HomeMy WebLinkAbout1987-08-11; City Council; 9123; APPROVAL OF AGREEMENT FOR COORDINATOR AND TEMPORARY SCULPTURE EXHIBIT IN CARLSBAD PARKS4
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MTG. 8/11/87
DEPT. LIB CARLSBAD PARKS CITY
RECOMMENDED ACTION:
APPROVAL OF AGREEMENT FOR COORDINATOR
AND TEMPORARY SCULPTURE EXHIBIT IN ClTY
Adopt Resolution No. ?/yo, approving Agreement between the
City of Carlsbad and David Lewinson and authorizing the
Mayor of the City of Carlsbad to execute said Agreement for and on behalf of the City of Carlsbad.
ITEM EXPLANATION
The Arts Commission recommended David Lewinson a:
coordinator for the temporary sculpture exhibit as outlinec
in the attached proposal. The fee for the exhibit is $10,000 to include rental fees of ten works of art,
installation fees, publicity and coordinator's fee.
The Parks and Recreation Commission has endorsed the exhibil and appointed Marjorie Morrison as their representative tc review the recommended pieces with the Arts Commission.
FISCAL IMPACT
The $10,000 will be appropriated from the Public Art Fund, leaving approximately $190,000 in the fund.
EXHIBITS
1. Resolution 2. Exhibit "A" 3. Proposal
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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, Cal
does hereby resolve as follows:
1. That certain agreement between the City of C
and David Lewinson, as coordinator of a temporary sc
exhibit of public art in Stagecoach and Holiday Parks, a
which is attached hereto marked Exhibit "A" and made
hereof, is hereby approved.
2. That the Mayor of the City of Carlsbad is
authorized and directed to execute said agreement for
behalf of the City of Carlsbad.
3. That funds in the amount of $10,000 are
appropriated in the Civic Arts Fund for this purpose and t
and all unexpended appropriation within the arts fund s
carried forward into the 1987/88 fiscal year.
NOW, THEREFORE, BE IT FURTHER RESOLVED that t
Council of the City of Carlsbad, California that: 1 ////
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PASSED, APPROVED AND ADOPTED at a regular meetint
City Council of the City of Carlsbad, California, held on 1
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
,I’ y:,/ /;y;.y /’ /-/, -/L !’
CLAUDE A. LEWIS, Mayor
I 1 AL!&k?k RAUTENmql 2. k? e r k
( SEAL )
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LETTER OF AGREEMENT
This is a letter of agreement between the City of Carlsba Cultural Arts Program and David Lewinson/Art Word.
David Lewinson/Art Word agrees to coordinate a tempora
sculpture exhibit in Carlsbad for approximately eight weeks described in the attached Request for Proposal and Lewinsor proposal.
The project fee is $10,000. Allocation has been made by Ci
Council Resolution No. 9190 .
Fee to be paid as follows:
25% On signature of agreement $2,500 *
50% Ten days prior to date of installa- tion as agreed upon by coordinator
and Manager of Arts Program $5,000
25% On final date of exhibition and
removal of artwork $2,500
David Lewinson/Art Word SS# 561-62-0794
[$dk,A&
C aude "Bud" Lewis
Mayor
c: City Manager Cliff Lange
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ARTIWORD David Lf writlng 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 exhib:
I look forward to the opportunity of working with the C:
its Arts Commission, and the manager of the Cultural Arts
Program in furthering the community's cultural goals through
this project.
espectf ly yours,
>I&*L avid Lewinson
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PROPOSAL TO COOFOINATE A TEMPORARY SCULPTURE EXHIBIT JN CAR1
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 project’s purpo
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
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Rei Temporary sculpture exhibit! page 2.
print media. I also worked closely with members of the city
public access television facility who sought to produce a
video documentary of the project. I was, furthermore, close
involved in various aspects of fund-raising and soliciting o
in-kind contributions that the Del Mar project required sincl
it was intended from the start that the effort pay for itsel
entirely by these means,
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 Carl sbad .
The combination of production experience. public relatio
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 developmentr 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,
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Re: Temporary sculpture exhibit1 page 3.
and a variety of regional and national art-specialized venut
I have also worked as an art consultant to various public ar
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 south
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 presentatior
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 wit
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 type:
and styles of art will present themselves for contrast and
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Ret Temporary sculpture exhibitr page 4.
comparison with more familiar styles. Aided by informational
materials provided through this program in the form of on-si:
signage, brochures, and print and electronic media coverage,
this exhibit will help stimulate lively and healthy debate ar
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 importance. 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.
Y 0
Ret Temporary Aculpture exhibit, page 5.
Flethod of Curatim a nd C oord- t he TernDorarv SculDture
No S of Act- Ult in Car-e -e .. .
Organize informal meeting with Arts Commissioners and others
involved or interested in this project to share ideas, exploi
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, announceme
letters to artists, galleries, artists' associations, museum
curators, etc. t place advertisements in art media such as
Artweek. Request photo documentation of work available to
this project and specific instructions regarding installation
requirements for the works.
Develop strategy and resources for installation of works,
on-site signage, publicity and community information, material -- seeking in-kind contributions of services/materials from
the private sector of the community. (See nohregarding this
action which follows the budget section of this proposal*)
As responses from artists come in, screen for appropriateness
in terms of style, content, public safety, facility of instal
durability, etc.
rl) e
Re: Temporary sculpture exhibit, page 6.
At cut-ff date for artists to submit works, assemble qualif.
submissions for review by rirts Commission. In conjunction r
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, community information
materials, and press materials.
Implement installation of works and publicity/informaCional
strategy.
Develop and announce public lecture to be given by the curat
coordinator on the subject of this exhibition and its conten.
Monitor progress of exhibit and public response.
At conclusion of exhibit, supervise removal of works, preparc
condition reports on works and sites.
Prepare summary report on the exhibition, its impact,. values,
and lessons.
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Ref Temporary sculpture exhibit, page 7.
Budget for Temporarv Sculpture Exhim ..
Rental of artworks: $3509. 10 works at $350, to include transportation to and from site and artist's participation
in installation and removal.
Installation of artworks: 1200. labor, equipment, and materials.
Insurance: . 1200.
limited to personal injury and replacement cost to artist.
Signage, informational material, PR: 1300. on-site signage: $300
FR (press packets) 300 brochure: 700
Coordinator's fee 2800. to curate, coordinate, and otherwise supervise all physical aspects of the exhibit; to write and publish educational and PR materials; to execute contracts; to prepare documentary summary of project; and
otherwise to expertly execute this effort in the manner described in this proposal.
Total project costs ~10,000
Note on the budget I
A project such as this one offers a variety of opportun:
for the city's private sector (its individuals and businesse!
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 Publisl
the informational brochure that this project will generate.
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Rei 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 fo
of providing personnel and equipment to install the works of
art at their locations. Furthermore, an insurance broker mi)
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 thank3
acknowledged to the public.
vJhile this kind of support of the arts creates PR advant
for contributors, such patronage should be seen to be more
important as a demonstration of support and cooperation betwe
the government and citizens of a city in pursuit of a worthwh
goal.
from the private sector. However, since the project itself i
part of a long range plan in which cooperation between the pul
and private sectors can play such a vital role, some prelimin:
experiences in this regard ought to be pursued.
Any saving realized by this effort could then be used for
fbture programs of this type, thereby expanding the budget
and range of options available to such future efforts.
Clearly this project can go on without such involvement
Submitted by David Lewinson, ARThORD.
Toe sari Biego &Itim
Thanday, Sepvmba s. Is4 & A copley lvewrpaper . -
Art goes public
Del Mar puts works outside for a look
By Panln Bryan& P- ~d GO- P-
DEL .MAR - (2- Of flame flyWh4.Y Of NCL cold geometry sprung to life sheer fabnc to peer
Wugh and pas and- are the wooden that make up
Art UI Public PLm What's art doing out in public inrcead of caged be- kd four wailr penad behtnd velvet mpa. guarded by
domed men who pune thw tip and wag thw fmgen when you appmach? WeU if the Del !&r Fouodatioo and ib arth have theu way. art is to be sat on. walked aruund. smwanneb modblown an& talked about mybe even mckered at But must of all it meam bemg seen. as is Sculpture 4, m a natd everydav settmg. both at 15th and Camno del .Mar and dom by the had craclu bepeath
Seagrove Park hs long as Eel War rerndenu and vuiton rspoad to the work* in pitlve or negatlve fash~ou the Art IE
Public Places proqam will be serpvg its purpose Thst purpmc amrding to comrmttce chairman David Leauaw is "to erpcse the commllNty to a vKiety of artistic experiences chmugh the prevntation of differ. ent artis~c concepts" krimoo is an art critic wbselccted the four
thematically related artworks that mil be IE Dcl Mu
through September. He wp that most people appear to be leery of most
art am Impra%onum adding that "farnilianty
breeds coment" By that he meam that Lhe works of
i~Wb Kenneth C2ppS Chrutoplv Let. Man0 m and Enc Orr lplii be around long enough - "in an
Wb~w nobaggresslve waf' - to alh Casual Marlo bra's site-specific sculpture. ',&I-
viewen t0 lorn &lr om OPmom Or at least get U~I muth,' of wood and colored fabrlc will be on -q. "WbaCs termed artistic enrichment u escntkally tht , act of gwmg people something to talL about even if ! The fouadrtion wt only do= its art- free play: it they say. 'That's wed' The program u wt meant to I ah offen UEiq of the!n their !int opportunity to work conm people to like of distik what they vs, but to ! outsid& 'Rtk sea and sky u bactdrap. Cbnstopher Let
show them something they've never secn before" ex- P;U lmpircd to mrlr m a larger de than ever before. phiN Leauwn Mario Lur's piece is his mat outdoar wort to date The four plecu in the program are temporary - up as wail
around for lea than a day.) Some works. like Cap# haven't seea thcm already? spkv, abstract melal figuta. ail1 return to the artist. If pu * off for a fmzca yogurt at the mng whrle Lara may amply allow his m&cuon to rev- , momcat poo'U mis Eric On's pie which hasa't hap
t0 beach firewood Upon dismMLhg pacd * It's a %minute event scheduled for ~PL 16 Because the piem are by nature ephememl. they , at 715 in hgmve Park 'Ihm pillvr of FW' mil k idemre Lewo's ideas OD creativity ;U M out- art in &e pracot moment indeed
growth of the preseot moment "We're giving pmple a "Ghost RiW and "Amazon" we unveded Aug. 5
aa expeneoce that charactcrim thut om rime" aa the mbb huf of Ibc Old De! Mu Rotd site Tbe
sags Lewuaos who tnamtim that be% UOtlDd art mfb m htcr moved to Sealpove Park fWhplay. catapui& m into the praent which, after a& is where DMlbed br David knm00 1s "nawKgaplC." It was created K~~etb Gpp' rulptrua. evolving fmm * tramtion In addition to gently nudging viewcn mto crperieoc- of Mut de SUV~. loot like dhiy es~atkl we Ship mg thcu surrouoding in a lers sleepy cnanuer. the putr tumbled to unh dark and crgpUc program says Lemason "ah allom its artists to ex- A clwe loot at the carcnlinear -t of sd fcveals penma and expad tbe rope of thew om activtty. It panted UDdaSlda that tluh bright red bcwtb the
allows ao artist to stretch and be more cxpamive anooymaa bkct shell% pW in loa aod ecne =Pa- through expcmcn~g with the cmuve pmcas in a ration fmrn each other.
way a mom f0d pro- Wddn't A pi& pcacd 00 tbt same day. christopha Lec'S ''me
piece may have problems. but the artist won't boa ma" aw& pcprb~.
what they are until they do it." Sit 00 the a- marble cok and look up at 1 i3ls
A case io pot IS Lets forrunate mkhap - one side pyramd flanked hy a rusty stecl sphere looking like a of ius a a= Pmd wtwb he& onwW chiid's rubber ball baking m the sua ~DII a bngbt
phed to fill mtb water. shattered in a way that brow cone p cheencr vemion of the ona they were ended UP PleaJmg him mom than hfi On@ mmPL aiaap slicrtg xctiom oot of in math books hm the
mi. hgh-tcch pW coma bunting I tlendCr. VChiDg teMiril of mlaltb wood
mb.5u asp Uoim/Rra( d
display at Seagrove Park 85 pert of th hlblts for this weekend's Del Mar Days.
Mario h's sttespedc mlpture of woad and
ored fabric went up pcir the playgrouud bene
Sugmvc Park on Aug 19. bra cah his mmtruc
"himuth" (a navigational tmn dernbing a metho mapping uus) hecaw it is a pint of reference.
"It h oriented amcmd and dcrtlaps d refatiom
and shore, and the pbypund. Ita mass fc
pmt f0t Fngen go,,,g by oo M - pBgen, beach wtom,r erpi;um bra ne dptm w tao crm~d triangle, of cloth. 4 blue. ~hc colon mmb,m differenty depcnmq how you look at it Diamond hped It u 80 feet long
feet mdC and If feet ,,,& and dalgP4 lo atu
virne,, from a harr h hop thc~c attracted sill & quatiom , pvticlptl by loobg mugh &e t-lu-nt mate, smtch& aCmg the hmc Like looking through ( od 1- the p,ec+ offen aa de& wmpua the mviraameot it was dalgned fm. allowg
oacr thinlp rnth w yme m ahen (bey 1-v me fa= at you k& thmugb it hide under play ma it - ha purposciy placed it in relation
& phy egupment ad & "MuW a "public tog "It b mat to interact with the pahlic and enga
wple &&Iy, ~e~d of bcig heavg and senow w a deep mamgmhc afl "It should impirr spootane ad fua" udmIve a they m. the fom pie do no I( than infiitrate our c~uelousoen. pull (u mtu the pr ent and encourage m to mpoad And on top of all th they have the cheek to invite us to play. The Smu
scnlptara mll allow us to do just that
Uld %pt % and PO IOOge?. [err'% IE fact 'd k % bm d p - thae hStdhfiOm. if YOU ~th fom pw * md m& ae @, the a~
vim to * the landscape frwhly. and mayhe :
gaudiness. It gave pause to virritors and refreshed thefr eyes as it enhanced the exuberance of ita Ate. It had the effect of a man in a tuxedo accompanying a wow in a party drem. Unfortunately, the management of Horton Plaza ordered the re- moval of this beautiful work of art Wednesday morning because of fears that someone might trip on it. Customer safety la a legitimate issue, but ft can rlso be &n excuse for diffusing mqmuibility while getting rid of something that some-
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July, 1987
DAVID LEWINSON
Summarv Resume
Born Narch 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.
"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. Fall, 1986. Produced a temporary sculpture exhibit calling for the creation of 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.
Publicationg
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.
Served as executive produc
Produced project involving the temporary
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David Lewinson -- Summary resume, page 2.
Publi cat ions (continuadl
Pro-bono contributions to artists' publications, "San Diego
Artist" and the Newsletter of the Communicating Arts Group.
Consultina Services
On-going activity producing press materials and publicity strategies for artists and institutions in San Diego and L.A.
1983. Developed extensive program for development and public relations for the Crumley Gallery, MiraCosta,College. -
On-going activity as private, in-studio critic for artiGts 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
Mark e ti ng C oali ti o n
Lectures and Panels
"Art and You." A four-part lecture series thus far presented to the La Jolla 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.
Jurv-
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*
Teachirg
National University. Art history survey course. Summer, 1984
University of California, San Diego. As teaching assistant, taught classes on history of art, history of film, and writing
1978 - 1980.
a e
*
David Lewinson -- Summary resume, page 3.
Employment history
1980 - 1981 La Jolla Museum of Contemporary Art, La Jolla Cali for ni a.
Communications: Nrite, edit, and publish muse bi-monthly newsletter, catalogs, brochures, a, other items. Lead public tours of exhibition
Grant writing1 Establish correspondence with : prepare grant requests to foundations, govern,
rnent agencies, and patrons of the arts (both
corporate and individual).
University of California, San Diego.
Teaching Assistant, Department of Visual Arts Lead section discussions for classes includini "Introduction to Art" and "Contemporary Cinem
Teaching Assistant, Warren College Writing Prc Design and teach cirriculum for two-quarter freshman writing sequence.
Research Assistant for Professor David Antin.
1978 - 1980
The Genre Series, Y
19 74- 1977 Visual Education Incorporated, Santa Barbara,
California .
Staff writer, Research, write, and edit tex for film strips on European and American art and architecture.
1969-1974 University of California, Santa Barbara;
The Arts Library.
Cataloging Department. Summarize contents of incoming art exhibitions from museums
and galleries around the world,
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David Lewinson -- Summary resume, page 4,
Education
1980 Master of Fine Arts in Art Criticism
Department of Visual Arts,
University of California, San Diego
1974 Bachelor of Arts in Art History
Department of Art
University of California, Santa Barbara
Bachelor of Arts in Sculpture
Department of Art
University of California, Santa Barbara
1972
1966 High School Diploma
Beverly Hills High School
David Lewinson
P.O. Box 2092
Del Mar, CA. 92014
Telephoner (619) 792-1242