HomeMy WebLinkAbout1987-08-11; City Council; Resolution 91901
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RESOLUTION NO. 9190
A RESOLUTION OF THE CITY COUNCIL OF THE CITY
OF CARLSBAD, CALIFORNIA RECOMMENDING APPROVAL OF A TEMPORARY SCULPTURE EXHIBIT TO BE HELD IN THE CARLSBAD PARKS
The City Council of the City of Carlsbad, California
does hereby resolve as follows:
1. That certain agreement between the City of Carlsbad
and David Lewinson, as coordinator of a temporary sculpture
exhibit of public art in Stagecoach and Holiday Parks, a copy of
which is attached hereto marked Exhibit "A" and made a part
hereof, is hereby approved.
2. That the Mayor of the City of Carlsbad is hereby
authorized and directed to execute said agreement for and on
behalf of the City of Carlsbad.
3. That funds in the amount of $10,000 are hereby
appropriated in the Civic Arts Fund for this purpose and that any
and all unexpended appropriation within the arts fund shall be
carried forward into the 1987/88 fiscal year.
NOW, THEREFORE, BE IT FURTHER RESOLVED that the City
Council of the City of Carlsbad, California that:
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PASSED, APPROVED AND ADOPTED at a regular meeting of the
City Council of the City of Carlsbad, California, held on the 11th
day of August, 1987, by the following vote, to wit:
AYES: Council Members Lewis, Kulchin, and Mamaux
NOES: None
ABSENT : Council Members Pettine and Larson
ll&bL-- 6P.R- ALETHA L. RAUTENKRANZ, City $lerk
( SEAL )
-2-
LETTER OF AGREEMEEJT
OEXHIBIT
This is a letter of agreement between the City of Carlsbad, Cultural Arts Program and David Lewinson/Art Word.
David Lewinson/Art Word agrees to coordinate a temporary sculpture exhibit in Carlsbad for approximately eight weeks as
described in the attached Request for Proposal and Lewinson's
proposal.
The project fee is $10,000. Allocation has been made by City
Council Resolution No. 9190 .
Fee to be paid as follows:
25% On signature of agreement
50% Ten days prior to date of installa- tion as agreed upon by coordinator and Manager of Arts Program
25% On final date of exhibition and removal of artwork
Mayor
$2,500
$5,000
$2,500
David Lewinson/Art Word
SS# 561-62-0794
c: City Manager
Cliff Lange
ARTIWORD David Lewinson
writing and consulting services
p.0. BOX 2092
Del Mar, CA 92014 (619) 792-1242
To: Carlsbad Cultural Arts
1200 Elm Avenue
Carlsbad, CA. 92008
Re: Coordinator for temporary sculpture exhibit
Dear review committee%
On the following pages you will find my concepts and
specific proposals regarding serving the City of Carlsbad
as the coordinator of its upcoming temporary sculpture exhibit.
I look forward to the opportunity of working with the City;,
its Arts Commission, and the manager of the Cultural Arts
Program in furthering the community's cultural goals through
this project.
PROPOSAL TO COORDINATE A TEMPORARY SCULPTURE EXHIBIT IN CARLSBAD
Narrative Introduction
The eight-week sculpture exhibit planned for two park
sites in Carlsbad is virtually identical in purpose and
structure to a temporary outdoor exhibition I successfully
organized in Del Mar, in 1984, under the sponsorship of the
Del Nar Foundation.
As is the case in Carlsbad, the Del Mar proJec%'s purpose
was to present a variety of styles and types of art for the
educational, cultural, and aesthetic enrichment of the
community -- a community that was, by and large, unfamiliar
with the art of our day and how such art can enrich and
enlived the community environment.
My responsibilities in producing that project closely
Parallel those required of the coordinator of the Carlsbad
project. Thus, in Del Mar, I selected and recruited the
participating artists, executed contracts with them, super-
vised the installation and return of works, secured liability
insurance, and produced informational materials related to
the project, its participants, and purposes.
In addition, I worked extensively in securing media
coverage of the event in TV news and the local and regional
Rei Temporary sculpture exhibit1 page 2-
print media.
public access television facility who sought to produce a
video documentary of the project. I was, furthermore, closely
involved in various aspects of fund-raising and soliciting of
in-kind contributions that the Del Mar project required since
it was intended from the start that the effort pay for itself
entirely by these means.
I also worked closely with members of the city's
Since the Del Mar project, I have successfully produced
similar temporary sculpture exhibitions for such public-
oriented venues as Horton Plaza and Seaport Village. In
these projects, I also performed many of the same functions
required to coordinate the temporary sculpture exhibition
for Carlsbad,
The combination of production experience, public relations
experience, and fund-raising experience brought to bear in
these projects reflects my many years of involvement in the
visual arts in the San Diego area. This involvement includes
two years on staff at the La Jolla Museum of Contemporary Art,
where I worked in public relations and developmenti several
years as the major art critic for the San Diego Union and
San Diego Magazine (for which I currently write a monthly
feature on the visual arts), in addition to being a regular
contributor to The Tribune, The Reader, Southcoast Newspapers,
Re: Temporary sculpture exhibit! page 3.
and a variety of regional and national art-specialized venues.
I have also worked as an art consultant to various public and
private entities in regard to matters ranging from the use
and acquisition of artworks for display in building environ-
ments to developing a public relations and fund-raising
program for a college art gallery.
Because of this extensive exposure in the arts in southern
California, and because of various lecture series and panels
in which I've participated, I am well acquainted with and
respected by artists, galleries, artists' associations, and
museums in the region. This can be an important ingredient
when trying to attract major talent to an exhibition such as
the one that will take place in Carlsbad.
For Carlsbad and its citizens, this type of presentation
can be of enormous value and importance in fulfilling the
long range goals of the arts element of the city's general
plan.
A thoughtfully selected variety of outdoor works -- from
traditional figurative sculptures to abstracts that gleam with
light and color -- will present a range of experiences to the
people of Carlsbad, As a result, what is currently an un-
familiar experience; i.e., seeing art in public places: will
begin to become a familiar one. In addition, unfamiliar types
and styles of art will present themselves for contrast and
Rei Temporary sculpture exhibit; page 4.
comparison with more familiar styles. Aided by informational
materials provided through this program in the form of on-site
signage, brochures, and print and electronic media coverage,
this exhibit will help stimulate lively and healthy debate and
help to generate a citizenry that is more open and better
informated to make choices regarding the acquisition of
permanent works of art for the city's public Locations.
Because of this likely impact, the proposed temporary
sculpture exhibition takes on great impor%ance. Although the
eight-week run of the presentation marks only one small step
in the evolution of 'culture and the arts in Carlsbad, it is
with this view and responsibility in mind that I will work
for the Carlsbad Cultural Arts Program as coordinator of this
project.
Re: Temporary sculpture exhibit, page 5.
Me th od of Curatintz and Coordinating t he TemDorarv SCUlRm
Notes onae Seawe of Actions,
Organize informal meeting with Arts Commissioners and others
involved or interested in this project to share ideas, explore
possibilities, and establish momentum.
Investigate and document general characteristics of project
sites, establish insurance and liability parameters, develop
contractual guidelines under which project artists will
operate; in order to adequately inform artists regarding the
terms of participation in the project.
Establish opening and closing dates of the exhibition.
Identify, inform, and solicit potential artist-participants
in Southern California area via direct invitation, announcement
letters to artists, galleries, artists' associations, museum
curators, etc.1 place advertisements in art media such as
Artweek. Request photo documentation of work available to
this project and specific instructions regarding installatLon
requirements for the works.
Develop strategy and resources for installation of works,
on-site signage, publicity and community information materials -- seeking in-kind contributions of servicedmaterials from
the private sector of the community.
action which follows the budget section of this proposal.)
(See nohregarding this
As responses from artists come in, screen for appropriateness
in terms of style, content, public safety, facility of installation,
durability, etc.
Ret Temporary sculpture exhibit, page 6
At cut-ff date for artists to submit works, assemble qualified
submissions for review by Arts Commission. In conjunction with
Commission, select 10 for installation, with four back-ups.
Notify selected participants, secure contractual agreements,
establish schedule of installation of works.
Begin production of on-site signage, commetdty information
materials, and press materials.
Implement installation of works and publici ty/inf orma ti onal
strategy.
Develop and announce public lecture to be given by the curator/
coordinator on the subject of this exhibition and its contents.
Monitor progress of exhibit and public response.
At conclusion of exhibit, supervise removal of works, prepare
condition reports on works and sites.
Prepare summary report on the exhibition, its impact,. values,
and lessons.
Ret Temporary sculpture exhibit, page 7.
.. Budpet for Temporam Sculpture Exhibit
Rental of artworks:
10 works at $350, to include transportation to and from site and artist's participation in installation and removal.
Installation of artworks:
labor, equipment, and materials.
$350O.00
1200.00
Insurance: 1200 .. 00
limited to personal injury and replacement cost to artist.
Signage, informational material, PR:
on-si te signage : $300
FR (press packets) 300 brochure: 700
Coordinator's fee
to curate, coordinate, and otherwise
supervise all physical aspects of the exhibit; to write and publish educational and PR materials; to execute contractsi to prepare documentary summary of projectr and
otherwise to expertly execute this effort in the manner described in this proposal.
Total project cost;
1300.00
2800.00
Note on the budget;
A project such as this one offers a variety of opportunities
for the city's private sector (its individuals and businesses) to
involve themselves in the cultural and artistic growth of the
city. For example, an individual or business could find
satisfaction Qr advantage in underwriting the cost of publishing
the informational brochure that this project will generate. Also,
Re: Temporary sculpture exhibit, page 8.
a locally based building contractor might recognize a role
that it can play in making an in-kind contribution in the form
of providing personnel and equipment to install the works of
art at their locations. Furthermore, an insurance broker might
be found who is quite happy to cover the insurance costs for
this project as his or her means of supporting the arts in
Carlsbad. In all cases, these contributions would Be thankfully
acknowledged to the public.
for contributors, such patronage should be seen to be more
important as a demonstration of support and cooperation between
the government and citizens of a city in pursuit of a worthwhile
goal.
Clearly this project can go on without such involvement
from the private sector. However, since the project itself is
part of a long range plan in which cooperation between the public
and private sectors can play such a vital role, some preliminary
experiences in this regard ought to be pursued.
future programs of this type, thereby expanding the budget
and range of options available to such future efforts.
dhile this kind of support of the arts creates PR advantages
Any saving realized by this effort could then be used for
Submitted by David Lewinson, ART/WOm.
Art goes public
Del Mar puts works outside for a look
By Paula Bryant, P= NO~L cmq P-
DEL MAR - Ceyws’of he, flywheels of steeL cold geometry spruog to life. sheer fabric to peer
through and pka nuder are the wooden that make up
Art io Public Places What‘s Kt doing out in public Mead of caged be. hind four walls, ped Wd velvet ropes. guarded by unformed men who pune theu lips and wag their fmgen when you approach? We4 if the Del Mar Fouadatioo and its aztistq have their way, art h to be sat 00 walked around. sunwarmed, widblown and talked about .Maybe even snickered at But mut of ail it meam being seen. as is Sculpture 4. in a natural, everyday setting both at 15th and Camin0 del Mar and dom by the “ad tacks beoeatb Seagrove Park. As long as Del Mar residents and visiton respond to the worb, io positive or negative fashion, the Art in Public Placer program mll be serving itr purpose
That purpa~ according to committee chairman David
Leaiasoq is “to eIpose the community to a variety of +tic erperieaces thmugh the pmeotation of differ- ent artistic concepu” Le- h an art critic almselected the four thematidy related artworks that mil be in Del Mar through September. He says that most people appear to be leery of most
art since Imprrnionism adding that “familiarity breeds coment” By that be meam fhat the worh of artists Kenneth C;lpp, Christopher Le+ Mario Lara and Eric Orr WLU be around long enough - “in an uwbtnuivo nowaggrersive way” - to aUow casual newen to form their om opiniom, or at least get them
%ats termed artistic enrichment is essentially the act of giving people something to talk about. eve0 if they ay, That’s weW The program ij wt meant to caoviaCe people to like or dislike what they see. but to
show them something they‘ve never seen before,” ex- pLajn!i &winson The four plem in tbe pro- are tempomy - up
until Sept 30 and no longer. (Ws in fact. will &e around for less than a day.) Some works, like Cap* spiky. ahtract metak figurer will return to the artist while Lara may simply allow his construcuon to revert
to beach firewood upon dismantlink Because the pieces are by nature ephemeral, they underscore LeKinson’s ideas on creativity as an out-
growth of the present moment “We’re girring people a
oew erpenence that characterizes their om time,”
carapults m into the present, which after a4 h where it was created. ’ lo addition to gently nudging viewen into erperieoc- ing their rufiounding in a less sleepy manner. the program says Leairuo~ “also allom its artis& to ex- perience and expand the %ope of their om activity. It allows an a&t to stretch and be more expansive through experimenting with tbe creative pmceu io a way a mom fonnal program woulda’t A planwd piece may have problem but the artist won’t koow what they are until they do it.” A case in point is L&s fortunate mishap - one side of his tall glass pyrarmd which he’d origiaallay planned to fi mth water, shattered io a way thtt ended up pleasing him more than his orirpnal concept
Sap kWiIlSOQ who maint.iM that being arOuod art
Ibr SM D!qo uoLoa/Ral CJpOo
dlsplay at Seagrove Park 89 part of the ex- hiblta for this weekend’s Del Mar Days.
wo ~ua‘s sitc-speclfic soipture of w00d aod coi- ored fabric went up near the playground beneath Scagruve Park on Aug 19. Lua calls hu construction “Azimuth” (a navigatiod tenn dexribing a method of mapping stars) because it is a point of reference.
Marto Lara’r sltsspeclflc sculpture, ‘A% muth; of wood and colored fabrlc wlll be on
I me foundation not on~y doas ib arti fre~ pbg. it alsooff~m;lalofthemtheirfintoppormnitytowort outside With sea and sky as backdmp, Christopher Lee
j was impired to work 00 a Iargers.de than ever before.
, MMo Lara’r piece is his lugat outdoor wort to date as well
luvea’t seen them already? , so bor will yoa mgain these iMwatiom. if you
If you stop off for a frorm yogut at the wrong
i moment you’ll mis Eric 0”s pie which basn’t hap
i pned pa. rrs a “ioute mat scheduled for sept: 16 ’ at 715 insCapvePark ‘’Three pillan of Fm’”ll be I artinthepresentmomen;indecd
~ “Ghost Rider” and “Amuoo” were unveiled Aug. 5
00 the mbhy turf of the Old Del Mu Hotel site The
’ work were later moved to Seagrove Park fordisplay.
Descnbcd by David &aimon as “mumorganic.” Kemeth Capps’ sculptares evolving from the tradition of Mart de Suvcro. look like direly esential space ship parts tumbled to earth, dark and cryptic
A close look at tht cnrrrilimar swirl of steel reveals painted “ides that flash bright red beneath the anmymom black shew placed in lone aod cvie sepa- ration from each other. Erected m the same day. Christopher Lee’s “Ele mcnw stands nearby. Sit 00 the marble cube and look up at a glass pynmid flanked hy a mty steel sphtrc hoking like a child‘s rubber ball haking in the sun. and a bright
b- cw+ a cheerier venion of the ones they were alwags sticing sectiom oot of in math book From the cool. high-tech plllat comes bunting a slender. arching tendril of mwth wood
“It h arhted a“3 and dtpclops a relatiomkip with four poiat: thetahad tracks the park, the- and shore, and the playground. It txm = a focal
poiot for passengem going by on the vain, men and beach visiton,” erplaim Lam The sculpture is two cmssed triangla of cloth. red and blue. The colon combine differenty depending on how you look at it Diamond shaped it is 80 feet long, 24 feet Ride and 12 feet high and designed to attract
viewen from a distance. Lua bopes thcae attracted WIU ask questions and participate by looking through the translucent material stretched am the frame. Like looking through col- ored lemea tbc piece offen an altered perception of the environment it was designed for. dowing the viewer to see the landscape fmhly, and mybt see other thinp with thc same when they leave. Make faces at your friends through it hide under it. play with it - Laa purposely placed it io relation to tbe play eguipmeot and calls ”Azimuth” a “public toy.” “It h meant to interact with the public aod engage people directly, instead of being heavy and serious with a deep meanmg” he sap “It should bpire spontaneity and fun“ Unobtrusive as they are. the four pieces do no less than infiltrate our consciousness. pull m into the pres- ent. and encourage m to respond And on top of all that.
the7 have the cheek to invite m to olav. These summer
NDAR
AT THE GALLERIES/Robert McDonald
By ROBERT McDONALD is Jill Moon’s “Three Yellow Wom- en and a Hat,” a four-element AN DIEGO-Horton Plaza in painted .wood cutout installed on downtown San Diego was the the roof of Horton Plaza above S site of two temporary works of Wonder Sushi. Moon presented the public art until Wednesday. when work in a smaller format earlier Mario Lara’s strong and elegant this year at Installation Gallery. It “Denominator” proved to be more is charming and safe. It is sched- temporary than he had anticipated. uled to remain in place until Nov. Lara, one of San Diego’s most 15. accomplished and professionally Despite the contretemps, the responsible artists, had fabricated management of Horton Plaza mer- an angular structure of 2-by-48, its kudos for cooperating with painted black and cov- David Lewinson in attempting to eredwithblackfabric, bring contemporary art to the which descended the &zo public. It takes courage and persis- very wide stairway at COUN~ tenCe. Plans to reinstall Lara‘s the western end of the work elsewhere in the plaza at a plaza leading to let Avenue. later date are under discussfon. An imporring sculpture rising 14 according to LetKLnson feet at its highest mint and extend- I fng halfwaydown the stairway, it provided a reductive contrast to the surrounding visual clutter, functioning as a noble complement rather than a rebuke to the giddy- gaudiness. It gave pause to visitors and refreshed their eyes as it enhanced the exuberance of its site. It had the effect of a man in a tuxedo accompanying a wow in a party dres8. Unfortunately, the management of Horton Plaza ordered the re- moval of this beautiful work of art Wednesday morning because of fears that mm” might trlp on it, Customer mfety is a legitimate issue, but it’can rfso be 4n excuse for diffusing mpomdbility whiie getting rid of something that some- one (any complaining employee or visitor) perceives as an affront,
Frankly, many of the planters in Horton Plaza are potential hazards, as are all those stairs and escalators and the light posts and the crotch- high banisters, not to mention baby stroiierr, wheelchairs and other people, especially iittle ones. San Mego is creating for itself a history of rejection of public art. Only the most retardative figura- tive scvlptolpt teems to find accept- ance. We em to be aiming for the lowest common denominator. And that’s a sad state of affairs. The other piece at Horton Plaza
(“YO~Call that art?“)
y Friday, November 7,1986 6
July, 1987
DAVID LE'JJINSON
Summary Resume
Born March 5, 1948, Montreal, Quebec1 raised in Los Angeles.
Art Productiom
"Sculpture 4. *' Summer, 1984. A temporary outdoor sculpture exhibition for the city of Del Mar. for the project's sponsor, the Del Mar Foundation.
For Watt Industries/Fairbanks Ranch Plaza. 1984. Temporary installation of outdoor art to coincide with equestrian events related to Summer Olympic Games.
Served as executive producer
"Del Nar Soap." 1985. A community written, community acted, community located fictional television production for public access cable television. I created and served as executive producer of this project.
For Horton Plaza Marketing Association. FaPl, 1986. Produced a temporary sculpture exhibit calling for the creation bf two new works of art specifically for Horton Plaza locations.
For Seaport Village. placement of mannequin-like figures on the grounds and bayshore of the Seaport Village mall.
Produced project involving the temporary
Pub1 i c ati ons
Art related features, reviews, and criticism for San Diego Magazine, The San Diego Union, The Tribune, The Reader, South- coast Newspapers, Artweek, Artnews, Landscape Architecture and other regional and national publications
Catalog essay for "A San Diego Exhibition" at La Jolla Museum of Contemporary Art. April, 1985.
David Lewinson -- Summary resume, Page 2.
Publications (continuedl
Pro-bono contrihutions to artists' publications, "San Diego Artist" and the Newsletter of the Communicating Arts Group.
ConsultinP: Services
On-going activity producing press materials and publicity strategies for artists and institutions in San Diego and LOA.
1983. Developed extensive program for development and public relations for the Crumley Gallery, MiraCosta,College. 1.
On-going activity as private, in-studio critic for artists in San Diego and Los Angeles.
Currently developing arts related programs and projects for major real estate developments and organizations such as the Trammel Crow Company. Oliver McMillan, and the Golden Triangle Marketing Coalition.
Lectures and Panels
"Art and You." A four-part lecture series thus far presented
to the La Jo11a Cultural Society and the Felicita Foundation, Escondido
Panelist on "Meet the Critics" forum presented at SDSU and at Java, a downtown San Diego arts facility and meeting place.
Jury-
Served on grant application review panels for the Public Arts Advisory Council of the County of San Diego and on similar panels organized by COMBO.
Teaching
National University. Art history survey course. Summer, 1984s
University of California, San Diego.
taught classes on history of art, history of film, and writing. 1978 - 1980.
As teaching assistant,
David Lewinson -- Summary resume, page 3.
Employment historv
1980 - 1982 La Jolla Museum of Contemporary Art, La Jolla, California.
Communications: Write, edit, and publish museum's bi-monthly newsletter, catalogs, brochures, and other items. Lead public tours of exhibitions.
Grant writing: Establish correspondence with ard prepare grant requests to foundations, govern- ment agencies, and patrons of the arts (both corporate and individual) e
1978 - 1980 University of California, San Biego.
Teaching Assistant, Department of Visual Arts. Lead section discussions for classes including "Introduction to Art" and "Contemporary Cinema3 The Genre Series, Y
Teaching Assistant, Warren College Writing Program. Design and teach cirriculum for two-quarter freshman writing sequence.
Research Assistant for Professor David Antin.
1974-1977 Visual Education Incorporated, Smta Barbara9
California ,
Staff writer, Research, write, and edit texts for film strips on European and American art and architecture.
1969-1974 University of California, Santa Barbara4
The Arts Library.
Cataloging Department . Summarize contents of incoming art exhibitions from museums
and galleries around the world.
,
David Lewinson -- Summary resume, page 4,
Edu c a t i on
1980 Master of Fine Arts in --rt Criticism
Department of Visual Arts,
University of California, Sam Diego
1974 Bachelor of Arts in Art History
Department of Art
University of California, Santa Barbara
1972 Bachelor of Arts in Sculpture
Department of Art
University of California, Santa Barbara
1966 High School Diploma
Beverly Hills High School
David Lewinson
P.O. Box 2092
Del Mar, CA. 92014
Telephone t (619) 792-1242