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6.2. EDSR 02-19-2019
Request for Action To Item Number Economic Development Authority 6.2 Agenda Section Meeting Date Prepared by General Business February 19, 2019 Amanda Othoudt, EDD Item Description Reviewed by Public Art Cal Portner, City Administrator Reviewed by Action Requested Discuss and provide staff direction on the installation of public art in 2019. Background/Discussion In 2014, the EDA supported a public art initiative as part of the Powered by Nature brand. The initiative was established as a way to create a memorable and impactful addition to the city and to promote the brand. Artist Carl Zachmann was selected to build the Whimsical Windmill, which was unveiled on August 27, 2015. The Whimsical Windmill has been well-received by the community. Staff is looking for direction from the commission to gauge the interest in another public art installation. It is known that public art works to give communities a sense of identity. Art also transforms and revitalizes the spaces where it is installed. Public art installation employs artists to create the public art and they are recognized for their contributions. The Central MN Arts Board (CMAB) offers grant opportunities for the completion of well-planned, permanent or temporary works of public art that are accessible to the general public without cost. All requests must have a minimum of 25% matching funds. There is no maximum request amount but funds are limited. Applications are due in April and August of each year provided there are funds available. If the EDA is supportive, the first step would engage the community through a public survey to better understand their interest, identify possible locations and to re-establish the 2014 subcommittee. From there, we would develop an RFP and connect with local artists. Once an artist is selected through the process, an application for the CMAB grant would be submitted. Financial Impact In 2014, $17,000 was allocated for public art. The actual cost was $15,400. At that time, no grants were available for the project. The EDA did not budget for public art in 2019. However, in addition to potential grant funding there may be some costs savings toward the end of the year to contribute toward the public art installation. Attachments CMAB FY19 Public Art Guidelines IQ Magazine Article: Art That Sets Us Apart by Lisa Meyers McClintick The Elk River Vision A welcoming community with revolutionary and spirited resourcefulness, exceptional service, and community engagement that encourages and inspires prosperity FY19 PUBLIC ART GUIDELINES th 220 - 4 Avenue North, P O Box 458 Foley, MN 56329 320-968-4290 1-866-345-7140 fax: 320-968-4291 www.centralmnartsboard.org We understand that the online application system may present a barrier to some applicants and will make reasonable efforts to accommodate particular needs on a case-by-case basis. This information can be made available in the following alternative formats: Braille, large print, and audio recording. We can also help find a language interpreter to translate these guidelines. To accommodate your requests, the Central MN Arts Board will need at least 10 working days. We recommend using Chrome or Firefox as your web browser to complete the online application. MN Relay Service 1-800-627-3529 PROGRAM OVERVIEW The Public Art program provides funds for the completion of well planned, permanent or temporary works of public art that are accessible to the general public without cost. Temporary public art projects must have a significant public impact and permanent, publicly accessible documentation. All requests must have a minimum of 25% matching funds. There is no maximum request amount but funds are limited. Contact the CMAB for the current program budget. Public Art funds are provided through Minnesota’s Arts and Cultural Heritage Fund. Program Goal: Support the creation and installation of publicly accessible works of art. Objectives/Outcomes: Permanent works of art are installed throughout the region Artists are employed to create public art, and are recognized for their contributions. Public art works give communities a sense of identity Public art transforms and revitalizes the spaces where it is installed WHO CAN APPLY Applicants must serve Region 7W residents and be located within the Minnesota counties of Benton, Sherburne, Stearns, or Wright. Nonprofit 501(c)(3) arts organizations Arts organizations or arts groups without nonprofit designation using a fiscal agent Nonprofit organizations that do not have arts as a primary focus, such as schools, senior centers, community education, cultural groups and colleges Schools Local government units (city, township and county) APPLICANTS NOT ELIGIBLE For-profit businesses CMAB grant recipients with any overdue final reports Applicants that have received a CMAB Public Art grant within the same fiscal year Individuals PROPOSALS and EXPENSES ELIGIBLE Public art openly accessible without security or cost restrictions Murals, sculpture, installations, etc. that are permanent or temporary Performances (i.e. flash mobs), readings, interactive exhibits Video projections, soundscapes Materials and supplies for the creation of the work Wages/stipends for artists/performers to create the work Contract labor for installation such as concrete pouring, tile installation Documentation of installations, performances, and other temporary works PROPOSALS AND EXPENSES NOT ELIGIBLE Private Commissions Updated 7/18/18 2 Events or performances that are a part of an applicant’s regular programming Those that do not have the arts as the primary focus Activities that are essentially for the religious socialization of the participants or audience Activities that attempt to influence any state or federal legislation or appropriation Payment for new building projects Any event or installation for which patrons will be charged admission Fees to secure a site (permits, purchasing land) Staff pay for regular hours/administrative duties that fall outside the scope of the public art project Regular administrative costs for recipients of Minnesota State Arts Board Operating or CMAB Community Arts Support Food and serving items Any expenses not directly related to the proposal. Research and development for public art projects (Project Grant or Artist Career Development programs can support research and development) HOW TO APPLY Click the Manage GRANTS button in the upper right corner of the CMAB homepage. First-time applicants need to create an account using an email address and a password. Submit the application online and include: A. Public Art designs/Mock-ups B. Lead Artist(s) Work Samples and Resume C. Documentation of Site Approval (permits, letters, zoning decisions) D. Proposal budget E. 501(c)(3) letter. Government units and public schools do not have to submit this letter. If using a fiscal agent you must submit their 501(c)(3) letter F. Fiscal agent agreement (if applicable) Applicants are encouraged to call the CMAB office at 320.968.4290 to discuss eligibility or to have a draft of the application reviewed at least two weeks prior to the deadline date. Applications must be submitted by 11:59 pm on the deadline date. Applications received after the deadlines are ineligible. There are no exceptions to this policy. USING Fax-to-File: A Fax-to-File feature is available within the application to help convert documents from hard copy to digital PDF format. Fax-to-File is located in the upper left portion of your screen under tools. Click on Fax-to-File and you will be presented with a toll-free number. Once you have a fax number, you will have 20-minutes to fax documents for conversion. Click the “Finished Faxing” button to see a list of files. Converted documents will be available to download to your computer. Contact the CMAB office if you need further assistance in converting files. Updated 7/18/18 3 APPLICATION CONTENT RAC Data Information The following questions are required for data collection purposes by the Minnesota State Arts Board and the MN Legislature. The information is not considered in application review and is not visible to reviewers. Definitions of the RAC Data codes can be found on page 12. How did you learn about this program? Proposal Name Proposal Summary – Restate the proposal name and provide a one or two sentence description. Proposal Discipline - Select one category that best describes the grant activity Start Date – Activities described in the grant proposal must begin AFTER the CMAB Board review date. End Date – Activities must be completed within 12 months of the CMAB Board review date. Measurable Outcomes Summary – Briefly describe outcomes for the proposal Evaluation Plan/Methods Summary– Briefly describe evaluation plans to measure outcomes Publicity – Does the applicant use an alternate name other than the legal name for publicity purposes? Alternate Name – If yes, enter alternate name to be used for publicity purposes. (or indicate N/A). Applicant Type – Choose the description that best fits the applicant. Discipline - Select the code that best describes the applicant’s primary area of interest in the arts Status – Legal status code describing the organization Institution – Select one code that best describes the organization Applicant’s Population by Ethnicity - Select one code that best represents 50% or more of the staff, board or membership. N = American Indian/Native American; A = Asian; P = Native Hawaiian/Pacific Islander; B = Black/African American; H = Hispanic/Latino; M = Middle Eastern/North African; W = White; 99 = when no single group; O = Other; 98 = Data not provided Applicant’s Population by Distinct Groups- Select the one code that best represents 50% or more of the staff, board or membership: I = Individuals with Disabilities; S = Adults older than Sixty; V = Military Veterans; 99 = None of the above; 98 = Data not provided Street Address – Enter the street address (No P.O. Box), City and Zip Code where the applicant is located. County – Select the county where the organization is located. MN House District - where the organization is located. To use the district poll finder, Click Here Congressional District - where the organization is located. To use the district poll finder, Click Here Artists Participating – Estimated number of participants directly involved in/ providing artistic services. Youth Audience – Estimated number of children and youth (0-18) who will directly engage with the arts, related specifically to the grant, whether through attendance at arts events or participation in arts learning or other types of activities. Do not include broadcast audience. Adult Audience – Estimated number of adults (19+) who will directly engage with the arts, related specifically to the grant, whether through attendance at arts events or participation in arts learning. Excludes employees, paid performers, artists participating and broadcast audience. Do not include repeat attendees. Proposal’s Population by Age - Select all categories that, by your best estimate, make up 25% or more of the population that will directly benefit from the award. 1 = Children/Youth (0-18 years); 2 = Young Adults (19-24 years); 3 = Adults (25- 64 years); 4 = Older Adults (65 + years); 9 = No single groups will make up more than 25% population. Proposal’s Population by Distinct Groups- Select all categories that, by your best estimate, make up 25% or more of the population that will directly benefit from the award. D = Individuals with Disabilities; I = Individuals in institutions (including hospitals, hospices, nursing homes, assisted care, correctional facilities and homeless shelters); P = Individuals living below the Poverty Line; E = Individuals with Limited English Proficiency; M = Military Veterans/ Active Duty Personnel; Y = Youth at Risk; G = No single distinct group; 5 = Pre-K, Children 5 and under Proposal’s Population by Ethnicity - Select all categories that, by your best estimate, make up 25% or more of the population that will directly benefit from the award. N = American Indian/Native American; A = Asian; P = Native Hawaiian/Pacific Islander; B = Black/African American; H = Hispanic/Latino; M = Middle Eastern/North African; W = White; G = no single ethnic/racial group Additional Information (optional) - Data collection questions do not always provide options to accurately describe the Updated 7/18/18 4 racial or ethnic identity of applicants and the groups they serve. If there is additional information you would like to provide about the race or ethnicity of the groups served by the project, include that information here. ADVICE FOR APPLICANTS The Public Art Program is scored using four criteria: Artistic Merit & Quality, Demonstrated Need, Outcomes & Evaluation, and Applicant Ability. Each criterion has a series of statements that reviewers are asked to consider when reviewing and scoring an application. When completing a grant application, refer to the criteria statements listed beneath each heading. Strong proposals will address all applicable criteria in the narrative responses. PROPOSAL NARRATIVE ARTISTIC MERIT/QUALITY - 9 of 30 points Evaluators use the following criteria when reviewing this section of the application: 1. Proposed public art is designed by high quality artists and involves the creation/installation of artwork that demonstrates creativity, mastery of craft, and a distinct artistic voice. 2. Public art will contribute artistic value that would not otherwise be available to the communities served, and may also contribute cultural and/or educational value. 3. The public art project advances the applicant’s mission or goals related to public art, and builds upon past programming. 4. If applicable: ability to create community understanding and awareness of art through community engagement, and/or outreach to underserved communities. 5. Proposed public art is shaped or influenced by the identified community and reflects the unique needs and interests of that community. 6. Proposed public art will build a deeper understanding and appreciation of the art form. 1) Mission Statement – Applicants that do not have a mission statement should provide a statement that outlines the goals and values of their group. 2) Describe the public art project – Refer to the criteria statements above 3) Include a rendering or an example of the proposed public art. Examples include designs or schematics for proposed work. Include examples that will help to communicate what the finished art will look like. Two & Three Dimensional Renderings: 1800 pixels wide in ONE .PDF document and include the title, description and dimension with each sample. Theater/Dance: Submit samples in .WMV, .SWF, or .MP4 file format and include the Title and Length of excerpt. Music: Submit samples in .MP3, .WAV, .WMA, or .AIF formats and include the Song Title, Type of Music and Length of Song for each sample. Literary: Submit samples in ONE .PDF document and include the Title and Length of excerpt. o Public Art Example upload- Combine multiple pages into ONE PDF document and submit no more than 5 images, 10 pages of literary work or 7 minutes of audio/video. Literary submissions may include up to 7 minutes of audio or video of a reading from submitted pages. o Or Video/Website URL- include this only if you are directing reviewers to specific content on a website. 4) Example Description – Describe how the example provided relates to your proposal. If necessary, direct reviewers to specific images, pages or a specific 7 minutes of audio/video 5) Temporary works - If the lifespan of the public artwork is 1 year or less, describe how the art will be documented and shared. Updated 7/18/18 5 6) Impact of temporary work - Describe how temporary works of public art will continue to have an impact in the community after the work is no longer present. DEMONSTRATED NEED – 9 of 30 points Evaluators use the following criteria when reviewing this section of the application: 1. The public art project is well designed to address the identified community/audience's specific interests and circumstances, as understood by both the applicant and the community. 2. Evidence demonstrates that community members, organizations, and partners want to engage in the project activities, and are willing to invest through commitment of time, money, and/or in-kind goods and services. 3. Accessibility needs of participants and/or audiences are understood and well addressed. 4. Evidence demonstrates that the project provides an arts opportunity that would not otherwise be available for the identified community/audience. 7) Describe the group(s) that will benefit from the public art project and how it will serve their needs. Consider demographic factors such as ethnicity, socioeconomic status, age and gender. a. Presenters/creators (artists, actors, performers, etc.) b. Audience (patrons, students, etc.) - population/community that will live/work near and experience the art as well as any other groups that will be served by this public art project. 8) Describe how the need for the public art project was determined - Examples include surveys, community meetings, audience feedback, local and regional studies, etc. 9) List ways in which the community has demonstrated support for the public art project – Examples include financial contributions, volunteer time, donation of services/supplies/space, survey responses, etc. OUTCOMES AND EVALUATION- 6 of 30 points Evaluators use the following criteria when reviewing this section of the application: 1. Proposal outcomes describe measurable and achievable change in knowledge, attitude, skill, behavior, or condition among the people the project is designed to benefit. 2. The evaluation plan includes appropriate methods to measure and document project completion, effectiveness, and progress toward stated outcome(s). 3. The evaluation plan identifies how evaluation results will be used to improve current or future programming (e.g., adjustments to the project, informing future programming, sharing with stakeholders or peers, applicant learning and development, etc.). 10) Measurable Outcomes - Once the public art project is complete, what are the expected specific measurable outcomes? Explain what success will look like, what will change, what learning may take place, etc. 11) Evaluation Methods - Describe the evaluation methods that will be used to measure the proposed outcomes. 12) Reflection and Action - Describe how your organization will utilize the information obtained from evaluation. Updated 7/18/18 6 ORGANIZATIONAL ABILITY- 6 of 30 points Evaluators use the following criteria when reviewing this section of the application: 1. The project team is well assembled, inclusive, qualified, and demonstrates the capacity to design and execute a high quality public art project of the proposed scale and scope. 2. Project team and/or partners have appropriate and clearly articulated responsibilities. If volunteers will play a significant role in activities, that has been described. 3. An effective promotion and marketing plan is in place which supports the project's participation goals and fosters broad public awareness and/or engagement. 4. The public art project has a complete and realistic timeline. 5. Regarding the budget, a) revenue streams are realistic and attainable, therefore the cash match is likely to be met, b) expenses are reasonable and appropriate for the proposed activities, c) the budget honors the work of artists. 6. Thorough research for the proposed public art site is complete and approval has been obtained for the installation/performance of work. 13) Project Director Person designated by the applicant organization to oversee the implementation of the proposed public art project. Director Name Director Address; City, State, Zip Code Director Phone Director Email Director Bio 14) Lead Artist Primary person involved in the design, planning and creation of the proposed public art. Artist Name Artist Address Artist Phone Artist Email Artist Resume/Bio Upload as a .PDF \[upload box\] Artist Work Samples - Combine multiple samples into ONE .PDF document. \[upload box\] 15) List other key personnel and/or artists involved in the public art project and their roles. Include a short bio explaining their artistic skills and experience. (i.e. contractors, assistants, etc) 16) Timeline- Describe the timeline for all project activities. Include planning, performances, activities, assessment, unveiling, etc. All activities MUST be completed within one year of the project start date. 17) Describe any research completed regarding the safety and structural requirements of the Public Art. Examples include environmental impacts, engineering requirements, safety concerns, lighting, etc. 18) Location of Public Art – Provide the street address and include the name of the property owner. 19) Provide documentation of site approval. A contract or agreement with the owner (governmental unit/private property owner) granting permission and indicating the duration of the project. • Site Approval \[upload box\] 20) What is the estimated lifespan of the work? - List the duration of temporary public art or estimate the duration of time before “permanent” works will require major maintenance or repairs. 21) Publicity and/or Marketing Efforts - Explain how this public art project will be promoted/documented. (i.e. ads, flyers, news releases, videos, YouTube, etc.) Updated 7/18/18 7 22) Supporting Materials (optional) – \[Upload\] limited to only those that are essential to the public art project. Combine multiple samples into ONE .PDF document. PROPOSAL BUDGET 23) Download the Excel Budget Template, complete, save and upload in .PDF format. This budget template includes a second worksheet that will be required to complete the final report if awarded. Save for future use. BUDGET FORM INSTRUCTIONS: Expenses Section: List all costs associated with this public art project. Provide detailed descriptions and calculations of expenses. Expenses listed CANNOT be paid prior to the grant approval date. Column A – Budget Items o Contract Personnel/Artist’s Fees – Name each person and their role Travel expenses – related to bringing in an artist from outside the state of Minnesota can be no more than 10% of the total grant amount requested. Additional travel expenses may be included and paid with funds from other sources. Administrative costs – Applicants who are recipients of Minnesota State Arts Board or CMAB operating funds (Community Arts Support) cannot include or prorate regular administrative or overhead costs in any grant proposal budget. Regular administrative costs are those incurred regardless of whether an organization holds the proposed project. School personnel cannot be paid for work that falls within the scope of their contracted duties. o Expendable Supplies & Materials – art supplies, sheet music, set building materials o Publicity and Documentation – Itemize printing costs, ads, promotional items, etc. o Other – Evaluation, rental of space or equipment, purchase of copyright permissions Column B – Descriptions/Calculations o Contract Personnel/Artist’s Fees – Show methods of calculation (i.e. hours, rates, etc.) or indicate contract rate or stipend o Expendable Supplies & Materials – show calculations o Equipment – indicate if purchased or rented o Publicity – show calculations (i.e. 3 ads x $50) Column C – Eligible Expenses – Public Art project specific expenses that can be paid with CMAB grant funds. o CMAB grant amount request cannot exceed 75% of eligible public art project expenses The following expenses CANNOT be included in Column C: o Food and serving items o Equipment – equipment and materials that are not a permanent part of the Public Art o Travel/lodging expenses not related to bringing in an artist o Maintenance costs that extend beyond the public art project end date o Any expenses that do not represent real costs - use of spaces that an applicant can use for free, tickets to an applicant’s project, scholarships for participation, etc. Column D – Other Expenses – expenses specific to the proposal that are not eligible to be paid using CMAB funds Column E – Total Expenses – Total of Eligible and Additional expenses. Total expenses must equal total revenue in the budget form. Revenue Section: In-kind contributions of skilled labor (electrical, engineering, etc), equipment rental and material donations ARE accepted as revenue. The value of in-kind contributions must be verifiable through a gift receipt, quote or invoice. Artist, administrative and volunteer hours are NOT eligible in-kind revenue. Section A: Cash on hand budgeted for this proposal Section B: In-kind revenue for this proposal –List the estimated value of donated materials, equipment rental and skilled labor and Include quotes when possible. Section C: Grants and Donations -list the name of grantor(s) and associated grant amount. (Do NOT include Updated 7/18/18 8 the CMAB request). Section D: Earned Income – list sources of other income such as: o sponsorships o advertising o fundraising Projected Revenue – include all revenue from other sources (do not include the CMAB grant request) Amount Requested from the CMAB – Cannot Exceed 75% of eligible expenses Total Support for the Proposal –Must equal Total Expenses (Column E) 24) Grant Amount Requested from CMAB - Cannot exceed 75% of Column C of the budget page (Eligible Expenses). Amount must match the grant request amount in the budget spreadsheet. Round up to the nearest dollar. 25) In-Kind Contributions- Enter the total amount for In-Kind Contributions that were included as REVENUE in the Budget form. Enter "0" if not applicable. 26) Total Public Art Project Expense - Total of Eligible and Additional expenses. Total expenses must equal total revenue in the budget form. This section for 501(c)(3) ORGANIZATIONS ONLY 26) Person In Charge of Organizational Issues - i.e. Executive Director, Business Manager, Board President Name Title Phone Number Email Address 27) Board of Directors- list current board members and their roles. Enter information in one block of text, formatted as follows: Example: Jason Harding: Chair; Melissa Frank: board member; William Jones, Jr: treasurer 28) Board Officer Contacts – List names, title and email address or phone number for all board officers. 29) Americans With Disabilities Act (ADA) Access Plan All organizations receiving public funding are required by the federal Section 504 Regulations and the ADA to facilitate access for people with disabilities. Requests may involve an individual's access to a facility or to the content of the project. An access plan should describe accomplishments related to ADA, and outline any future goals for making facilities, programs, or services accessible to persons with disabilities. Organizations are encouraged to consider access issues and develop a plan to accommodate requests for specialized access to events. The CMAB does not enforce ADA compliance. This section for applicants using a FISCAL AGENT ONLY 30) FISCAL SPONSORSHIP- Applicants without nonprofit designation must upload a fiscal agent agreement that includes the components listed in this Sample Fiscal Agent Agreement Organization Name, Street Address, City, State, Zip Contact Person Name, Phone, Email FISCAL AGENT AGREEMENT Updated 7/18/18 9 CERTIFICATION 31) FEDERAL 501(c)(3) NON-PROFIT STATUS LETTER – Does not apply to public schools or units of government. All nonprofit organizations must attach their 501(c)(3) letter. If you are using a fiscal agent, you must submit their 501(c)3 letter. 32) ELECTRONIC SIGNATURE You must certify that your board of directors/advisory committee supports this application, that it is accurate and that the proposal will be carried out as described if funded. CMAB SERVICES AND GRANTING PROCESS APPLICATION DRAFT REVIEW Applicants may request a draft review of an application. CMAB staff will review the application and identify any concerns, upon request submitted via email (media@centralmnartsboard.org) or fax (320-968-4291), at least three weeks before the application deadline. A review of the application does not guarantee that the request will be funded. REVIEW PROCESS Applications will be made available to the CMAB Board of Directors or a review panel at least two weeks prior to the review date. Applications are assigned final scores at an in-person review meeting. Each application will receive a score on a scale from 0 to 30. An application must attain an average of 15 or higher to be considered for funding. All review meetings are open to the public; see CMAB website for board and panel review dates. CMAB Directors give final approval on all grant awards. All applicants will be notified of the Board’s decision. GRANT CONTRACT Awardees must submit a contractual agreement within 30 days of notification. Failure to provide required documents can result in the cancellation of a grant commitment. If funds are refused within 45 days of receipt of grant notification, they will be offered to the next applicant in rank order. Returned or refused funds will be applied to future grant rounds after 45 days. ARTIST AGREEMENT A signed payment agreement with the artist(s) participating in the public art project must be uploaded with the contract. ACKNOWLEDGEMENT OF CMAB FUNDING Because it is important for the public to understand how state tax dollars are returning to their communities, and to fulfill Minnesota state law requirements, grantees are contractually required to acknowledge CMAB funding. The appropriate statement is provided to awarded applicants in their grant contract. This acknowledgement statement must appear on all advertising material, programs, press releases and announcements referencing the funded event. Grantee must provide copies of all internally generated advertising materials and programs with their final report. FINAL REPORTS A final report must be submitted within sixty (60) days of the project’s completion. Applicants with overdue final reports are ineligible to apply for CMAB grants until the final report is received and approved. Updated 7/18/18 10 GRANT APPEAL PROCESS Any applicant who can show cause that established grant review procedures were not followed, or that the policies of the program were not equitable to all applicants, may file an appeal in writing within fifteen (15) business days of being notified of the CMAB’s decision. A CMAB designated committee will review the appeal and determine if further investigation is warranted. If there is cause for an appeal, the matter will go before the full board for a final decision. There is no right of appeal to dispute decisions in respect to artistic quality or merit, ability or need. Contact the CMAB office to view a copy of the complete appeal policy. DEFINITIONS Applicant: Individual/group/organization/local government organizing and implementing the proposal. If two groups are involved, select one to be the lead and therefore the applicant. stth CMAB Fiscal Year: The CMAB Fiscal Year runs from July 1 to June 30. Community: The group(s) of individuals served. Evaluation: A systematic determination of merit, worth and significance, using established criteria. The primary purpose of evaluation, in addition to gaining insight into prior or existing initiatives, is to enable reflection and assist in the identification of future change. Fiscal Agent: Organization which is legally responsible for the proper use of the grant funds when an applicant is not a school or unit of government and does not have tax-exempt status under Section 501©(3) of the Internal Revenue Code. Outcome: The final result when goals have been achieved and the proposed activities are complete. RAC Data Information: Regional Arts Councils (RAC) data collected is maintained by the Minnesota State Arts Board and is distributed to others in accordance with the Minnesota Data Practices Act. Complete information is necessary to ensure the reliability of our data. For more information on Central MN Arts Board programs, services visit our website at http://www.centralmnartsboard.org or call 320.968.4290 or 1.866.345.7140. Updated 7/18/18 11 RAC Data Code Definitions Updated 7/18/18 12 10/31/2018 Art That Sets Us Apart HOME(/INIT'IATIVE-QUARTERLY/) CURRENT ISSUE(/INITIATIVE-QUARTERLY/CURRENT-ISSUE/) ARCHIVES(/INITIATIVE-QUARTERLY/ARCHIVES/) SUBSCRIBE (/INITIATIVE-QUARTERLY/SUBSCRIBE/) ADVERTISE(/INITIATIVE-QUARTERLY/ADVERTISE/) CONTACT(/INITIATIVE-QUARTERLY/CONTACT/) IQ MAGAZINE SHARE lar ...-(bES l/wm.addthis.com/bookmark.php?v=300&pubid=xa-528655dd3R1e2a2) HOMETOWN TRIBUTE: Artist Roger Reinardy's murals enliven Sauk Centre. Art That Sets Us Apart From murals to sculptures to painted fire hydrants, public art showcases what's special about Central Minnesota towns. By Lisa Meyers McCllntick Kahnah'bek, an iconic 20 -foot tall statue of a serpent painted bright green, orange and yellow, rises above Crosby's Memorial Park on Serpent Lake. A fresh coat of paint three years ago took it back to its original colors, from when it was installed in 1977 as a mascot for the town's largest gathering place. Today it's also a magnet for souvenir photos and sel8es. A few blocks aways, a mural completed in 2014 rises two stories high with a collage that blends mining, snowmobile manufacturing and silent sports. "I really think the mural has brought a different feel and theme our downtown," said Lisa Sova, Crosby's administrator clerk treasurer. "It did a nice job of incorporating the history and different eras that have brought us to where we are today. This year, new art greets visitors traveling north on Minnesota Highway 210 in the form of a black -and -white mural of local miners on a brick building in downtown Ironton. A second mural celebrates the boom in mountain biking throughout the Cuyuna Lakes State Recreation Area, which borders both Crosby and Ironton. Towns across Central Minnesota are embracing art projects—from murals and sculptures to artsy bike racks—to showcase what makes their communities unique, to attract visitors and to bring together its residents. "Public art is popping up everywhere," said Leslie LeCuyer, executive director of the Central Minnesota Arts Board. "We're trying to educate local leaders that art is a way to build and take pride in one's community. It makes their place a destination, and it has a strong economic impact, as well." Creative Minnesota, a collaboration of statewide arts and cultural organizations, and Minnesota Citizens for the Art, embarked on an in-depth study in 2017 to measure the impact of the creative sector by totaling the amount of local spending done by nonprofit arts and cultural organizations, the amount of money generated by performances, exhibits, concerts and other arts events, and local earnings from area artists. It estimated Benton, Sherburne, Stearns and Wright county artists, as well as non-profit arts and cultural organizations, generated 545.8 million dollars. Cass, Crow Wing, Morrison and Todd counties generated nearly $1.2 million. "Tourism is one of Minnesota's top industries," LeCuyer said, "and the arts play a critical role in that" HONORING HISTORY The two-story mural in downtown Crosby stretches up the outside wall of the popular Iron Range Eatery and anchors a plaza that used to be a vacant lot. A local group sought help from the Minnesota Design Team—a volunteer group of architects, city planners and tourism experts that consults with communities across the state—and turned the comer spot into a welcoming gathering place with benches, flowers, a dog run, a bike repair station and interpretive panels about the town's history. Crosby and Ironton boomed in the early 1900s when they were part of Minnesota's third (and smallest) Iron Range, but the modest towns fell on tough times by the 1980s when open pit mines closed. The towns hit their revival in the mid -2000s, when former mining land became a state recreational area. Mine pits were filled with spring -fed water. And woods covered the steep hillsides, making the area a mecca for silent sports that include biking on the paved Cuyuna Lakes State Trail, paddling, fishing and diving in the lakes, and popular mountain bike trails that are set to be expanded. Cuyuna Brewing Company, a cafe/bike shop and the Iron Range Eatery now share Main Street with antique shops and other local businesses. Camper cabins (including one with a mural created by Minneapolis-based illustrator and muralist Adam Turman) opened in the past two years, and the town was featured in an August 2018 Outside magazine cover story on "America's Smartest Towns." "We have gained recognition worldwide for the mountain bike trails we have," Sova said. Other Central Minnesota towns have turned to nature, history and their geographic location to inspire artwork and create a sense of place. In Monticello, at the bustling intersection of Minnesota Highway 25 and Broadway Avenue, two shiny silver swan sculptures by Elk River -based metal artist Sue Seeger represent the city's popularity as a winter destination for thousands of trumpeter swans that gather on open stretches of the Mississippi River. Above the statues, regional photographer Chris Lommel's portrait of Lake Maria at sunrise was printed on hundreds of tiles that attach loosely to the building. A breeze riffles the kinetic display, making the muml-sized photo look like it's shimmering. Up to 35,000 people drive past it each day. In Elk River, visitors to the Nature Explore Center and Handke Center early childhood program can explore a replicated eagle's nest and admire a sculpture of running deer. It provides families with a playful, interactive and educational outdoor spot, while also tempting them to see the real eagle's nest and wildlife at the Sherburne National Wildlife Refuge about 18 miles away. Artists in Buffalo in Wright County painted different themes on a parade of giant fiberglass buffalo that dot the downtown, which hugs a picturesque lakeshore. In Delano, volunteers have been working since 2017 to create a meditative labyrinth that is inspired by an ancient labyrinth at France's Chartres Cathedral near Paris. It encourages people to wander its paths and linger longer than it takes to eat an ice cream cone at the popular Peppermint Twist across the road. The labyrinth officially opens in September. And in Sauk Centre, artist Roger Reinardy has been painting his hometown for the past few years. Vibrant arched murals in downtown depict local history with native tribes, early pioneers and world wars. He also created a scene with veterans on the town's American Legion, a portrait of famed hometown author Sinclair Lewis on the Palmer House hotel, and a whimsical view of a conductor and musical notes on the curved 86 -year-old bandshell, where people gather weekly for free concerts along the Sauk Lake shore. "Art can transform a whole town," LeCuyer said, citing Sauk Centre and how art has enlivened its physical appearance and increased hometown pride. "It's such an exciting time" Funding for projects often comes from a combination of sources, such as Minnesota's Legacy Amendment, which was passed in 2008 to devote a portion of state sales tax to funding for arts and culture. Regional arts councils, community fundraising, beautification programs and local grants—including targeted community Partner Funds hosted by the Initiative Foundation—can help finance art projects or match funds. Those projects, in turn, can draw visitors who spend money on food, entertainment and even lodging. Painting Progress Communities that invest in visual arts projects, festivals and art fairs, performance venues and creative spaces and studios such as Brainerd's Franklin Arts Center, strengthen the local economy, said Theresa Sweetland, executive director at Forecast, a St. Paul -based consulting company that supports public art projects across the nation. "We want to help people make positive changes in their communities through arts," she said. Sweetland advises arts supporters to work with city and regional planners and look for ways to incorporate art into existing projects. That could be anything from E E 0 U 0 O m U U c 0 .y N E U N E 0 O stamping poetry into new sidewalks, which St. Cloud has done, to decorating storm drains or reimagining fire hydrants. Yes, fire hydrants. Milace has enticed curious travelers off Minnesota State Highway 23 to seek out Its almost three dozen fire hydrants, all of which are individually painted. Kids and adults cruise through town on the lookout for Sven the Snowman from "Frozen," "Despicable Me" minions, Mike Wazowski from "Monsters, Inc.," Batman and other superheroes. Little Falls, which has had a wealth of history -inspired murals for years, made a conscious decision to jazz up its more utilitarian city infrastructure. The city ordered bike racks with playful themes such as giant paper clips and crayons. Artists also spruced up about 20 trash cans by painting everything from abstract pattems to coffee and doughnuts and flowers. Next up will be new benches. Whether it's a small project or a large art installation, local leaders say anything that helps a community stand out, give it vibrancy and knit people together is pivotal, especially when it also attracts young people and economic reinvestment. "It's not just an economic impact," LeCuyer said, "but quality of life." For More Information Check out these websites for more information about public art initiatives in Central Minnesota. Central Minnesota Arts Board(centralmnartsboard.org) East Central Regional Arts Council (gp_r c�.org/)F'v ings Arts Council (tdya&,org) Thank you to our local sponsors for supporting IQ Magazine. View our Sponsor List(thttw1twww,ifound.orgrinitiative ualledyladvertiselsoo�soCLs). Share this Story G+ Share View all Articles (/index.php/initiative-quarterly tac ing-trifecta/) https://www.ifound.org/initiative-quarterly/tackling-tdfecta/art-sets-us-apart/ 3/3