one of the themes suggested in the master plan

  • financial, technical and public support is available to complete the project in a timely manner.

 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:

  •  projects along the Rosslyn-Ballston Corridor, particularly those that support the WALKArlington program

  •  projects along Four Mile Run, both in public parkland and in development areas along the corridor, such as Shirlington, the Trades Center Campus, and the Four-Mile-Run/Nauck planning area

  • a theme exploring the layers and eras of history that have shaped Arlington's physical form and cultural patterns ("Historic Arlington")

  •  a theme exploring the dynamic relationship between Arlington and the federal government (" Federal Arlington" )

  •  a theme exploring the emerging relationship between Arlington and global economic, social and political systems ("Global  Arlington").

 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:

  •  integrating public art with other county planning initiatives, particularly current planning projects (such as the Virginia Square Sector Plan update) and neighborhood conservation plans

  •  programmatic community arts initiatives, such as Artswork, which involve various groups of community residents in art in the public realm

  •  catalytic initiatives in which the public art program can assemble or coordinate a range of public and private art opportunities into larger visions for public art and place design.

 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.


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Public Art Policy

Public Art Policy, Adopted by the Arlington County Board, September, 2000.

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 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:

Jennifer Riddell
Arlington County Cultural Affairs Division
2100 Clarendon Boulevard, Suite 414
Arlington, VA. 22201 



Artist Opportunities in Public Art


Arlington Firestations Renovations
Artist-in-Residency Opportunity

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. 

Adobe PDF icon  Download the pdf file for more information.

Please contact Jennifer Riddell, Public Art Projects Curator at for fax 703-228-3328 to be mailed a hard copy version of the project description.


Other Opportunities


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 with the text of the information and a link to your website.


Art Advisory Panels

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.


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Public Art Collection 



TITLE:  Ancestral Memories
ARTIST: Efrain Guevara
DATE: 1987
LOCATION: Lobby of Gunston Theatre One, 2700 S. Lang Street
SIZE:  16' x 8'
MEDIUM: Acrylic on canvas



TITLE:  Ancestors
ARTIST:   Lawley Paisley-Jones
DATE:  1995
LOCATION:   1325 Wilson Boulevard on the facade of the Hyatt Arlington Hotel.  
SIZE: H. 8' w. 52.5'
MEDIUM:  Enamel on aluminum

TITLE:  Anna and David
ARTIST:  Miriam Shapiro
DATE:  1987
LOCATION:  1525 Wilson Boulevard
SIZE: H. 35' W.  31'  D. 6'
MEDIUM: Painted aluminum


TITLE:  Arlington at 200
ARTIST:  Rik Freeman, with ArtsWork students help on the lower level of the mural: Jerryl Chandler, Ileana Corrales, Justin Duval, Nataliya Makarenko, Lydia Malley, Georgeanne Usova and Vivian Cordova.
DATE:  2001-2
LOCATION:  Arlington County Courthouse Stairwell

MEDIUM: Acrylic paint on wood panels


TITLE: Ballston Pedestrian Bridge
ARTIST: Julio Teich

DATE: 1996
LOCATION: Over Wilson Boulevard at N. Stuart Street, connecting Ballston Common Mall and the National Science Foundation Building
MEDIUM: Sculpted glass, painted aluminum


(no image) 

TITLE:  Brick Paving Design
ARTIST:  Jerry Clapsaddle
DATE:  1996
LOCATION:  Fairfax Drive @ North Stuart
Street intersection (approx. 4250 Fairfax)
SIZE: 2 blocks of sidewalk, variable width 16' to 56'
MEDIUM: Concrete interlocking unit pavers, brick red, charcoal gray, tan and light gray.



TITLE:  Cosmos
ARTIST:  Heidi Lippman
DATE: 1993
LOCATION:  Rosslyn, VA.
SIZE:  11,000 sq. ft.
MEDIUM:  Stone

[Picture of Cupid's Garden]

TITLE:  Cupid's Garden
ARTIST:  Christopher Gardner 
DATE:  Dedicated 1994
LOCATION:  Median at Wilson Blvd. and N. Nash Street
SIZE:  25'h. x 60'w. x 12'd
MEDIUM: Stainless steel



Dark.1[1].gif (48600 bytes)

TITLE:  Dark Star Park
ARTIST:  Nancy Holt
DATE:  1979 - 1984
LOCATION:  1655 North Fort Meyer Drive
SIZE: Approx. 29,000 sq. ft.
MEDIUM: Concrete, steel, water and plantings of winter creeper and willow oak.



TITLE: Eternal Truths
ARTIST: Lisa Fedon
DATE: 2000- 2002
LOCATION: Arlington Central Library
1015 N. Quincy Street
SIZE: 3 sections, each 12'h. x 18' w.
MEDIUM:  Bronze



TITLE:  The Family (David, Hoggit and Adoniyya)
ARTIST:  Boaz Vaadia
DATE: 1992
LOCATION:  1300 17th Street
SIZE:  83" h. x 66" w. x 38" d.
MEDIUM: Sedimentary rock/bluestone



TITLE:  Liquid Pixels
ARTIST:  Ned Kahn
DATE:  2001-2
LOCATION:  1801 N. Lynn Street
SIZE: Six Panels 42' X 25'
MEDIUM: Brushed Stainless Steel


mosaic.1[1].gif (75507 bytes)

TITLE:  Mosaic Columns
ARTISTS:  Andrea Zemel, Mary Ann Powell and students
DATE: 1996 and 1997
LOCATION: Washington-Lee High School
N. Stafford Street entrance
METRO STATION: Ballston or Virginia Square
SIZE:  4 round pillars, 7' high
MEDIUM:  Ceramic tile 



Photo: Jason Horowitz

TITLE: Rosslyn Station Artwork
ARTIST: Y. David Chung
DATE: 2000
LOCATION:  Rosslyn Metro Station
SIZE: 4' h. x 88' w.
MEDIUM: Paint on concrete panel



TITLE:  Spectrum of Freedom Ceramic Mural
ARTIST:  Karen Singer and Arlington Children
DATE:  1998
LOCATION: Freedom Park, 1701 North Nash Street
SIZE: 7 murals, each 54" w.  x 62" h. 
MEDIUM: Ceramic Tiles

TITLE: Standing At The Crossroads: The Freedman's Village Gate
ARTIST: Sam Christian Holmes
DATE: 1997
LOCATION: Will be re-installed in the courtyard of Theatre Two at Gunston in fall, 2003
SIZE: 8 units of steel fence, each 6'h. x 5'w.


TITLE:  Triumph of Literature
ARTIST: Alfredo Ratinoff and ArtsWork students Pamela Rojas, Jerryl Chandler, Brendan Keating, Julia Siple, Donna Xiao, Jerome Young and Jeannette Yue
DATE: 2000
LOCATION: Columbia Pike Branch Library, S. Walter Reed Drive
MEDIUM: Ceramic Tile


TITLE:  Uptown Baker's Mural
ARTIST: Patrick Kerwin
DATE: 1996
LOCATION:  3471 Washington Boulevard, outside a bakery 
METRO STATION: Clarendon or Virginia Square
SIZE:  22'3" x 32'8"
MEDIUM: Acrylic on brick wall



Photo: Jason Horowitz

TITLE:  Verizon Plaza Artwork
ARTIST: Kendall Buster
DATE:  2000
LOCATION: Verizon Plaza, 1320 N. Courthouse Road
METRO STATION:  Courthouse
MEDIUM: Welded bronze rods

TITLE: Visible Forces
ARTIST: Jim Sanborn
DATE:  1987
LOCATION: 2500 Clarendon Boulevard
METRO STATION: Arlington Courthouse or Clarendon
SIZE: 18'h. x 24'w. x 24" d.
MEDIUM: Granite, ice-blue quartz, magnetized lodestone 


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TITLE:  Barcroft Park Multicultural Stage Mural
ARTIST: Hugo Cervantes Rayon and Arlington students
DATE:  Summer, 2000
LOCATION: 4200 S. Four Mile Run Drive
MEDIUM:  Acrylic paint on wood


TITLE: Prestissimo
ARTIST: Camille Gustis, and ArtsWork students Paul Burman, Abdul Azeem, Ileana Corrales, Reed Griffith and Paul Salveson
DATE: 2000
LOCATION:  Pentagon City Metro Station
SIZE: 5 banners
MEDIUM: Photo collage  



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Pictured above: Left: Bridget Belkacemi, Center: Daniel A. Wilke, Right: Susan Jeffries

TITLE: On Site/Off Site
ARTISTS:  Bridget Belkacemi, Daniel A. Wilke and Susan Jeffries, Corcoran College of Art and Design Students
DATE: November, 2002 - February, 2003
LOCATION:  Clarendon Park


TITLE:  Condensed History (Caveman, Pocohontas, Captain John Smith and Pop Pop)
ARTIST:  Ed Bisese
DATE: 1996
SIZE: 4 figures, each approx. 5'h. x 3'w. x 3'd. 
MEDIUM: Ferro cement and acrylic paint
LOCATION: Installed in Clarendon Park from 11/98 - 9/99. Originally part of Maryland Art Place's artist designed miniature golf course. 



TITLE: Dominion Dum
ARTIST: Art Attack International/Jitka Anlaufova, Ales Hynek, Edward Owen
DATE: 1994
LOCATION: Old Dominion Drive
MEDIUM: House slated for demolition after installation


TITLE: Vessel 
ARTIST: Art Attack International/Rebecca Cross, Jeremy Jelenfy, Evan Hughes, Alberto Gaitan, Lynn McCary, Peter Winant
DATE: 1995
LOCATION: 3286 N. Fairfax Drive
MEDIUM: House slated for demolition after installation


TITLE:  Wake Up and Smell the Roses
ARTIST: Kerima Gabbay and Thomas Gabbay
DATE: 1995 - 2002
LOCATION: 3240 Wilson Boulevard
SIZE: 24' x 19'
MEDIUM: Latex paint on brick wall


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