HomeMy Public PortalAbout2020.07.27 Public Art Plan - Consulting Services Agreement - Bill FloodCONSULTING SERVICES AGREEMENT
This Consulting Services Agreement (the "Agreement") is entered into as of July 27, 2020
(the "Effective Date") by and between the City of McCall , Idaho , a municipal corporation,
(the "City"), and Bill Flood (the "Consultant," and together with the City, the "Parties").
RECITALS
WHEREAS, the McCall Area Compreh ensive Plan (20 18) states a goal to
"Promote context appropriate public art-such as memorials , historical monuments,
installations , murals , sculptures, mosaics , decorative features , and functional elements-
as an important element of the vibrancy , place-making, and celebration of McCall's
character."; and
WHEREAS, the McCall City Council established a public art program and citizen
public art advisory committee on June 12 , 2012 ; and
WHEREAS , the City wishes to engage the Consultant as an independent contractor
for the purpose of developing a plan for the further development of public art in McCall by
providing the professional services set forth in Exhibit A attached hereto and made a part
hereof (the "Services") on the terms and conditions set forth below; and
WHEREAS, the Consultant wishes to pro v ide the Services in accordance with the
terms of this Agreement; and
WHEREAS , each Party 1s duly authorized and capable of entering into this
Agreement.
NOW THEREFORE , in consideration of the above recitals and the mutual
promises and benefits contained herein, the Parties hereby agree as follows:
1. RESPONSIBILITIES.
(a) Of the Contractor. The Consultant agrees to do each of the following :
A. Perform the Services set forth in Exhibit A attached hereto ; provided,
however, that if a conflict exists between this Agreement and any term
in Exhibit A , the terms in this Agreement shall control.
B . Devote as much productive time, energy, and ability to the performance
of its duties hereunder as necessary to pro v ide the required Services in
a timely and productive manner in order to complete the services by
September 30, 2020.
C. Perform the Services in a safe, good, and workmanlike manner using at
all times adequate equipment in good working order.
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(b)
D. Communicate with the City regarding progress the Consultant has made
in performing the Services.
E. Provide services (including the Services) that are satisfactory and
acceptable to the City.
Of the City. The City agrees to do each of the following:
A. Engage the Consultant as an independent contractor to perform the
Services set forth in Exhibit A to this Agreement.
B. Provide relevant information to assist the Consultant with the
performance of the Services.
C . Satisfy all of the Consultant's reasonable requests for assistance in its
performance of the Services.
2. NATURE OF RELATIONSHIP.
(a) Independent Contractor Status. The Consultant agrees to perform the
Services hereunder solely as an independent contractor. The Parties agree
that nothing in thi s Agreement shall be construed as creating a joint venture,
partnership , franchise , agency, employer/employee, or similar relationship
between the Parties, or as authorizing either Party to act as the agent of the
other. The Consultant is and will remain an independent contractor in its
relationship to the City. The City shall not be responsible for withholding
taxes with respect to the Consultant's compensation hereunder. The
Consultant shall have no claim against the City hereunder or otherwise for
vacation pay, sick leave, retirement benefits, social security, worker's
compensation, health or disability benefits, unemployment insurance
benefits, or employee benefits of any kind. Nothing in this Agreement shall
create any obli gation between either Party and a third party.
(b) Indemnification of City by Consultant. The City has entered into this
Agreement in reliance on information provided by the Consultant, including
the Consultant's express representation that it is an independent contractor
and in compliance with all app li cab le laws related to work as an
independent contractor. If any regulatory body or court of competent
jurisdiction finds that the Consultant is not an independent contractor and/or
is not in compliance with app li cable laws related to work as an independent
contractor, based on the Consultant's own actions, the Consultant shall
assume full responsibility and liability for all taxes , assessments , and
penalties imposed against the Consult ant and/or the City resulting from such
contrary interpretation, including but not limited to taxes , assessments , and
penalties that would have been deducted from the Consultant's earnings had
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July 23 , 2020
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the Consultant been on the Consultant's payroll and employed as an
employee of the City .
3. CONFIDENTIAL INFORMATION.
The Consultant agrees , during the Term and thereafter, to hold in strictest confidence, and
not to use , except for the benefit of the City, or to disclose to any person, firm , or
corporation without the prior written authorization of the City, any Confidential
Information of the City. "Confidential Infonnation" means any of the City 's proprietary
information, technical data, trade secrets, or know-how, including, but not limited to ,
research, product plans , products , services, customer lists , markets , software,
developments , inventions , processes , formulas , technology, designs , drawings ,
engineering, hardware configuration information, marketing, finances , or other business
information disclosed to the Consultant by the City, either directly or indirectly . The
Consultant may use the Confidential Information to the extent necessary for negotiations ,
discussions , and consultations with City personnel or authorized representatives or for any
other purpose the City may hereafter authorize in writing.
4. REPRESENTATIONS AND WARRANTIES.
(a) The Parties each represent and warrant as follows :
A. Each Party has full power, authority , and right to perform its obligations
under the Agreement.
B. This Agreement is a legal , valid , and binding obligation of each Party,
enforceable against it in accordance with its terms ( except as may be
limited by bankruptcy, insolvency, moratorium, or similar laws
affecting creditors ' rights generally and equitable remedies).
C. Entering into this Agreement will not violate the charter or bylaws of
either Party or any material contract to which that Party is also a party.
(b) The Consultant hereby represents and warrants as follows :
A . The Consultant has the sole right to control and direct the means , details ,
manner, and method by which the Services required by this Agreement
will be performed .
B. The Consultant has the right to perform the Services required by this
Agreement at any place or location, and at such times as the Consultant
shall determine.
C. The Services shall be performed in accordance with standards
prevailing in the City's industry, and shall further be performed in
accordance with and shall not violate any applicable laws, rules , or
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regulations , and th e Consultant shall obtain all permits or permissions
required to comply with such standards , laws , rules, or regulations.
D . The Services required by thi s Agreement shall be performed by the
Consultant or the Consultant's staff, and the City shall not be required
to hire , supervise, or pay any assistants to help the Consultant perform
such Services.
E. The Consultant is responsible for paying all ordinary and necessary
expenses of its staff
F. The Consultant is responsible for providing insurance coverage for itself
and its staff. Consultant shall provide proof of its insurance coverages,
including liability and worker's compensation insurance, to City prior
to beginning work.
(c) The City hereby represents and warrants as follows:
A. The City shall notify the Consultant of any changes to its procedures
affecting the Consultant's obligations under this Agreement at least 30
days prior to implementing such changes.
B. The City shall provide such other assistance to the Consultant as it
deems reasonable and appropriate.
5. COMPENSATION.
(a) Tenns and Conditions. The City shall pay the Consultant in accordance with
the terms and conditions set forth in Exhibit A.
(b) Timing of Payment. Payment shall be made to the Consultant within forty-
five ( 45) days of the City's receipt of the Consultant's invoice (supported
by reasonable documentation) for all Services performed to the City's
satisfaction in accordance with Exhibit A.
(c) No Payments in Certain Circumstances. Notwithstanding the foregoing, no
payment shall be payable to the Consultant under any of the following
circumstances:
A. if prohibited under applicable government law , regulation , or policy;
B . if the Consultant did not directly perform or complete all of the
Services described in Exhibit A;
C. if the Consultant did not perform the Services to the reasonable
satisfaction of the City; or
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D . if the Services performed occurred after the expiration or
termination of the Term of this Agreement, unless otherwise agreed
in writing.
(d) No Other Compensation. The compensation set out above shall be the
Consultant 's sole compensation under this Agreement.
( e) Expenses . Any expenses incurred by the Consultant in the performance of
this Agreement shall be the Consultant's sole responsibility.
(f) Taxes . The Consultant is solely responsible for the payment of all income,
social security, employment-related, or other taxes incurred as a result of
the performance of the Services by the Consultant under this Agreement
and for all obligations , reports , and timely notifications relating to such
taxes . The City shall have no obligation to pay or withhold any sums for
such taxes .
6. WORK FOR HIRE.
The Consultant expressly acknowledges and agrees that any work prepared by the
Consultant under this Agreement shall be considered "work for hire" and the exclusive
property of the City unless otherwise specified. To the extent such work may not be deemed
a "work for hire " under applicable law , the Consultant hereby assigns to the City all of its
right, title , and interest in and to such work. The Consultant shall execute and deliver to
the City any instruments of transfer and take such other action that the City may reasonably
request , including, without limitation , executing and filing , at the City's expense, copyright
applications , assignments , and other documents required for the protection of the City 's
rights to such materials .
7. NO CONFLICT OF INTEREST; OTHER ACTIVITIES.
The Consultant hereby warrants to the City that , to the best of its knowledge, it is not
currently obliged under an existing contract or other duty that conflicts with or is
inconsistent with this Agreement. During the Term (as defined below), the Consultant is
free to engage in other independent contracting activities; provided, however, the
Consultant shall not accept work, enter into contracts, or accept obligations inconsistent or
incompatible with the Consultant's obligations or the scope of Services to be rendered for
the City pursuant to this Agreement.
8. TERM.
This Agreement shall become effective as of the Effective Date and , unless otherwise
terminated in accordance with the provisions of Section 10 of this Agreement , will continue
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July 23 , 2020
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until the Services have been satisfactorily completed and the Consultant ha s been paid in
full for such Services (the "Term").
9. TERMINATION.
This Agreement may be terminated:
(a) By either Party on prov ision of thirty (30) days written notice to the other
Party, with or without cause.
(b) By either Party for a material breach of any provision of this Agreement by
the other Party , if the other Party 's material breach is not cured within thirty
(30) days ofreceipt of written notice thereof.
(c) By the City at any time and without prior notice , if the Consultant is
convicted of any crime or offense, fails or refuses to comply with the written
policies or reasonable directives of the City, or is guilty of serious
misconduct in connection with performance under this Agreement.
Following the termination of this Agreement for any reason, the City shall promptly pay
the Consultant according to the terms of Exhibit A for Services rendered before the
effective date of the termination subject to Section 5(c). The Consultant acknowledges and
agrees that no other compensation, of any nature or type , shall be payable hereunder
following the termination of this Agreement.
10. RETURN OF PROPERTY
Within thirty (30) days of the termination of this Agreement, whether by expiration or
otherwise, the Consultant agrees to return to the Company all Company products, samples,
models , or other property and all documents , retaining no copies or notes , relating to the
Company's business including, but not limited to , reports, abstracts, lists , correspondence,
information, computer files , computer disks , and all other materials and all copies of such
material obtained by the Consultant during and in connection with its representation of the
City. All files , records , documents , blueprints , specifications, information , letters , notes ,
media lists , original artwork/creative, notebooks , and similar items relating to the City's
business , whether prepared by the Consultant or otherwise coming into its possession, shall
remain the City's exclusive property ; pro v ided, however, that title and ownership in and
to the Consultant's work that does not constitute work product relating to the Services shall
remain and belong to and be vested in the Consultant.
11. USE OF TRADEMARKS .
The Consultant recognizes the City's right , title , and interest in and to all service marks ,
trademarks, and trade names used by the City and agrees not to engage in any activities or
commit any acts, directly or indirectly , that may contest, dispute, or otherwise impair the
City's right , title, and interest therein , nor shall the Consultant cause diminishment of value
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of said trademarks or trade names through any act or representation. The Consult ant shall
not ap pl y for , acquire , or claim any right , title , or interest in or to any such service marks ,
trademarks , or trade names , or others that may be confusingly similar to any of them ,
through advertisi ng or otherwise. Effective as of the termination of thi s Agreement,
whether by expiration or otherwise, the Consultant shall cease to use all of the City 's
trademarks , marks , and trade names.
12. MODIFICATION.
No amendment, change, or modification of this Agreement shall be valid unless in writing
and signed by both Parties .
13. ASSIGNMENT.
The City may assign this Agreement freely , in whole or in part. The Consultant may not ,
without the written consent of the City , assign , subcontract , or delegate its obligations
under this Agreement , except that the Consu lt ant may transfer the right to receive any
amounts that may be payable to it for its Services under this Agreement, which transfer
will be effective only after receipt by the City of written notice of such assignment or
transfer.
14. SUCCESSORS AND ASSIGNS.
All references in this Agreement to the Parties shall be deemed to include , as applicable, a
reference to their respective successors and assigns . The provisions of this Agreement shall
be binding on and shall inure to the benefit of the successors and assigns of the Parties.
15. FORCE MAJEURE.
A Party shall be not be considered in breach of or in default under this Agreement on
account of, and shall not be liabl e to the other Party for, any delay or failure to perform its
obligations hereunder by reason of fire , earthquake, flood , explosion , strike, riot, war,
terrorism , or sim ilar event beyond that Party's reasonable control ( each a "Force Majeure
Event"); provided, however, if a Force Majeure Event occurs , the affected Party shall , as
soon as practicable :
(a) notify the other Party of the Force Majeure Event and its impact on
performance under this Agreement ; and
(b) use reasonable efforts to resolve any issues resulting from the Force
Majeure Event and perfonn its obligations hereunder.
16. NO IMPLIED WAIVER.
The failure of eit her Party to insist on strict performance of any covenant or obligation
under thi s Agreement, regardless of the length of time for which such failure continues ,
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shall not be deemed a waiver of such Party's right to demand strict compliance in the future.
No consent or waiver, express or implied, to or of any breach or default in the performance
of any obligation under this Agreement shall constitute a consent or waiver to or of any
other breach or default in the performance of the same or any other obligation.
17. NOTICE.
Any notice or other communication provided for herein or given hereunder to a Party
hereto shall be in writing and shall be given in person, by overnight courier, or by mail
(registered or certified mail , postage prepaid, return-receipt requested) to the respective
Parties as follows:
If to the City:
Economic Development Planner
City of McCall
216 East Park Street
McCall , Idaho 83638
If to the Consultant:
Bill Flood
238 SE 62"d Avenue
Portland, Oregon 97215
18. GOVERNING LAW.
This Agreement shall be governed by the laws of the State of Idaho . In the event that
litigation results from or arises out of this Agreement or the performance thereof, the
Parties agree to reimburse the prevailing Party 's reasonable attorneys' fees , court costs,
and all other expenses, whether or not taxable by the court as costs, in addition to any other
relief to which the prevailing Party may be entitled.
19. COUNTERPARTS/ELECTRONIC SIGN A TURES.
This Agreement may be executed in one or more counterparts , each of which shall be
deemed an original but all of which shall constitute one and the same instrument. For
purposes of this Agreement, use of a facsimile , e-mail , or other electronic medium shall
have the same force and effect as an original signature.
20. SEVERABILITY.
Whenever possible, each provision of this Agreement will be interpreted in such manner
as to be effective and valid under applicable law, but if any provision of this Agreement is
held to be invalid, illegal, or unenforceable in any respect under any applicable law or rule
in any jurisdiction, such invalidity, illegality, or unenforceability will not affect any other
provision or any other jurisdiction, but this Agreement will be reformed, construed, and
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July 23 , 2020
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provision or any other jurisdiction, but this Agreement will be reformed, construed, and
enforced in such jurisdiction as if such invalid, illegal , or unenforceable provisions had
never been contained herein.
21. ENTIRE AGREEMENT.
This Agreement, constitutes the final , complete, and exclusive statement of the agreement
of the Parties with respect to the subject matter hereof, and supersedes any and all other
prior and contemporaneous agreements and understandings, both written and oral, between
the Parties.
22. HEADINGS.
Headings used in this Agreement are provided for convenience only and shall not be used
to construe meaning or intent.
IN WITNESS WHEREOF, the Parties have executed this Agreement as of the
date first above written.
CITY City of McCall, Idaho
Bill Flood
Public Art Plan -Consulting Services Agreement
July 23 , 2020
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By signing below, the Parties agree to comply with all of the requirements contained in
this Exhibit A.
Dated:
CITY
CONSULTANT
Public Art Plan -Consulting Services Agreement
July 23 , 2020
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EXHIBIT A -Consulting Services Agreement -McCall Public Art Plan
June 22, 2020
REVISED PROPOSAL --McCall Public Art Plan
Bill Flood Community Development
238 SE 62 nd Avenue
Portland, Oregon 97215
Phone (cell) 503-710-5413
Email bill@billflood .org
Website www.billflood .org
This proposal explains how I will lead development of a McCall Public Art Plan without any
face-to-face public interaction . The bulk of my February 2020 proposal (experience, capacity,
approach) remains the same. Following are strategy changes, based on developing a public art
plan during the unknowns we are facing during the COVID virus pandemic .
My approach is now based on utilizing the following primary communication methods .
Zoom video conferencing, or other programs as needed, will be used for meetings and
gatherings.
Phone and Zoom will be used for interviews.
A McCall Public Art Plan page on the City website will serve as our primary
communication homebase .
Through Survey Monkey or another survey program we will gather key public input.
We will utilize Facebook and lnstagram and/or Twitter to build followers , gather input,
and keep them engaged through the project.
We will reach out to existing print and broadcast media (two or three press releases)
to announce the project and gain feedback/engagement.
A project postcard will announce our project, serve as marketing collateral, and will
include key project and contact information .
Project team is expanded as follows :
Idaho public artist Amy Westover will assist with site selection and continual review of
process and drafts of the plan .
Communications consultant Liz Hill will advise on marketing/communications, writing
and sending press releases, and advising on the web page .
Social media consultant Zach Brozman will also advise on communications (including
web page), outreach, and building and engaging a social media interest group through the
five-month project.
Zoe Flanagan, program evaluator and researcher, will advise on the public survey.
Bill Flood Community Development -6/22/2020 Revised McCall Public Art Plan Proposal 2
Designer Anahelena Goodman-Flood will assist with lay-out of the project postcard and
report.
I will be on-site in McCall at least twice during the life of the project (August, September, or
October). This will allow me to understand the physical community and potential sites for
public art and other project public improvements in the works . One of these trips will involve
Amy Westover to assist with site review. Amy and I will wear masks and adhere to all social
distancing or other COVID guidelines in place at that time .
I will also coordinate closely with two related local initiatives :
Erica and Jamie Laidlaw 's work developing public art on McCall's Second Street. I gave
input early on to their survey and have reviewed their current project website. We will
continue to coordinate, especially around public feedback.
The Idaho Commission on the Arts is supporting development of a model/pilot West
Central Mountains regional creative district. I helped to develop the early roadmap for
this project and will utilize opportunity to c r oss-fertilize both p r ojects.
Revised Proposed Schedule
Month Primary Consultant Activities
July • Contract with City developed and signed
• Workplan clarified (all elements of project) with Delta Smith
August • Conduct research on McCall via web, phone
• Review existing McCall public art policies and procedures
• Develop outreach/engagement materials including initial p r ess release and
postcard
• Work with City staff to build project web page
• Work with City staff to develop Facebook, lnstagram and/or Twitter strategies
• Identify key stakeholders (at least 15) for interviews . These include
representative(s) from key organizations .
• Organize project kick-off media campaign
• Meet with Public Art Advisory Committee (Zoom)
• Draft public art site review criteria
• Initial scoping of public art opportunity areas
• Bui ld survey
September • Launch media campaign
• Project kick-off. Work with Delta Smith to determine best approach/strategy.
• Launch public survey
• Conduct individual stakeholder interviews, including representative(s) of Nez
Perce Tribe
• Zoom meetings with key stakeholder groups (artists/creatives, cultural
organizations, youth, merchants/others)
• Meet with Public Art Advisory Committee
October • Engage local artists/creatives in identifying public art site opportunity areas .
They will do this alone via walking, biking , or via car. If public health regulations
permit, they can also do this in pairs .
Bill Flood Community Development -6/22/2020 Revised McCall Public Art Plan Proposal 3
• Draft program vision, values , goals
• Close survey, analyze and summarize findings
• Meet with Public Art Committee and review draft plan elements and key
findings to date
November • Complete draft plan
• Hold public Zoom workshop for feedback on key elements of draft plan
• Meet with Public Art Advisory Committee
-Review feedback from public workshop
-Prepare for final r eport to go to City Council in December
• Plan goes to graphic artist
December • Plan completed
• Plan adopted by City Council (Bill on Zoom)
• Circle back with stakeholder groups , as appropriate, to inform/engage them in
plan adoption , next steps, etc. (Website update, Zoom , email , phone)
• Zoom celebratory drink with Public Art Committee ... or in January!
February 18 , 2020
Delta James
Economic Development Planner, City of McCall
216 East Park Street
McCall, Idaho 83638
Dear Delta and Selection Committee:
Attached is my response to your request for proposals to develop a public art plan for McCall. I
am excited about the possibility of working with you .
Following is my contact information . I look forward to hearing from you , and please contact me
if you need additional information.
Sincerely,
Bill Flood
Community Development
238 SE 62"d Avenue
Portland , Oregon 972 15
Phone (cell ) 503-710-5413
Email bill@billflood .org
Website http://www.billflood .org
Bill Flood Community Development -McCall Public Art Plan Proposal 2
Table of Contents
Section Page
Capability to Perform Project 3
Relevant Project Experience 4
Qualifications of Consultant 5
• Public Art Plans and Reports 5
• Resume 8
Project Approach and Schedule 12 . Approach 12 . Tasks 13
• Project Phases & Schedule 16
• Payment Benchmarks 17
Bill Flood Community Development -McCall Public Art Plan Proposal 3
Capability to Perform Project
I have been engaged with planning for public art since 1986 when I managed Following a River , a
public art plan for Portland, Oregon 's Central City. In 1988 I worked with the Boise
Redevelopment Agency to plan the design of the Boise public art program . In 1989 I produced
for Americans for the Arts the first guide for local arts agencies and municipalities interested in
integrating public art with private development. In 2000, artist Paul Sutinen and I wrote for the
Oregon Arts Commission a guide for the development of public art in rural communities . I have
developed multiple public art plans (listed in this proposal) for small-to mid-sized communities.
This collective experience has taught me to think broadly and generously about creative
expression in public places. It has opened my thinking about the many ways the arts can be
integrated with community planning, including the pure joy that creative expression brings to
public spaces .
My community development consulting practice is dedicated to supporting public and private
non-profit organizations and indigenous nations in the development and management of healthy,
compassionate organizations and communities. I most often focus on helping communities
support and grow local culture toward broader goals of community improvement. I have been
consulting for over 30 years and am very experienced in managing complex community projects .
Many of my projects are with rural, small, and mid-sized communities . I also bring strong
professional relationships with colleagues working in public art and community development
across the U .S. and Europe, and I often call on these colleagues to advise on my projects.
My website (billflood .org) will give you a good sense of my projects and approaches . On my
website you will also find a list of my reports and publications, some of which I reference in this
proposal. I am very happy to provide additional project references from both Oregon and Idaho.
I bring a strong and ethical track-record of successful projects .
8 111 Flood Program Evaluate, for O,egon
Community Found alion·s Cre ati ve He1g hl s
lniuanve w hich funded the wo rk
Artist Doug Hyde's (Nez Perce, Assiniboine. Chippewa) 2019 sculpture
'etweye·wise ("I return from a dtff1cult 1ourney") 1n Joseph, Oregon
Translation from Nez Perce
Hyde 1s the first Native American artist to be represented 1n Joseph's
public art collection . Nez Perce elders consecrated the opening event
through drumming and singing
Bill Flood Community Development -McCall Public Art Plan Proposal 4
Relevant Project Experience
Attached is a list of public sector clients with whom I have completed successful projects within
the past five years . Five of these are cultural planning projects, and one (Molalla) is a vision and
action plan for a community of I 0 ,000 people . I include the Molalla project because it especially
demonstrates my ability to work across community development, economic development, and
social/cultural development in a rural community.
• City of Mollala, Oregon
Facilitated development of the Molalla Area Vision and Action Plan 2030. adopted by City Council
in January, 2020 . Through a variety of public meetings , stakeholder interviews , su rveys , social
media outreach , small g r oup gatherings , and community celebrations we were able to engage
almost 1,000 of the I 0 ,000 people in this community in the planning process. Based on the
request from a City Council member, I will meet with the high school leadership class students
(who were instrumental in plan development) to discuss the adopted plan .
Contact: Elizabeth Klein
Member, Molalla Oregon City Council
I 17 N . Molalla Avenue
Molalla , Oregon 97038
503-341-7833
Email : lizzklein@molalla.net
• City of Lincoln City, Oregon
Developed Beyond Beautification. Toward Eneaeement and Excellence: Lincoln City Public Art Master
Plan. The plan was adopted by City Council in July, 2018 , and they are well underway with plan
implementation . The plan has already leveraged a $1 .5 million Oregon lottery bond allocation for
the Lincoln City Cultural Plaza project.
Contact: Niki Price
Executive Di r ector, Lincoln City Cultural Center
540 NE Highway IO I
Lincoln City, Oregon 97367
541 -994-9994
Email : lcccdirecto r @gmail.com
• Clackamas County (Oregon) Cultural Coalition
Bi ll Flood Co m munity Development -McCall Public Art Plan Proposal
Facilitated development of the 2018-2021 Clackamas County Cultural Plan for Arts, Heritage,
Humanities : Growing the Cultural Assets of Clackamas County. The plan defines the Cultural
Coalition's mission and purpose, vision and values, cultural assets , barriers to cultural
participation , and identifies funding priorities.
Contact: Elizabeth Klein
Member, Molalla Oregon City Council
(Elizabeth was formerly Associate Director of the Clackamas County Arts Alliance .)
I 17 N . Molalla Avenue
Molalla , Oregon 97038
Cell 503-334-7833
Email : lizzklein@molalla .net
• Beaverton, Oregon Arts Commission
5
Authored Proposed Beaverton Arts and Culture Center Outreach Report . Conducted research with
communities of color to determine how a Beaverton Arts and Cultural Center can be designed
and programmed to be useful and inviting . Through on-line surveys, interviews, and group
discussions, heard from over 200 residents representing over 30 ethnic groups . (2015)
Contact: Jayne Scott
City of Beaverton Retired Arts , Culture and Events Manager
17895 NW Gilbert Lane
Portland, Oregon 97229
593-703-7160
Email : scottjayne@frontier.com
• NeighborWorks Umpqua and City of Roseburg, OR.
Authored Creative Roseburg: Recommended Actions on how Roseburg, Oregon Can Grow Creative
Workers, Enterprises. and Activities in its Downtown Core . Worked with a local Steering Committee
of downtown arts and cultural creatives, business people, and public officials to develop this
report for Roseburg to grow creative workers , enterprises , and activities in its downtown
core/cultural district. (2015)
Contact: Mickey Beach
Vice Chair, City of Roseburg Economic Development Commission
2957 West Sharp Avenue
Roseburg, Oregon 97471
541-733-5858
Email: mbeachnw@gmail.com
Qualifications of Consultant
I will manage project tasks and be the day-to-day point of contact. I will work with staff and
Public Art Advisory Committee to determine if a public artist(s) from outside McCall should be
engaged in this process . If so, I have public artists in mind that we can call upon.
Public Art Plans and Reports
Following are public art plans and reports I have authored or co-authored .
Bill Flood Community Development -McCall Public Art Plan Proposal 6
• Beyond Beautification. Toward En~a~ement and Excellence -Lincoln City Public Art
Master Plan . Developed this public art plan for Lincoln City, Oregon, a tourism-dependent
coastal community of I 0 ,000 on the Oregon Coast. Median household income in Lincoln City is
barely over half of that for most Oregon households . The Oregon Department of
Transportation (2016) estimates that over 8 .8 million cars with 22 million people drive through
Lincoln City each year. (2018)
• Recommendations for the Development of Public Art in Echo, Oregon .
( I T \ More than a century after the fou nding of Echo
Oregon. public artist Paul Sut1nen discovered a photo
of Echo Koontz, daughter of Echo's co-founder The
photo became inspiration for a unique town logo which
captures Echo's fascina ing heritage
Project Manager; 8111 Flood
This report for a rural
community of 700
recommends how to
utilize and support local
culture (including public
art) in community
development. (2012)
• Hillsboro, Ore~on Public Art Master Plan . This plan , developed with public artist Valerie
Otani, includes identified values , vision , and program goals, implementation steps, public art site
opportunities, funding and program options , and policies and procedures . We also wrote a
public art ordinance, developed incentives for public art in private development, and researched
and drafted the foundation for a long-term arts and culture fund . (2009)
Patrick Daugherty's Head Over Heels (20 17) in Hillsboro Oregon . More than
150 vo lunteers contributed 1000 hours to create this monumental. interactive
sculpture . The sculpture project illustrates three values central to Hillsboro's
Public Art Master Plan -innovation, authenticity, and connection to nature
and parks
Bill Flood Co-author of the Hillsboro Public Art Master Plan .
Bill Flood Community Development -McCall Public Art Plan Proposal 7
• Beaverton, Oregon Public Art Master Plan. The planning process for this project generated
an annual performance event that attracts people to underutilized community spaces, supports
local ethnic diversity and artists, and energizes standards of artistic excellence. Developed with
public artist Valerie Otani. (2008)
• Public Art and Amenities Guide for the Trolley Trail Master Plan . This guide leads the
development of public artwork and amenities as they r elate to the look and feel of the Trolley
Trail , a six -mile linear park connecting communities in Clackamas County, Oregon . (2008)
• Public Art Element for the Red Soils Campus Master Plan . The 60-acre Red Soils Campus
is the central location for Clackamas County public services . This public art element sets a
vision , standards and outcomes , and near-term and long-term sites for public art on the campus .
(2007)
• Developing Public Art in Oregon's Rural Communities. From 1996-2005 I served as the
manager of the Arts Build Communities Technical Assistance T earn at the Oregon Arts
Commission . This team developed public art and design plans for rural Oregon communities of
Klamath Falls , Baker City (Powder River), Cave Junction , Woodburn , Enterprise, and the
Klamath Tribes . Artist Paul Sutinen and I authored this report to guide rural communities in
considering public art in project design .
• Public Art in Private Development. This report was the first guide for local arts agencies
and municipalities interested in integrating public art with private development. Developed for
Americans for the Arts . ( 1989)
• Developing a Pub lic Art Program in Boise, Idaho. This report for the Boise Arts
Commission and Boise Redevelopment Agency set a foundation for Boise 's public art program.
Worked with consultant Wendy Wells-Jackson on this project. ( 1988)
• Following A River. I served as the project manager for this public art plan for Portland 's
Central Portland . Developed under the direction of the Metropolitan Arts Commission for the
Central City Plan , Bureau of Planning . Portland . ( 1986)
Bill Flood Community Development -McCall Public Art Plan Proposal
Resume
Bill Flood
238 SE 62"d Avenue , Portland , Oregon 97215
Website: http://www.billflood.org Email : bill@billflood.org Cell: (503) 710-5413
Academic Background
• Master of Science, Community Systems Planning and Development, Pennsylvania State
University, 1982
• Bachelor of Social Work, University of Missouri (Columbia), 1975
Awards
8
• J. William Fulbright Scholarship Board to research community cultural development and teach at
the Fachhochschule (Applied Sciences University), Cultural Management Program , Potsdam ,
Germany (2008)
• U .S. Human Resources Administration i n support of both the BS ( 1975) and MS ( 1982)
Work History
Bill Flood Community Development ( 1985-present)
I am dedicated to supporting public , private, and non-profit organizations and tribes in the
development and management of healthy, compassionate organizations and communities. My
work is rooted in engaging people in programs and processes that build stronger communities . I
focus on :
-producing place-based , site-specific studies , plans , projects, and events ;
-identifying and strengthening local culture to improve communities . Culture is what we feel
most strongly about, and recognition of this brings strength and vitality to communities .
-collaborating with underserved communities, including rural communities and tribes.
My capabilities include facilitation, planning, research /management/evaluation , outr each , organizing
and network/coalition development, teaching/training, and identifying and resolving inequities.
Examples from these areas are listed below. See my website (billflood .org) for additional
information, including publications. Page four of this resume details my employment with public
agencies .
Facilitation and Planning
• Confederated Tribes of Warm Springs , OR. Currently assisting The Museum At Warm
Springs with strategic planning and resource development. (2019 -2020)
• Maryhill, WA Facilitated development and writing of board -approved financial sustainability
strategies for the Maryhill Museum . (2019)
Bill Flood Commun ity Development -McCall Public Art Plan Proposal
• City of Moll ala, OR. Facilitated development of the Molalla Area Vision and Action Plan 2030.
(2018-19)
9
• Netzwerk Kulturberatung, Berlin , Germany. Worked with Dr. Patrick Fohl in facilitating
workshops and advising on city-wide cultural plans in Nurnberg and Kassel Germany. (2017-18)
• City of Lincoln City, OR. Facilitated with colleague Valerie Otani development of Beyond
Beautification , Toward Engagement and Excellence : Lincoln City Public Art Master Plan . (2018)
• Clackamas County Cultural Coalition. Facilitated development of the 2018-2021 Clackamas
County Cultural Plan for Arts, Heritage, Humanities . (2017)
• NeighborWorks Umpqua and City of Roseburg, OR. Worked with a local Steering Committee
of downtown arts and cultural creatives to develop the plan for Roseburg to grow creative
workers, enterprises, and activities in its downtown core/cultural district. (2015)
• Port of Cascade Locks, Cascade Locks , OR. Facilitated with PARC Resources the Port of
Cascade Locks Strategic Business Plan with Capital Improvements Plan . (2013)
Outreach and Equity
• Beaverton Arts Commission , Beaverton, OR. In collaboration with communities of color,
conducted research to design a useful and inviting Beaverton Arts and Culture Center.
(2015)
• Regional Arts and Culture Council, Portland, OR. Developed a plan , including strategies , to
engage and equitably support under-served populations in Washington , Clackamas, and
Multnomah Counties. (2012)
• City of Beaverton and Nonprofit Association of OR. Conducted a gap analysis between ethnic
community values and City of Beaverton policies and services. (2012)
• City of Beaverton and Nonprofit Association of Oregon. Organized and facilitated a series of
eight community outreach meetings with specific ethnic groups in Beaverton. Meetings focused
on identifying barriers to accessing City services and strategies for civic engagement. (20 I I)
Organizing, Network and Coalition Development
• Oregon Cultural Trust, Salem , OR. In 2014 organized and facilitated seven regional
convenings with County and Tribal Cultural Coalitions . In 2019 organized the first statewide
summit of representatives from County and Tribal Cultural Coalitions . (2014 and 2019)
• Oregon Outdoor Education Coalition . Organized and facilitated a statewide town hall/webinar,
six regional gatherings, and Friends of Outdoor School summits in Bend and Portland . These
activities laid the foundation for a successful Oregon ballot measure in 2016 that created the
Outdoor School Education Fund that authorizes spending of up to $22 million annually .
Bill Flood Community Development -McColl Public Art Pla n Proposal 10
• Oregon Arts Commission , Salem, OR. Organized and facilitated a strategic planning process
with key folklife stakeholders across Oregon that resulted in development of the Oregon
Folklife Network. I further assisted the Oregon Folklife Network in developing its strategic plan .
(2010 and 2011)
Program Development and Management, Research, Evaluation
• Oregon Community Foundation, Portland , OR. Served as primary evaluator for OCF 's Creative
Heights Program focused on rewarding artistic/creative stretch and excellence and innovation
within Oregon 's arts, heritage , and humanities. The program awards $ I million annually to
Oregon cultural non-profits and creatives . (2014-2019)
• August Wilson Red Door Project, Portland, OR. Conducted program evaluation , including
development of a theory-of-change, for Red Door's Evolve that supports the development of
more equitable local criminal justice ecosystems . (2019)
• City of Beaverton , OR. Organized the Beaverton International Celebration, a large festival
celebrating the many cultures of Oregon 's most ethnically diverse community. (2013 and 2014)
• Beaverton Arts Commission , Beaverton , OR. Managed Ten Tiny Dances, an annual outdoor
event that showcases the work of contemporary and traditional/ethnic dancers . (2009-2014)
• The Confluence Project (Portland , OR and Vancouver, WA). Conducted outreach and fund
development for a memorial artwork to be designed by artist Maya Lin at Celilo Park, the site
of the former Celilo Falls on the Columbia River. Worked with multiple partners including
Northwest Indian Tribes and Native residents at Celilo . (2009-20 I 0)
• City of Hillsboro, OR. Researched and drafted outline for an arts and culture fund . (2009)
Teaching and Training
• Americans for the Arts, Minneapolis MN . One of four evaluation panelists for the Americans for
the Arts annual conference. (2019)
• University of Basel Cultural Management Program, Basel , Switzerland . Lectured on cultural
planning strategies with Dr. Patrick Fohl. (2018)
• American Embassy in Berlin . Spoke at conferences and forums in Berlin and Ti.ibingen ,
Germany. Topics focused on equity, access, and cultural strategies to realize community
revitalization . (2017)
• University of Applied Sciences Kufstein, Tyrol, Austria. Lectured on Mobilizing Local Culture:
Portland at the Kufstein Arts Management Summer School in Pal ea Epidavros Greece . (2014)
Bill Flood Community Development -McCall Public Art Plan Proposal
Public Employment
University of Oregon, Arts Administration Program, Eugene, Oregon
Portland Program Coordinator (2014-2017)
Instructor (2007-2018)
11
Served as instructor in Eugene and Portland liaison for the Arts and Administration Program .
Portland duties included developing and managing courses and conferences on leadership,
equity, and evaluation strategies . Conducted research for a planned hybrid (in-residence and
on-line) master's program . Taught (Portland and Eugene) classes including: Community Cultural
Development, Mobilizing Local Culture -Portland, and Arts Participation and Evaluation.
Oregon Arts Commission, Salem, Oregon
Community Development Coordinator ( 1996-2005)
Arts Education Coordinator ( 1996-1999)
Developed and managed the Arts Build Communities Grants Program (awarded 202 grants)
and the Arts Build Communities Technical Assistance Program (served 160 groups in 120
communities). Both programs supported local arts and culture toward building stronger
communities . Through the Technical Assistance Program managed a team of consultants
working with artists, local arts agencies, city and county agencies , and other local partners
throughout Oregon. Worked closely with local and regional arts councils and developed key
pa r tnerships including the USDA Forest Service and the National Park Service. As Education
Coordinator worked closely with local and regional arts education coordinators and schools
and managed education grants programs .
Oregon Cultural Trust, Salem, Oregon.
Coordinator of Community Cultural Participation Grants Program (2002 -2004)
Served as one of the three initial staff for the Oregon Cultural Trust and developed the grants
program that distributes funding to local cultural coalitions in all 36 Oregon counties and 9
federally-recognized Indian Tribes . Duties included organizing a citizen-driven planning
committee in each county and tribe(s) -involving over 400 volunteers statewide -to develop
cultural plans and local cultural coalitions . This program brought together local arts, heritage,
and humanities representatives in a way not seen before in the U.S .
Portland State University School of Extended Studies, Portland, Oregon
Coordinator of Community Development Training Programs. ( 1995-1996)
Developed and managed community development training programs , including the Oregon
Community Development Training Institute and the U.S . Department of Housing and Urban
Development Training Program . Duties included : organizing and managing advisory boards ,
contracting with faculty, curriculum development, fund development, marketing, evaluation,
.reporting, facility management, and supervision of project staff.
Portland State University School of Extended Studies, Portland, Oregon
Program Development Specialist ( 1990-1995)
Developed financially self-sustaining continuing education programs in areas including community
development, leadership development, cross-cultural studies , languages , writing, speech and
communications, architecture , arts , and humanities .
Bill Flood Community Development -McCall Public Art Plan Proposal 12
Antwo1ne Thomas · Rosewood Mural. organized by The Rosewood lnit1at1ve . a nelghborhOod-based organization dedicated to making the Rosewood area 1n
East Portland a des,rable place to hve , work and play. The mural pro1ect closely ahgn ·s with goals ol Arts East A Plan for Increasing Arts Equity. Access . and
Resources 1n East Portland Oregon -1) Recogruze and support our I 1 asset -the unique blend ol cultures 1n East Portland , 2) Grow the human. orgamzanon-
al. physical and f1nanc,al 1nlrastructure needed to support the arts 1n East Portland, 3) Expand v,s1b1l1ty for local ans and culture 1n East Portland
Project Approach and Schedule
Approach
My approach is open and inclusive . I will work in McCall to build community identity through
expression and inclusion , rather than focusing only on placing objects in places or integrating
artwork with structures . I am grounded in linking public art with larger goals of community
development, cultural planning, and the vision of a rich and engaged local culture. The job of
civic public art planning should be to create a roadmap for public expression in a specific loca le .
I am always on the look-out for how people and places represent themselves through artwork
in public space. I seek to engage artists and other creatives with public art projects as advisors ,
technical experts, fabricators , teachers, etc .
Key questions I will be asking include the following.
Within this community development framework, what will success look like?
How can we best serve both local residents and visitors?
How can artists and other creatives participate in our planning process and in
maintaining and stewarding public art in McCall?
What public art has worked in McCall? What has not worked? And why?
Who are the key stakeholders that we must involve in this planning process?
How can the definition and uses of public art energize creativity and expression such
as temporary, artist-initiated projects?
Bill Flood Community Development -McCall Public Art Plan Proposal 13
What are the broader community goals we are working toward and how we can we
best connect with those?
How can I engage and hear from those voices that are often not heard in public
planning processes?
Tasks
• Project Element: Undertake a comprehensive community outreach program to fully
engage residents, stakeholders and the community at large in shaping and defining a
vision for McCall's public art collection
Consultant Tasks : Following are the strategies I recommend. Once I meet with City staff and
the I will modify these to gain the best and most helpful engagement from people.
At least 3-4 small group meetings with stakeholder groups including:
o artists, creatives
o youth, potentially via a high school leadership class ... maybe meet with them
twice, (beginning of project, then during review of draft plan)
o Chamber of Commerce, merchants, business people
o others
15-20 interviews with key individuals , including
o arts, history, heritage , humanities (library) representatives
o old-timers and newcomers
o elected officials (City Council , etc.)
o key city staff, including land use, economic development, tourism
o school representatives
o non-English speakers and other hard to reach people whose voices are often not
heard
2 public meetings
o kick -off community meeting
o mid-project community workshop for review of draft program vision, values ,
standards, goals , opportunity sites for public art, etc .
Very brief on-line survey for those that a r e out-of-town and others that prefer to give
feedback via a survey. I will work with staff to determine if this is a needed/appropriate
outreach method .
Work with local print, broadcast, other media to gain feedback
Work with staff to potentially utilize City communication channels (newsletter,
Facebook, utility bills) to reach as many people as possible for any surveys and meetings .
Monthly meetings/presentations with the Public Art Advisory Committee
• Project Element: Review existing public art guidelines, policies, and processes and
descriptions of any recommended changes to these.
Consultant Tasks : Existing public art guidelines , policies , and processes will be reviewed within
the first month of the project. Recommended changes will be drafted by the first
charrette/public review session and be part of the public review process.
Bill Flood Community Development -McCall Public Art Plan Proposal •**• Project Element: Facilitate development of values, vision, standards, and goals for the public art program. 14 Consultant Tasks: The careful development of these underlie all public art programming and provides the foundation for continually evaluating whether or not projects and the program are on-track. • Project Element: Provide site identification criteria for placement of art Consultant Tasks: Site identification criteria will be drafted (based on existing criteria, best practices from similar public art programs, local feedback) and utilized in the process of site identification. This is a great way to test the criteria and train local stakeholders in how to use the criteria and get feedback/improvement to the criteria. • Project Element: Identify sites for future temporary and permanent public art projects Consultant Tasks: Once I get the "lay of the land" in McCall and understand how best to engage people, a process will be developed (in coordination with lead City staff) for site selection. Site selection, when done well, can be fun, engaging, and expand our thinking about what public art can be and do. • Project Element: Identify action strategies that include both short-term and long-term priorities for public art projects with estimated budget and clear implementation dates Consultant Tasks: Based on values, vision, standards, goals, and strategies/priorities, estimated budgets, timelines will be drafted through the planning process and reviewed with the Public Art Advisory Committee and available at a public review workshop/charrette. • Project Element: Develop guidelines for inclusion of public art in public improvement projects. Consultant tasks: Work with municipal staff to develop and integrate guidelines for inclusion of public art in current and future projects. • Project Element: Outline strategies for ongoing community engagement and outreach to a diverse group of stakeholders in the process of prioritizing, funding, selecting, and siting public artworks Consultant Tasks: Strategies for ongoing engagement will definitely be reviewed by the staff, Public Art Committee, and the public. The way in which I develop/manage/facilitate engagement with a diverse group of stakeholders through this process will hopefully inspire people to stay active with public art processes in McCall. • Project Element: Identification of potential funding models for public art Consultant Tasks: I will draw from prior experience and my professional network in identifying relevant funding models for McCall. I am an active member of Americans for the Arts (AFT A) and have access to the Public Art Network within AFT A A query to the Public Art Network listserv is an efficient way to reach hundreds of public art managers with a question about funding models. I'm also sure that the Idaho Commission on the Arts will be happy to help. • Project Element: Establishment of standards for maintenance, upkeep and replacement or decommissioning of public artworks
Bi ll Flood Community Development -McCall Public Art Plan Proposal 15
Consultant Tasks: As above (funding models), standards for maintenance, upkeep and
replacement commissioning of public artworks , are standard elements of the great majority of
public art programs. I'll call on my experience and professional network to advise on best
practices and what will best suit McCall.
•**• Additional Consultant Tasks: Ongoing research through this project is also an
important task. Research will include:
demographic data to better understand the people and region , growth trends, etc.
historical/cultural data about area settlement, history, challenges
economic/jobs data
other plans , reports from city, county, state to identify goals, priorities , challenges,
strengths, opportunities
research from municipalities and public art programs across the U .S.
•**• Additional Consultant Tasks: Ongoing communications with City staff and the
Public Art Advisory Committee is very important to a successful project. I anticipate
scheduled check-in meetings with staff at least every other week, if not weekly, and
participation in Public Art Advisory Committee meetings .
Dancer from Northstar Dance
Company at Beaverton's Ten
n ny Dances, an annual public
art/performance event The
event grew directly from core
values of Beaverton's Public Ari
s1grnf1can1
impact, artistic excellence , and
diversity
8111 Flood Co-aulhor, Beaverton
Public Art and Master Plan
Bill Flood Commun i ty Development -McCall Public Art Plan Proposal 16
Project Phases and Schedule
PROJE.CT Month Major Consultant Activities
PHASE.
March • Workplan discussion with consultant and City staff
I-• Contract with City developed u
<( • Review with City staff all elements of project a:: ... • Refine project schedule based on other McCall projects , events ,
•Z opportunities ~o
Q. u • Meetings (phone, Skype) with staff
April • Research on McCall/ review Comprehensive Plan , Transportation
Plan , Downtown Master Plan , Pathways Plan and Parks, Recreation
Master Plan , Civic Campus Plan , Library Expansion Plan and others
• Identify key stakeholders (both groups and individuals)
• Review existing McCall public art policies and procedures
• Draft initial press release/materials for media
C> • Draft outreach engagement materials
z • On-site in McCall
a:: -public project kick-off meeting w
:I -meeting with artists/creatives
I--Public Art Advisory Committee meeting <(
C> -Initial interviews with key stakeholders (individual or group
<( meetings) ... Draft site review criteria <( -
C -Initial scoping of site opportunity areas
~ • Review what we know (from research and on-site vis it) and what
:I we need to know. Clarify next steps with staff. u
<( • Launch survey w May • Consultant on-site in McCall a:: ... -Continue individual stakeholder interviews ::::,
0 -Meetings with key stakeholder groups
I -Public Art Advisory Committee meeting -Un-structured, open time for anyone to speak with consultant w -
II) -Engage local stakeholders/artists/creatives in identifying public <(
:I art site opportunity areas
Q. • Draft program vision, values , standards , goals
June • Consultant on-site in McCall
0 mid-project community workshop for review of draft
program vision, values , standards, goals , opportunity
sites for public art, etc .
0 Public Art Advisory Committee meeting
• Analysis of all findings and feedback
Bill Flood Co mm un ity De ve lopm en t -M cCa ll Public Art Pl an Pro p osa l
1-z Wz
:[ 0
:) -u l-o 0.. co ,c
N <(
w~
en o..
<( w
:I a::
D. D.
July • D r aft pl a n and submit to City staff
• Review plan with Public A rt Adviso ry Committee (on -site or via
video conference)
• Re -write plan after feedb a ck from Public Art Ad vi sory Committee
• D r aft Ian oes to ra hie artist for la -out
Augu st • Final plan prepa r ed
• Consultant on -site in McCall
Meeting with Publ ic Art Advisory Comm ittee
Presentation with City Council
Ci r cle back with stakeholde r gr oups , as app r op ri ate, to
info r m /en a e them in Ian ado tion , next ste s , etc .
Payment Benchmarks
Phase I Completion $12,000
Phase 2 Completion $12,000
TOTAL -NOT TO EXCEED : $24 ,000
Arti st Don Merkt 's "Fare Well' at Portland 's
Water Pollution Control Lab . Don served as
lead artist in developing Following A River
(public art pla n for Portland's Cen tral City);
Bill Flood , project manager.
1 7