City of Culver City, California
City Council Agenda Item Report
RECOMMENDATION:
Staff recommends the City Council consider the attached design concepts together
with the recommendation from the Selection Panel and the Cultural Affairs
Commission and approve Kyungmi Shin’s concept for a public art installation on
Washington Boulevard between the 405 Fwy. and Walnut Ave.
BACKGROUND:
Per the Cultural Affairs Commission’s recommendation and the City Council’s
approval, $100,000 was allocated for public art along Washington Boulevard
between the 405 Fwy. and Walnut Ave. The impetus for this was to help activate
and beautify this important east-west thoroughfare which extends from the Pacific
Ocean through Culver City to downtown Los Angeles.
Staff convened an Advisory Panel that met on January 24, 2006 comprised of eight
residents of the proposed project area, plus one representative of the Culver City
Rotary Club. Included among the nine panelists were representatives of the three
area neighborhood associations (Culver West, Herbert Street, and Culver Triangle).
The CAC Public Art sub-committee (at that time comprised of Susan Deen and
Gayle Smashey) and one of the City Council’s sub-committee members (Alan
Corlin) for this project area were present at the meeting as observers and as an
additional resource for questions.
Staff opened the meeting by presenting some possible concepts for the project area
and then facilitating a discussion intended to identify criteria for a public art concept.
The primary criteria identified during the meeting by the Advisory Panel were:
Meeting Date: October 9, 2006 Item Number: _A-2___
AGENDA ITEM: Consideration of a Public Art Concept for Washington Boulevard
Contact Person/Dept.: B. Christine Byers/
Cultural Affairs
Phone Number: (310) 253-5776
Fiscal Impact: Yes [X] No [] General Fund: Yes [] No [X]
Public Hearing: [] Action Item: [X] Attachments: [X]
Public Notification: West Washington Blvd. Advisory Panel (Notified (10/03/06); Cultural
Affairs Master Notification List (10/05/06); Peter Richards/Richard Johnson; Kyungmi
Shin; and, Jody Zellen (01/03/06) Master Notification List (10/4/06)
Department Approval:
Susan Evans (09/28/06)
City Manager Approval:
Jerry Fulwood (10/2/06)
City Controller Approval:
Marlee Chang (10/2/06)City of Culver City, California
City Council Agenda Item Report
Art work should be along Washington Boulevard (between 405 Fwy. and
Walnut Ave.);
Art work should help unify the project area;
The cultural/ethnic diversity of the project area should be considered;
Regional artists should be targeted;
This installation could be part of a multi-phase, temporary installation;
Culver City’s unique identity (or history) within the larger context of Los
Angeles should be considered;
After de-installation, art work could be sold at auction to raise money for
future art work in the project area; and,
Other areas to consider for future installations (possibly using light) are
Washington Blvd. at Wade St.; Washington Blvd. at Inglewood Ave.; and,
Washington Blvd. at Lincoln Blvd. (as a “gateway” into Culver City feature).
In March 2006, a Request for Qualifications (RFQ) was distributed electronically to
several thousand California-based visual artists. The scope of the project as
summarized in the RFQ specified that the venue should be the approximately 176
light poles along the specified 2.5 mile stretch of Washington Blvd., that an art
installation should be designed to last up to three years, and that the project budget
cannot exceed $85,000.
44 submissions, which included images of the artist’s past work, a resume or
biographical statement and a list of references, were received by the deadline of
April 7, 2006. Staff convened a Selection Panel that met on June 14, 2006 to review
the submissions and recommend up to three artists or artist teams to develop
proposals. The CAC Public Art sub-committee (Susan Deen and Gayle Smashey)
were also present at the June 2006 Selection Panel meeting but did not participate
in scoring the entries.
The Selection Panel was comprised of:
Aandrea Stang, Senior Education Program Coordinator,
The Museum of Contemporary Art and Resident of the project area;
May Sun, Public Artist; and,City of Culver City, California
City Council Agenda Item Report
Kathleen Weaver, Visual Artist and Resident of the project area.
(Both Ms. Stang and Ms. Weaver were present at the January 2006 Advisory Panel
meeting.)
The Selection Panel concluded their review of all 44 submissions by recommending
that the following artists be short-listed for proposal development:
Peter Richards/Richard Johnson (an artist team) and Jody Zellen
Kyungmi Shin
These artists were short-listed by the Selection Panel based on artistic merit as
evidenced by the quality of past work (weighted at 80%) and their professional
experience and demonstrated ability to successfully complete public art projects of
similar scale and scope (weighted at 20%).
Each of the short-listed artists was then forwarded a set of specific proposal
guidelines (copy attached) and asked to make a presentation before the same
Selection Panel and the CAC Public Art sub-committee (Ronnie Jayne and Gayle
Smashey) on Wednesday, September 6, 2006.
A copy of each artist’s or artist team’s proposal is attached. Below is a brief
summary of their concepts and of the panel’s comments:
1. Peter Richards/Richard Johnson:
Project Overview: This artist team proposed a three-phased project using
nearly all of the available light poles within the project area. The working title
for this concept is “Post Your Verse” which includes an opportunity for public
input via a web site and a designated phone number for receiving voice and
text messages. The concept is designed to engage the Culver City
community in a conversation about how the automobile has shaped their
lifestyles and “how external changes could affect the way people live and
work in the future.” Phase I of the project proposes using a third of the light
poles in the project area (on both east and west bound sides of Washington
Blvd.) and installing banners (approximately 3 x 8’) inspired by and
referencing historical highway advertising. Phase II will include an additional
third of the light poles and will feature verses selected from submissions
provided by the Culver City (and possibly Culver City adjacent) community.
Phase III will highlight a select number of verses submitted by Culver City
school children. In Phases II and III, the author of each selected verse will
receive credit and a stipend of $150. In addition to the banners featuring City of Culver City, California
City Council Agenda Item Report
verses, there will be banners installed intermittently throughout the project
area that will direct the public to the web site (www.postyourverse.com) or the
phone number for detailed information about the project. The artists propose
that a virtual selection panel be created for review and selection of verses
submitted for Phases II and III. The selection panel would be representative
of Culver City’s diverse community but also include a local poet. All banners
included in this project are designed to be read on one side of the street
(depending on whether you are east or west bound) so as to minimize the
visual distraction to motorists. The project budget includes costs associated
with a web designer and marketing consultant to ensure maximum outreach
and interaction with the public.
Panel Comments: The panel felt that this concept was conceptually very
sophisticated and liked the community involvement in Phases II and III.
However, they expressed reservations about the complexity of implementing
the latter two phases and the potential burden this may place on staff. There
were some reservations about the aesthetics of the concept with regard to
beautification of the streetscape as well as the public’s continued enthusiasm
for the concept over the proposed project time period. The concept was
definitely site-specific with regard to the inclusion of verses from the Culver
City community. However, the car culture theme could apply to any
community in Southern California or in the United States. The panel also had
some reservations about whether or not the vehicles for community input
(web site, telephone, text messaging) might present an age bias with regard
to access and participation.
2. Kyungmi Shin
Project Overview: This proposal includes 176 unique banners (3’ x 8’) that
incorporate Culver City specific historical themes, serve as location markers
(e.g., noting the site of the 1984 Olympic headquarters), and display words
that are intended to evoke a sense of amusement or pleasant thoughts. The
background color of the banners – seven altogether – are derived from the
lantana flower, the official flower of Culver City. This project will be
implemented in two or more phases.
Panel Comments: Although the panel felt that some of the proposed
historical references had been incorporated several times in Culver City’s
public art program, there was potential to expand upon these themes and
include a wider historical reference that reflects the diversity of the Culver City
community. Also, as noted by the artist in the proposal narrative, this project
provides an opportunity to link the project area to the remainder of Culver CityCity of Culver City, California
City Council Agenda Item Report
and also reach a wider audience. The panel favorably described the concept
as “poetic” and potentially provocative. They also felt this concept was the
most site-specific of the three presented and that the artist’s sense of humor
would add to keeping the concept fresh over the proposed installation period
of three years.
3. Jody Zellen
Project Overview: This artist proposes using approximately one half of the
light poles in the project area and installing a series of silhouetted figures that
are frozen in motion. The departure point for this concept was the history of
cinema, the zoetrope design and Eadweard Muybridge’s motion studies. The
proposal features ten different designs that would be replicated several times
throughout the project area; each design would be assigned a unique color.
The artist is proposing using either 1/8” powder coated aluminum or a metal
mesh to reduce wind resistance. Each figure would be approximately six feet
high and three feet wide.
Panel Comments: The panel noted their appreciation of a concept that
departed from the use of banners. The cut-out concept and the reference to
motion appealed to the panel in that it had a playful element. However, the
panel felt that the concept’s association with the history of cinema was not
immediately apparent. Some of the panelists expressed reservations about
the longevity of the concept as a point of interest during the proposed three
year installation period. One panelist stated that she would like to see this
concept installed in a smaller area such as a park.
* * *
The panel scored the three proposals based on the following criteria:
Artistic Merit (weighted at 80%)
Responsiveness to the Site (weighted at 10%)
Durability of artists’ design (materials used, etc.) (weighted at 10%)
All three artists stated that they would be ready to install art work by January 2007
provided they could begin work by the end of October 2006. The artists all
expressed flexibility to possible de-installation of their artwork in less than three
years if future City projects or programs required this. All the artists were supportive
of the possibility of auctioning or donating their artwork after de-installation as
suggested by the January 2006 Advisory Panel.
The three artists were ranked as follows, based on the panelists’ average scores:City of Culver City, California
City Council Agenda Item Report
Kyungmi Shin (Total 92.8 points)
Jody Zellen (Total 85.1 points)
Peter Richards/Richard Johnson (Total 79.7 points)
The CAC Public Art sub-committee concurred with the Selection Panel’s
recommendation and recommend, together with staff, that Kyungmi Shin’s concept
be implemented in the project area. The Cultural Affairs Commission at their
meeting on September 12, 2006 unanimously approved a recommendation to the
City Council to approve Kyungmi Shin’s concept.
FISCAL ANALYSIS:
The funds for this project are allocated in the Art Fund (41300861). All three
proposals are within the $85,000 limit for this project.
ATTACHMENTS:
1. August 2006 Proposal Guidelines;
2. Resume/Biographical statement for Peter Richards/Richard Johnson, Kyungmi
Shin, and Jody Zellen; and,
3. Artist Proposals
MOTION:
That the City Council:
1.Approve Kyungmi Shin’s design for a public art project on Washington Boulevard
between the 405 Fwy. and Walnut Avenue and authorize a contract with
Kyungmi Shin for this work.
2.Authorize the City Attorney to prepare the necessary documents; and,
3.Authorize the City Manager to execute the document on behalf of the City.
MEETING DATE: October 9, 2006
AGENDA ITEM: Consideration of a Public Art Concept for
Washington Boulevard
ATTACHMENTS
Pages
1. August 2006 Proposal Guidelines 1 - 3
2. Resume/Biographical Statement and Proposals for 4 - 46
Peter Richards/Richard Johnson, Kyungmi Shin,
and Jody ZellenATTACHMENT 1
ellittell, CITY
August 2006
PROPOSAL GUIDELINES FOR:
A PUBLIC ART CONCEPT ON WASHINGTON BOULEVARD
(BETWEEN 405 FVVY & WALNUT AVE.)
Project Site
This is the first phase of what is anticipated to be a multi-phase art program focusing on the 2.5 mile
section of West Washington Boulevard between the 405 Freeway and Walnut Avenue. The project site
represents a section of the historically significant Washington Boulevard that connects the Pacific Ocean
to downtown Los Angeles. It is also the major commercial thoroughfare in the western-most section of
Culver City (see attached maps), with adjacent residential neighborhoods. The boulevard -- a wide, open
street with low-rise buildings on either side -- presents a unique opportunity for artists to infuse the area
with a sense of change and energy in an art concept that also unifies the street visually within the entire
project area.
Scope of Proiect
This project is intended as a temporary installation lasting up to three years and the art work may change
or rotate within that time frame.
• Artists are to use the light poles along Washington Boulevard as the primary venue
(approximately 176 along both sides of the street) for original, site-specific art work;
• Art work must be easily visible to vehicular traffic;
• Art work must be fabricated from durable materials which require minimal maintenance and can
withstand outdoor conditions for up to three years after installation;
The art work concept can be a one-time installation for the three year time period or be a multi-
phased installation within that time period; and,
Turn around time for fabrication and installation shall be relatively short (target date for
completed installation is Winter 2006).
The City
Culver City, with a demographically diverse resident population of approximately 42,000 within five
square miles, is located eight miles west of downtown Los Angeles and seven miles east of the Pacific
Ocean. In the 20th century, Culver City was home to three major-ffim studios, thereby earning its title as
"The Heart of Screenland." Today, Culver City is the headquarters of Sony Pictures Entertainment, The
Culver Studios as well two distinguished resident theaters, Center Theatre Group's Kirk Douglas Theatre
and The Actors' Gang. The City distinguishes itself as a residential community that is known as a center
for creative business, including film and design, as well as an emerging art and cultural center. More
information on the City's history is available at www.culverciN.orgicityinfo/historWindex.html
1Selection Process
You are re 1. 01_ -ed to present a concept design proposal and preliminary project budget in person and
interview with the artist selection panel on the afternoon of Wednesday, September 6, 2006. The
selection panel is comprised of one professional visual artist with experience in public art, one art
professional, and one community member. (This is the same selection panel that convened in June 2006
to review all submissions in response to the Request for Qualifications and recommend a short list of
artists for this project.) Two members of the Cultural Affairs Commission ("CAC") will sit in on the panel
as observers; the CAC members do not have a vote on the selection panel. There may also be a
representative of the Public Works Department present during the selection panel meeting as a non-
voting representative of the City. The Public Art Coordinator will facilitate the meeting.
The artist selection panel will make a recommendation to the CAC Public Art sub-committee who in turn
will make a recommendation to the Cultural Affairs Commission. The City Council makes the final
decision based on the Cultural Affairs Commission's recommendation. Both the Cultural Affairs
Commission and City Council meetings will be open public meetings.
It is anticipated that only one proposal will be recommended for approval but, depending on the nature
of the concepts and the overall budgets, more than one proposal may be selected for commission.
Proposals will be evaluated based on the following:
• Conveys superior artistic merit
• Is site-specific
• Is engaging to vehicular (and pedestrian traffic)
• Provides an improved and more attractive streetscape
• Is well designed, safe, made of durable materials and requires minimal maintenance
• Project cost estimate is realistic and proportional to the scope of proposed concept
• Fabrication and installation timeline is realistic and fits within the parameters of the City's
proposed date of completion (Winter 2006)
References will be checked and included with recommendations to the Cultural Affairs Commission and
the City Council.
All art concepts are subject to review by the City Attorney's Office, Building & Safety and Public Works
Department (and other departments or divisions as necessary) for compliance with City codes, policies
and regulations. Depending on the nature of the proposed project(s), Public Works staff may be involved
with installation, the cost of which must be included in the overall project budget.
Budoet
Short-listed artists or artist teams not selected as finalists will be paid a $1,000 honorarium ($1,000
honorarium per artist team). Finalist(s) will be paid a $10,000 design fee. Artist teams selected as
finalists will be paid as a team the $10,000 design fee. The total available for this project is $85,000.
The selected artist or artist team will be required to enter into a contract with the City of Culver City,
provide proof of insurance and have a current Culver City Business License. The contract amount must
indude all design fees, fabrication, installation, transportation, overhead, travel, oversight, professional
services, and any other costs associated with completion of the project.
2Preliminary Proposal Review and Submission Guidelines
You are required to forward a short narrative (1-2 paragraphs), one to two images of your proposed
concept, and a preliminary budget to the City's Public Art Coordinator no later than Tuesday, August
29, 2006. This is to provide an opportunity for staff to review and discuss your project with you to
ensure compliance with the selection criteria prior to your presentation before the aritist selection panel
on September 6 th• Preliminary proposals may be submitted electronically.
At the artist selection panel meeting on September 6, 2006, please bring with you the following:
11 printed copies of your proposal, including narrative (one page maximum), materials
overview, budget and images (the additional copies are for the Cultural Affairs Commission
and City Council meetings);
In addition, you may include:
• Up to two display boards, measuring no more than 22" x 30", for use during your
presentation/interview (easels will be provided) ;
• PowerPoint presentation with no more than 20 slides total.
Materials other than what is described above will not be permitted during your
presentation/interview with the artist selection panel. Your presentation/interview is to last no
more than 45 minutes.
* * *
For questions, please contact Christine Byers, Public Art & Historic Preservation Coordinator at:
(310) 253-5776 or christine.byers(aculvercity.orq
Cultural Affairs Division
Community Development Department
9770 Culver Boulevard
Culver City, CA 90232
The City of Culver City reserves the right to cancel or postpone the proiect or
otherwise not select any artist for a commission.
Please see attached images and maps.
3ATTACHMENT 2
PETER RICHARDS
H/W 415.643.3131
1507 DIAMOND STREET
PETER@EXPLORATORIUM.EDU
SAN FRANCISCO CA 94131
SELECTED INSTALLATIONS AND PROJECTS:
2004 Sky Sweeps, Aberdeen, Washington, Permanent installation of three 85' high kinetic oars. Collaboration
with Sue Richards
2002 Wind Riders Washington State University, TriCities Campus, Richland, Washington. Permanent
installation of bicycle wind vanes. Collaboration with Sue Richards
1999 Arbor Vitae, Coolbaugh Hall, Colorado School of Mines exterior/interior work employing branching
patterns as a metaphor for learning. Collaboration with Ted Prescott
1998 Wind Ride, Kunst in Der Landschaft IV, Gat Gaston, Prigglitz, Austria, created a trio of bicycle wind
vanes. Collaboration with Sue Richards.
1997 Cramer Obscura, Deep Creek School, Telluride, Colorado, on campus grounds, converted existing
outdoor toilet into a camera obscura .
1996 Developed an art plan and upgraded masterplan for Spokane Joint Higher Education Park, Spokane, WA.
Commissioned by Washington State Arts Commission. Collaboration with Michael Oppenheimer
1995 Clapotis (Lake Music). Le Bouveret, Switzerland, installed a floating acoustic sculpture on Lake Geneva
in conjunction with Le Project Leman Animations Chimerigues, June - Sept. Collaboration with Sue
Richards
1994 A Companion Place San Francisco General Hospital. A permanent addition to an existing comfort
garden for hospital staff and AlDs patients. Commissioned by S.F. Arts Commission.
1994 Le Pont Romain, Vaison La Romaine, France. With students from Ecole D'Art Aix-En-Provence, created
a temporary installation on a two thousand year old Roman bridge.
1991 B xbee Park, Palo Alto, California. Developed master plan for 140 acre landfill park and completed a 45
acre portion. Collaboration with Michael Oppenheimer and George Hargreaves & Assoc.
1989 Percival Creek Bridge, South Puget Sound Community College, Olympia Washington. A covered bridge
done in collaboration with George Gonzales.
1989 The Spring, Art Park ., Lewiston, New York. Spring restoration and refuge for park visitors.
1988 Ice House, temporary installation, Aughinbaugh Gallery, Messiah College, Grantham, Penn.
1987 Reflections on Light, temporary installation for Crandon Park Sculpture Garden, sponsored by Art-in-
Public Places, Miami, Florida, March 16- May 30, Collaboration with George Gonzales).
1985/86 Wave Organ, the permanent installation of a wave activated acoustical sculpture in San Francisco Bay,
sponsored by the Exploratorium. Collaboration with George Gonzales.
1984 Cascade Flume, Mill Valley, CA, a flume reconnecting a 150 year old sawmill to its original source of
power. A temporary installation sponsoredby InterArts of Mann.
1981 Land Lights, Nassau County Museum of Fine Arts. A series of four luminescent sculptures sponsored by
the Nassau County Museum of Fine Arts, Roslyn, NY.
1981 Sky Art, Baltimore Inner Harbor, floating luminescent sculpture, sponsored by the City of Baltimore, MD,
Sky Art, Battery Park, floating luminescent sculpture, sponsored-by Creative Times, New York.
Wave Organ, San Francisco Bay, an acoustic sculpture sponsored by the New Music America '81 at the
Marina Breakwater, San Francisco, CA,
1978 Sky Art Ill, floating luminescent sculpture, Fort Point, Sponsored by 80 Langton Street, San Francisco,
CA Collaboration with Vince Grippi.
Catenary, floating luminescent sculpture, Tippecanoe River, Indiana
1977 Light Sculpture, Fort Mason, CA. The Annual San Francisco Art Institute Collaborated with Vince
Grippi.
WORKS IN PROGRESS:
Team Member, AMD&ART - Acid Mine Discharge & Art project, Johnstown, Pennsylvania. Collaboration
with Sue Richards on a public art project at South Lake Union in Seattle and a Metro Transit project in
Phoenix, Arizona.
4.SELECTED INSTALLATIONS AND PROJECTS:
2004 Sky Sweeps Aberdeen, Washington, Permanent installation of three 85' high kinetic oars.
-
-ation with_Sue_Richarri
2002 Wind Riders, Washington State University, TriCities Campus, Richland, Washington. Permanent
installation of bicycle wind vanes. Collaboration with Sue Richards
1999 Arbor Vitae, Coolbaugh Hall, Colorado School of Mines exterior/interior work employing
branching patterns as a metaphor for learning. Collaboration with Ted Prescott
1998 Wind Ride, Kunst in Der Landschaft IV, Gut Gasteil, Prigglitz, Austria, created a trio of bicycle
wind vanes. Collaboration with Sue Richards.
1997 Cramer Obscure, Deep Creek School, Telluride, Colorado, on campus grounds, converted
existing outdoor toilet into a camera obscura .
1996 Developed an art plan and upgraded masterplan for Spokane Joint Higher Education Park,
Spokane, WA. Commissioned by Washington State Arts Commission. Collaboration with
Michael Oppenheimer
1995 Clapotis (Lake Music), Le Bouveret, Switzerland, installed a floating acoustic sculpture on
Lake Geneva in conjunction with Le Project Leman Animations Chimeriques, June - Sept.
Collaboration with Sue Richards
1994 A Companion Place, San Francisco General Hospital. A permanent addition to an existing
comfort garden for hospital staff and AlDs patients. Commissioned by S.F. Arts Commission.
1994 Le Pont Romain, Vaison La Romaine, France. With students from Ecole D'Art Aix-En-Provence,
created a temporary installation on a two thousand year old Roman bridge.
1991 Byxbee Park Palo Alto, California. Developed master plan for 140 acre landfill park and
completed a 45 acre portion. Collaboration with Michael Oppenheimer and George Hargreaves &
Assoc.
1989 Percival Creek Bridge, South Puget Sound Community College, Olympia Washington. A
covered bridge done in collaboration with George Gonzales.
1989 The Spring, Art Park, Lewiston, New York. Spring restoration and refuge for park visitors.
1988 Ice House, temporary installation, Aughinbaugh Gallery, Messiah College, Grantham, Penn.
1987 Reflections on Light, temporary installation for Crandon Park Sculpture Garden, sponsored by
Art-in-Public Places, Miami, Florida, March 16- May 30, Collaboration with George Gonzales).
1985/86 Wave Organ, the permanent installation of a wave activated acoustical sculpture in San
Francisco Bay, sponsored by the Exploratorium. Collaboration with George Gonzales.
1984 Cascade Flume, Mill Valley, CA, a flume reconnecting a 150 year old sawmill to its original
source of power. A temporary installation sponsoredby InterArts of Mann.
1981 Land Lights, Nassau County Museum of Fine Arts. A series of four luminescent sculptures
sponsored by the Nassau County Museum of Fine Arts, Roslyn, NY.
1981 Sky Art, Baltimore Inner Harbor, floating luminescent sculpture, sponsored by the City of
Baltimore, MD,
Sky Art, Battery Park, floating luminescent sculpture, sponsored by Creative Times, New York.
Wave Organ, San Francisco Bay, an acoustic sculpture sponsored by the New Music America
81 at the Marina Breakwater, San Francisco, CA,
1978 Sky Art III, floating luminescent sculpture, Fort Point, Sponsored by 80 Langton Street, San
Francisco, CA Collaboration with Vince Grippi.
Catenary, floating luminescent sculpture, Tippecanoe River, Indiana
1977 Light Sculpture, Fort Mason, CA. The Annual San Francisco Art Institute Collaborated with
Vince Grippi.
WORKS IN PROGRESS:
Team Member, AMD&ART - Acid Mine Discharge & Art project, Johnstown, Pennsylvania.
Collaboration with Sue Richards on a public art project at South Lake Union in Seattle and a
Metro Transit project in Phoenix, Arizona.
SELECTED GROUP EXHIBITIONS:
2004 Art Seattle Urban Parks Art— an overview of artwork being done in Seattle's park system. City
Space Gallery, Seattle, Washington2003 Water In A New Way, an exhibition exploring water use and environmental impact. SomArts
Gallery, San Francisco, California
2001 RE-TIRE an exhibition addressing issues of tire re-cycling. The Gallery At Carillon, Charlotte,
North Carolina
2000 Trouble Shooting gun violence, a community exhibition of works examining gun violence during
NRA's annual meeting. Charlotte, North Carolina
1999 Drip. Blow, Burn: Forces of Nature in Contemporary Art, The Hudson River Museum,
Yonkers, New York
1996 Wind Works. an exhibition of wind related artwork, Davis Art Center, Davis, California.
Temporary installation with M. Oppenheimer
1995 Facing Eden: 100 Years of Landscape Art in the Bay Area. The Fine Arts Museums of San
Francisco
1994 Old Glory. New Story: Flagging of the 21 2 Century, Capp Street Project, S.F. CA
1994 Le Proiect Leman Animations Chimeriaues, Association L.A.C., Montreux, Switzerland
1994 Color in the Shadows: Bay Area Cvberart. California College of Arts, Oak.,CA
1987 Twenty Summers Past, Colorado Springs Fine Arts Center,
1985 Valentines Group Show, San Francisco Art Institute, February
1984 All Ears Civic Arts Gallery, Walnut Creek, California
1983 Audio Eves, Artspace, Sunny Hills, Australia
EXPERIENCE:
2002 - Exploratorium, Senior Artist
2002 - Faculty - Center for Informal Learning, Exploratorium, UC Santa Cruz, Kings College
1998 - 2001 McColl Center-for Visual Art e ,-Craative Director
1997 -2004 Board of Trustees, Alliance of Artists Communities, past Chair
1971 - 1998 Exploratorium, Director of Art Programs
1981 - 82/83 Lecturer, Center for Experimental and Inter-disciplinary Arts, San Francisco State University
1994 - 1995 Lecturer, Visiting Artist, Ecole d'Art, Aix En Provence
1996 - 1998 Lecturer, San Francisco Art Institute
1996 -2001 Research Fellow, STUDIO for Creative Inquiry, College of Fine Arts, Carnegie Mellon University
1997 - 1998 Visiting Artist, Deep Creek School, Telluride, Colorado, in conjunction with Arizona State
University, Tempe
SELECTED AWARDS:
1993 Honor Award, American Society for Landscape Architecture, Byxbee Landfill Park
1988 Artist Fellowship, California Arts Council
Eureka Fellowship, Fleishhacker Foundation, San Francisco
1980 NEA, Art in Public Places Planning Grant
1970 Purchase Award, Tenth Annual St. Jude Competition, Santa Clara University, CA
1969 Rinehart Prize, Rinehart School of Sculpture, Maryland Institute College of Art
EDUCATION:
1969
Rinehart School of Baltimore, MD, MFA, 1969
1966
Colorado College, Colorado Springs, CO, BA, Art, 1966
Peter Richards,
1507 Diamond St.,
San Francisco, CA 94131
415-643-3131 p
peter@exploratorium.edu
Contact Info:> REFERENCES
ValleyMetro Rail
Tad Samar —Artist/Consultant
P.O. Box 10798
Portland, OR 97296
503-227-6969 Phone
tsavinar@teleport.com
Alice Taylor
Program Manager
Art in Public Places
Washington State Arts Commission
234 E 8th Avenue, P 0 Box 42675
Olympia WA 98504-2675
360-586-5352w
360-586-5351 f
MB Finnerty - Public Art Coordinator
ValleyMetro Rail
411 North Central Ave.Suite 200
Phoenixi-AZ41500/1
602-322-4471< PETER RICHARDS-ARTIST STATEMENT
I am interested in how people behave in public spaces, what they respond to and what they take away with
them. I like to set the stage for human experience, the type that leads to new insights and understandings
and perhaps to the creation of new personal stories. I like to take advantage of the dynamic aspects of
a site including changing light, wind, fog, shadows, rain, water, etc. Because each of my projects has
required a different "language" to bring them to life, my work does not have a signature visual style nor
am I known for using a particular medium. My conceptual and design approach for each project does
share many similarities.
Many of my art projects have been collaborations with design professionals, scientists, engineers,
fabricators and the communities where the works are located. The Wave Organ (1986), a wave activated
acoustical sculpture, is a study in the relationships between weather, tide cycles, moon phases and
seasonal changes. All of these variables affect the music that the organ creates and the way the people
use the space. Located on a jetty that extends out into San Francisco Bay, the place was constructed
from the rubble of a 19th century cemetery that had been used as fill material at the site. Wave Organ
was a collaboration with George Gonzales, an artist and stone mason whose expertise in utilizing the
found site material gave the place its character and personality. This project required permits from four
government agencies and was co-sponsored by the City of San Francisco's Department of Parks and
Recreation and The Exploratorium, a .major museum in San Francisco.
My work has often been referred to as a soft intervention in the surrounding landscape. Components
take their lead from existing landforms or other elements and emerge from the landscape in an almost
seamless manner. This dialogue with nature results in experiences that evoke a sense of belonging and
a sense of participation. In restoring a forgotten spring on Artpark property near Lewiston, New York the
outflow of The Spring was used to create an oasis-like setting that not only celebrates the clarity and
coolness of the water but also the years of human interaction this spring has hosted.
My design process for most projects includes meetings and interviews with individuals and groups who
are invested in the outcomes of the effort. The design for Byxbee Landfill Park, (1991) located in the
marshlands of Palo Alto, placed the 45 acre park in a meaningful context with its surroundings and
addressed the unique characteristics of the site. This includes the refuse and its inherent site development
restrictions, the specific landforms as an "outgrowth" of the garbage dump, the slough, the marsh, the
nearby freeway, the wind and sky. Referencing the areas numerous indigenous shell middens, all of the
park's paths were paved with oyster shell. Requiring extensive community involvement, this project was
a collaboration with artist Michael Oppenheimer and George Hargreaves and Associates and received
the Honor Award, American Society of Landscape Architects in 1993.
I have built a reputation for creating high quality public spaces and for the development of projects that
involve many layers of complexity. My numerous projects, developed from concept through realization
follow an interactive method of exchanging information and ideas. I have extensive management
expertise and have served as the principal all of the projects listed above. As a senior staff member
of The Exploratorium, a museum of science, art and human perception, I have managed projects with
budgets of up to $5,000,000. I particularly enjoy working with community groups and enjoy engaging
people in dialogue about their visions for improving the places where they live.RICHARD JOHNSON
HM 415.786.5868
917 BRYANT STREET
RJOHNSON@EXO.NET
SAN FRANCISCO CA 94103
VVWW.11THIRTY-SEVEN.NET
> EDUCATION
2001-05 Masters of Architecture (M-Arch), College of Environmental Design. University of California, Berkeley.
2001 University of California, Berkeley Extension.
1999 New School of Social Research, NY.
1992-93 City College of San Francisco, CA.
1992-94 Bachelors of Fine Arts (BFA) with Honors, San Francisco Art Institute, CA.
1991 AICA New York Studio Honors Program, NY.
1989-91 Minneapolis College of Art and Design, MN.
1988 University of Minesota, Minneapolis, Summer Honors Art Studio Program , MN.
1986-89 East High, Duluth, MN.
> EXPERIENCE
2006- Principle Designer, 11thirtyseven Design San Francisco, CA
2004-05 Graduate Student Instructor, UC Berkeley. Berkeley, CA.
1-995 05 an-FraneiscoTGA Freelance-Artist-Designer-and-Fabricator.
1999-00 Manager of Artist in Residence Program Tryon Center for Art, Charlotte,NC
1997-98 Freelance Exhibit Developer, Designer & Builder
The LAB: ZEUM Museum-SF,CA
1993-97 Manager of the Artist in Residence Program The Exploratorium, SF, CA
Exhibit Developer and Designer
1992-93 Sculpture Department Technician
San Francisco Art Institute, SF, CA
1990-92 Teacher
Duluth Art Institute, Duluth, MN
> RELATED EXPERIENCE
2006- Architectural Advisor for Southern Exposure Gallery, San Francisco, CA.
2005-06 Member of The Institute of American Architects.
2001-06 Member Alliance of Artist Communities.
2000-06 Vice President of FLUX Foundation, CA.
1999-01 Adjunct Board Member of the Summit Foundation, VA.
>WORKS IN PROGRESS
2006- ZENITH TOWER, A proposed 300 ft tower for Duluth,MN.
FOG CATCHER, A 1000 sq ft structure that harnesses the water vapor in Point Reyes National Seashore.
Design and Installation of Southern Exposers new Galley space, San Francisco, CA.
Garden of Forking Paths, Oxbow school, Napa, CA.
Exchange: A ongoing research on distributed networks with transportation infrastructure.
Skin: Digital and Physical,> SELECTED GROUP EXHIBITIONS
2006
The Garden of the forking paths.
Southpoint: from Ruin to Rejuvenation
2005
Performative Playground
The Well
Exchange
POLES
2002 THICK SKIN
2001 Field Conditions parti
Field Conditions part2
Field Conditions part3
2000 Space Medicine
Trouble Shooting Gun Violence
Translations 2
Projection Dislocation "SITE"
22x15
1999 Translations
The Lab
1997 Composition for Departure
1996 Anatomy Theatre
1995 Urban Archaeology
Super Natural
Foot Fetish
Recently 1994 Working
URBAN TOYS
1993 It's All A GAME
BA-ANCE
Puppet Show
Diorama-dialogue
1992 Fragen An Beuys
Zenith City
1991 RELICS
Details
>COMPETITIONS
2006 Southpoint from Ruin to Rejuvenation.
2003 World Trade Center Memorial Site
Oxbow School, Napa, CA.
AIA, New York City, NY.
San Francisco,CA.
Oakland,CA.
Berkeley, CA.
Aquatic Park, Berkeley, CA
Headlands center for the Arts, SF, CA.
Headlands center for the Arts, SF, CA.
Headlands center for the Arts, SF, CA.
Exploratorium Museum of Art, SF, CA
Joie Lassiter Gallery, Charlotte, NC.
Studio G, Charlotte,NC.
Tryon Center for Visual Arts, Charlotte, NC.
Bank of America Plaza, Charlotte, NC
Studio G , Charlotte, NC.
ZUEM, San Francisco, CA
Southem Exposer Gallery San Francisco,CA.
San Francisco State University San Francisco, CA.
Crockers Lockers, San Francisco,CA.
Push Gallery San Francisco, CA.
Bewegrun Gallery • San Francisco,CA.
Manhattan-Print-Studio—NYC,NY.
Diego Rivera Gallery San Francisco, CA.
Eichelberger's San Francisco, CA.
Diego Rivera Gallery San Francisco, CA.
Diego Rivera Gallery San Francisco, CA.
Gallery X San Francisco, CA.
Diego Rivera Gallery San Francisco, CA.
Gallery X San Francisco, CA.
Gallery X San Francisco, CA.
The Studio-451 Greenwich NYC, NY.
Minneapolis, MN.
Roosevelt !sand, New York City, NY.
New York City, NY.
> PUBLIC ART EXPERIENCE
2006 The Garden of the forking paths, Oxbow School, Napa, CA.
Reconsidered Materials (Short list for second upcoming show), Exploratorium, San Francisco, CA
2004 "Performative Playground", Design-Built Installation for Non-Profit in Berkeley, CA.
2003 'Think Skin", Berkeley, CA
2001 Powell Street Overpass: Short list for a Public Art Project in Emeryville, CA.
> RESIDENCIES
2001 Djerasi Resident Artist Program Woodside, CA
2001-02 Headlands Center for the Arts Mann Headlands, CA> PERFORMANCES
1999 "Alas Alas"
1996 "Tell it to me again"
Burning of the Fitzgerald
1993 Echo
1992 Terminal City
Terror
1991 Trees
Fragments + DNA
>LECTURES
2002-05 Graduate Instructor, University of California, Berkeley
2001 California College of Arts and Crafts
2000 California College of Arts and Crafts
1997 San Francisco Art Institute
California College of Arts and Crafts
1996 San Francisco Art Institute
1995 PUSH Gallery/Berkeley Museum
NYC, NY
Market Street San Francisco, CA
Headlands Mann, CA
North Beach Piers San Francisco, CA
China Basin/Mission Rock SF, CA
Seventh + Market San Francisco, CA
New York City Studio Program NYC, NY
The Studio 451 Greenwich St. NYC, NY
"Art and Architecture a joint practice."
"History of the Exploratorium-SF, CA."
"Recent Work"
"Translations"
"Is it SuperNatural"
"Inter activity in Art and Science"
"Fragments of an Installation"
> REVIEWS-ARTICLES
2005 Frameworks, Berkeley Environmental Design, Portfolio-Tinkers Workshop, spring 2005.
2001 ArtWeek, Headlands announces new project space, new AIR for 2001. p. 2.
2000 Charlotte, City Scene- Turning Point, p. 92, may 2000s
2000 Charlotte Observer, "Impressionistic Web Site Chronicles Change in Charlotte"
1998 Directory of the National Association of Artists Organizations. p. 62,
1997 San Francisco Examiner, The human comedy:Fun is only skin deep" Sept. 17
> AWARDS-RECOGNITION
Continuing Sobel Memorial Scholarship
Continuing Sobel Memorial Scholarship
Awarded Honorarium in Sculpture
Continuing Scholarship
A semester in NYC with studio
Continuing Scholarship
Entering Scholarship
First prize in Drawing
Awarded a summer studio
1993 San Francisco Art Institute
1992 San Francisco Art Institute
1991 San Francisco Art Institute
Minneapolis College of Art and Design
1990 AICAD New York Studio Program
1989 Minneapolis College of Art and Design Minneapolis College of
Art and Design
1988 National Scholastic Art Award
University of Minnesota, Minneapolis
> REFERENCES
Anthony Burke
Assistant Professor of Architecture, University of California, Berkeley.
a_burke@berkeley.edu 1-510-642-5803
Pam Winfrey
Senior Artist, The Exploratorium. A Museum of Science, Art and Human Perception.
pamw@expolratorium.edu 1-415-563-7337
Alison Sant
Professor of Media Art, California College of Art, San francisco Art Institute, Mills College.
alis@exo.net 1-415-713-1316< RICHARD JOHNSON -ARTIST STATEMENT
For the last twenty years, I've been working both singularly and collaboratively on a wide variety of personal and
public projects. Focused largely on underutilized sites in the urban fabric and public sphere, I've explored and
researched how fields such as architecture, mobility, technology, and urbanism permeate and shape our daily
environment. Although my work is inspired by urban design and innovations in architecture, they're not limitations to
my practice. I find it just as relevant to understand how the public interfaces with projects in galleries and museums,
as well as the city streets.
Most recently, while receiving a Master in Architecture, I have been able to take a unique blend of looking,
experimenting, prototyping and building to new levels. These qualities have allowed me to utilize my ability to
research, prototype, and build with other professionals, and to use the city to realize projects and build them at
many scales, from the personal to the urban. As an artist and designer, I am also engaged in how communities
groups support public growth. This conversation allows for a sensitivity to expand my design sensibility and apply it
to an increased range of public projects in the future.
I consider it essential, as a professional, to utilize both the tools of an artist with the skills of an architect and
designer. I have researched artists, architects, and thinkers who over the last century proposed work that has
provoked new ways of looking at the structure of everyday life, from the culture of the street to the production of
housing and ultimately the configuration of cities. It's about the larger dynamics of distribution in the landscape, its
use patterns, and the technological systems that are redefining it. Inspired by these examples, I have considered
ways in which my own work can experiment with the potentials of how material systems and urban systems impact
our built environment.
Each project has it's unique set of constraints and possibilities, not only on a material level but also at an infrastructure
one. Familiar architectural and artistic categories such as form, program, and site (or system, performance, and field)
while necessary to any project must be challenged. Tendencies towards a program with increased entropy, suggests
a tendency towards formlessness, uselessness, and sitelessness, these notions must also be challenged.
My artistic process playfully proposes the recognition of entropy as a positive term, as a counterstrategy towards the
tendency of order in contemporary speculation. My projects take on the form of a laboratory, which is dedicated to
inventing and testing new techniques for strategic sculptural urban deployment. By using these formal techniques,
new programmatic strategies, and site-specific responses are converted into competing forces; as a result new
strategies emerge.
My explorations consider the notion of landscape/building as a series of spectacles. These spectacles or spatial
events knit urban, suburban and rural space into a place where one can understand material flows and exchange
and use them for design parameters. My process is not about inventing new forms, new programs, or new sites,
it is about re-inventing them, to a process of continuous sampling, splicing, and mixing, which renders the original
unrecognizable.
As detailed in my Resume, several of my recent proposals and projects, including the The Garden of
ForkingPaths, "World Trade Center Memorial", "Performative Playground", "Thick Skin", "22x15" and "Field
Conditions". Each research, analyze, and respond to urban systems, often proposing experiments that look at new
ways of defining and interacting with aspects of the city and public life. While still never forgetting that the physical
intervention needs to have a sensitivity to play and whimsy in design is just as important in creating and engaging
l2_in public space. My ultimate aim is that the work I create provokes possibilities in the contemporary dialog shaping
our urban spaces.
I am interested in pursuing experimentation as a key to innovation that promotes the unique role of artists, architects
and planners as inventors of new urban models in public space. In addition, I aim to engage in a dialog that
addresses the role of the artist as designer within the context of history and emphasizes the responsibility of artists
to community and the constraints of the environment. Public Sculpture is uniquely suited to these objectives as a
direct way to advance art, architecture and urban planning within the context of civic responsibility. I believe the
objectives of this project are a perfect compliment to my professional interests.
With my combined aesthetic sensibilities, experiences and backgrounds I will bring an unique set of eyes to address
the underlying issues of Washington Boulevard and offer a memorable experience to the people who frequent this
part of Culver City.
/aPETER RICHARDS
H/W 415.643.3131
1507 DIAMOND STREET
PETER@EXPLORATORIUM.EDU
SAN FRANCISCO CA 94131
Slide Desciption
Title: Sky Sweeps — 2004
Slide Number 01 .Sky Sweeps — installation view
Location: Aberdeen, Washington
Sponsorship: Washington State Arts Commission
Artists: Sue Richards, Peter Richards
Budget: $246,000
Completion time: Planning, fabrication and installation: 2 years
Consultants: Richard Ballinger, Structural Engineer; Robert Breidenthal, Aeronautical Engineer,
Washington University, WA.; Lund Engineering, Aeronautical and Structural Engineer;
Fabrication Specialties Ltd., fabrication/installation.
Located along the south shore of the Chehalis River in the City of Aberdeen, the site's character is defined by a tidal zone
filled with the remnants of an extensive wharf system that served as an intersection between maritime and lumber industries.
This is evidenced by an array of pier pilings that appear when the tide recedes. Now that the wharves are gone and the
nature of the lumber business has changed, Sky Sweeps assumes the role of mediator between the past, present and future.
The three pivoting sweeps (a term for a long oar) are each 85' high and are counter balanced to record the movements of the
prevailing on-shore winds from the west. When the air is still, they stand vertical; with air movement, they begin sweeping the
sky.
Title: Wind Riders — 2002
Slide Number 02.Wind Riders — Installation view
Location: Washington State University, Richland, WA
Sponsorship: Washington State Arts Commission
Artists: Sue Richards, Peter Richards
Budget: $60,000
Project Manager: Alice Taylor, Washington State Arts Commission
Consultant: Richard Ballinger, Structural Engineer
Other professions: Fabrication Specialties, Ltd., VVildlands, Inc
The campus of Washington State University's Tri-cities campus is located along the Columbia River in Richland, Washington.
The site is adjacent to a city maintained bicycle path that follows the edge of the river. The installation serves as a cross roads
and rest stop for bicyclists, joggers, walkers and students and includes: a bronze drinking fountain in the form of a wooden
barrel, park benches, three bicycle wind vanes, and a garden of native plants.Title: Byxbee Landfill Park - 1991
Slide Number
03. Wind Wave
04. Pole Field
Location: Palo Alto, CA.
Artist: Peter Richards,Michael Oppenheimer, George Hargreaves Assc.
Budget: $1,400,000
Completion time: 3 years
Project Manager: Edgar Ugarte, Dept. of Public Works
The design for the 45 acre Byxbee Landfill Park, located in the marshlands of Palo Alto, placed the park in a meaningful context with its
surroundings and addressed the unique characteristics of the site. This includes the refuse and its inherent site development restrictions,
the specific landforms as an "outgrowth" of the garbage dump; the slough, the marsh, the bird refuge, the nearby freeway, the airport, the
wind and sky. The created elements of the park seek to tie the site to its surroundings and express its characteristics in a metaphorical
and sometimes informational way. In response to power poles, abandoned dock and bridge pilings and other vertical man made structures
that march across the surrounding aquatic landscape, a field of poles was planted at the eastern most tip of the park. Evenly cut to form a
tilting plane — they are spaced in a grid formation, slanting to the north: Seagulls and raptors find the poles a convenient place to rest.
Title: Station Crossings (concept proposal) 2005
Slide Number 05. Willow Station, Full View
Location: Willow Station, Metro Blue Line, Long Beach
Artist: Peter Richards
Medium: Steel
Budget: $157,000
Dimensions: Each crossing blade — 27' long
Other Professionals: Lund Engineering
This was a proposal to mount a series of carefully counter balanced members which look like railroad crossing gates on the existing
pylons or lollipops of Willow Station on the Metro Blue Line in Long Beach, Califomia. An approaching train displaces a lot of air as it
pulls into the station, creating an invisible disturbance, which will be detected by these crossing guard sentinels. Responding to the trains
and to local air currents, these "Wind Gates" will serve as metaphorical indicators of the smooth flow of people by rail, car or foot, and
the somewhat predictable flow of winds over the ground surface of Long Beach. These "Wind Gates" will nod with approval when a train
arrives and with a little less enthusiasm as the train departs. The forces of nature will further choreograph their movements.
/A-Richard Johnson
f/p 415.865.9500 m 415.786.5868
917 Bryant Street
rjohnson@exo.net
SanFrancisco, CA 94103
www.lthirtyseven.net
Slide Number: 06. FOG Catcher, Detail.
Title: FOG Catcher
Location: Point reyes, CA
Artists: Rick Johnson
Budget: To be determined
Completion Time: ongoing
The fog catchers are a relatively simple technology that is now being used in parts of the world where there is a lot of fog or cloud, but little
rain and no well water. Fog catchers represented an ingeniously simple idea. A fine mesh netting braced against the damp wind, so that
water would condense on the filaments, then collect in troughs and flow by pipe to where it was needed. This technology is best suited
to areas where fog is consistently available and can be intercepted on land. Fog collection actually imitates the work of nature. Trees
serve as natural fog catchers; a forest growing in an arid area can drip as much water into the dry soil as might ever arrive. This 500 sq ft
structure that harnesses the water vapor is being proposed for the Point Reyes National Seashore.
Slide Number:
07. Thick Skin 2003- Detail of the interior and exterior
Title: Thick Skin
Location: Wurster Plaza, Berkeley, CA
Artists: Rick Johnson, Nash Hurley, Joshua Zabel, Luke Wendler, and Beau Trincia
Budget: $ 10,000
Completion Time: 8 Months
Utilizing CAD/CAM technology, this project focused on the design and fabrication of an outdoor installation that evolves from the scale of the
human body. After selecting a sight in a high profile public plaza, our team of five designers chose to relate to the sight specificity by deriving
the form by the way people typically moved through the space. After documenting the motions of people within the site, we used new Mo-
tion Capture Technology, typically used for movies and video game production, to document the movement of the body, and translate then
to the computer. The motion capture process involves wearing a suit of LED lights placed at key joints of human motion. Twelve cameras in
the studio capture the motion of the lights, as the body moves. A computer then produces an animated 3D model of these joints in space.
This model was then used to create a shape that defines the volume the body occupies while moving through the space. These volumes
were then subtracted from the cubic envelope of the installation. The resulting form was designed to be utilized by people visiting the plaza
and installation.
Slide Number:
08. Exchange-Performative Playground Two- 3-DModel View
Performative Playground
Location: San francisco, CA
Artists+Professions: Rick Johnson
Budget: Public Plaza and Building
Completion Time: Working Competition
The flows of freight have been a fundamental component of change in economic systems at the global, regional and local scale. This
postindustrial landscape that has emerged, can best be described as a network of free-flowing spaces representing a synthesis of attitudes
and patterns, which support work, capital, and body ieldtions. As vast stretches of land are being transformed into staging areas for this
pervasive supply chain network, displacement of the physical topography with a new topology has occurred. As a result, infrastructure
has replaced topographical features and the landscape that was once thought of as infinite in scale has become finite in form. These new
hybrid spaces, characterized by duration, intensity, volatility, and location serve as entry points where both landscape and building become
one, while simultaneously processing and channeling these flows, data streams, and resources. Exchange explores these new notions
of landscape/building/public sculpture as a series of built spectacles. Each scenario or spatial event, urban, suburban and rural, converts
material flows and exchange into parameters for design. Exchange is not about inventing new forms, new programs, or new sites, it is
about re-inventing them, again and again, by submitting them to a process of continuous sampling, splicing, and mixing. This is one of three
separate sites the suburban and rural are not included.Slide Number: 09. "Departure" 1998
Title: "Composition for D eparture", full installation view.
Location: Southern Exposure Gallery - SanFrancisco, CA
Artists+Professions: Rick Johnson
Budget: $ 4,000
Completion Time: 4 Months
"Composition for Departure" was an installation created for a group show at Southern Exposure Gallery in San Francisco entitled "Electricity
is Your Friend". The sculpture was a seven-foot wooden rocking chair equipped with ten roboticly controlled arms and was programmed to
slowly pull thread from industrial sewing spools. Over the course of the installation, the operatic process of these arms slowly enveloped
the chair and surrounding area with a woven tapestry of thread."Composition for Departure" was an installation created for a group show
at Southern Exposure Gallery in San Francisco entitled "Electricity is Your Friend". The sculpture was a seven-foot wooden rocking . chair
equipped with ten roboticly controlled arms and was programmed to slowly pull thread from industrial sewing spools. Over the course of the
installation, the operatic process of these arms slowly enveloped the chair and surrounding area with a woven tapestry of thread.
Slide Number: 10. Anatomy Theatre -1997, detail of kinetic sculpture.
Anatomy Theatre -1997
Location: SanFrancisco State University
Artists: Rick Johnson
Budget: $ 7,000
Completion Time: 6 Months
Inspired by seventeenth century medical experiments on the body, "Anatomy Theatre" was an installation created to dissect
the movements and sounds of gallery visitors as they passed through the installation. A series of electro-mechanical sculptures
were calibrated to both sense and interpret the presence of viewers. These impressions were then re-introduced into the
piece as an evolving interpretation of the ambience of the installation. Shown at San Francisco State Universities Gallery.
Iig?Washington Boulevard Project Proposal
Peter Richards + Rick Johnson
Concept: At a time when America's love affair with the automobile could be at a tipping point, Post
Your Verse (working title) will become a sounding board for city residents to communicate their
thoughts and impressions publicly about their relationship with auto transportation. Using the street
banner as the primary medium, it is the intention of the project artists to stimulate a conversation
among Culver City citizens about the role the automobile has had in shaping their life styles and a
speculation about how external changes could affect the way people live and work in the future.
Utilizing the cinematic experience of driving along Washington Boulevard, Post Your Verse mixes
contemporary communication media with the historical.
Context:
Highway advertising over the last sixty years, offers a revealing glimpse of American
culture. Businesses like Burma Shave and Wall Drug created clever ways of reaching the public
through whimsical jingles, verses and other enticements posted along America's highways. These
quaint rhymes and verses humorously recall the beginnings of a car culture that was soon to affect the
lives of most Americans and certainly those living in cities like Culver City and the greater Los
Angeles area.
Phased over three years, Post Your Verse will display a series of banners occupying most if not all the
light standards on Washington Blvd. Between Walnut Street and the 405 Freeway. Drivers who
regularly use Washington Boulevard will notice the gradual accumulation of banners printed with
community generated verses over the three-year period of the project.
Phase I: A series of Burma Shave inspired verses will be reproduced on street banners and mounted
from the light standards on both east and west bound lanes. Referencing historical highway
advertising, this phase will set the stage for inspiring city residents to respond with their own lyrical
verses. Phase I banners will occupy a third of the light poles along Washington Blvd. The other two
thirds will be filled by verses created by Culver City residents and students during Phases II and III.
Each of the Phase I banners will invite people to post their own verses on www.postyourverse.com
, by
text message or by phone.
Phase The most poetic verses related to car culture posted on the website will be made into
banners and mounted as a series interspersed with those of Phase I. The author of each posted verse
will receive a stipend of $150 and will be credited on the banner. During Phase I and II, the project
artists, through their marketing plan, will contact local libraries and schoolteachers and after school
programs to encourage them to have their students write and submit their own verses about their views
about cars.
Phase III: The most poetic verses submitted by local students will be made into banners and mounted
as a series interspersed with those of Phase I and II. Students whose verses were selected will receive a
stipend of $100 and will have their name credited on their banners. All submitted verses will be
accessible on the website.
Marketing process: Marketing consultant John W. Love will be engaged to design and implement a
comprehensive marketing campaign. Press releases, news spots, prizes and of course, the banners
themselves will be employed to entice people to contribute to this unique public sounding board.
The Selection Process:
A group of community members including a local poet will be assembled to
virtually review, and by vote, select the best verses for display. The criteria for selection will be: A.
language - use of: originality, and whimsy B. meaning — references of transportation/environmental
issues, C. poetics - forms and conventions used in poetry: i.e., meter, rhythm, and rhyme.
I qwww.postyourverse.com
p,2co/Culver circontract negotiations City/artists
design web site contract
set up phone artists
design,Phasel banners-: , ,;,
artists
install phase - Fbinners .'- -- - AAA Banner
contract with marketing consultant artists
design marketing campaign phase I & ll marketing consultant
implement marketing campaign for phase II artists/Mktg conslt
design a selection process artists/Mktg conslt
identify selection panelists artists/art commission
.:,
verse submissions for phase II general public
verse selections for 9 hase II selection •anelists
design artists
banners .
—_
AAA Banner
implement marketing campaign for phase Ill artists/Mktg conslt
verse submissions for phase Ill student
verse selections for phase Ill selection panelists
_ ,-,
deisig ri;Phase',ill.:.bariiier'i= -
artists
inStalTPhiselllannerel., ' , AAA Banner
all banners installed
web still active artists
2006
2007
2007/2008
Washington Blvd. Timeline
Peter Richards + Rick Johnson
tasks
who
Oct Nov Dec Jan Feb Mar Apr May June July Aug Sept IWashington Blvd. Project Budget
Pete Richards + Rick Johnson
total budget
design fee $10,000.00 $10,000.00
phase I (includes fabrication and installation) 75 banners $105.00 each $7,875.00
phase!! (includes fabrication and installation) 48 banners $105.00 each $5,040.00
phaselll (includes fabrication and installation) 48 banners $105.00 each $5,040.00
verse stipends 16 verse stipends per phase $150.00 each $2,400.00
web site design design and programming $10,890.00
web site maintenance 150 hours (for duration of project) $40.00 hour $6,000.00
ads for print media $1,500.00
phone number for text messaging 36 months $45.00 a month $1,620.00
stipend for selection panel (three panelists) $250.00 each per phase $1,500.00
professional services (marketing consultant) design fee $6,000.00
travel (inc. air, hotel, meals, car rental) 3 phases $1,800.00 a year $5,400.00
marketing consultant travel (inc. air, hotel, meals, car rental) $2,780.00
oversight $5,930.00
contingences 7.5 percent of overall budget $6,375.00
overhead 3.5 percent of overall budget $2,975.00
banner replacement 35 banners $105.00 $3,675.00
-
total expenditures $85,000.00
total budget $85,000.00
$0.00verse 1- burma shave ad from the 1930's
past
The School House Take it slow let the little
shavers grow PostYourVerse.com
verse 1 with text message lingo
r=71 01. "t
d skul hows tAk it slO ltd Iti
shavers grO
I Txt msg ur verse
11-800-777-P0ST
verse 2
my phat ride
TAKES GAS AND Oft
wil l
global warming
make me boil?
PostYourVerse.com
verse 2 with text message lingo
my phat ride
TARZGAS&OIL
Wi 1L_
global warming
mAk me boil?
Txt msg ur verse
1-800-777-POST
verse 3
would your
new
JINcLE
cause Culver City to really tingle?
PostYourVerse.com
verse 3 with text message lingo
wud yor nu IN/ 1_
co/ Culver ciT
2 rly tingle?
Txt msg ur verse
1-800-777-POSTJohn W. Love, Jr.
Vitae
john@johnwlovejr.com
704.394.3086
929 Plunnstead Road
Charlotte, North Carolina, 28216-3152 USA
Marketing /Advertising/Concepts/Copywriting/Creative
Direction
SKILLS & WORK ENVIRONMENTS
• television
• radio
• animation
• print
• internet sites
• package design
• corporate branding
• product branding
• bio's, profiles, portfolios
• capabilities brochures
• press releases
• post cards
• direct mail
• retail, in-store directives
• creative strategies
• creative consultation
CLIENTS/AGENCIES
Caulder Design/The Richardson Marketing Group
• DEB/SBS print
• Mobile Healthcare Providers, Inc. print
• Stephano's print
• Caulder Identity print
•A la Cart, Inc. print
• TPN — The Peoples Network print
Dogget Advertising
• The St. Serrant Condominiums print
• Beck Imports print
f2m2 — Fast Forward Multimedia
• Universal Records web development
• Godsmack web development
• Canibus web development
•AfroMan web development
• 98° web development
• film — "All About the Benjamins" web development
• Unified Theory — 3:33 Music Group web development
• Pinpoint Consulting web development
• Back Doctors/Chiropractic web development
• Restaurant Cibi web development
• Nova Industries web development
Gary Hixson Design
• Brick Association of the Carolinas/brochure print
• Brick Association/barrier wall pamphlet print
The Guerrilla Mail Project
• billboard campaign all media
• "Use a condom" campaign all media
ad stuff - jwljr continued
IndieVision
• Charlotte Area Transit System (CATS) all media
• CSR Travel Nursing all media
• NC Air Awareness Campaign radio
a2s-• RedSky Gallery
Indigo Creative • creative direction/consultation
Lippi & Co. Advertising
• Mountain Gear/Tri•Mountain
• PAM Fastening Technologies, Inc.
• Crowder Construction Company
Luminar Studios
all media
branding, web, all media
print
print
print
Luquire George Andrews, I
MEE Productions, Inc.
• Sunbelt Outdoor, Inc.
nc.
• Solutia/anti-microbial fibers branding
• Solutia/micro-fibers branding
web development
print
print
• The "Looking for Love" project
•Agouron (Pfizer) /HIV prevention
• HIV prevention/African-American youth
• Kwanzaa
• Emergency Contraception campaign
Peter McRae Design
• Opera Carolina
•Athletic Club South End
• Elizabethan Delights
• Monroe Mall
• Mecklenburg County ABC Board
Poseidon Incorporated/Club Mythos
• The Amsterdam "Glam Troopers"
• Deney Terrio & Motion
• Nina Goede
• Planet Soul
• Miss Kitty's Playhouse
• Ru Paul
• Morris Day & The Time
• Roger Troutman & The Zapp Bandweb, radio, print
• Multiple Sclerosis campaign
QMRI/Washington, DC
• Celebra La Vida Con Salud
• creative direction/consultaion
Sean Murphy Associates
• Perfect Fit/Bedding
• The Sweel/Jasper Harding Toys
• Ellis Hosiery
• Salon-O-Rama
Spike Design
• West Point Stevens
• CMI — Chatham Industries
• Beauty Rest
• Outlast
• Grayson/Thermafuse
• Wal•Mart
• Ellis Hosiery
• Pillowtex
•A Child's Place
• The Great Aunt Stella Center
•Atomic Studios
Windswept Pacific Music Publishing/Maceys Melodys
• Nailah — singer/songwriter
Afro-American Cultural Center
Ashwani International
Carmen Carmen! Salon
Charlotte Repertory Theatre
Club Mpg(
Diane Hughes Photography
The Goteborg/San Francisco Projekt, Goteborg, Sweden
Hogni Sigurthorsson/Diana Stor6sen Cyber Café, Sweden
The Hollywood Cinema Make-up School
video, film, tv
video, film, tv
video, film, tv, print
video
radio
all media
print
web, broadcast, print
radio, print
print
web, radio, print
web, radio, print
web, radio, print
web, radio, print
web, radio, print
web, radio, print
web, radio, print
print
video
branding, web, all media
print
print
print
print
web, print, packaging
web, print,packaging
print, packaging
print, packaging
print, packaging
in-store broadcast
print
print
print, video
print
web, print
ad stuff - jwIjr continuad
all media
print, radio
print
tv
print
print, radio, web
print, web
web, print
web, print
print, web
c21,Innovative Theatre
print, radio
The Original Hollywood Horror Show
print
Spirit Square Center for the Arts
print, radio
Zaccho Dance Theatre
web, print
Creative Consultation / Program Development /
Innovations in Education and Art Initiatives
Valand School of Fine Art, Goteborg, Sweden
Goteborg/San Francisco Projekt, Goteborg, Sweden
The Hogni Sigurthorsson/Diana Stor6sen Cyber Café, Sweden
Venice Heart Community Center w/Lisa Bonet, Venice Beach, CA
Zaccho Dance Theatre, San Francisco, CA
Headlands Center For The Arts, Sausalito, CA
MEE Productions, Washington, DC
OMR: Marketing and Communications, Washington, DC
Arts and Science Council, Charlotte, NC
McColl Center for Visual Arts, Charlotte, NC
Mint Museum of Charlotte — Film Series, Charlotte, NC
The Schiele Museum, Gastonia, NC
Opera Carolina, Charlotte, NC
Lesbian & Gay Community Center, Charlotte, NC
Love of Learning, Davidson College, Davidson, NC
Substance Abuse Prevention Services, Charlotte, NC
United Way AIDS Awareness Campaign, Charlotte, NC
The Guerrilla Mail Project, Charlotte, NC
OUT Charlotte, Charlotte, NC
Artists Eradicating HIV/AIDS, Charlotte, NC
MAP — Metrolina AIDS Project, Charlotte, NC
Afro-American Cultural Center, Charlotte, NC
The Playwright's Project/New River Dramatists at Healing Springs, Healing Springs, NC
Children's Theatre of Charlotte, Charlotte, NC
Charlotte Repertory Theatre, Charlotte, NC
Spirit Square, Charlotte, NC
Noel Gallery, Charlotte, NC
Joie Lassiter Gallery, Charlotte, NC
Ubiquitous Art Gallery, Charlotte, NC
Charlotte Mecklenburg School System
Evergreen State College, Olympia, WA
Clemson University, South Carolina
Johnson C. Smith University, Charlotte, NC
Davidson College, Davidson, NC
Livingstone College, Salisbury, NC
Barber Scotia College, NC
Winthrop College, Rock Hill, SC
ad stuff- jwijr continued
University of North Carolina at Charlotte
University of North Carolina at Greensboro
Central Piedmont Community College, Charlotte, NC
Bennett College, Greensboro, NC
Poseidon Incorporated — The Forum, Club Mythos, Cosmos Café
027Kyungmi Shin
323-719-3222
kmshin2000@yahoo.com
EDUCATION
M.F.A., Sculpture & Installation, University of California, Berkeley, 1995
San Francisco Art Institute, painting, 1989-1990
San Francisco State University, painting, 1988
B.S., Biochemistry, San Jose State University, 1986
Kyungbook National University Medical School, Korea, 1982-1983
GRANTS, PUBLIC ART COMMISSIONS, RESIDENCIES AND FELLOWSHIPS
Art In Residence Grant, City of Los Angeles Cultural Affairs, 2006-7
La Fayette Park Gymnasium & Community Center, Public Art Commission,
City of Los Angeles, 2005-7
Pasadena Cultural Affairs Individual Artist Grant, 2003-4
California Community Foundation Emerging Artist Grant, 2001-2
Chancellor's Eisner Prize for Creative Achievement, UC Berkeley, 1995
American Association of University Women's Career Development Grant,
1994-95
Susan B. Irwin Graduate Fellowship, UC Berkeley, 1994
Headlands Center for the Arts, Finalist for Artist in Residency, 2004
Kausaustralis, Rotterdam, the Netherlands, Artist in Residence, 2002
SELECTED EXHIBITIONS
2006 Arena Gallery, "Watermark", curated by Angela Diamos, Santa Monica, CA
Winslow Garage, "Kyungmi Shin", Echo Park, CA
2005 Vox Populi, "Passerby", curated by Cassandra Coblentz, Philadelphia, PA
Korean American Museum, curated by Yongsoon Min and Susan Choi, catalogue essay
by Malik Gaines, Los Angeles, CA
2004 Carl Berg Gallery, "Digital", Los Angeles, CA
Pasadena Public Library, "Chewing Gums and Candy", One Person Show, Pasadena,
CA
Scott White Gallery, "Optic Nerves ", San Diego, CA
Headlands Center for the Arts, "Cl,ke -Calls", Sausalito, CA
Pasadena City College Library, "Blue -Eyes: Kyungmi Shin", Pasadena, CA
2003 Laguna Art Museum, "Whiteness: A Wayward Construction", curated by
Tyler Stallings, Laguna Beach, CA
Festival Forfest Kromeriz, curated by Louise Lewis, Kromeriz, Czech republic
Art Church, performances organized by Todd Gray, "Pink Sisters",
performance, Los Angeles, CA
02?Saint Mary' College Art Gallery, "Shouts, Whispers and Cheers", curated by
Irina Costache, Los Angeles, CA
2002 Art Affairs, "West Coast", curated by Carl Berg, Amsterdam, Netherlands
Kausaustralis, "LA/ Amsterdam" curated by Carl Berg, Rotterdam,
Netherlands
At the Brewery Project, "MEDIA", exhibit of video art, curated by Joe
Santarommano, Los Angeles, CA
"The Game", curated by Christine Kim, Korean Cultural Center, Los Angeles,
CA
Exit Art, "Reactions", New York, NY
1-1 Gallery, "I-Camera", curated by Dimitri, Los Angeles, CA
Cal State Long Beach Art Museum, "Faculty Bienniel", Long Beach, CA
Seoul Arts Center, "Beauty of Diversity: Young Korean Diaspora", curated by
Sung Moon Cho, Seoul, South Korea
2001 At the Brewery Project, "Saturation", curated by Kyungmi Shin and Ryan Hill,
Los Angeles, CA
JP Getty Museum, Harold Williams Auditorium, California Community
Foundation Grant Award Reception and Exhibit, Los Angeles, CA
Irvine Art Center, "99 Dollars and 99 Cents", curated by Carl Berg, Irvine, CA
Newspace, "LA-CA", curated by Dimitri Vorvolakos, Los Angeles, CA
Irvine Art Center, "The Mural Show", curated by Carl Berg, Irvine, CA
Gallery 207, "On s ten fout!", West Hollywood, CA
2000 Asian American Art Center "Carpooling from LA", curated by Tam Tran,
November, New York, NY
Pasadena City College, "The Cake Show", curated by Jeoffrey Allen,
Pasadena, CA
Artsonje Museum, "Koreamericakorea", curated by David Ross of San
Francisco Museum of Art, July - Sept, Kyungjoo South Korea
Artsonje Center, "Koreamericakorea", curated by David Ross, May-June,
Seoul, South Korea
Decmocratic National Convention Committee Show, curated by Davis and
Davis, Los Angeles, CA
KHEIR CENTER/ Korean American Museum, curated by Yong Soon Min,
"Spiritual Practices: Rituals, Icons and Faiths," Los Angeles, CA
1999 George's, "Daydreaming", curated by Leonard Bravo, Los Angeles, CA
Pasadena City College Art Gallery, "My First Work: Origins and Experiments",
-
- cUrated by Alex Kritsellis, Pasadena, CA _
1998 Museum of Latin American Art at Long Beach, "Day of the Dead Portraits",
Long Beach, CA
Magnet 17, Art Exhibit and Auction, Magnet Interactive, Culver City, CA
Phillip and Dorothy Lyon Gallery, Wilshire Boulevard Temple, "Thrills and
Spiels", organized by Carrie Ungerman, Los Angeles, CA
JP Getty Museum, "Getty Underground", Los Angeles, CA
Hollywood DMV, "License", curated by Bl'ent Zerger of Museum of
447Contemporary Art, Los Angeles, CA
Hollywood DMV, "While U Wait", Los Angeles, CA
Farmer's Daughter Motel, LA, CA: "One Night Stand", curated by Leonard
Bravo, Los Angeles, CA
Abel Joseph Gallery, "One Night Stand", curated by Leonard Bravo,
Brussels, Belgium
1997 Pasadena City College Art Gallery, Pasadena, California: "Faculty Exhibit"
Korean Cultural Center, Los Angeles, California: "Prop", curated by Yong
Soon Min, Los Angeles, CA
Farmer's Daughter Motel, LA, CA: "One Night Stand", curated by Leonard Bravo
Watts Towers Arts Center, LA, CA: 1997 Los Angeles Juried Exhibition
Korean American Museum, LA, CA: "Scene 97", juried by Connie Butler of
Museum of Contemporary Art, LA, Howard Fox of Los Angeles County
Museum, and Yong Soon Min of UC Irvine
BIBLIOGRAPHY
"A print-off in one kind of ink", Holly Myers, Los Angeles Times, August 20, 2004
"Nerve' cell, Seven artists play with photography, postmodern-style", Neil Kendricks,
San Diego Union Tribune, April 29, 2004
"The Last White Art Show", Clayton Campbell, Flash Art, No. 232, October 2003
"Whiteness: A Wayward Construction", Jennie Klein, LA Weekly, July 2003, Bridge Magazine,
2003
"Whiteness: A Wayward Construction' at the Laguna Art Museum", Roberta
Carasso, ArtWeek, June 2003
"Whiteness", Frances DeVuene, ArtWeek, Feb. 2003
"White Noise: Where race meets the sand: Laguna Beach", LA Weekly, Holly Myers, April 25,
2003
Orange County Register, Sunday, April 06, 2003, Show Section, page 30
"Whiteness, A Wayward Construction", exhibition catalogue essay, Tyler Stallings, March 2003
RIM, "Excerpts from Notes Taken in Preparation for a Serious Article", Lucy HG, January 2003
New York Arts Magazine, "Mural II, Irvine Fine Arts Center", October,
James Scarborough
Coagula, "Blood Lust; Orange County likes its vodka too", Rebecca Schoenkopf, September
2001
Los Angeles Times, "As Big as Al! Outdoors", Vivian Letran, June 18, 2001
Irvine World News, "Artists take to the walls", Peggy Blizzared, June 14, 2001
New York Arts Magazine, "Carpooling from LA at Asian American Arts Center", December, 2000
Downtown News, "Art Imitating Politics: DNC Art Exhibit Paints the Issues", Victoria Looseleaf,
June 5, 2000
"Koreamericakorea", David Ross, catalogue essay, 2000
The Art Magazine Wolgan Misool, "Special Feature: Korean American Artists", June 2000
Maison Marie Claire Korea, "Culture/ Art: Koreamericakorea", Hyun-Hee Kim, June 2000
Vogue Korea, "People are Talking About: Koreamericakorea", Chung Gul Lee, June 2000
Hankook Daily, "Finding the Identity, Korean American Artists", Youngjoo Song, May 31, 2000
Los Angeles Times, "Imaginative 'Daydreaming' Alters Familiar Narratives",
Cristopher Knight, August 20, 1999
ArtWeek, "licens at the Hollywood DMV", Christopher Miles, October 1998
"ArtWeek, "PROP at the Korean Cultural Center", Christopher Miles, February
Korea Times, "Cultural Exchange at Korean Cultural Center", 1997
Los Angeles Times, "Art Review: Juried Exhibition Displays Wit and Elegance of
LA", William Wilson, July 30, 1997
Tsing Tao Daily, "Dare to Be Different at Community Gallery", 1996
Art Issues, "Faxes: San Francisco: Kyungmi Shin, Laura Dufort, Chris
Johanson", Maria Forges, September/October, 1995, number 39
San Francisco Examiner, "Gallery Watch", David Bonetti, July 14, 1995
SF Weekly, "California Sweet", Glen Helfand, April 12, 1995
CURATORIAL ACTIVITY
"Public/Priivate", Los Angeles Internationl Airport, June-October, 2006
"EarthWaterSky", Onratio Airport, June-October 2006
"SURFACE TENSION", Juried Exhibit at Kkorean Cultural Center, April 2006
"MEDIA", new media exhibit at Korean Cultural Center, May 2005
"DIS-EMBODY", Sculpture exhibit at Korean Cultural Center, December 2001
"Saturation", At the Brewery Project, October 2001
"Peripheral Vision", Juried exhibit at Korean Cultural Center, March 2001
LECTURES, PANELS, & WORKSHOPS
Saint Mary's College Art Gallery, Los Angeles, CA
panel discussion in conjunction with "Shouts, Whispers and Cheers",
March & April 2003
Museum of Contemporary Art, Los Angeles, CA
MOCA Maniacs, Studio Visit and artmaking workshop, August 2002
Otis College of Art, Los Angeles, CA
Faculty Workshops on Diversity and Art, 2002, 2003
Santa Monica Museum of Art, Santa Monica, CA
Family Workshop and lecture on my work, March 2002
Museum of Contemporary Art, Los Angeles, CA
Family Workshop based on Liz Lamer Exhibit, December 2001
Cal Arts, Valencia, CA
Visiting Artist Lecture, Photography Department, April 2001
JP Getty Education Department: Los Angeles, CA
Drawing Workshop for Staff, 1999
U.C. San Diego, San Diego, CA
Visiting Artist Lecture, 1998
U.C. Irvine, Irvine, CA
Visiting Artist Lecture and Demo, 1997
Korean American Museum, Los Angeles, CA
Panelist-Korean American Art Today, 1996
CURRENT TEACHING POSITIONS
University of California, Irvine
California State University, Northridge
2PROPOSAL NARRATIVE
Artist: Kyungmi Shin
The stretch of Culver City on Washington Boulevard from the 405 to Walnut Street was a
big surprise for me. A surprise because I always thought this section of Washington Blvd
was either part of Los Angeles or Venice. Researching further to find out how Culver
City had begun and developed over the years, I was impressed by the entrepreneurship of
the city father and how his passion and vision created a balanced and prospering city.
Researching further back into history, I found the stories of the rancheros and the
Gabrielinos Indians who lived in the area. Their historical presence is barely felt on the
streets now. I wanted to create a project where the continuum from past to present is
brought to light and the everyday routine is refreshingly broken by poetic reminders to
pause and observe the environment we live in, look at the sky and clouds and appreciate
being and living.
I am utilizing the strategies used in my Cutout series, an art project that is central to my
current studio practice. By cutting out figures from the landscape I make a statement
about time, presence and absence.
For Washington Boulevard between 405 and Walnut Boulevard, I propose to have
banners for all 176 light poles. Each light pole will carry an individually designed banner
created specifically for that light pole and location. Each banner will be composed of a
solid color background with a graphic white silhouette image and/or words in black that
refer to the location's history or current environment. Seven background colors used for
the banners are sampled from a variety of Lantana flowers, the official flower of Culver
City. These different colors also refer to the diverse population that reside and work in
Culver City today.
This installation will provide a unifying visual presence that connects the western end of
Washington Blvd to the rest of the Culver City. It will also create a stimulating visual
experience for the public through poetic references to history and the present moment.
These banners will provide drivers and pedestrians with experiences that keep changing
after repeated encounters.
The examples of historical references to be made are: Rancheros who lived here
(Machados, etc.), Cattle brand for Ranchero La Ballona, Gabrielinos Indian imageries
and words, Trees and animals that used to populate the area, 1984 Olympic Headquarter
(at current Costco location), Louis Armstrong (lived on the East Washington
neighborhood), Helms Coaches, the Cotton Club, and movie related and cultural history
of Culver City.
The list of words that are poetic reference to the present moments are: WHERE, SKY,
CLOUD, STREET, TREE, CAFÉ, YOU, HOME, DREAM, BEING HERE, etc.Materials Overview
Artist: Kyungmi Shin
l a co\N*
ç k (4 6 t1,4)
Base Material: Smooth Vinyl
Thickness: 12-14 Oz
Weight of each banner: 2.4 lbs
Printing Method: Digital Printing with Vutek Printers
Ink: UV Ink
Coating: Special UV Coating for durability
(Vutek Printers are designed to print directly on vinyl, cloth, mesh, decal, backlit, at a
resolution of 360dpi. The images are sharp and clear at any viewing distance. The inks
used are formulated for outdoor durability, with an optional clear-coat application
available for added durability.)
Mounting Method: Bracket designed for light pole banners
Installation:
by the crew at AAA Flags and Banners, Los Angeles, CAProposed Budget for Washington Blvd Banners
Artist: Kyungmi Shin
For Prorudction and Installation of Single Banners for 176 light Poles
(Each Banner with an Individual Design)
*Banners
(Individual Digital Printing for each banner)
$147.50 each x 176 = $25,960
*Single-Side Bracket $37.50 each x 176 = $ 6,600
*Transportation, Installation & Deinstallation
$67.50 each x 176= $11,880
Artist Design Fee $10,000
Project Production Assistants
(for computer work to prep the design for printing,
site planning, & documentation):
2x$20/hour x 160 hours = $6,400
Artist Oversight $4,000
Contingency (for 15% replacements at 30% discount): $5,400
Total cost: $70,240.00
*The Production and Installation Quote by AAA Flags and Banners, Los Angeles.
*AAA will provide their own insurance.
,314-WaSIlirt51-on 4.4 vaidkr (r-f-
6444 RKeest-mMarket Basket, Ames,
Quist's, Her Nibs,
Charleston% Trend
O'fashion, Charlene's,
Cindy's, Mode O'Day.
Anita's, Culver
Center Flowers. New
York Bakery, Bert's
Men's Store, Lerner's.
Crosby's, Hellman
Hardware, Holland's
Draperies, Singer
Sewing Machine
Center. Sportsmen's
Exchange, h o an
. Center
t Western erp e l
Lindy's Deli, Karl's,
Berland's, Comar s,
Stride-Rite)6\t'\v\-tv he,-i.-a,;1TIMELINE for Two Phases of Banner Installation
Artist: Kyungmi Shin
1. Phase One
Mid October — Mid November 2006: Work on the individual Banner Designs/
Computer Prep for Printing
(Batch #1- First 88 light pole banners)
Mid-November —Mid December 2006: Print Banners (Batch #1)
First Two Weeks of January 2007: Install Banners every other light pole
(Batch #1)
2. Phase Two
April 2008:
Work on the individual Banner Designs/
Computer Prep for Printing
(Batch #2- Second 88 light pole banners)
May 2008: Print Banners (Batch 9!2)
June 2008: Install Second Batch Banners
3. De-installation December 2009JODY ZELLEN
843 Bay Street #11 • Santa Monica, CA 90405 • 310-452-0150 • jz@ghostcity.com
• wwwjodyzellen.com
EDUCATION: 1989 CALIFORNIA INSTITUTE OF THE ARTS,
Valencia, CA MFA
1983 WESLEYAN UNIVERSITY, Middletown, CT BA
GRANTS/RESIDENCIES:
2005 KAUS AUSTRALIS RESIDENCY, ROTTERDAM
2005 PACE UNIVERSITY ARTISTS IN RESIDENCE
2004 CITY OF LOS ANGELES (COLA) FELLOWSHIP
2003 BANFF NEW MEDIA INSTITUTE CO-PRODUCTION RESIDENCY GRANT
2002 DURFEE ARC (ARTISTS' RESOURCE FOR COMPLETION) GRANT
2002 HARVEST WORKS NEW WORK RESIDENCY GRANT
2000 ART/OMI, NY RESIDENCY
1998 CALIFORNIA ARTS COUNCIL INDIVIDUAL FELLOWSHIP
1997 AARON SISICIND FELLOWSHIP
1996 BANFF CENTRE FOR THE ARTS, ALBERTA, BC RESIDENCY
PUBLIC ART COMMISSIONS:
2005 LONG BEACH TRANSIT PUBLIC ART PROJECT, Long Beach, CA
2003-2004 SAN FERNANDO VALLEY METRO RAPID TRANSITWAY, Los Angeles, CA
WEST VALLEY AREA POLICE STATION, Reseda, CA
2003 MTA METRO ART NEIGHBORHOOD POSTER SERIES, Los Angeles, CA
2001-2003 CAPITOL AREA EAST END COMPLEX, Sacramento, CA
1999-2001 PAN PACIFIC RECREATION CENTER, Los Angeles, CA
1998 WINDOWS ON WILSHIRE, Los Angeles, CA
1994-97 HOLLYWOOD FENCE PROJECT, Hollywood, CA
SOLO EXHIBITIONS:
2005 TRIGGER, PACE UNIVERSITY DIGITAL GALLERY, New York, NY
RANDOM ACTS FROM EVERYDAY LIFE (with Eileen Cowin)
Azusa Pacific University Art Gallery, Azusa, CA
CITY IMAGES, DOWNTOWN RESTAURANT, Berkely, CA
2004-05 OTHER PLACES, LAGUNA ART MUSEUM, Laguna Beach, CA
2003 THROUGH THE LOOKING GLASS, One Colorado, Pasadena, CA
2002 CROWDS AND POWER, ARTPORT.WHITNEY.ORG Gatepage, October, 2002
SUSANNE VIELMETTER PROJECTS, Los Angeles, CA
URBAN EVIDENCE, SESNON GALLERY UCSC, Santa Cruz, CA
2001 THE LIFE AND DEATH OF BUILDINGS, DEEP RIVER, Los Angeles, CA
CITY VIEWS, ROBERT V. FULLERTON ART MUSEUM
California State University San Bernardino, San Bernardino, CA
2000 PATH GRIDS, MONTGOMERY GALLERY, Pomona College, Claremont, CA
STILL, ART RESOURCES TRANSFER, New York, NY
1999 GRID CITY, NEXUS , Atlanta, GA
1998 POST, Elevator Project, Los Angeles, CA
JAN KESNER GALLERY, Los Angeles, CA
1997 POST, Los Angeles, CA
MESA COLLEGE ART GALLERY, San Diego, CA
1996 RICHARD HELLER GALLERY, Santa Monica, CA
PARTS, AMANDA ()BERING GALLERY, Los Angeles, CA
1995 SITE-SEEING, CENTER FOR CONTEMPORARY PHOTOGRAPHY
Melbourne, AUSTRALIA
SF CAMERAWORK, San Francisco, CAGROUP EXHIBITIONS:
2006 WITNESS PROTECTION,
Robert V. Fullerton Art Museum
California State University San Bernardino, San Bernardino, CA (catalogue)
DARK PLACES,
Santa Monica Museum of Art, Santa Monica, CA (catalogue)
PARDNERS, Domestic Setting, Los Angeles, CA
2005 BOOKSTORE EXHIBITION, AG Gallery, Brooklyn, NY
SMALLER IS, Andrew Shire Gallery, Los Angeles, CA
INCOGNITO, benefit for the Santa Monica Museum of Art, Santa Monica, CA
NIGHT OF 1000 DRAWINGS, Artists Space, NY, NY
METO ORANGE LINE ART EXHIBITION, Pierce College Art Gallery, Woodland Hills, CA
ARTSTREAM, University of Arizona Museum of Art, Tucson, AZ
INKJET, Artists Image Resource, Pittsburgh, PA
2004 TINSELTOVVN TOO, Domestic Setting, Los Angeles, CA
INCOGNITO, benefit for the Santa Monica Museum of Art, Santa Monica, CA
NIGHT OF 1,000 DRAWINGS, Artists Space, NY, NY
POSTCARDS FROM THE EDGE, A visual AIDS Benefit, Brent Sildcema, NY, NY
FIELD OF VISION, the Lab Gallery, New York, NY
ULTRACHROME, Carl Berg Gallery, Los Angeles, CA
SYNAESTHESIA, Siggraph 2004 Art Gallery, Los Angeles, CA
C.O.L.A. 2004, Municipal Art Gallery, Los Angeles, CA (Catalogue)
DIGITAL SALON , The Art Mission, Binghamton, NY
DIRECT EXPOSURE: PERSPECTIVES ON THE SOUTHERN CALIFORNIA
LANDSCAPE, Ontario International Airport, Ontario, CA
PAGE_SPACE, Machine Gallery, Los Angeles, CA
ARTISTS WHO MAKE ART WRITE ABOUT IT AND JUST DO IT ALL
18th Street Gallery, Santa Monica, CA
GROUP PROJECT I MAIL-IN SHOW, London Street Projects, Los Angeles, CA
2003 DRAWING CONCLUSIONS IL NYArts Gallery, NY, NY
THE ALUMNI SHOW, Wesleyan University, Middletown, CT
R&D: 20 YEARS/20 ARTISTS, The Lab, San Francisco, CA
BACK LIGHTS, ma Murtinho Nobre. Rio de Janeiro, ARGENTINA
NO FORMULA, Art Faculty Exhibition, CalPoly Pomona, CA
DOWNTOWN DIGITAL, Pace Digital Gallery, NY, NY
AMERICANA, School of Visual Arts West Side Gallery, NY, NY
AIM IV: INTERFERENCE PATTERNS, Armory Northwest, Pasadena CA
2002 NIGHT OF 1,000 DRAWINGS, Artists Space, NY, NY
POSTCARDS FROM THE EDGE, A visual AIDS Benefit, Sperone Westwater, NY, NY
A THOUSAND CLOWNS, Robert Berman Gallery, Santa Monica, CA
IMPROMPTU: IMPROVISATION WITH DIGITAL MEDIA
UCR California Museum of Photography, Riverside, CA
LOOKING IN, (sponsored by the Lower Manhattan Cultural Council) New York, NY
DAY JOB, Now Langton Arts, San Francisco, CA
REACTIONS, Williamson Gallery, Art Center College of Design, Pasadena, CA
TRANSIT PROJECTS: SURV/VAL LA, Raid Projects, Los Angeles, CA
5 x 7 x X, Jones Center for Contemporary Art, Austin, TX
GLASS MEMBRANE: SCANNER TO SCREEN
UCR California Museum of Photography, Riverside, CA
METROPOLITAN ICONOGRAPHIES, XXV BIENAL DE SAO PAULO
Sao Paulo, BRAZE.,
REACTIONS, Exit Art, New York, NY
:
HUMAN INTERACTION IN AN INTERACTIVE AGE
Pittsburgh Center for the Arts, Pittsburgh, PA
4,2GROUP EXHIBITIONS:
2001 LA.NY BENEFIT, Yamagata Studio, Los Angeles, CA
BARNSDALL ART PARK TARGETS: ART CRAWL 4,
Los Angeles, CA
SILENT MOTION,
The Stanley Picker Gallery, Kingston upon Thames,
traveled to Colville Place Gallery, London, ENGLAND
TELLING STORIES, Eye Five Gallery, Los Angeles, CA
INAUGURAL EXHIBITION: PART 2, Gallery 2211, Los Angeles, CA
CYBORG MANIFESTO, OR THE JOY OF ARTIFICE
Laguna Art Museum, Laguna Beach, CA
CITY RHYTHMS, Pelham Art Center, Pelham, NY
TRANSPOLYBLU: A DIGITAL EXPOSITION
Elliot Smith Contemporary Art, St Louis, MO
OF NEARBY STARS AND DISTANT SUNS: ARTISTS RESPOND TO LIGHT
Terrain, San Francisco, CA
2000 FOR / EXAMPLE, Acuna-Hansen Gallery, Los Angeles, CA
MADE IN CALIFORNIA, Los Angeles County Museum of Art, Los Angeles, CA
ARTFUTURE2000, Taipei, Taiwan
EXPERIMENTS: RECENT ACQUISITIONS OF THE PERMANENT
COLLECTION OF ARCHITECTURE + DESIGN
San Francisco Museum of Modern Art, SF, CA
MURALS AND MINIATURES, Terrain, San Francisco, CA
SELECTIONS FROM THE NORTON COLLECTION
Los Angeles County Museum of Art, Los Angeles, CA
ONE NIGHT STAND, Park Lodge Hotel, Los Angeles, CA
INSPIRED BY TITLE, Terrain, San Francisco, CA
LA ART IN THE EARLY 90S
"RECHARGE: THE GIFT OF EILEEN AND PETER NORTON"
Laguna Art Musuem, Laguna Beach, CA
1999 MILLENNIAL TENSION, Post Wilshire, Los Angeles, CA
WHAT WILL YOU MISS?, Georgia State University, Atlanta, GA
INCH DEEP MILE WIDE, WAS (Westbrook Artists' Site) Winterset, IA
OFFICE, Staff USA Gallery, New York, NY
VIRTUAL LIGHT, Howard Yezerslci Gallery, Boston, MA
$99 STORE, Miller Fine Art, Los Angeles, CA
MULTIPLICITY, Angles Gallery, Santa Monica, CA
PROJECTIONS: INTERMISSION IMAGES, Laemmle Theatres, Los Angeles, CA
1999 SCHOOL OF VISUAL ARTS 6th ANNUAL DIGITAL SALON, New York, NY
BOOKMARKS 7, ANNUAL BENEFIT FOR WHITE WALLS
Northern Illinois University Art Gallery, Chicago, IL
1998 THE NEXT WORD: TEXT AND/AS DESIGN AND/AS MEANING
The Neuberger Museum of Art, Purchase College, Purchase, NY (catalogue)
AS PHOTOGRAPHY PROGRESSES, White Noise Gallery, Los Angeles, CA
TEXT & NUMBERS, Remba Gallery, Los Angeles, CA
100 DOLLAR SHOW, Post, Los Angeles, CA
$99 STORE, Miller Fine Art, Los Angeles, CA
RECYCLING ART HISTORY, Pittsburgh Center for the Arts, Pittsburgh, PA (catalogue)
1997 10 YEAR ANNIVERSARY SHOW, Jan Kesner Gallery, Los Angeles, CA
BODIES IN MOTION, Kellogg University Art Gallery, Cal State Poly University, Pomona, CA
THE BIG WAVE, Andrew Shire Gallery, Los Angeles, CA
THINK DINKY INVITATIONAL, Modern Museum, Durham, NC
THE FAR BAZAAR, Los Angeles Zoo, Los Angeles, CA
43SELECTED REVIEWS:
2005 Muhlstein, Cecilia. "Jody Zellen, Trigger." New York Arts Magazine, Nov/Dec, 2005.
Stern, Nathaniel. "Transient Stains, Net Art News," October 17, 2005
A Minima: :New Media Magazine, Summer 2005.
Wood, Eve. "Jody Zellen." Art US, May/June 2005.
2004 Soldevilla, Carlos. "Jody Z,ellen Interactions Intimes," Convergence, October 2004.
Wood. Eve. "Digital Splendor." www.artnet.com , September 24, 2004.
Geer, Suvan. "COLA 2004 at the Los Angeles Municipal Art Gallery."
Artweek, September 2004.
Myers, Holly." The city of L.A., gauzy but familiar," Los Angeles Times, August 20, 2004.
Myers, Holly." Diverse L.A. Fellowship," Los Angeles Times, May 31, 2004.
Goldman, Edward. "City Grants to LA Artists," KCRW: Art Talk, May 11, 2004.
Schade, Matthew. "Visual Chaos," UBC Digital Visions, June 2004. (http://ontherundesign.com/)
2003 Disembodied Voices on Neural.it, http://www.neuralit/nnews/disembodiedvoices.htm,
March 12, 2003
Are You Receiving Me?, NET ART NEWS, RHIZOME.ORG , February 25, 2003
2002 Goldman, Edward. "KCRW: Art Talk," May 14, 2002.
Roth, Charlene. "The Life and Death of Buildings: Jody Zellen at Deep River,"
dArt International, Spring 2002
Chen, Vivian. "A City of Buildings and Cell Phones." City on a Hill Press, Santa Curz, CA,
April 18, 2002.
2001 Schwab, Florence. "Lost Angeles." Jalouse, January 2002. p.138-141.
Roth, Charlene. "Screen Views." Artweek, October 2001, p.33.
McGovern, Thomas. "Review." Art Papers Magazine, September/October 2001, p.53.
"Telling Stories." Continuing and Recommended, Artscene. June 2001.
Fifield, George. "New Technologies at the Boston Cyberarts Festival." Art New England,
April/May 2001, p.13 (illustration).
2000 Bosco, Roberta. "La Ciberciudad." Ciberpais, Madrid, Spain, April 2001, p.63.
Zimmer, William. "Catching the Beat of Urban Life (City Rhythms at Pelham Art Center)"
The New York Times, Sunday, March 25, 2001, p.12.
Mount, Christopher. "Lost Travelers in a Digital City," Print LIV:I, Jan/Feb 2000.
Bogle, Deborah. "Digital Lets Artists Push New Buttons." The Australian, June 22-28, 2000 p.13
1998 Pagel, David. "Contrasting Windows on Consumerist Concept,"
Los Angeles Times, Friday, July 31, 1998.
011man, Leah. "Art Review," Los Angeles Times, Friday, May 15, 1998.
Frank, Peter. "Art Pick of the Week," LA Weekly, May 29, 1998.
1997
Reed Michal. "JODY ZELLEN - City of Dreams," artpress, November, 1997.
Frank, Peter. "Art Pick of the Week," LA Weekly, December 5, 1997.
1996
Kandel, Susan. "Art Review," Los Angeles Times Thursday, April 4, 1996.
Reed, Michal. "Review," Art Papers, July/August 1996.
1995
Sierra-Hughes, Maria. "Review," Melbourne Herald Sun September 13, 1995.
O'Donnell, Marcus. "The Poetry of Decay, "Spinout" (Melbourne) September 1, 1995.
Pagel, David. "Art Review Tri Gallery," Los Angeles Times, August 24, 1995.
1994 Knight, Christop "A Show Beyond Pictures," Los Angeles Times, APril 23, 1994-
Knaff Deborah tinizing Photography," The Press Enterprise, April . 17, 1994.
—Converse, Elizabt Mixed Messages," Artweek, March 10, 1994. (cover photo)
Charlerti.,"gitaking Out," Artweek, February 14, 1994
Frank, Peter- Art Review," Long Beach Press Telegram, Sunday, January 30, 1994.
-Jody Zellen
843 Bay Street #11
Santa Monica, CA 90405
310-452-0150
www jodyzell en .com
Project Narrative:
Along the strip of Washington Boulevard that runs from the 405 Freeway to Walnut Avenue I propose
creating a series of silhouetted figures that would be mounted to every other light pole on both sides of
the streets. The silhouettes will be powder coated 1/8 inch aluminum approximately 6 feet high by three
feet wide. A possible alternative is to use a metal mesh that allows the wind to pass through the figures.
The figures will represent both males and females and take the form of a sequence of animated figures
who seem to be in motion running from the top of one pole to another. In thinking about the history of
Culver City and its relationship to the Culver Studios I decided to look not at the history of the movies
but the history of cinema itself. In researching early cinematic devices I came upon images of the
zoetrope and immediately thought of Eadweard Muybridge's motion studies. My project uses these
ideas as its point of departure yet rather than base my imagery on Muybridge's photography, I instead
chose to draw simple figures who would give the impression of being in motion.
The metal figures will be mounted to the poles by a bracket similar to those used for street signage.
There will be approximately 10 different designs and each figure will be powder coated a different color
to maximize visibility to both drivers and pedestrians. I will be working with Zumar Industries who have
a long history fabricating and installing street signage. Zumar would need approximately 60 days to
complete the job once they have received the order.
Budget:
Fabrication and installation of 88 metal silhouettes
Powder coated and installed via brackets
near the top of the existing 30 foot poles $61,000
Liability Insurance $ 1,500
Engineering/Shop drawings $ 2,500
Supervision $ 2,000
Contingency $ 2,000
Digital transfer of artwork $ 1,000
Design Fee $10,000
TOTAL $80,000
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