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    Governor's Island Proposal Governor's Island Proposal Document Transcript

    • META ARTE 563 NE Ravenna Boulevard Seattle WA 98115 phone 206.523.3071 fax 206.523.6133October 15, 2010West 8 New YorkAttn: Public Art Consultant RFQ333 Hudson Street, Suite 905New York, NY 10013To the Public Art Consultant Selection Team:META ARTE is delighted to apply for this unique opportunity to contribute to the concept,definition, and delivery of a most important public space through the thoughtful anddeliberate introduction of art interventions, both permanent and ephemeral.Our team – Pablo Schugurensky and Kurt Kiefer – has extensive experience in public artactivities. Please see the attached résumés and past projects‖ information. We prefer towork in consonance with the development of a site – the earlier the better – so ourefforts can match, mutually inform and affect the evolution of the concept. We feel thatthis is a great moment to work on the plan for public art in Governors Island, as thegroundwork has been established and the ambition for an engaged public experience hasbeen clearly enunciated.We believe that public art projects can and must meet the interests of various parties: theartist, the audience, and the funder. In our practice we encourage artists to engage withthe intended location for their work and consider the community. At the same time weask them to propose meaningful, important work that can be a mark in their careers. Weask audiences to stretch their expectations and listen to what the artists propose. We askthe funders to take calculated risks, to benefit from the opportunity to commission worksrather than acquire existing objects.In our curatorial work, we strive to bring not only the unexpected but also what will addto the character of space and will have a long visual life. Our interest in longevity is notonly about the durability of materials but also about integrating artworks into the long-term narrative of place and community.We work with both well established artists as well as those with younger practices whomay have not had a public art opportunity before. We see our work as providing scopeand parameters – budget, timeline, local code, intention, expectations – and monitoringthe continued adherence to them, from initial invitations for artist to make proposals tothe final delivery and warranty period. We also prepare interpretive materials to articulateart efforts to the public and the media.We enjoy developing all kinds of projects — permanent, semi- permanent or ephemeral –and celebrate the fact that the meaning of public art has evolved to include time-basedworks. Indeed, in a transformative process such as the one in Governor‖s Island, it would
    • META ARTEbe desirable to create art events that reside in the shared memory of the audience as partof the overall program.Our experience includes a deep understanding of governmental practices – meeting therequirements of enabling legislation and the interests of various project‖s stakeholders,including artists, schoolchildren, students, government employees, administrators, publicofficials and legislators. We take pride in our accomplishments within those scenarios. Wehave also worked with private development projects, including commissioning twelveartworks for the gargantuan new football and soccer stadium in Seattle, Qwest Field, forthe Microsoft Corporation, and for Vulcan Real Estate. A few highlights in our collectiveexperience include commissioning and delivering a beautiful sculpture by Martin Puryearfor the Cesar Pelli-designed Mark McDermott Plaza at the University of Washington(Everything That Rises, 1996); Peter Shelton‖s first public commission at Qwest Filed,(rockSHADOW, 2002); and Ursula von Rydingsvard‖s sprawling work at Microsoft, (Skipto My Lou, 1997).For Vulcan Real Estate, we are contributing to the redevelopment of a large centralsection of Seattle, South Lake Union, which until recently was occupied by warehouses,light industry and some commerce. The redevelopment plan for this neighborhoodincludes biotech industry, residences, commerce, and a cultural corridor. In order toconjure the diverse vocabularies that appear in neighborhood architecture, the developerhas been engaging various architectural and landscape design firms to design buildings incity blocks, including pedestrian-friendly gestures such as through-block courtyards. Wehave engaged regional artists and provided them with reasonably ambitious budgetsdepending on their career stage and track record / ability to deliver. In some cases wetook calculated risks, resulting in already well-loved installations, such as Akio Takamori‖sThree Women (2006), Claudia Fitch‖s Placeholders (2007), and Leo Berk‖s Threshold(2009).We encourage the artists and designers to collaborate to maximize their respectivebudgets. Leo Berk was able to use a budget initially allocated to the furniture, fixtures andequipment to create a large work for the interior lobby and exterior of a new building thatfulfills some of the functional needs of the space. Claudia Fitch developed a collaborativerelationship with the landscape architect on her project and was able to alter the designof planters and the sidewalk to become more organic, relate to her sculptures and greatlyimprove the pedestrian experience on a narrow sidewalk along a busy street.Audiences are not uniform, and we expect that people will like some works more thanothers. We believe in providing multiple points of entry to a public art program withoutbeing condescending to audiences. From figurative to abstract, from ephemeral topermanent, a program can be punctuated to include diverse and serious approaches to art-making. There are many talented artists that can provide smart and engaging artworks toinvigorate the shared space.Depending on budget, timeline, and development plan, the public art program for
    • META ARTEGovernors Island could be concentrated in one area or deployed as punctuations invarious locations. We think it is important to recognize the need for flexibility for futuredevelopment and additions, and to leave room for them.We hope our materials are of interest to you and look forward to enter in dialogue toimagine and realize a truly new art space.Sincerely,Pablo Schugurensky Kurt Kiefer
    • META ARTE PABLO SCHUGURENSKY [PRINCIPAL]PROFESSIONAL EXPERIENCEMETA ARTE LLC, Seattle, Washington. Owner, 2005-present. Meta Arte provides art advisory services to various individual and corporate clients to develop, manage, and shape art collections in private and public settings. Provides art advisory services to various individual and corporate clients to place artworks for sale through private treaty or public sales. Monitors developments and practices in the field, track new artists, and maintain presence to identify, solicit, and gain access to great opportunities for acquisition.Vulcan Inc, Seattle, Washington. Director of Art Collections (2002-2005); Director of ArtCollections and Management (1999-2002); Art and Foundations Manager (1998-1999). Represented company, principals, and affiliates in the field. Identified opportunities for artwork acquisition and placement for a variety of settings. Developed and executed art program concepts for diverse purposes, from public facilities to company collections to private interests. Cultivated relationships and understood practices, methods and developments in the field; negotiated complex contracts, understood intellectual property issues, customs, legal, and tax implications.First and Goal, Inc, Bellevue, Washington. Art Program Consultant, 1998. Developed public art program for a new sports stadium with an initial allocation of almost two million dollars. Designed contracts that reflect practices in the field and the interests of the new stadium constituencies. Assisted in negotiations to integrate diverse interests for the art program.Microsoft Corporation, Redmond, Washington. Director, Microsoft Art Collection, 1997 - 1998. Directed acquisition efforts in collaboration with the Microsoft Art Committee. Procured artworks. Provided articulation to collecting efforts and interpretation to collection holdings. Set guidelines for, and conducted internal and external communications regarding the collection. Identified placement opportunities. Coordinated with Real Estate group. Coordinated activities with the Collection Administrator and installation team; managed the collection budget. Prepared annual request for new acquisitions and collection management. Devised and implemented employee programs associated with the collection. Established general collection policies regarding tours, loans, and unsolicited submissions. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 44
    • META ARTE PABLO SCHUGURENSKYWashington State Arts Commission, Olympia, Washington. Program Manager, Art in Public PlacesProgram, 1992 – 1997. Responsible for statewide program administering art allocations for public schools, colleges and universities, and state agencies, with an annual acquisition budget of over one million dollars. Shaped state policy, interacted with other programs, Visual Arts Committee, and Commission. Provided art selection procedures, managed acquisition process, maintained contact with artists and sites. Upgraded collection management and developed conservation programs for the State Art Collection. Secured first-time allocation towards conservation. Established deaccession policy. Improved relations with communities and partner agencies. Invented new partnership models. Represented Program and Commission regionally and nationally. Supervised program staff (7 members) supporting their career growth.New York State Council on the Arts, New York, New York. Program Officer, Visual ArtistsProgram, 1987-1992. Responsibilities in all phases of the grant administration process, from handling inquiries to evaluating fiscal and programmatic aspects of applications from New York State arts organizations. Made funding recommendations, wrote reports, compiled statistics, and shaped policy. Attended exhibitions, performances and events to keep current with contemporary visual arts activity.RELATED EXPERIENCEHenry Art Gallery, Seattle, WA. Collections Committee (2002 to present). Board of Directors(2002 to 2005).Northwest Film Forum, Seattle, WA. Board of Directors. 2007-2008.Seattle Art Museum, Seattle, WA. Olympic Sculpture Park Advisory Committee (2001-2006),Committee on the Collection (2002-2006).Artist Trust, Seattle, WA. Board of Directors, 1997-1999.Foundation for Art Resources, Los Angeles, California. Board of Directors, 1987.EDUCATIONThe Otis Art Institute Of Parsons School Of Design, Los Angeles, California. Master of Fine Arts Degree in Painting, 1987. Additional emphasis in Art ManagementThe Evergreen State College, Olympia, Washington. Bachelor of Arts Degree, Fine Arts, 1984. Additional emphasis in Art ManagementLANGUAGESFluent language skills in English, Spanish, Italian and Portuguese. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 55
    • META ARTE KURT KIEFER [PROJECT MANAGER]PROFESSIONAL EXPERIENCEMETA ARTE LLC, Seattle, Washington. Project Manager, 2008-present. Manages public and private commissioned projects, coordinates projects with client representatives. Understands developments and practices in the field, track new artists, and maintain presence to identify, solicit, and gain access to great opportunities for acquisition.University of Washington, Seattle, Washington. Campus Art Administrator, 1994–2008. Manager of the UW Public Art Program and curator of the Campus Art Collection. Managed all phases of master planning, project development, artist selection, project management and collection maintenance for the university‖s growing collection of art. Oversaw maintenance budget, guided development of major commemorative works, raised funds for maintenance and acquisitions and managed gift review and acquisition.Rainmaker Industries, Seattle, Washington. Owner, 1992-2008. Completed public art projects in Tacoma, Washington, Portland, Oregon and Seattle, Washington. Various projects including art planning with Meta Arte, the Puget Sound Environmental Learning Center (now Islandwood) and early development of a public art planning guide for Seattle neighborhoods for the Seattle Arts Commission.University of Washington, Seattle, Washington. Lecturer, 2006-2008. Yearly Spring Quarter seminar on professional practices for artists.First and Goal, Inc, Seattle, Washington. Consultant, 2001-2002. Oversaw the construction and installation of a $1.2 million collection of public art projects associated with the Seattle Seahawks football stadium (now Qwest Stadium).Rhodes Masonry Inc, Seattle, Washington. Project Manager, 1993-1994. Supervisor of crew of traditional craftsman fabricating intricate stonework for residential and commercial clients.Capp Street Project, San Francisco, California. Contract Preparator, 1990-1992. Facilitator of on-site and off-site artists projects.Oliver Art Center, California College of Arts and Crafts, Oakland, California. Lead Preparator, 1990-1991. Facilitator of on-site artist‖s projects, exhibition designer, artwork handling and installation. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 66
    • META ARTE KURT KIEFER [PROJECT MANAGER]Washington Project for the Arts, Washington, DC. Chief Preparator, 1988-1990. Designed and installed exhibitions, fabricated site-specific artwork, administered project budgets, maintained facility, recruited and supervised volunteers and interns.Washington Cathedral, Washington, DC. Stone Carver, Shop Steward, 1985-1988. Carved a wide variety of architectural ornament, maintained and repaired existing stonework and managed the storage and handling of work in progress. Shop Steward, representing the carver‖s studio in internal and external interactions.RELATED EXPERIENCEMayor’s Office of Arts and Cultural Affairs, Seattle, Washington. Member at Large, Public ArtAdvisory Committee, 2002 to present.911 Seattle Media Arts, Seattle, Washington. Board of Directors, 2008 to present.Grantmakers in the Arts, Seattle Washington. Facilitator, “Walking the Edges of Creative Space.”Grantmakers in the Arts Conference, Seattle WA. Panel discussion of artists acting asenvironmental activists, 2003.Seattle Arts Commission, Seattle, Washington. Panelist, “Gifts and Memorials: Building a Legacyor Making Private Taste Public?” Public Art 101 Conference, Seattle WA, 2001.University of North Carolina, Chapel Hill, North Carolina. Advisor. Development of a campus publicart program, 2001.Washington State Major League Baseball Stadium, Seattle, Washington. Panelist, Public ArtProgram. Winter, 1997.University of Washington, Seattle, Washington. University Landscape Advisory Committee,October 1994 – December 2008.Sand Point Arts and Cultural Exchange, Board of Directors, Seattle, Washington. Co-President(2002-2004). Member at Large (1999–2004).Seattle Arts Commission, Seattle, Washington. Member at Large (1999 – 2002). Chair, Public ArtAdvisory Committee (2001-2002). Chair, Art Selection Committee, Seattle Civic Centerdevelopment, (2001). Vice Chair, Public Art Committee (1999-2000).Mayor’s Arts Task Force, Seattle, Washington. Member, 1998-1999.REFLEX Magazine, Board of Directors. Seattle, Washington. President, 1995-1996. Member, 1993–1996.EDUCATIONCalifornia College of Arts and Crafts, Oakland, California. Master of Fine Arts (Sculpture), 1992. Graduated with High Distinction. Received Barclay Simpson Award for distinguished work.The Colorado College, Colorado Springs, Colorado. Bachelor of Arts, (Theater, emphasis on design), 1985. Graduated magna cum laude and Phi Beta Kappa. Received top departmental awards in both Theater and Studio Arts. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 77
    • META ARTE WORK SAMPLESSOUTH LAKE UNION ART PROGRAM, SEATTLE, WASHINGTONSouth Lake Union, a former neighborhood once dominated by light industry, warehouses and autodealerships, is being transformed by Vulcan Real Estate into a center for biotechnology, housingand a campus for Amazon.com. Hoping to enliven the built environment and create a livelypedestrian atmosphere, Vulcan hired Meta Arte to identify public art opportunities, recruit artistsand oversee the fabrication and installation of projects throughout the neighborhood. We have triedto focus our attention on talented local artists without significant experience in public art and havehad great success in helping them translate their studio practices into publicly-sited works andenvironments. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 88
    • META ARTE WORK SAMPLESSOUTH LAKE UNION ART PROGRAM, SEATTLE, WASHINGTONAkio TakamoriThree Women, 2006Painted cast aluminum2200 Westlake AvenueDrawing on memories from his childhood in Japan, Akio Takamori‖sThree Women is a collection of cast-aluminum sculptures depicting a girl,a young woman and mother with her baby. The figures are all about thesame size, suggesting that these three people are of equal prominence inTakamori‖s mind‖s eye – however they are also larger than life-size,giving a sense of importance to what appears as an ordinary moment.Though they have come together and stand facing one another, theyaren‖t interacting, preferring instead to avoid each other‖s eyes and keeping a close watch on thespace around them. Takamori was intentional about this equivocal relationship among the women,inviting the viewers to project their own imagination. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 99
    • META ARTE WORK SAMPLESSOUTH LAKE UNION ART PROGRAM, SEATTLE, WASHINGTONJenny HeishmanCabin Corners, 2010Aluminum, urethane epoxypaint, concreteAmazon.com, Block 26Jenny Heishman grew upin Florida surrounded bytheme parks, water flumesand golf courses.For this piece for a newpublicly accessible plazaadjoining a new Amazonbuilding, Heishman‖s aimwas to design a sculpturethat would intersect withboth the architecture of theadjacent building as well asthe planter beds in the pocket park.Choosing to work with forms that are recognizable tothe Pacific Northwest, her hope was to embed thepiece in its site by way of a historical reference.Heishman writes “I‖m interested in how the threecomponents of the sculpture enclose an imaginaryroom, creating a space within a space and how theinvented history embodied in the work might send itsaudience back in time.” M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 1010
    • META ARTE WORK SAMPLESSOUTH LAKE UNION ART PROGRAM, SEATTLE, WASHINGTONClaudia FitchPlaceholders, 2007Group Health Building, Block 40Steel, epoxy paint, concrete, brick,landscapingThis artwork installation in multipleparts by Claudia Fitch, refers to the“survivor tree” landscape of early TerryAvenue. Using the urban vocabulary ofbrick, steel and street landscaping, theasymmetrical composition of ovalelements is balanced in counterpoint tothe straightforward geometry createdby the sidewalk and building facadealong Thomas Street and TerryAvenue. The artist considered a newaddition to the neighborhood, thestreetcar, for perception of her work.Placeholders is inspired by the historyof Terry Avenue. When the street wasoriginally developed for industrial use inthe late 19th century, the neighborhoodcontained remnants of the site‖s originalold growth forests with the occasionaltall evergreen standing in sharp contrastto the newly- formed urban grid. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 1111
    • META ARTE WORK SAMPLESSOUTH LAKE UNION ART PROGRAM, SEATTLE, WASHINGTONJamie WalkerBeacon, Cloud, Toto, 2010Fabricated aluminumJamie Walker‖s three sculpturesinstalled in this plaza are clusters ofspheres which suggest mountains,clouds and animals. Installed at theentry on Terry Avenue, Beacon actsas a landmark marking the entranceto the building complex and leadingpedestrians into the plaza. Risingdramatically from the ground, thesculpture‖s large scale and rawsurface hint at the geologic forcesthat form mountains. Cloud hangson the northeast corner of the southbuilding, looming ominously, but incontrast, hinting at its real playful nature bycasting a surprising pink halo against thebuilding‖s façade on the occasional bright,sunny days. In the middle of the courtyard,Toto sits patiently on the edge of alandscape island, waiting for someone toplay with. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 1212
    • META ARTE WORK SAMPLESSOUTH LAKE UNION ART PROGRAM, SEATTLE, WASHINGTONLeo BerkThreshold, 2009Salvaged Douglasfir, urethane, epoxyand corkRollin Street FlatsThe timbers anddecking used tocreate Thresholdwere salvaged froma one-story buildingthat previouslystood on the site ofRollin Street Flats.To highlight thehistory of this wood,the artist milled the100 year oldDouglas fir beams tomake them smoothand true, and then patched their cracks, bolt holes, and other imperfections with tinted resin, toreveal them. The flooring tiles are slices from three of these beams; for each set of tiles, Berkemphasized the same year of growth by cutting away a step surrounding the matching growth ringand filling the voidwith orange-tintedresin. The tiles are insequence and book-matched to makethe resulting pattern.The standingtimbers, floor tilesand decking inThreshold respondto the building‖sdesign, recall thematerial‖s formeruse, and allude tothe landscape fromwhich they wereoriginally claimed. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 1313
    • META ARTE WORK SAMPLES505 5TH AVENUE SOUTH, SEATTLE, WASHINGTONAs the Director of Art Collections at Vulcan Inc., Pablo Schugurensky encouraged a successfulcollaboration between John Hoge, a local stone sculptor, and Murase Associates, a well-regardedlandscape architecture and planning firm, to create a large, refined open space at the base ofVulcan‖s headquarters building that performs as a community-gathering space.John Hoge (in collaboration with Murase Associates)Cascadia: Sentries of the Palisades, 2000Garden of Vessels, 2000Basalt and plant materialsTo create a transition space between the office complex and Seattle‖s International District, Seattlesculptor John Hoge collaborated with Murase Associates to install a plaza centerpiece of large-scale basalt columns and water features. This immensely popular plaza is a gathering place forcommuters, sports enthusiasts and nearby workers. Low stone walls direct active pedestriantraffic and provide seating. The north garden, in keeping with the owners‖ request for a Zengarden, is a contemplative space that includes raked gravel fiels, rough granite slabs and a stonewatertable. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 1414
    • META ARTE WORK SAMPLESSTADIUM ART PROGRAM, QWEST FIELD, SEATTLE, WASHINGTONPablo Schugurensky, working with the owners of the Seahawks football team and the PublicStadium Authority, designed and managed the art program for Qwest Field, working with avoluntary $1.75 million investment from First & Goal Inc. The development partners formed an 11-member selection committee and invited qualifications from artists from both the US and Canada.Of 254 respondents, twelve were chosen to develop for exterior and interior sites in and around thefacility. In 2000, Kurt Kiefer was brought on to the team as a consultant to oversee the fabricationand installation of all the works in the collection.The guiding mission of the art program was to: engage both regional and national artists to createartworks that capture the publics interest and imagination; develop a collection that will serve as adestination for visitors from around the world; represent a diverse range of cultural and artisticperspectives; and create a collection that will be a source of pride for the region.Peter SheltonrockSHADOW, 2002Granite boulder, cast bronzeShelton‖s sculptural grouping pairs a massive Cascade granite boulder and its shadow — a bronzeform suggesting a mold to reproduce that boulder. The work, while not specifically referring to theactivity at the stadium, is evocative of the physicality and grandeur of football as spectacle. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 1515
    • META ARTE WORK SAMPLESSTADIUM ART PROGRAM, QWEST FIELD, SEATTLE, WASHINGTONSusan PointWritten Into the Earth,2002Cast bronze (NorthTower reliefs), cast iron(tree grates)Susan Point, adistinguished artistworking to revitalizeCoast Salish visualtraditions, created twodistinct projects atQwest Field. The first isa band of cast bronzebas-relief sculptures atthe base of the NorthTower which serves as athreshold to the facility.The second is a largecollection of ornamental tree grates adopted as the standard fixture for the entire Stadium andExhibition Center site. The arc of bronze bas-relief sculptures (outlining a portion of the formerfootprint of the Kingdome — the stadium replaced by Qwest Field) is composed of four designsintended to represent world cultures. The tree grate designs are based on the designs of spindlewhorls—stoneflywheels used by theCoast Salish forspinning yarn. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 1616
    • META ARTE WORK SAMPLESSTADIUM ART PROGRAM, QWEST FIELD, SEATTLE, WASHINGTONBob HaozousEarth Dialogue, 2002Painted steelHaozous‖ installation on thestadium‖s North Tower isassembled from four 24-foot diameter discs.Although inspired bysymbols that are part of hisWarm Springs/ChiricahuaApache heritage, Haozousbelieves that the forms andcolors have universalmeanings — the artwork isintended as a constantreminder of our deepconnection to the earth.According to Haozous, thelowest disc, depicting astylized cityscape,represents ourcontemporary, man-madeworld. The green discabove it symbolizes life andgrowth, but its humanfigures are flying away,suggesting the loss ofman‖s direct tie to nature,or in a more hopefulreading, a return to thoseties. The third disc honorsthe sun, highlighting ourdependence on the naturalworld and the redemptivepowers of nature. The topdisc is a collection of man-made clouds, meant tosuggest the immensity ofthe natural environment. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 1717
    • META ARTE WORK SAMPLESSTADIUM ART PROGRAM, QWEST FIELD, SEATTLE, WASHINGTONClaudia FitchCollosal Heads, 2002Cast bronze, cast ironInspired by carnival masks,penny arcade signage andthe larger-than-life statuaryof Rome‖s ancient civicarenas, these sculpturesenhance the ritual of entryfrom the city street into thestadium. The sculpturesdwarf passersby and are aplayful counterpart to thelarge Seahawks bannershung adjacent to them —banners displaying enormous images ofcurrent players intended to amplify thelarger-than-life qualities of the eventsinside the stadium. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 1818
    • META ARTE WORK SAMPLESWESTERN WASHINGTON UNIVERSITY, BELLINGHAM, WASHINGTONAs Program Manager of the Washington State Arts Commission‖s Art in Public Places Program,Pablo Schugurensky developed a number of projects in collaboration with Western WashingtonUniversity, whose campus is home to a large collection of contemporary sculpture.Magdalena AbakanowiczManus, 1994Cast bronzeA deeply rooted respect for andclose observation of nature havealways been reflected inAbakanowiczs preference formaterials and themes. As part of theHand-like Trees series begun in thenineties. Abakanowiczs sculpture"represents a metaphoric bridgebetween a form of nature and ahuman form." The artist chose thesite at the south end of campusbecause she felt her work wouldlink the natural beauty of the area,such as the trees of Sehome Hill,with the human activity of thecampus. [Source: Western Gallery,Outdoor Sculpture Collectionwebsite. http://westerngallery.wwu.edu/sculpture_s.shtml] M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 1919
    • META ARTE WORK SAMPLESUNIVERSITY OF WASHINGTON CAMPUS ART COLLECTION, SEATTLE, WASHINGTONAs Campus Art Administrator at the University of Washington, Kurt Kiefer managed thedevelopment of the public art collections on three campuses. Working with the UW Public ArtCommission, he developed strategies and proposals for working on campus to respond to a rapidly-developing physical plant and landscape. Until 1997, Pablo Schugurensky collaborated with theUniversity as Program Manager at the Washington State Arts Commission‖s Art in Public PlacesProgram.Stokley TowlesAn Archeology of Manhood, 1994Month-long residency performanceTowles month-long performance was staged insidea construction site trailer parked alongside a busypedestrian pathway in the center of campus.Performing in the guise of a professor temporarilydislocated by a renovation, Towles gave twolectures a day to groups of passersby. The projectwas so successful that he was invited to be aregular guest speaker in a number of campusacademic departments and gave thecommencement speech for Women‖s Studies in June 1995.Of the project, Towles writes “Surrounded by manhood related images, articles and objects, I gavelectures inside an office trailer on various subjects, including hand holding and football, breastfeeding, and the possibility of expanding my pleasure zone.” M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 2020
    • META ARTE WORK SAMPLESUNIVERSITY OF WASHINGTON CAMPUS ART COLLECTION, SEATTLE, WASHINGTONSuzanne Hellmuth and Jock ReynoldsBrockman Memorial Tree Tour and Shelters, 1994Cedar structures, printed ephemeraUnknown to mostcampus visitors asart, this collectionof sculpturaloutbuildings wasintended as aconceptualsquatter‖s camp,highlightingimportant campushistory by making aseries of sites seemlike places ofhistoric importance.Built in the style ofWorld War II eratemporary facilities,the cedar structuresare carefullydesigned andartfully crafted areas for people towait for buses or escape from the rainwhile visiting the surroundingMedicinal Herb Garden. Once inside,the specific views of the garden arerevealed — views to rare plantingsand juxtapositions of sculptural trees.Hellmuth‖s and Reynolds‖ projectfurther includes a recreated version ofthe campus tree tour created by thelate forester and UW professor FrankBrockman. Used by Brockman in hisclasses at the College of Forestry formany years, the document wasrediscovered by Hellmuth andReynolds in the course of their research for the project. The information (though not the design) oftheir brochure can be found at http://www.cfr.washington.edu/BrockmanTreeTour/. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 2121
    • META ARTE WORK SAMPLESUNIVERSITY OF WASHINGTON CAMPUS ART COLLECTION, SEATTLE, WASHINGTONMartin PuryearEverything That Rises, 1996Fabricated bronzeAccording to Martin Puryear, for many years he had wanted to create a sculpture that was thesame form in all directions — a turned form that emphasized the relationship of the sculpture toits surroundings. Additionally, Puryear had been looking for an opportunity to work with a mastercraftsman at a company in Louisville, Kentucky — one of the last facilities in the US wheredistillery tanks were handbuilt. Merging the two of these desires, the piece was designed using awoodturning as a model, but shows the marks of the tank-building process on its skin.Though not intended as representational in any way, Everything That Rises is similar in shape to POrbital, one of the four basic orbital patterns of electrons in an atomic structure. This accidentalrelationship has proven to be an important factor in the enjoyment of the artwork by itssurrounding audience. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 2222
    • META ARTE WORK SAMPLESUNIVERSITY OF WASHINGTON CAMPUS ART COLLECTION, SEATTLE, WASHINGTONVarious ArtistsBus Shelter Projects, 1993-1996Duratrans transparencies in custom lightboxstructures As an experiment in temporary public projects, the UW Public Art Commission and Washington State Arts Commission developed a series of simpleprojects housed in two Metro bus shelters on the Seattle Campus. One shelter contained sixlightboxes; the other held two. Nominated artists were given the opportunity to develop projectsfor all eight lightboxes or to focus their attention on only one site. Once approved, the artists‖pieces were fabricated locally and installed on a two-month rotating schedule over the course ofthree years. The artists selected for these projects were: Barbara Noah (Seattle), James Casebere(New York), Yong Soon Min (San Francisco), Jon Rubin and Harrell Fletcher (Oakland, California),Ted Gibson (Boseman, Montana), Mike Glier (New York), Alfred Harris (Seattle), Alfredo Jaar(New York), Jeffrey Mitchell (Seattle), Susan Schuppli (Vancouver, British Columbia), Jake Seniuk(Port Angeles, Washington), Timothy Sciciliano (Seattle), William Wegman (New York). M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 2323
    • META ARTE WORK SAMPLESUNIVERSITY OF WASHINGTON CAMPUS ART COLLECTION, SEATTLE, WASHINGTONRobert Irwin9 Spaces 9 Trees, 1982 (re-envisioned 2006)Chain-link fence, aluminum poles, concrete and Cor-ten steel planters, “Winter King” hawthornsThis artwork is an adaptive re-creation of a piece originally commissioned by the Seattle ArtsCommission (SAC) and sited at the City‖s Public Safety Building. When that building was markedfor demolition, SAC and the University agreed to explore the possibility of moving the work to theSeattle campus. Robert Irwin agreed to this precedent-setting experiment and redesigned thepiece, changing its scale slightly, creating new planters and specifying trees more suitable for thesite.Hoping to create a garden space that offered both privacy and transparency, Irwin designed 9Spaces 9 Trees using “no-climb” chainlink material as he had used theatrical scrim for his well-known interior installations in galleries and museums. The form of the original work was dictatedby the structure of the building on which the piece stood — a lightweight roof plaza supported bynine concrete columns. Knowing that he could install only a limited amount of plant material inthe garden, he created nine large planters, one for each room of the work, in which he planted asingle tree. The resulting overall form, when seen from above is a series of cells, each forming aclassic circle-in-square motif. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 2424
    • META ARTE WORK SAMPLESUNIVERSITY OF WASHINGTON CAMPUS ART COLLECTION, SEATTLE, WASHINGTONCris BruchDepartment of Forensic MorphologyAnnex, 2004Fabricated stainless steelThe form of Bruch‖s massivestainless steel construction refers toboth the Theodor JacobsenObservatory and the F.K. KirstenWind Tunnel Building, two iconicbuildings on the University ofWashington campus. Takinginspiration from these two facilities,the sculpture has a streamlined formthat on closer inspection becomes anintricate latticework of light,shadow, and steel. Sited on the periphery of thehistoric center of campus, the sculpture is hidden inplain view — something to be discovered. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 2525
    • META ARTE WORK SAMPLESUNIVERSITY OF WASHINGTON CAMPUS ART COLLECTION, SEATTLE, WASHINGTONBrian TolleStronghold, 2008Cedar, steel, concreteBrian Tolle‖s sculpture for the southern part ofcampus is intended as an outsized remembrance ofthe history of the site. Its form and scale looselybased on the lowermost section of the famousQuinault Big Cedar south of Olympic National Park,the artwork seems to be a stump that was too largeto remove from the forest that was cleared to makethe UW campus. The artwork also serves as agathering place and viewing platform — a specificreference to the West Coast tradition of repurposing those too-large stumps as small buildings. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 2626
    • META ARTE WORK SAMPLESUNIVERSITY OF WASHINGTON CAMPUS ART COLLECTION, SEATTLE, WASHINGTONErwin RedlNocturnal Flow, 2008Cedar, steel, concreteNocturnal Flow emphasizes the vertical dimension ofthe buildings atrium. The interior brick wall is the onlyarchitectural element reaching from the floor to theceiling. The installation uses this wall to create anenormous plane of light that conceptually links thedifferent floors of the building.The ambient light level in the atrium controls theappearance of the white grid of 10,000 LEDs mounted floor-to-ceiling on the brick wall. During the day, when the sun shines through the skylight and the light level is at its maximum, the grid is evenly lit. At night the LED grid becomes animated and moves upwards. A light sensor on top of the building measures the external light level (influenced by the weather conditions and the position of the sun) and changes the intensity of the animation accordingly. M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 2727
    • META ARTE WORK SAMPLESMICROSOFT ART COLLECTION, REDMOND, WASHINGTONAs Director of the Microsoft Art Collection, Pablo Schugurensky developed the first majorcommissioned project in the company‖s history.Ursula Von RydingsvardSkip to My Lou, 1997Cedar, graphiteIn her 1998 article about the artist for Smithsonian Magazine, art historian Avis Berman writes “Ameandering circular form, 67 feet in diameter but just 36 inches high, Skip to My Lou invitespassersby to nestle into its curves. Since it snakes around a mound of land surrounded by an officecomplex, the artist explains that she ―had to concentrate on the top of the piece, and what peoplewould see when they overlooked it.‖ Von Rydingsvard isn‖t sure if Skip to My Lou represents asustained new direction or a tangent in her work. But that distinction isn‖t an issue for her. ―Nomatter how corny this sounds, my whole world deals with feelings,‖ she says. ―A lot of thedecisions that I make are intuitively based. The stuff that starts being academic or pedantic I justcan‖t weave my brain into, and I really choose not to. I hope more than ever to be able to dip intothat which is not so consciously controlled, to be able to trust myself where things are lesspredictable. That‖s where the fun is for me, and that‖s where I want to go.‖” [Source: Berman,Avis. Smithsonian Magazine. April 1998, pp. 98-107] M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 2828
    • META ARTE HOURLY RATES 2010HOURLY RATESHourly – Principal $350 + costs + expenses for client-specific work + travelDaily – Principal $2,800 + costs + expenses for client-specific work + travelHourly – Project Manager $175 + costs + expenses for client-specific work + travelDaily – Project Manager $1,400 + costs + expenses for client-specific work + travelPREFERRED RATES Paid in advance for annual contract. Priority Service.Annual Retainer $60,000 + costs + expenses for client-specific work + travelHourly – Principal $300 + costs + expenses for client-specific work + travelDaily – Principal $2,400 + costs + expenses for client-specific work + travelHourly – Project Manager $150 + costs + expenses for client-specific work + travelDaily – Project Manager $1,200 + costs + expenses for client-specific work + travel M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 2929
    • META ARTE REFERENCESREFERENCESHamilton HazelhurstReal Estate Development ManagerVulcan Real Estate505 Fifth Avenue South, Suite 900Seattle WA 98104(206) 342-2493HamiltonH@vulcan.comWeldon IhrigFormer Executive Vice PresidentUniversity of WashingtonSeattle Washington,(206) 909-4466weldonihrig@gmail.comUrsula Von RydingsvardArtist78 Ingraham StreetBrooklyn, NY 11237(718) 963-4319ursulavonryd@earthlink.netErwin RedlArtist425 Napoleon Road #5Bowling Green OH 43402(917) 536-6541ejr@paramedia.net M E T A A R T E ∙ Public Art Consultant for Governor’s Island ∙ 3030