HomeMy Public PortalAbout2021-01-12 Public Arts Master Plan TOWN OF
1630 WATERTOWN
• Office of the Town Manager
Administration Building
149 Main Street
i Watertown,MA 02472
Phone:617-972-6465
www.watertown-ma.gov
Michael J.Driscoll townmgr@watertown-ma.gov
Town Manager
To: Honorable Town Council
From: Michael J. Driscoll,Town Manager
Date: January 7,2021
RE: Public Arts Master Plan
Attached please find email correspondence regarding the subject from Steven Magoon,Director of
Community Development and Planning/Assistant Town Manager.
I will bring this up under Communications from the Town Manager at the January 12,2021
To i Town Council c 1 Meeting and respectfully request the matter be referred to Committee for policy
consideration and guidance by the Honorable Town Council.
cc: Department Heads
Community Development&Planning
I
Mark R. Reich, Esquire, KP Law
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i
j
l
Hand, JoAnna
From: Magoon, Steven
Sent: Wednesday,January 6, 2021 3:57 PM
To: Driscoll, Michael
Cc: Schwab, Laurel; Hand,JoAnna; Osmond, Marsha
Subject: Public Arts Master Plan
Attachments: WPAMP_Report-Final_2020.12.09_optimized.pdf
Mr. Manager,we have been working through a grant with MAPC and a steering committee to complete the Watertown
Public Arts Master Plan. This represents the culmination of the dedicated efforts of all of the members of our steering
committee,which includes the Watertown Public Arts and Culture Committee as well as representatives of a number of
organizations and interest groups. This effort started in 2019, and included a number of public meetings and workshops
to gather public comment and incorporate their input. Most recently,there was a meeting of the steering committee to
finalize the content of the Plan. We are now ready to bring it forward to the Honorable Town Council for consideration.
I would therefore respectfully ask for the Plan to be referred to the Honorable Town Council for consideration.
Steve Magoon
Director, Community Development and Planning/Assistant Town Manager
149 Main Street
Watertown, MA 02472
Office 617 972-6417
Cell 617 987-1136
smagoon@watertown-ma.gov
From: Schwab, Laurel
Sent:Wednesday, December 30, 2020 10:12 AM
To: Magoon,Steven <smagoon@watertown-ma.gov>
Subject: Public Arts Master Plan
Hi Steve,
Attached is the final draft of the Watertown Public Arts Master Plan, as discussed and approved by the Steering
Committee in December 2020.
Best,
Laurel Schwab,AICP
Senior Environmental Planner& Conservation Agent
Watertown Community Development and Planning
149 Main Street
Watertown, MA 02472
(617) 972-6417 ext. 12177
Resilient Watertown
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Acknowledgements
The Watertown Public Arts Master Plan was brought Watertown and the Metropolitan Area Planning
to life through the generosity and participation of Council. MAPC staff worked with the Department
nearly 600 people who live and work in Watertown. of Community Development and Planning,the
Individuals of all ages and walks of life contributed Watertown Public Arts and Culture Committee
content to the planning process through interviews, (WPACC), and an ad-hoc Watertown Public Arts
participation in focus groups, attendance at public Master Plan Advisory Committee that included
events, and completion of a Public Arts Interest members from the WPACC, representatives from
survey. Watertown Public/Schools, and arts and cultural
businesses and nonprofit organizations.
This plan was funded through a range of technical /
assistance resources provided by the Town of \
Public Arts Master Plan Advisory Commitee
Town of Watertown Staff embers at large,cont. .
Steve Magoon, Director/Assistant Town Manager, Barbara"Epstein
Community Development& Planning,
Monica,Fairbairn, Gardening by Design
Ingrid Marchesano, Head Clerk, Community Liz Helfer,HATCH Makerspace
Development& Planning * janetJaineson,Bicycle and Pedestrian Committee,
Jesse Myott, Director of Administration & Finan e, /Comm unity"Preservation Committee,
Department of Public Works j Julie Johnson, Educator, member of Watertown for
Members at large j \Black Lives
' <, -- _ ,Roberta Miller, Mosesian Center for the Arts
Aramais Andonian, Wa�ert'6wn Cult ral_Council,
graphic artist * ` .;% - - Deborah Peterson, Bicycle and Pedestrian
\ Committee, Community Preservation Committee
Michael Bobbitt, New Repertory Theatre
Donna CqIleja; Watertown Hih School . Barbara Ruskin,Sustainable Watertown
' * WPACC member
John Czajkowski
Additional Town of Water own Staff
Laurel Schwab,Senior Ehvjr'onmental Planner,
Community Developrpent'and Planning.
Metropolitan Area Planning Council
Community Engagement: lolando Spinola,
Project Management:Jennifer Erickson, Director, Community Engagement Specialist II, Emma Boast,
Arts & Culture Arts&Culture Fellow, Daniel Koff,Arts &Culture
Research &Content: Emma Boast,Arts&Culture Planner
Fellow,Annis Sengupta,Assistant Director,Arts & Data Analysis and Mapping: Lily Perkins-High,
Culture, Guadalupe Garcia,Arts &Culture Intern Analytical Services Manager
Editing: Claudia Zarazua,Arts &Culture Planner
2 "
MAPC
_7r u_ 1
Overview
What is public art? Why a public arts master plan?
Public art is any type of art intended for public A public arts master plan is intended to guide the
spaces or the public realm, and often reflects commissioning, creation, selection, and ongoing
and responds to social and political issues, care of public art in a region or city.A public arts
the natural environment, and local culture or master plan offers many things, It can:
heritage. It energizes and activates people and j
dh values that can guide
l icuate sare
places, and it can enhance a community's vitality, Art ,
social life, and livability by fostering a sense of commission ing,:creai ion,selection, and
maintenance processes:
belonging, helping people make meaning of their ,
surroundings, and building relationships in a Establish/a>transparent`oommissioning
community. proces' and selection critaria to ensure that
Public art comes in many forms. While it may public,,artwork reflects the experiences and
conjure images of granite pedestals and bronze ,desires of the,p`uUblics who will encounter the
statues peppered throughout parks, modernist art:`
sculptures plopped in wind-swept plazas, or Fori`n Ize policies to fund and care for art in
murals splashed on neglected walls, public art is �\ the public'roalm over the longterm.
extremely diverse. Public art can be temporary \
\doo-.c,
hese ends,this public arts master plan
or permanent and includes a wide array of forms =and media, including performances,festivals, ment provides'g (idance on:
street furniture,signage, artwork integrated into ! stablishing programmatic priorities that
architecture and landscapes, digital modi-a,and !align with Watertown's public art values.
displays of technology, color, and Jight: Establishing a Public Art Authority to help
Beyond its location and siting,,public art is \manage and guide decision-making.
characterized by values of oiS�nness and/ --__ Instituting selection processes and
exchange.Traditionally, public art has,been"
defined in universal terms: art that,must appeal criteria; a transparent management and
to everyone in a community,onto all people
administrative structure; and policies and
who use a space. However, a'more expa.sive,
procedures for the selection, development,
contemporar,ydefinition argues fiha�the \.i'
installation, maintenance,and funding of
"public" in pdoli&art is never sing la or static.
public arts.
For example, a public art projects at d for a Involving designated staff,town
school might be conceptualized,and produced departments, and other partners.
by students for students a�the pr'r"mary project
stakeholders. Unlike art'made,primarily for
personal creative fulfillmeri't'or private enjoyment,
public art projects are typically created with
co-creators and/or audiences in mind, and Public Arts versus public art
with an eye toward the multiple experiences,
perspectives, and opinions that these The use of public arts in thisdocument the
collaborators and participants bring to the work. importance of an expansive of •" diversity of •
discipline • context of • culture in Watertown's
public realm - a view that extends beyond some of the more
traditional . of public art.
Watertown Public Arts Master Plan jK 3
MAPC
Table of Contents
Acknowledgements 2
Overview 3
Table of Contents 4
5
Executive Summary j
��
Vision & Values for Public Arts ,in;Watertown 12
Public Arts in Watertown: Existing Conditions 14
,rammunity Ena�ceme ,
Public Arts Program Recommendations 22
Implementation Matrik,y1020- 202 46
Appendices 52
4
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Executive Summary
Brief History of Public Arts in Watertown Vision and Goals
Over the last two decades,the people who live, This plan envisions a public arts program
work, learn, and play in Watertown have shaped that leverages artists' unique abilities to act
a culture of public arts that reflects a vision of a as connectors across genefations, cultures,
more inclusive, vibrant, and connected public realm and geographies. It aims to,support artists in
nurtured through a commitment to participatory pursuit of inclusiveydblicprojects that nurture
processes.This plan recognizes and builds on the creative potentia)—and.,honor and engage
these previous efforts while also identifying the cultural experiences`—of Watertown diverse
new opportunities for public arts to enhance residents, an^d.in which all residents are
Watertown's open spaces and unique location empowered,to take an active role in shaping
along the Charles River, highlight its complex history Watertown's public cultural life.
and heritage, and honor and celebrate its cultural
diversity, past and present. j
Several resident-led projects provided the impetus
for this plan and its vision for a public arts _, \
program that integrates arts into the public real '
and advances shared civic values of diversity, ' Implementation during COVID
inclusion, and social cohesion. Since the late
1990s, Watertown residents have developed These'implemehtation strategies for launching
and supported several public arts pfojects ��.
a\Watertown Public Arts and Culture Program
across the community, with a strorig,focus'6 viiere developed and refined prior to the onset of
youth participation. In 2013, e yolunteer, d- thi COVID-19 pandemic.Although the pandemic
hoc Watertown Public Arts&\Culture Committee - a$caused significant disruption to municipal
(WPACC)formed to carry this Work'fgrward,and— - governance and civic life, initial steps toward
realize the vision of a more inclusive\ar� attractive plan implementation are still possible and
public realm in Watertown. `� encouraged.The need for shared meaning and
connections among residents has grown under
To continue the momentum ofthe'�omrni�ees the constraints of social distancing. Increasing
work,the Town embarked on abl G arts planning coordination among the Town and local arts
process that wQuld,expand the con,v Irsation about and culture anchor organizations through
arts and culture'to a'broader comp pity audience implementation strategies three,four, and five
and establish a plah,and frameWrK for leveraging below will ensure that the arts and culture
public funds to suppoft,future public art initiatives. assets in Watertown remain strong and viable
Collectively,these previous projects have helped throughout the pandemic.
pave the way for the public arts program envisioned
by this plan: one that fosters new relationships
and resilient social networks across Watertown's
neighborhoods and communities.
Watertown Public Arts Master Plan fK 5
MAPC
Implementation Strategies
1 Integrate Arts into Planning and 4 Support and Strengthen
Community Development Community Ties
Establish a staffed position in the Department
of Planning and Community Development to Mobilize and strengthen existing networks and
support the development of public arts projects organizations at the heart of Watertown's cultural
and initiatives that advance the Town's community and community life. FocGs.on investments in arts
development goals, as articulated in the 2015 education and public arts initiatives in Watertown
Watertown Comprehensive Plan, particularly those public schools, apd develop partnerships with
pertaining to development and preservation of community-based/ants and cultural organizations
affordable housing, enhanced connectivity and to seed prcjdcts'that`iighlight Watertown's unique
open space, support for neighborhood retail and neighborhdods, historic and cultural heritage
small businesses, and improvements to the public (including its Indigenous cultural,heritage and
realm that enhance mobility and livability for people industrial heritage), and cult ru adversity.
of all ages, backgrounds, and abilities. i '>
tgsure a Variety of Funding
2 Establish Policies and Metrics 5
_, Sources for Arts and Culture
that Align with Program Va ues -
Cultivate fundingstreams that can support an array
Establish a Public Art Policy with standards a \ \\bf publicarts ihitiatives, including semi-permanent,
guidelines for the acquisition and managemen tempo'rary,`and ephemeral projects and programs.
of the Town's Public Art Collection,guidelines for /This should include a percent-for-art mechanism
site and artist selection, processes for suring that can support the integration of durable (semi-
equitable and inclusive public,particip ti gn, and permanent and temporary) artworks in public
requirements for ongoing'evaluation ad/tracking o buildings and facilities, as well as sponsorships
participant demographics tb(all faces of the public and grants for innovative partnerships,festivals,
arts program. i and other opportunities that activate the arts in the
i
public realm.
3 Build Last!rig,Partn rships
1X '
;An ong Municipal and Civic
Stakeholders
Foster relationships and pa to rships among Town
departments (par\ticularlythe/Department of Public
Works and Parks and Recreation)as well as public
and private entities (particularly the public schools,
public library, and community-based and cultural
organizations)to ensure that public arts projects
and programs support and strengthen community
life and are integrated into everyday experience.
g — - e
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Values Guiding the Master Plan
Foster Diversity and Interaction
The values for this public arts plan reflect a
commitment to integrating the arts into everyday Bolster Creativity in Community
life in ways that are inclusive and accessible. Life
Collectively,these values evoke a commitment
to artistic experiences that are woven into the Center Local Context and
fabric of everyday life,that offer multiple points of Identities in Engagingwith
entry to members of the community as partners, ;
participants, and audiences; and that honor and Watertown's Past,('Present, and
engage Watertown's historic, cultural, and natural Future /
assets. l ;\\
The following guiding values for the Watertown Make Conn/tions,� \Nature +
Public Arts Master Plan were articulated by Sustaina�iility
members of the Advisory Committee, developed
by attendees at the first public forum, and refined SOli4ily-COmIL7,itments td'\the
through conversation with the Advisory Committee: Publi&Arts through Stable Funding
Inver zrmea!'and Partnerships
VALUES hat core values
As envisioned by the Admsory Comnuttce for the
WATERTOWN PUBLIC ARTS MASTER PLAN HNa' _
sK� *should inform the
Welcoming of Diversity,Fosterin
.social Interaction - �IT
•
t •lrrnitha to and induct ou«re entire Watettowtr; Gnor a{t Watertown Public
t i • '.vays that Promote sodal.UUeractton end diryoyua;honor and -
• • cetlecl diverse cultumfend experiences;engage Clff ntview-
r points and,esthet,�i,i�eteMnces;and imito part)' to
.,a . dvorsegmup Arts Master Plan?
Creativity aiul uiltlovation 0j— y,r
•Oemonst are that arty sshrea thrcugha wide acahe«
•across all art forms and R�oQs;intusc heattvity in e, t;<L-w�,-J�` • A�:n..�4y
processes drat support the timedd�assodatcd projee oi�f�'" v ••• ••.•may,• • •• • • •
azt,dcsign and innovation;h Cua«ve community; d 0—
.Pace,for making and creativity` 21,
�`�•<." _ • J _
•History,Context,and Local Identity •
•Reflect Watcrtarm's heritage and as a welcoming place for +•n.^,',",rr-
ne•,vcomem;rvheci and benefit Vatertoa-n residents;respectful of • �" •
•htsmrieeomoat. i aidT���.�. r...�„ ~,.r[•• • • • •r�J,y.� 1
• • •.Y y. �'� • �J• sr.,t •ct.y• • •
Connections to Nature and Sustainability
• Foswr canncctlo s to notate and the river,increase and invest`•'^"""h''"• • -•.
....4•.h•tM•
N open spaces In taan,•• r,-y.•�o5 • .�. ••
•Reflect on how Watulvvnd natural features promote the gmxth"" {%� r's'rP°d y:, it • wr. • -• !I
.r ._�9•', ofnatnosetdentard swell as the early Industrial—lution. �fr`u7!a( • - ie� • •�" .i._:•
• Commitment(from Town ofWatertown): 1rrtlrc0
• •Dedication of consistem public resotuces to suppon the htndi r,;,,�_,_•.,. ��n1 j{t
and implomanwuon of the pub«c arts mortar plan `'f��G "
•Ac«vely foswr ndvlonships hetween TvNn gvmr�ent,the ••i,= 't'-�
croalivo community,and the 6eoador pubges In Walorlom
Figure 1.Results of workshop to refine values using notecards and emoji stickers during Public Forum#1
Watertown Public Arts Master Plan IK 7
MAPC
r. _.
Plan Development Process
The impetus for this plan emerged from the MAPC worked with the Town Administrator and
efforts of the citizen-led Watertown Public Arts the Watertown Public Arts &Culture Committee
and Culture Committee (WPACC), an ad hoc group to create an Advisory Committee.These
of Watertown residents and other community stakeholders devised the plan development
members. Between 2013 and 2015,this group process and engagement strategy and helped
led the design and implementation of three public lead engagement efforts with the public. Over
art projects that demonstrated the potential for the summer of 2019, MAPC project team
public arts to foster new shared experiences and members lolando Spinola and Emma Boast also
contribute to a more attractive and vibrant public conducted informationa),!�terviews with leaders
realm. These projects also revealed the need for and members of local,cultural organizations, civic
more transparent public processes and robust groups,small businesses, recreational facilities,
funding for public arts in Watertown. and foundations/to_gain insight into Watertown's
civic infrastructure and community life.
In 2019,the Watertown Department of Planning
and CommunityDevelopment DPCD engaged This outroach informed the�'lan\develo ment
p ( ) � p � � p
Greater Boston's regional planning agency,the proc�ss,which culminated in threemain
Metropolitan Area Planning Council (MAPC)to ouchpoints With 1atertown community members:
develop a public arts master plan to synthesize a'P\ublic Arts lhterest survey available in four
]earnings from past projects, evaluate existing languages as an online or paper survey that
processes for public arts management and stimulated interest in the plan and gauged public
funding, and identify new opportunities to nterest in'djfferent types of public art; pop-up
integrate the arts into the public realm. ents wher"'gvisory Committee members
ged with;residents; and two public forums,
ere participants shaped the plan's vision and
MAPC and the Town convened a project advisor values, identified potential locations, and weighed
committee to inform the development, f the in on programmatic priorities and potential
Public Arts Master Plan. Ij'rgecognition tWPACC's anagement and staffing structures.
efforts,the advisory com /mlttee inc]uded all
members of that committee, along with-othe�
Watertown members who were selected to
represent the diversity of Watertown as well as
the variety of stakeholders who would steward the
plan.
E
v
Figure 2. Workshop activity to refine values using notecards and emoji stickers during Public Forum#1
8 '
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Integration with other Town Plans and
Initiatives
The Watertown Public Arts Master Plan project
represents a progression from Watertown's 2015
Comprehensive Plan,which contains provisions in
the arts and culture and economic development
sections that promote public art.This plan is
intended to advance the community and economic
development goals articulated in the plan,
including:
• Increased opportunities for artists in the
region;
• Expanded community building and public <
engagement opportunities involving local
property owners, businesses, and residents,
including youth;
• Placemaking improvements to the public
realm; and \. i
• The expansion of arts and culture assets in \
our town.
In addition to the 2015 Watertown Comprehensive
Plan,this plan builds on the recommendations '
of several other planning efforts:�he,WaterfroiT
Community Path Report(2010);' a#ertown pen
Space and Recreation Pan (�015), Watertown/-
Design Guidelines (2015), and.'Watertowh
Complete Streets Plan (2018). VY
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d �
V i �
0r�1 '� � �✓'•' / {{��!t a�I, �tlf!'._w�v�(ut��J✓ �
ftl
' y�q
\ 7tit
Figure 3. Results of workshop to identify meaningful places in Watertown during Public Forum#1
Watertown Public Arts Master Plan 9
MAPC
Opportunities to Integrate Public Arts into Existing Town Priorities
1. Integration of Public Arts as Part 2. Integration of Public Arts as Part of
of the Renovations of Educational Improvements to Open Spaces, Parks,
Facilities and Recreationa ,Facilities
Building for the Future is a multi-year initiative to The Watertown Rivetfront Park, which covers a one-
rehabilitate Watertown's educational facilities. mile stretch of the Charles riverfront below the falls,
The program began in 2017,following completion has already demonstrated the power of thoughtfully
of the School Facilities Master Plan (2016), and and creatively,designed..public spaces to reconnect
will result in the renovation and/or replacement Watertown;residents to the river—and to each other.
of the physical plants of three elementary This state-funded project, which Includes a Braille
schools and one high school.The conceptual and Trail and Sensory Garden, proviides'a model for the
schematic designs endorsed by the School Building leev� lopment/of,more inclusive public spaces.
Committee (and recommended by the Town Ext�nding`/rMorovements along the riverfront
Manager) envision new facilities for the Hosmer and beyonAJM,park and above the falls would also
Cunniff middle schools, comprehensive renovations
/ help expbn�d\access to the river and improve
and additions for the Lowell elementary schpol;and—_, `
con nectivity-among the Town's open spaces.The
either renovation or replacement of WatertAn Higr�atertown Opbn'Space and Recreation Plan (2015)
School.The Elementary Schools Building Proj�ptL end'Watertown Comprehensive Plan (2015) both
has already entered the design phase, but the f 'gh�recommend improvements to the Charles River
School Building Project is further from bompletiob.
path, including recreational access and improved
As of April 2020,the project/is in'the feas'bility signage along the path—prime opportunities to
study phasel1 and thus ,niay present opportunities
i tegrate functional public art.'
for the integration of pu6li6arts in 4h rchitect rail
program. The fiscal year 2020-2024 capital improvement
program also proposes allocations to support
\` improvements to a number of parks and
recreational spaces, including$4.3M for
Arsenal Park Renovations and a variety of small
improvements to parks, playgrounds, and other
\ recreational spaces, including walkway lighting in
Sullivan Playground, design and renovation of the
spray park in Fillippello Park, and renovations to the
lobby of the Skating Arena building.'
1"Building for the Future,"Watertown Public Schools,https://www.
watertown.kl2.ma.us/cms/One.aspx?portalld=190103&pageld=558248
(accessed November 14,2019).
2 Watertown Comprehensive Plan(2015),p.104.Watertown Open Space
Plan 2015- 2022(2015),p.106-107.
3 Watertown FY 2020- FY 2024 Capital Improvement Program,p.23-24.
10
MAPC - '
3.Integration of Public Arts as Part 4. Opportunities to Celebrate, Highlight,
of Improvements to Streets and and Expand Local Context and
Sidewalks Community Identity ,,
Although most of the funding for improvements Several existing funding,pri rides and plans could
to streets and sidewalks in the fiscal year 2020- also support public arts that reflect, enhance,
2024 capital improvement program is reserved and expand representatioRs af;Watertown's
for highway reconstruction and repaving,there diverse heritage andcommunitibs.The fiscal
is approximately just over$11VI allocated for year 2020-2.02"capital impro'Vement program
street and sidewalk improvements.The budget proposes.an annual allocation of'$,15,(t00
also includes a proposed $31VI allocation for to fund:egular maintenance and upkeep of
construction of the Watertown Community Path damdged,monumehts:'This funding would also
from Taylor Street to the Linear Park.This proposed cover consultapt fees and the town's application
multi-use path on a former railroad right-of-way for National Historic Register designation for
would connect East Watertown, Watertown Square;-- the Arlington`$treet Cemetery. However,future
and the Charles River.A small portion of the \�_funding for monuments could potentially be used
completed path, known as Watertown Linear Park, to support-creative,reinterpretations of existing
already features "A Bike Ride Through Watertown," \monun`-ents and/or temporary installations that
a mural created by Gregg Bernstein and local �ddFess underrepresented aspects of Watertown's
students.The path's construction presents an ideal history, particularly its Indigenous heritage, and
opportunity to develop additional murals aritq bffeC more inclusive representations of local history.
integrate functional public art,-such as benq es, Funds from the Community Preservation Act could
lighting, wayfinding and interpreti�signage a� potentially be allocated to support improvements
The Watertown Complete Streets,koritization Plan
to historic buildings and landscapes that enhance
(2018)also presents.several-opportunit�s to bring and expand public understanding of Watertown's
industrial heritage and diverse communities, past
creative thinking to improvements in ' atertown s
public spaces.,.Feedback received'thro ' the,
and present.
Public Art Interests Survey and a��uolic Forum
in October 201.91hdicates that many Watertown
residents would like to see improvements to the
town's streetscape'thatadvance pedestrian and
bicycle safety; improve\1he experience of traveling
by foot, bicycle, and public,.trensit; and foster a
more inviting public realm.The Complete Streets
plan recommends the construction of new bus
shelters, shared-used paths, and enhanced
intersection crossings.All of these improvements
could include public art components such as
artist-designed public seating and benches, art
installations in bus shelters, crosswalk paving and
painting, artful landscaping, creative drainage
grates and utility covers, and other infrastructure 4 Watertown FY 2020- FY 2024 Capital Improvement
that enhances public appreciation of both natural Program, p.24.
and human-made systems.
Watertown Public Arts Master Plan 11
MAPC
Vision and Values
for Public Arts
~f�
in Watertown
Vision
The mission of the Watertown Public Arts and
Culture Program is to integrate creative expressions
and ideas into a variety of public settings for the
benefit of the people of Watertown and visitors to
the community.
This plan envisions a program that leverages
artists' unique abilities to act as connectors
across generations, cultures, and geographies. It
aims to support artists in pursuit of inclusive,apd
collaborative projects that nurture the creative \
potential—and honor and engage the cultural
experiences—of Watertown diverse residents, n
in which all residents are empowered to take a,
active role in shaping Watertown's public cultural life.
Guiding Values
These values,should_-inform the design and
implement6tion of the Watertown"Pgb)ic Arts and
Culture,-Program.They have been used to guide
the identification of recomm�n ations about the
program's'design managemgnt�administration,
and funding.These values,were initially developed
in conversation Wv th-the Watertown Public Arts
Master Plan AdvisoYy Committee, expanded through
conversation with attendees at a public forum
held on September 30, 2019, and refined through
further discussion with the Advisory Committee.
12
MAPC
What is a value,and why are values important to a Public Arts and Culture Program?
A value is a lasting belief or ideal about what is Values in action can inform decisions about the
important in life. Values exist at the individual level composition of the Public Arts Commission or
or collective level and can orient and guide action. Committee,the selection of artists according to
There are different ways values can inform actions, values-informed guidelines,the prioritization of
and the ability to operationalize values requires sites or projects,the allocation of funds to support
building reflective practices into the Public Arts a variety of programmatic priorities, and more.
and Culture Program's procedures, programs, and
policies.
Center Local Context and Identities
Foster Diversity and Interaction in Engaging w#h Wate.rtbwn's Past,
Present,and jFuture
Support the creation of experiences and `
installations that are inviting to and inclusive of Reflect Watartown's heritage andAhe`cultural
the entire Watertown community in ways that diversity%of,newer and older residents alike;
promote social interaction, new relationships, and recogtiize'and engage;with historical contexts
dialogue; honor and reflect diverse cultures and that impact the,ekpe'rience of public spaces in
experiences; engage different view-points and Watertown,by recognizing immigrant, Black and
aesthetic preferences; and invite participation fro Native Ame�iican,histories, experiences, and
people diverse in age, languages spoken, cultur erspectives.��
backgrounds, and physical abilities.
ake,Corinections to Nature and
Bolster Creativity in Communi 0 Siistainability
Demonstrate that art is valued t I gh a wi sier connections to natural resources including
aesthetic scope across all art,forms and disciplines th \Charles River; integrate arts and cultural
includinge the visual, music,'digital, mixed media_ , experiences into natural features and landscapes
and performing arts; connect artists`intodapital and seek opportunities to engage with water,
improvement processes(such as park and bike ecology, plant life and wildlife.
path design) and,other town.,proj�cts;bolster
the public arts through partnerships with public
institutions like the schools and)ibr�ry; bu)d" Solidify Commitments to the
creative community; and expand s\ aces for making Public Arts through Stable Funding - s
and creativity. `, l Investments and Partnerships
/ Commit stable and consistent resources for the
public arts on an ongoing basis to support plan
implementation from Town sources and private
sources leveraged from the Watertown community.
Watertown Public Arts Master Plan 13
MAPC
Public Arts in
Watertown:
Existing
Conditions
Brief History of Public Arts in Watertown
Several resident-led projects formed the impetus
for this plan and its vision for a public arts and
culture program that integrates arts into the
public realm and advances shared civic values of
diversity, inclusion, and social cohesion. In the late
1990s and early 2000s,two treasured memorials
developed by Waltham-based artist Joshua
Winer demonstrated opportunities for arts-based
interdisciplinary learning in Watertown's public-,_
schools.Around the same time, a public-pAp
partnership also emerged, which led to the cYea�,,ion
of the Mosesian Center for the Arts.The Mose�iah
Center continues to exist today as publicly- \/
funded infrastructure for the arts -_operating t'
as a nonprofit center that OUses a nu��rt
ab�er of \
non-profit organizations Qffering progrmming
and productions that ehgage a regional audience
located in Watertown and`beyon&
The ad-hoc Watertown Public Arts`&Culture
Committee (WPACC)forrned,in 2013'to take
advantage of resources and an opport6nity to
site art4alohg a portion of th pgdestrian and bike
path being created through atertown. Over the
course of thraeyears,this v9 upteer, resident-led
committee prodpa 6gthrep mural projects.
The WPACC also created he Watertown Public Arts
and Culture Kit(WPACK), a document intended to
educate Watertown residents about the goals of the
Committee and inspire them to initiate and support
new public arts and culture projects.Supported
by the Watertown Cultural Council and the
Watertown Planning office,the WPACK functions
as a repository of public art information and ideas
from around the world for use by residents, artists,
developers, and town officials to amplify public art
here. It envisions Watertown as a community rich
14
MAPC
in cultures and art, appreciation and expression Documentation of Current Public Arts
and honors placemaking, artists and community Collection
engagement as integral to public art.
In addition to its support for WPACC,the Watertown Broadly speaking, public arts in Watertown fall into
Cultural Council has provided support and grants three categories, each with different implications
for the Committee's mural efforts and has acted as for partnerships,funding, and coordination with a
the Committee's fiscal agent to enable WPACC to town-led public arts and culture program:
qualify for other funding. Public Arts in the Public Realm includes
Since the formation of the WPACC, Watertown has arts in Watertown's public streets,sidewalks,
witnessed an increased commitment to public paths, and open space, encompasses the
arts and culture from Town leadership and staff. In town's arts and cultural-events, murals,
201-5,the Watertown Town Council adopted design
artistic wayfinding,and.monuments and
standards and guidelines for development along memorials.Thijjobtegory is the primary focus
of this plan.
Watertown's commercial corridors that included
the following recommendation for public realm Public Ar$s`'in'Public Buildings encompasses
interface strategies to be encouraged: architecturb and decorative arts in public
buildings, and art collections.an" installations
q naked and led by public entities including
"Public Art Opportunities. Where possible, l he,Waterto"Wn public Library and the
public art and other cultural considerations Watertown'Public Schools.
should be incorporated into a development. Ii A s
This can range from dedicated community _,
• Public,Artg m Privately-owned Spaces and
gathering and gallery space, to showcasin`.
Buildings,inicludes interior murals in private
local artists'work in lobbies and other buildings accessible to the public, murals
�\ `cpmmissione�l by developers or property
publicly accessible spaces, to exterior piece
of sculpture, murals, and a number of other ; owneYs,for privately-owned buildings, and
mediums. This serves to bolstef local artists,
,events and festivals managed and run by
enrich the public contribution/the bdildi�g
( private arts and culture organizations or
makes, better engage the sorroundin�
individuals.
community, and enhance<the passing --- Su mary documentation of Watertown's
pedestrian's experience'.\"5 j; egllections in these categories is included in
Appendix 6.
atary m ral at the Public Arts in the Public Realm is the primary focus
Ruth K. Henry's 2&8 particip
Boys and Girls,/Club, "The Time is Always Right," of the Watertown Public Arts & Culture Committee,
demonstrated how creative engagerrlent with and their work has generated a number of new
civic and cultural stakeholders co�ld;shape installations that build on the existing public arts
• and culture assets in town including the ongoing
meaningful oppoetunities for public participation
while fostering community dialogue around social
Summer Concert Series that brings free outdoor
and racial justice. The p
music performances to Saltonstall Park during the
roject tbs developed
with advisory support from\the Committee, and summer months.
its prominent location within Watertown's civic
core communicates the value of public arts to
Watertown visitors and residents alike.
To continue the momentum of the Committee's
work,the Town decided to embark on a public arts
planning process has led to the creation of the
plan, which aims to expand the conversation about
arts and culture to a broader community audience 5 Gamble Associates."Watertown Massachusetts Design Guidelines."
and establish a plan and framework for leveraging Adopted by Watertown Town Council June 30,2019.
public funds to support future public arts initiatives.
Watertown Public Arts Master Plan 15
MAPC
to support future public art initiatives.
Town Leadership on Public Arts Public Arts Selection Processes
Establishment of Ad-Hoc Watertown Current Processes for Selection,
Public Arts & Culture Committee Management, and Funding of Public Arts
Since the Watertown Public Arts &Culture in Watertown
Committee formed in 2013,the Town has To date,there has not been a consistent process
supported the Committee's efforts to integrate guiding the selection, mpnagement, and funding
arts into the public realm by assigning a Planning of public art in Wate own The establishment of
staff representative to WPACC, providing transparent processes for decision-making and
operational support through the Planning office, resident involv�ent'isa core recommendation
providing infrastructural assistance through the of this plan ejrid will�h�lp`ensure the longevity of
Public Works department, and advocating for the Town' pUbfic arts`broita m.
and facilitating youth involvement in three mural j 7
Brief
projects through the Recreation department. studies of five recent a�b�lc,art projects
in atoftown are described toinform
The Watertown Cultural Council acted as fiscal � , .
agent for WPACC and provided grant support to <r6cgmmendatioris for artist and project selection
the mural projects. Town Councilors expressed bred\r� These studies begin on page 28
w.
support for institutionalizing a Public Art effort
in Watertown. To continue the momentum of,
the Committee's work,the Town embarked On�a
public arts planning process that would expand
the conversation about arts and culture to a
broader community audience and establish a
plan and framework for leveraging public funds
16
IK
MAPC
J
Forming and Staffing Municipal Committees
Watertown's administrative structure and policies support two types of municipal committees.
Requirements for creating and staffing these committees vary accordingly and are detailed below.
1.Appointed Boards, Commissions, and 2.Ad Hoc Committees
Committees
Ad Hoc Committees act as advisory bodies to
While some boards, commissions, and Town departments or leaders, or appointed
committees are enabled and regulated by the committees.These committees may include
state, many are established by the Town.All residents and Town staff.They'do not have a
are municipal government entities. Members prescribed appointment'process or term limits.
are appointed by the Town Manager, and most There is no minimum or maximum number of
are then confirmed by the Town Council.These members that Ad,l=`c'Committees must have,
entities tend to have statutory authority and a though 6-8 merglbbes is typical. \
prescribed process for appointment.There is no
set minimum or maximum number of members The Towrf Manager typically appoints citizen
for these entities. member, and the,Town Council confirms them.
Some kd Hoc Coiim/mittees may have only one
Example:Community Preservation Committee Town staffwtii`e,others have multiple Town staff.
• Nine voting members (all volunteer)
Example:Watertowri,Public Arts&Culture
• Four appointed citizens-at-large. " '\
Co rn m ittee-
• Five statutory members representing _
specific town departments, board and �\ Ix,members:(""all volunteer)
commissions. i • Five members are Citizens-At-Large
• Members serve alternating.-th, e-year to S.
1 member is a Town of Watertown
Initial terms vary from one to"three ye employee(Head Clerk, Community
depending on an appointee's role. Development and Planning)
\� l
Appointment Process for Boar's,\Commissions,and Committees
\X \
Each January,,The Town Clerk pre�ares a list of The Town Manager(or their designee) interviews
all town boards;,commissions, an� committees candidates and selects one for each position.
("Town Boards")With member tern due to Only the selected candidate is forwarded to the
expire during that calendar Year.This list is sent Council for confirmation.
to the Town Council andjown Manager, posted
on the Town bulletin board and Town website for For appointments requiring confirmation
at least 14 days and published at least twice in by the Town Council,the Town Council or a
the local newspaper. Postings must include a committee thereof must interview the selected
description of the positions. candidate at a public meeting.
Town Council votes to confirm the appointment
of the selected candidate.The posted agenda for
this meeting must contain notice of the vote.
Watertown Public Arts Master Plan jK 17
MAPC
Community
Engagemc
Plan Development Process
The impetus for this plan emerged from the
efforts of the citizen-led Watertown Public Arts
& Culture Committee(WPACC), an ad hoc group
of Watertown residents and other community '
members. From 2013 to 2015,this group led i
the design and implementation of three public
art projects in Watertown: murals along the
Watertown Linear Path and Baptist walk, and \ i
a project that combined oral histories, murals,
and wayfinding in Coolidge Square.These
projects demonstrated an appetite for publiq ark
in Watertown and revealed the need for mor��
reliable funding and transparent public processe .
In 2019,the Watertown Department of\Planning
and Community Development,(DPCD),eh�aged
greater Boston's regional planning ago cy,the
Metropolitan Area Planning Council (MAPC)to \
develop a public art plar,to'synthe5iie learnings-
from past projects, evaluate.eAsting/Orocessesfor-
public arts management and funding, and identify
new opportunities to-integr to to into the
public realm./
MAPC bnd tthe Town conven project Advisory
Committee,to`ipform the dev to ment of the
Public Arts Masfor Plan. In r, c gnition of WPACC's
efforts,the AdVlsory.Comn1iitt6e included all
members of that committee, along with other
members who were selected to represent
the diversity of Watertown and the variety of
stakeholders who would steward the plan.
IF
18
MAPC
Community Engagement Goals Community Engagement Timeline
While the values were being developed by the After entering into a contract with the Town
Advisory Committee and the public for the entire of Watertown, MAPC worked with the Town
Public Arts Master Plan, MAPC and the Advisory Administrator and the Watertown Public Arts &
Committee identified the following goals to guide Culture Committee to create an Advisory Committee
the public engagement approach: to advise on the process and help lead engagement
efforts with the public.Throughout the process,
MAPC staff created the scaffolding for the elements
• Educate the public on the WPACC Public Arts of the plan, reviewed draft content with the Advisory
&Culture Kit. Committee, and then brought.ideas to the public for
• Solicit input into priority locations and feedback.
preferences for public art installations and This process culminated'in,three main touchpoints
experiences in Watertown. with Watertown community'members.Throughout
• Invite public engagement into refining shared the summer months,,the engagement team and
Advisory Committed members-.pooped up at local
values for diverse Watertown culture and the , >
commissioning of public art.
events and,busihesses, where ff q shared two
public arts surveys to stimulate interest;in the plan,
• Gather data into equitable decision-making gauge,6yb`c perceptions of different'types of public
structures for the commissioning of public art, and garner ideas,for themes and locations for
art. public art. MAPC staff also interviewed individuals
• Build community amongst local Watertown and organizations outside the Advisory Committee
artists. to gain insight ipto\Watertown's civic infrastructure
and community life This was followed by the first of
• Connect Town Councilors to Advisory two pu�Iic forums, N*e're participants helped refine
Committee members. \the plans Vision and values and developed ideas
• Engage local businesses and other potential for'potential locations and programmatic priorities.
funding institutions in the process: he second forum invited community members into
a conversation about implementation strategies
fo th$ public arts program, including management
\ \ \ structures and staffing. Once the plan is complete,
i' the Town will work with the Advisory Committee and
the public to implement it.
I
t
Figure 4.Public Forum#2
Watertown Public Arts Master Plan 19
MAPC
Community Engagement Elements
Throughout the Public Arts Master Planning process, MAPC worked The diagram opposite visualizes
with the Town to use the following engagement tools.These tools how MAPC,the Advisory
ensured that the public had a meaningful chance to provide input into Committee,the Town, and the
the Master Planning process while creating space for leadership to public contributed to the plan
emerge and help guide the future implementation of the Plan. Over development and community
the course of seven months, more than 600 people engaged in the engagement processes.
planning process through participation in informational interviews,
attendance at public events, and completion of the Public Arts
Interest survey.
ENGAGEMENT TOOL PURPOSE
Advisory Committee Meetings Build momentum for project, Lave member\serve as champions for
the project. May-August 1)'gather input on`Master planning process,
and 2)to enlist their help ih publicizing it.
One-on-one Interviews Develop partnership ideas with harder to reach\y'stakeholders to
be involved in th4u6lic Forums and engage their communities in
providing input into the onJi e survey.
Popups at events Build new knowledge and,contacts for people who may participate in
the preference survey as well as,provide feedback into the decision-
making,s\\tructure for t e futur6 c \mmissioning of public art.
Surveys Engagethe public in a dbhversation about the WPACK kit, enabling
them to provide input into the locations and kinds of public arts that
they would like,to see proliferate in Watertown.
Flyers and other promotip Reach out to i e*,audiences and encourage members to participate
material n process thro'ugb attendance at charrette and/or filling out an
nline survey.
Public Forums \' Provide an opportunity for residents to work together in identifying
references and locations for public art as well as the decision-
king structure for the commissioning of future installations.
rr I
p �. 1
Figure 5.Public Forum#1
20
MAPC
Community Engagement Timeline
Figure 6:Public Arts Master Plan Engagement Timeline
Watertown Public Art Master Plan Engagement Process
Advisory Advisory Advisory
Committee Committee Committee
Meeting#i- Meeting#3 \ Meeting#4
2 A, L Advisory
A Committee
Public Engagement
•
Flo"—
!rp.p
i Engagements Vision&
L Values
L— --.A
MAPC
Tasks
MAPC& Revised Revise &
Values& present
Town Drafts Values and sion,Draft Management
Public Arts , Vision
ent R
Master Plan Drafted ionnss t to o Town
Strategy2019 %
SPRING SUMMER FALL WINTER SPRING
, .
Advisory Committee
Participation in the public forums was open to all.
An Advisory Committee was�reat�d by'the Town p p p
and MAPC tojhform the development of the ,> Watertown residents, workers, and affiliates were
Public Arts Master Plan. Members 4the Advisory encouraged to attend through the engagement
Committee weee,selected as repri septatives of tools described above. Members of the Advisory
the diversity of Watertown as well`a�/the variety of Committee attended and helped facilitate small
stakeholders who wilkneed to.be involved in future group conversations with members of the public.
implementation efforts`A�list of'Advisory Committee
members is included on Page 2.
For detailed information about Advisory Committee
meetings and outreach conducted through
interviews and public events, see Appendix 2.
I
Watertown Public Arts Master Plan 21
MAPC
Public Arts Program
Recommendations
Introduction
Prior public arts projects in Watertown, including
those managed by the Watertown Public
Arts and Culture Committee, have primarily
supported the integration of the visual arts
into the public realm. Using lessons from these
projects as a starting point,this chapter provides
recommendations for administrative,financial,
and programmatic strategies that can support a /
wide array of public arts projects and programs.
These recommendations synthesize key lessons \
from previous public art projects in Watertown, \
research into best and emerging practices in''-
public art management, interviews with public --
art administrators around the country and
Advisory Committee members, and feedback
from Watertown community members engaged V�'
throughout the planning procp!§s through outreacr
and informational interview,and at l- p events
and public forums.
Guiding Values and Relevance to
Program +'policy,Recommendations
The foljowing guiding values,fdr�the Watertown
Public A7 s Plan informed th\ five core recom-
mendatio ..of'this Plan on tl�e following page.
Foster diversity and I teraction
Bolster Creativity in Community Life
Center Local Context and Identities in
Engaging with Watertown's Past, Present,
and Future
OMake Connections to Nature and
Sustainability
_ = Solidify Commitments to the Public Arts
through Stable Funding Investments and
Partnerships
22
MAPC
Five Core Recommendations
1 Integrate Arts into Planning and Community Support and Strengthen Community Ties
Development 4
Establish a staffed position in the Department Mobilize and strengthen existing networks and
of Planning and Community Development to organizations at the heart of Watertown's cultural
support the development of public arts projects and community lifer Focus oh,Jnvestments in arts
and initiatives that advance the Town's community education and pu6ljc arts initiatives in Watertown
development goals, as articulated in the 2015 public schools;and develop partnerships with
Watertown Comprehensive Plan, particularly those Comm unity=Gas'ed arts and cultural organizations
pertaining to development and preservation of to seed projects that highlight Watertown's unique
affordable housing, enhanced connectivity and neighborhoods, historic and cultural heritage
open space,support for neighborhood retail and (including'its Indigenous cultural heritage and
small businesses, and improvements to the public industriahheritage), and cultural diversity.
realm that enhance mobility and livability for people„
of all ages, backgrounds, and abilities.
Ensure a Va?iety of Funding Sources for
Establish Policies and Metrics that Align \ and Culture
2with Program Values �ultiva et fundingstreams that can support an array
% of public arts initiatives, including semi-permanent,
Establish a Public Art Policy with standards\an' \
j temporary, and ephemeral projects and programs.
guidelines for the acquisition and rrianagem�len, TI !'s should include a percent-for-art mechanism
of the Town's Public Art Collection, guidelines,For _ _tha`t-can support the integration of durable (semi-
site and artist selection, proeesses.for prisuring permanent and temporary) artworks in public
equitable and inclusive public p6r\ticiprati6n, and buildings and facilities, as well as sponsorships
requirements for ongoing evaluation and,tracking of and grants for innovative partnerships,festivals,
participant demographics for all facets�ofthe public
and other opportunities that activate the arts in the
arts program,,""
rogram.;' ` public realm.
3 Build Lasting Partnerships Among Municipal
and Civic Stakeholders
Foster relationships and,,par'tnerships among Town
departments (particularly the Department of Public
Works and Parks and Recreation)as well as public
and private entities (particularly the public schools,
public library, and community-based and cultural
organizations)to ensure that public arts projects
and programs support and strengthen community
life and are integrated into everyday experience.
Watertown Public Arts Master Plan 23
MAPC
Recommendations in Action
Integrate Arts into Planning and Community Development 0900
Develop public arts projects and initiatives that advance the Town's community development goals.
A number of existing or proposed initiatives offer natural opportunities for integrating public arts and
culture. Key opportunities include:
Watertown Community Path Improvements Charles River Walkway Improvements
The proposed $3M allocation to extend the Working with the Mptlkusetts Department of
Community Path presents an opportunity to Conversation anol�keereation, Public Arts Program
pilot the integration of public arts with capital Staff can identify,,opponunities to improve signage
improvements through the addition of murals and and increase access through functional public art.
functional public art, such as benches, lighting, / \
wayfinding and interpretive signage in the proposed
design.
r.,
Establish Policies and Metrics that Align with Pro4YaM/Valuies
Establish an appointed Public Arts and Culture Committee to'draft,and enact a Public Art Policythat
outlines a vision, guiding values, procedure$,and-evaluation crAeria'for a Watertown Public Arts Program.
Detailed recommendations related to this a� a of-work are,included.,in Subsequent sections of this Public
Arts Master Plan. Establish approach to addr6 sipg controversial sites and monuments such as the
Columbus Delta Monument.
Build Lasting Partnership's Amo3tg unici al and Civic Stakeholders z
11
Existing public arts create lh Watertown establishe \ rtnerships among artists, volunteers, anchor
institutions such as Tufts,Health and Home Depot;-a d municipal departments including the Department
of Planning and Community Development,Watertown Public Schools,the Department of Public Works,
and the Parks and RecreatiomDepartment. Nurturing these relationships and partnerships will ensure
that public arts projects and, prolgrar s support and strengthen community life and are integrated into
everyday,e�e"rience. Opportunities to strengthen these partnerships through projects include:
Watertown Public School�ac lities Parks Improvements
O
Improvements Parks improvements such as renovations to Arsenal
g The High School Buildin Project, which is in the Park, walkway lighting in Sullivan playground and
first phase of its fedsibiljty study may present other design and renovation projects are upcoming
opportunities for the integration of public arts in the opportunities to partner with the Department of
architectural program and to strengthen Watertown Parks and Recreation to integrate public arts into
Public Schools as a public arts partner. Watertown's open spaces and recreation facilities.
Complete Streets Implementation
Coordinate with Department of Public Works and
other municipal entities to integrate public arts into
new bus shelters, improvements to shared-used
paths, and enhanced intersection crossings.
24
MAPC
Support and Strengthen Community Ties 0 G) n O @
By strengthening community ties,the Watertown Public Arts Program can expand participation in public
arts across Watertown's diverse cultural communities and ensure that Watertown's public arts represents
its diversity of cultural expressions and identities. Leading efforts to assess the exisiting landscape of
monuments and memorials in Watertown is one way the Public Arts and Culture Committee could expand
community voice and participation in community arts. Opportunities include:
i
Informational Interviews Charles River Sacrefl,Paddle
Building on the connections established through The Charles River/in WatertQwh is an important
informational interviews during the process of site for the Saereal Paddle, an\anhual event that
developing the Watertown Public Arts Master Plan commemorates`the forced removal of Native
would also support this strategy. Conversations Americans from Watertown to Deer Island at the
with owners of local businesses including start o(King Philip's'war in 1675.11 Cdrinecting
barbershops and restaurants as well as individuals with the organizers of and participants in this event
affiliated with local cultural organizations like the could lead to shared exploration of how to honor
Iranian Association of Boston and the Watertown Watertown)s,lndigenous heritage in partnership
Community Foundation engaged a more diverse / with Native American individuals, organizations and
audience than planning workshops alone.A list of �\tribes:
all interviews is included in Appendix 2.
Ensure a Variety of Funding Sources fob,Arts a d Culture `
Implementation of a public ar,,tsprogram th0tsupports a, a,ray of public arts initiatives, requires funding
to support municipal staff tiMe a�well as fundmgto supp_ rf program activities including permanent,
semi-permanent,temporary, arid.epherheral projects and programs. In addition to grants from the
Watertown Cultural Council, which provide small amounts of funding,three key funding strategies include:
— \N\
Percent for Art" ;% \ \ Staff time for program administration, partnership
A percent-folrlart'mechanism would e able the
development and grant writing among other
activities could be covered as well as funding for
integration of durable artworks in public facilities festivals, events, and other activities that do not
and grounds. ��, /
\ \ generate durable works of public art.
Municipal Budget Allocation
Private Funding Sources
Dedicating funding to support the Public Arts
Program through an annual allocation out of Cultivating sponsorships and grants to support
a the Public Arts Program can allow for innovative
the municipal budget or through appropriating
partnerships,festivals, and other opportunities
percent of local option tax revenue would support
a wide range of program needs that might not be that activate the arts in the public realm. Previously
eliigible for percent-for art funding. completed mural projects have relied on a variety of
private funding sources including grants from local
banks and foundations, and financial and in-kind
Julie Balise."Photos: Native Americans make sacred contributions from individuals and businesses.
paddle to Deer Island."MetroWest Daily News.October
10,2010.Accessed October 19,2020 online at https://
www.metrowestdailynews.com/article/2010103l/
News/310319986
Watertown Public Arts Master Plan 25
MAPC
Program Administration
Public Arts Authority Roles + Public Arts & Culture Committee Structure
Responsibilities
• Staffed by a full-time, paid staff member from
At the second public forum, in January 2020, MAPC the Department of Planning and Community
staff presented two options for administering the Development.
public arts program.The first option would have • Seven to nine members: six members-at-large
established an Arts and Culture Commission with and one standing member who represents
broad responsibilities for promoting the arts and the Watertown Cultural Council.Two seats
cultural life in Watertown with a subsidiary Public may be added for/fnembers under the age of
Arts Committee responsible for developing semi- 21.
permanent and temporary projects that integrate /
the arts into the public realm.The second option
Members,servE`�hree-year terms.A member
eliminated the Arts and Culture Commission in
may sexvetwo consecutive terms, after which
they must take one year off before re-
Culture of a single authority,the Public Arts and p �� �
Culture Committee, with somewhat broader a,pplying. `
responsibilities than a typical public art committee. • /ommittee may convene Nv king groups
Forum attendees expressed a strong preference
to
attendid;business such bs evaluation,
for the second option, with the possibility of un jailing, and community partnerships and
establishing an Arts and Culture Commission oUtreaCh.
in the future, depending on the evolution of the Roles akia\Responsibilities
public arts program and availability of resources.\ \ \
Based on this overwhelming public feedbacks w Draft a\public arts and culture policy
recommend the creation of an appointed Publ' i to be-ad4ted by the Town Council and
Arts and Culture Committee (PACC)that acts aTa �' ;% administered by the Public Arts and Culture
permanent, standing advisory bOdyto the Town bf Committee.
Watertown, with authority over two col7 �rogram\ Commission permanent,semi-permanent
areas: / i
/ J � and temporary public artwork and cultural
< < / / programming on Town property(including
1. Art in Public Places:`Rerman�nt/emi--__,_ l Town-owned buildings and outdoor spaces).
permanent,temporary,end'ephemeral
artworks and activations that dreate a more Approve annual strategic plan and budget for
vibranili, delcoming;inclusive\�\and\connected the Public Arts and Culture Program.
public realm.This may,ncl,ude se(nni=permanent Oversee revisions to public art policies and
projects_funded through a aercent-for- procedures, including periodic updates to the
art ordinance (where a p operty or site is Town's Public Arts Master Plan.
dedicated,to public art as an element in new
construction),as well as.temporary artworks Review recommendations from ad-hoc Art
and installations fuf q6d through other means. Selection Panels to be recommended to the
Town Council for approval.
2. Cultural and Community Life: Programming Approve the de-accession or relocation of
that enhances the public realm, engages artwork from the Town's Public Art Collection,
Watertown's community life and cultural subject to approval of Town Council and Town
diversity, and fosters social cohesion.
Manager.
• Advocate for public arts and culture in
Watertown.
• Convene local artists and cultural
organizations to facilitate knowledge sharing,
professional development, and partnerships.
26 IK
MAPC
Member-at-Large Qualifications Manage the implementation of Public Arts
& Culture Program objectives, including
• Members should be Town residents with installation and maintenance of permanent
experience in the visual arts, performing arts, and temporary public artwork on Town
arts education, curation, architecture, design, property(including Town-owned buildings and
or landscape architecture. Members may outdoor spaces), commissioning of cultural
include staff and board members of arts and programming, and fulfillment of contracts
cultural organizations. with artists.
• At least two members should be working Maintain regular com ubication with
artists those who derive at least 50%of
( Town boards and departments whose work
their income from the production,sale, or intersects with the strategic priorities of
distribution of art), arts administrators or the Public Arts s Master'Plan, including the
cultural historians.At least one member will Department of'Public Works, Conservation
have direct experience with or knowledge of Commis6i6n, Recreation`Debartment,
public art installation and maintenance. Histgrical�Commission, His�oric'��istrict
CQMmission,the Watertown Ree,Public
• Membership should reflect a diversity of , , .-
ages, incomes, ethnicities, racial identities, <Libr`ary, and the,School Committee.
cultures, and abilities, and should reflect the S\e velasg/liaison for local arts and cultural
current demographics of Watertown. orga'ritzations and Town boards, departments,
Public Arts &Culture Program Staff and leadership.
romote awareness of arts and culture
The town's Public Arts and Culture Committee, or
ctiv
PACC,should be staffed by a paid staff member
itie�in Watertown by interacting with
/1odal news,.�V, radio, and social media, and
of the Department of Planning and Community X 'by managing public website of Town-wide
Development.Staff will be responsible for man Bing
.� cultural programming, activities, and events.
and implementing all stages of publip,art prod ct and
cultural initiatives throughout/Watertown.
-__
Roles and Responsibilities /; Staff Qualifications
• Develop and �arn< Background in arts administration, cultural
gverseethe„imp entation
of annual strategic plan,and budget for the planning and policy, or community-based arts
Public/arts and Culture Progr'a,m, with input or a related field plus three years or more of
from the PACC. experience in public art project management
(or an equivalent combination of education,
• Develop and implement the o n's Public experience, and transferable skills).
Arts and Culture Rolicy with/input from the
` i Exceptional project management and
PACC for presentatidn to?own Council.
j organizational skills.
• Oversee periodic updatcs to the Town's Public •
Arts Master Plan, with input from the PACC. Excellent verbal and written communications
skills, including a demonstrated ability to
• Staff the PACC, ad-hoc working groups and art navigate competing interests and build
selection panels. consensus.
• Identify program opportunities and project Knowledge of emerging practices in the fields
sites, staff collaborative public processes, of contemporary and public art,for example
and solicit input from relevant town staff, creative placemaking, socially engaged art,
boards, and commissions. performance art, media and digital arts.
• Oversee review of works considered for de-
accession.
Watertown Public Arts Master Plan 27
MAPC
Project and Site Selection
Summary Project Scope Elip jients
In general,the site selection process should be Overview of'the\project's goals and the
initiated by Public Arts and Culture Program staff, in proposed project s. elationship to the Public
conversation with other relevant Town departments, Arts and,&Iture'Rrogram's vision,values, and
the Town Council, and community stakeholders. cgr`e programming areas;.\
The Public Arts and Culture Program staff should ascription of the specific type of project
then prepare a Project Scope and submit this to the4being prp0 sed (e.g. percent-for-art in
PACC for discussion and approval. apital'improvement project, community
This Scope should include the site or sites to rt:exhibition, artist residency in another
be explored. For projects integrated into capital TQwri department or community-based
improvements or private developments,the organization);
site might be defined at the outset. For oth& \��
\ \ DescriptJio\ of the project's location, including
types of projects,such as temporary exhibitions, topography, environmental considerations,
installations, activations, partnerships, or infrastFucture, proximity to rights-of-way,
programming,the site might be generally define
i documentation of land ownership and
as a neighborhood or other geographic area, a
� easements, and other information regarding
community, or another entity,such as c mmunity-
Q the proposed siting;
based organization or cultural organizat�n.
In these cases,the arti`st,should idantifythe Intended duration (e.g. permanent, semi-
site through the conceptual.\development and__--/ permanent, or temporary);
community engagement procease5. Confirmed and potential partners and
i \ stakeholders;
Potential composition of the ad-hoc Art
Selection Panel;
\\ Budget and proposed funding sources;
• Timeline, including an overview of the project
timeline in relation to the capital improvement
' project timeline, if applicable;
• Artist selection method and selection criteria.
2s
MAPC
Partnerships for Project Scopes Artist Selection Process
When developing the Project Scope, Public Arts For each project, Public Arts and Culture Program
and Culture Program staff should consider the staff should convene an ad-hoc Art Selection
range of potential partners who may be involved Panel tasked with reviewing artist qualifications
in the project's conceptualization, development, and proposals and recommending a project
and implementation, depending on the project's finalist to the PACC for review.Staff should outline
alignment with the two core program areas: the desired composition of the Art Selection
Panel in their initial Project Scope.Art Selection
1. Art in Public Places:Town Department, Panels should be independent of the political
public agency, community organization, influence of the PACC and elected officials.All Art
or developer with control over the site Selection Panels should be,§taffed by Public Arts
where the public art project will be located and Culture Program stall
or take place, or with active community
involvement in the site where the public art
project will be located or take place. Selection Partel.Roles a'hd
Responsibiliti\es
2. Cultural and Community Life:Town
department, public agency, or community • SServs fn an advisory role to the ACC.
organization that develops or partners on . `Rev�ew art�i�"`t'faalifications and project
programs that help support the Watertown p�o�!ooaja'apd recommend a project finalist
Public Arts Plan's vision and values. to the\AGC for review.
Site Selection Criteria \`
Site selection criteria will vary according to the Selection-Pane1 Njembership
specific type of project being proposed, but some ive o even members including:*
general considerations should apply..
;. -� \ •� One member of any applicable board,
• Proposed site presents an,opportunity , \commission, or department;
to integrate public arts and,culture
with existing or proposed planning and'" `:Local artists or arts professionals and
community developmentpriotitie�,
j culture workers, especially those with
initiatives, and/or-projects.
expertise and experience that is relevant to
the project theme or site;
• Proposed site is part of,the,Town 5 `
pedestria"n,,bicycle, and publi tran's�t Community members with relevant
circulation.paths, or has potential to experience with and/or expertise related to
promotIestronger connections mong areas the project theme or site. Such members
of high circulation. may include but are not limited to residents
/ of nearby neighborhoods, representatives
• Proposed site is,a place o.gathering, of nearby business districts, and those with
activity, and/or social and cultural life. relationships with the community that the
• Proposed site promotes connections to project proposes to engage.
nature or environmental sustainability. * The chair of the PACC or a designated PACC
• Proposed site functions as a landmark or member will serve as a standing, non-voting
gateway to the town, a commercial district, panel member.
or a.neighborhood.
• Proposed site has been identified by
community members as socially, culturally,
or historically significant or meaningful.
Watertown Public Arts Master Plan IK 29
MAPC
Artist and Artistic Concept Selection
The proposed selection processes outlined below have been developed in accordance with the
Commonwealth of Massachusetts's Public Procurement Act, Chapter 30B.Within Chapter 3013,
Section 2 defines a Grant Agreement as "an agreement between a governmental body and an
individual or nonprofit entity the purpose of which is to carry out a public purpose or stimulation
instead of procuring supplies or services for the benefit or use of the governmental body." A Grant
Agreement pursuant to MGL c.30B §2 is a public contract. Public art carries out a "public purpose of
support or stimulation"within the purview of MGL.C. 30B §2. Grant agreements allow municipalities
to support concept development through stipends and to promote greater public engagement in
public art selection processes.
Call for Artists/Artist Selection Process Calls for Art /
In this process, artists are chosen based on When a detailed propoaal�br a site is needed
their past and current art and achievements. (e.g. a permanent sculptural installation), a grant
In lieu of requesting a detailed proposal,the agreement for professional se ides may be
Call may ask artists to provide a brief comment pf6vided to one-Qr more artists identified through
on their approach to the project. Each Call and Ahe'procedures outlined above. Provisions of 30B
accompanying selection criteria should be tailored allow the.granting entity to use sound business
to the project in question.Selection criteria practices for professional services below $10,000.
should ensure that emerging artists are not at--a,_ This limits thq total funds expended for proposal
disadvantage relative to their more establis ed_, -development'e
, rvices for a given project across all
peers. artists to less',than $10,000.
1. Working with the PACC,the Public Arts and C to�e ;1. PublicArts and Culture Program staff,capital
Program staff develops and,releasessa Call for project manager, if applicable, PACC and other
Artists including selection,crjteria,a�dy rtists relevant stakeholders identify selection criteria
submit qualifications.These should)nelude a relevant to the project.
cover letter,exampjes of previous wbr�,a resume
or CV,and references\ 2. Program staff uses the criteria to select
candidates from a database of pre-qualified
2. Artist Selection Panel screens submissions artists. In the absence of such a database,or
according to selec_tioh gritenb a ` utlined in the if the database does not meet the needs of
Call. �� the project,the PACC issues a Call for Artists to
identify qualified artists.
3. A','s Selection Panel ma�Ce f the final selection
based oh past work and conformance 3. Each artist enters a grant agreement with the
with selection criteria and submits the Town and develops and submits a full proposal
recommendation to tfa6 PACC for approval. including a maintenance plan and budget.
4. PACC submits recommendation to the Town 4. The PACC Chair and program staff work with
Manager and Town Council for final approval. the Town Engineer to assess proposal feasibility
and coordinate opportunities for public input on
5. The contracted artist(s)develop(s)a full proposal, proposal selection.
including a maintenance plan and budget.
5. The Art Selection panel makes a final selection
6. Proposals may be presented for public review and based on the proposal, public input and past work
comment to inform final review and approval by and submits their recommended finalist to the
the PACC,Town Council and Town Manager. PACC for review and approval.
6. PACC submits its recommendation to the Town
Manager and Town Council for final approval.
30
MAPC
Selection Criteria Guidelines and Considerations
• Commissioning entities and partners should For projects where an artwork will be
establish artist selection criteria at the outset integrated with construction, conduct artist
of each project.At minimum,this should selection as early as possible in the process
include geographic eligibility(for example, to ensure coordination among the artist,
if there is a preference for local or regional design and engineering teams, relevant Town
artists), as well as any skills or expertise the departments, and other project partners.
artist must possess. Stand-alone permanent outdoor public art
• Criteria should reflect the project's goals and installations must be ipStalled by either
intended stakeholders, as outlined in the the Town (through ijs Deparment of Public
Project Scope. Works) or a contractof procured by the Town
pursuant to I GL c,,30;.39M. Project scope
and selectioh criteri"hopld reflect known
restrictigris or requiremeot\s\forfeasible
instajlat�phon the project Site.v
r
Public Arts and Culture Program Administration Summary
/
/ Public Ad.6 Culh"
i P-9—S�ff
C\ I R.spowbrLti.s
DevelopmentDept of Planning&
CommunIty
Slmdnp nwmb.r. � �.
W.l.,I—n C.11...I C-u !,\•�
Pro Id..dds7on.l prof.d r.vkrw
Public Works D.p.rtmmt
/ R.<r.otian Departmem
Town AII.—y
_ ` Porcha d ny Dvswr Inrcnt
H(rrarimi Commiui.n
Hlsfar(c District Commission
Figure 7. Public Arts and Culture Program Administrative Chart
Watertown Public Arts Master Plan 31
MAPC
Public Arts Selection in Watertown:Case Studies
These projects emerged in response to local circumstances, with organizers seeking the support and
approval of Town departments as needed.These projects collectively demonstrate the value of having a
dedicated staff person who can respond to local needs and concerns and nurture existing and emergent
networks and relationships to facilitate community-driven processes and projects. Detailed case studies
are available in an appendix.
+ Joshua Winer.
"Peter B. Clough Memorial Mobile."
1999-2000. Mixed media.
Watertown Ie S I Watertown MA.
s ,
—i
r
g gyLee 8:
tth "Peter$:CloughMeinorial Mobile."
ylatertown Middle School.
Photo courtesy of Joshua Winer.
Summary: One of two merriorrals thatrtlst Joshua \\Town Role: Public school educators and
Winer created in Water.Ob h public schools,this �iadministrators played a key role in initiating this
painted wood and brass'mobile was created in memorial and Mr.Winer's other school memorial
honor of a late, widely beloved teacher. The project project, and the project also involved other aspects
offers one example of a successful process for of Town government.
integrating;student learrting.with participatory art-
making and,community-buildi g efforts.]
<\ Key Lessons:
• Identify opportunities to integrate public arts
Process: Patricia Mosley Hu t,a former teacher at
/Watertown Middle and participatory art-making projects into
Schoolfspearheaded this project school curricula, and, where possible, design
to memorialize thelate,Peter B. Clough, a widely
beloved fellow teache(.The school secured funding, curricula with potential public art opportunities
in mind.
including from the Watertown Cultural Council,
to bring Joshua Winer, an accomplished public • Establish funding mechanisms to promote
artist, into the school to co-create the memorial the development of public art in capital
with students. Mr.Winer worked in collaboration improvement projects in public construction
with Ms. Mosely Hunt to translate student learning projects, including public schools.
around public memory into a concept for the . Seek opportunities to embed artists-in-
memorial. He also, and worked with art teachers to residence in Watertown public schools in order
integrate the memorial project into their curricula. to bolsteraugment arts education and integrate
art-making with other subject areas.
32 1K
MAPC
Ruth K. Henry
"The Time Is Always Right."
2018. Exterior paint, aerosol/stencils, ceramic tile, cement backer board.
Watertown Boys and Girls Club,Watertown, MA
ON
tL o
i
Figure 9:The completed mural at the Watertown Boys and Girls Club. j
Photo courtesy of Ruth K. Henry. i
Summary:This multimedia mural,spearheaded Towri Role: Ms. Henr.y/coordinated the project
by lifelong resident and Watertown Middle School through'the Watertown School Superintendent, so
teacher Ruth K. Henry, incorporates hand painted that the school system could function as a central
tiles painted by Watertown residents,that reflect Pt.- hub for the project.,Ms. Henry also secured support
Martin Luther King Jr.'s principles of nonviolence. \ __from the Recreation'Department, which oversaw
\the-basketball couft.pdjacent to the mural site,
the Police-Department, and the Fire Department,
Process:The project stemmed from Ms.-Henry's which hosed down the wall in preparation for the
involvement in the local Kingian NonViolertce\ installation.
Coordinating Committee,which run/s,a prog�i rrl
to train Watertown residents and Town staff/i�Dr.
Martin Luther King Jr.'s principles of nonyiolence. - -Key Lessons:
Ms. Henry chose the project site,"a blank wall - _
Identify opportunities to build on existing
along the basketball court of the Watertown Boys
local relationships, networks, and initiatives
and Girls Club, be ause-of-its significance.to the
by adopting a relational model of project
local teenagers,Whom she hoped`to involve'in the
� development.
project.To realize her vision, Ms.H�nry built bn
existing local�petworks and found �aningful ways Allow ample time for key phases: conceptual
to involve a widb range of stakeho�d lrs, including development, community engagement, and
Town staff, cultural-institutions,ja cq community- implementation.This project took around one
based organizations\ year, with approximately six months devoted
/ to conceptual development and outreach, and
another six6 months devoted dedicated to
implementation.
• Create multiple points of entry for participants
and find meaningful ways to engage cultural
institutions and community-based organizations
as project partners.
Watertown Public Arts Master Plan 33
MAPC
Public Arts Selection in Watertown through WPACC:Case Study
Gregg Bernstein.
"A Bicycle Ride Through Watertown"(AKA The Linear Path Mural).
2013.Acrylic paint.
Watertown Linear Path between Whites Avenue and Waverly Avenue,Watertown, MA.
w�
Figure 10:Stude&ts ryorking on the Linear Path Mural(2013).
Photocou syoMhetJameson.
Gregg Bernstein.
"Seeds of Change."
i
2015.Acrylic paint and'IIIIDF boards.
Corner of Mt.Auburn_Street,ond.Melendy Avenue,Watertown, MA.
''
Figure 11,12, 13,&14 "Seeds of Change."Photos courtesy of Annis Sengupta.
34 IK
MAPC
Gregg Bernstein.
"Tapestry of Cultures."
2014.Acrylic paint.
Baptist Walk,Watertown, MA.
UP
-- _ _ _ sa
Figure 15:The completed mural on Baptist Walk.Photo by Anthony Pelto�n ."
Summary: Between 2013-2015,the WPACC ey L ssons_� ,
developed three murals across Watertown.Acting r
as an ad hoc, volunteer-led committee,the W�ACC Prioritize site selection at the outset of the
i \project, maintain an inventory of potential
initiated and implemented all three murals.WPACC
members identified and secuetSites for a)t;,e roject sites on public and private property, and
projects, released and mana$ed;requests fori - -
develop and maintain relationships with private
proposals, coordinated community,engagement, ;'property owners to facilitate the site selection
and raised funds for artist fees, materials, and process.
maintenance through the Watertowrl,CultI Establish clear and transparent artist selection
Council, local ar�d regional foundation`local criteria at the outset of each project and ensure
businesses, ardd,developers. \` ` that the art-selection panel meets at least once
\ during the project conceptualization phase and
\\ at the end of the pre-final design phase.
Town Role:Steve\yagoon,Assistant/Town
Manager and head oftkb,Planning/and Community Formalize the role of the Watertown Public
Development Departm6ntplayed a key role as School System and Recreation Department
an advocate for these pr jests, particularly for as partners to facilitate youth involvement in
the Linear Path Mural.The Town's Recreation public arts projects.
Department, led by Peter Centola,facilitated youth • Build and maintain relationships with the
involvement in each project by recruiting student private sector to secure recurring contributions
volunteers and holding liability for the students. to the public art program and foster a culture of
giving.
• Engage local businesses and community-based
organizations as partners to build diverse
audiences for the public arts program.
Watertown Public Arts Master Plan 1K 35
MAPC
Collections Management
Summary Documentation
A key priority of this plan is to establish a public Documenting and,ffiaintaining records of
arts and culture program that is sustainable and Watertown's public arts is a critical element of
responsive to community needs and values. An implementing'a publip aYts program.As a first
important aspect of this is ongoing documentation step, it is re6ommendedj6t the Town institute
and maintenance of the Town's public art a Publip"Ants and Culture\PQlicyestablishing the
collection. Understanding the collection's history Town's Public Arts Collection\�Qutlining criteria and
and current condition will not only help inform I�rdcedures for the acquisition and accessioning
critical decisions about maintenance, but also can of artworks intothe Collection, procedures
reveal opportunities to strengthen and expand the foir,.collection;maintenance, and criteria and
collection or pursue new initiatives that align with procedures"for deaccessioning artworks from the
the program's guiding values, collection.Ih,addition,the Public Arts and Culture
rogram s�aff may:
Develop (policy for accessioning public
/'-br-t owned by the Town into the Public Art
Collection, including criteria for reviewing
\ artworks and recommendations for how
maintenance and conservation of these
i artworks should be managed and funded.
Evaluate artworks based on these criteria and
bring forward candidates for accessioning, if
any,for approval.
Work with other Town departments to create
a master inventory and archive of information
`. about all Town-owned artworks, whether they
are officially in the Public Art Collection or not.
/ Ensure that artworks that are owned by
\ Town departments, but are not part of
the Collection, are added to the Public Art
inventory that is maintained by Public Arts
and Culture Program staff.
• Work with other Town departments to create
a conservation assessment of all Town-owned
artworks, whether they are officially in the
Public Art Collection or not.
An initial inventory that lists known public arts and culture Establish a policy for the stewardship of
initiatives and installations in Watertown with artist and location Town-owned artworks that have not been
information is included as an appendix to this document. accessioned into the Collection.
36 IK
MAPC
Inventory for visual artworks Documentation for events and festivals
• Title of installation • Title of event/fes�val
• Date of installation* • Location(s) ofeventjf6stival
• Location of installation • Descriptign'of,event/ffe5tiVal
• Description of installation • Annual date(s) of event/festivdl.\
• Lead artist(s) • Irniticl,year of eYent/festival
• Community partners/creative partners 0 Artistic dispiplines represented, e.g. visual art,
• Owner of work mt�s ;th'�ter
• Owner of property where artwork is sited /'-_-
Participating artists by year
• Budget, including funding sources and type
`Funding p?oyided to artists by year
(public, non-profit, individual, corporate, F�undin�gso.urc6s for event/festival by type
foundation) _ unding amounts for event by source
• Lead entity commissioning ar_wo.k_ Attendance and participation in festival by
• Artwork type(mural, sculptuf�, etc.) type (vendor, staff, artist, volunteer, audience)
• Materials, if applicable/ /Documentation of event/festival, including
`� media clippings
• Documentation of the process\
• Images of the installed artwork �� A copy of artist/performer contracts
i -'� -, �. ��� • A copy of project correspondence and public
• A copy of artist contracts
records
• A copy,of Oroject correspon ence and public
records I
• MaintenanceInstructions rovided by the
artist and subseq.uehtobnservation records An initial inventory that lists known public arts and
7 culture initiatives and installations in Watertown
• A unique number assigned to the artwork
with artist and location information will be provided
* Timeframe if it is a temporary installation to the Town as an electronic file.
Watertown Public Arts Master Plan 37
MAPC
Deaccessioning
In addition to establishing criteria for accessioning
public art that the Town owns into the Public
Art Collection,the Public Arts and Culture Policy
should establish clear criteria and procedures
for relocating or deaccessioning works from the
Collection.
In collaboration with the Watertown Historical
Commission and other stakeholders with historical
expertise, Public Art Program Staff should develop
a policy for the management of commemorative ;
works (monuments, memorials, or markers) on i
public property, whether or not they are part `.
of the Public Art Collection.This policy should
delineate administrative procedures and public `.
process for accepting, altering, or deaccessioning �. \
a commemorative work, criteria (such as social
and cultural merit, aesthetic, and technical
considerations)for reviewing proposals, and
recommendations for how maintenance and
conservation of commemorative works should be - — - -
managed and funded.
,F
IT
X U1 �
< i
- _
1
38
MAPC
Maintenance
The Town's Public Arts and Culture Policy should • Determine the artwork's intended duration
also include provisions and procedures for the at the outset of the project and include this
conservation and maintenance of the Town's information in the Project Scope.
Public Art Collection. Ongoing care of public art can • Include a line item for conservation and
help foster public trust and future support for the
program.Yet there is no one-size-fits-all approach maintenance in the project budget and note
this in the Project Scope.
to conservation and maintenance; each artwork in
the collection will have different needs, depending • Develop a standardized maintenance and
on its materials,siting, and artistic intent.The conservation worksheet and require artists
following guidelines should inform the development to include a completed worksheet in their
of the conservation and maintenance provisions of project proposal.The template should
the Public Arts and Culture Policy: include a section on recommendations for
routine maintenance, as well as a section for
anticipated`sonservation measures.
• Identjfy anticipated conservation and
maihteriance needs prior to project
fabrication and installation. The`Town may
require that'artists work with a conservator
�- during the proposal development process, or
the Town have may design review documents
- reviewed by conservator prior to fabrication
-- or installationtud
• The Tovhshodevelop documentation
practices#or assessing the condition of
• • artworks in its Collection, and should regularly
conduct, or hire a professional conservator
\to conduct, a survey of the condition of each
f - _
Work in the Town's Collection and make
recommendations for conservation, cost
estimates, and a recommended schedule for
implementation.
t
Determine who will be responsible for
t' y routine maintenance of artworks in the
`vr Town's collection:the department or entity
responsible for maintaining the site where the
art is located.
r
J
Figure 16.Plaque inside Watertown Town Hall,April 11,2019
Watertown Public Arts Master Plan 39
MAPC
Program Funding
Public arts programs typically draw on an array of to fall into disrepair. In addition,without support
funding sources, including municipal construction for marketing and outreach activities, public art
budgets, as well as contributions from private programs struggle to demonstrate their relevance
developers, grants from private foundations, to the larger community, perpetuating a vicious
corporate giving and sponsorship programs, and in- cycle of inadequate funding and political support.
kind donations from local businesses. While many For these reasons, it is important to secure a
public arts programs have excelled at attracting consistent source of fdnding through a percent-
funding from diverse sources to support innovative i
for-art program or a dedicated tax revenue stream
programming and initiatives,financial support and, if possible•,,to,pool,this money into a flexible
for critical operations—administrative overhead, fund that can'6e�r*nistered by the PACC.
maintenance and conservation of existing artworks, Program staff fray aug!Ynprit,core funding through
and community engagement—has proven more
challen in grants,,torporate sponsorehiipa,,and other funding
g g'� mechanisms depending on the plrogram's strategic
These activities, however, are critical to the long- priorities and staff capacity.A diversified funding
term success of any public arts program. Paid staff strategy provides greater financial stability and
fulfill several vital roles, including managing and can better su0'ort a multi-faceted programming
coordinating municipal boards and departments, strategy with the potential to fulfill a variety of
grant writing and fundraising, and strategic , strategic goals and reach diverse public audiences.
planning that is not easily delegated to volunteers.\ \�
Meager budgets for maintenance and conse vaton
mean that existing public artworks are more li ely
i
i
' Right page 40
I
i
8 City of Salem Public Art Master Plan(2013),p. 15.
1 9 Arlington County,Virginia Public Art Master Plan(2004),p.
1 . 33.
10 Cambridge,Massachusetts's Code of Ordinances,
Chapter 2.114-Public Development Arts Projects.https://
`yj library.municode.com/ma/cambridge/codes/code_of
ordinances?nodeld=TIT2ADPE_CH2.114PUDEARPR(accessed
December 19,2019).
11 Cambridge,Massachusetts's Code of Ordinances,
Chapter 2.114-Public Development Arts Projects.https://
Ii bra ry.mun icode.com/ma/ca m bridge/cod es/code_of_
ordinances?nodeld=TIT2ADPE_CH2.114PU DEAR PR(accessed
December 19,2019).
12 City of Ithaca Public Art Master Plan(2003),http://www.
Figure 17. Mural by Felipe Ortiz,Aresenal Yards,2019 cityofithaca.org/DocumentCenter/View/205/Ithaca-Public-Art-
Plan-2003?bidld=,p.43.
13 Arlington County,Virginia,"Advisory Groups&
7 Americans for the Arts,"Percent-for-Art Programs,"https://www. Commissions,"https://commissions.arlingtonva.us/capital-
americansforthearts.org/sites/default/files/PublicArtAdvocacy_talkpnts. i m prove ment-p rogra m-ci p-working-grou p/(accessed December
pdf(accessed November 15,2019). 18,2019).
40 1K
MAPC
Percent-for-Art The process of identifying and prioritizing capital
projects for public art integration also creates
Percent-for-art is a public art funding mechanism pathways for interdepartmental collaboration
in which a minimum percent(generally 0.5 and can infuse consideration for the arts into a
to 2%) of a jurisdiction's capital construction jurisdiction's municipal processes. For example,
or renovation budget is set aside for the in Arlington County,Virginia, public art program
commissioning of public art. Percent-for-art staff participate in a Capital Improvement Program
programs are one of the most common strategies Working Group to help identify and prioritize needs
for securing stable, recurring funding for public for the county's capital budget. 11 These staff also
art. Of the more than 400 public art programs in serve on other interdepartmental committees to
the U.S.,the majority are funded by some form of ensure that public art is integrated into capital
percent-for-art strategy."While program guidelines projects.
vary from jurisdiction to jurisdiction,these funding 1 Percent of total capital budget.This
mechanisms are usually established by bylaw or mechanism allocates a.set oarcentage of a
ordinance. municipality's ove(lkcapitbl budget for public art.
Percent-for-art funding may be pooled and set This means that,capital expert it res unrelated
aside to support a general public art fund or used to the construction or renovation-ofbuildings and
to develop artworks that are responsive to and infrastructure—such as equipment pgrchases—
integrated with specific capital projects.The former are inefuded in percent-for-art set-asi�'es.This is
strategy is preferable, as it gives the public art typically structured as a line item in a municipality's
authority greater flexibility to commission projects capital budget'forpublic art equivalent to 0.5 to 1
aligned with the public art program's vision and percent oAhe total capital budget.
objectives. That said, percent-for-art funding is \\2: Percent of capital_building and infrastructure
often restricted by use and timeframe. For example\budget:Aiternativbly,percent-for-art can be
Arlington County,Virginia's public art master plan I\structured_so thatJt only applies to a jurisdiction's
stipulates that public art funds only be used for capital building and infrastructure budgets—for
permanent public art projects on Countyproper9y example, construction of a new school building or
or on costs related to developing such projects. \
Cambridge, Massachusetts's pukilie'art ordi�a ce
�n vation of sidewalks. Under this mechanism,
/ th hinds generated may be restricted to public art
stipulates that percent-for-a�t�u ds gener�teyl ___ �
through capital construction and renovation projects for the construction project that generated
budgets be used for the developrpeilt��and creation the funding.As noted above,this strategy allows art
to be integrated as early as possible in the project
of arts in and upon the City's.capital,projects planning process.
within three years-of appropCation. Although the
program is not/restricted to permanent art,u'most 3. Percent on a case-by-case basis.A third
of the funding has been allocate'�(t�brick-ano- model generates percent-for-art funding only from
mortar projects due to constraints o public bonds. selected capital projects. Under this model, a
percentage of a project's construction cost is set
Percent-for-art fuiiding-typically s pports the aside in the project budget as a line item for public
integration of permanent artwdrk,in a jurisdiction's p J g
public works projects, aril thus provides an avenue art.As in model 2 above,this strategy helps ensure
that public art is planned for and budgeted at the
for placing art on municipally owned or rented
onset of the capital project. However, it allows a
property.This approach enables artwork to be part
of project planning from the beginning of the design Jurisdiction to identify which capital projects should
phase. It also ensures adequate lead time for include public art.The greater flexibility of this
approach also comes with a higher administrative
thoughtful consideration of a project's conceptual, cost, as it would require a robust internal process
aesthetic, and practical elements,while creating and criteria to identify which capital projects are
opportunities for early public comment and eligible and suitable for public art.As in model 2,
review s.12 key factor in successful public art above,this model could restrict funds to the capital
projects. projects that generated the funding.
Watertown Public Arts Master Plan 41
MAPC
Other Public Funding Sources
• Annual allocation in the Town budget. Local option tax revenue. In 2010,
The Town of Arlington, MA has used this Watertown exercised its local option for
approach.An annual allocation to the collecting meals and occupancy tax, which
Arlington Commission of Arts and Culture generated over$700,000 in FY20.The
from the Arlington municipal budget grew town has not exercised its local option for
tenfold from 2014 to 2019 as Arlington a marijuana tax. In 2017, New Bedford,
Public Art,the Arlington Cultural Council Massachusetts, committed half of the
and the Arlington Cultural District came revenues from its hotel tax to a fund
under the Commission's umbrella.The dedicated to arts,,Pulture, and tourism
allocation represents just under half of the promotion.14 ; >
Commission's annual budget and a portion
of it supports a public art consultant for Funds throuih,larger grants. For example,
MassDOT/transportation funding for Complete
Arlington Public Art. Streets�planning,could be used to support the
• Parking meter revenue.The Town of in�gratbon of pubic art,into improvements
Maynard, MA has used this approach. d public transportation facilities. Funds
,!located to recreation and historic
preservation can, in some oases, support
the ir)�rporation or restoration of public arts
c rrtporients.
i
.. R lll,u1-t
Figure 18.Mural by Kim Carlino,Aresenal Yards,2019
14 Jennette Barnes."New Bedford will put 50 percent of hotel tax into
arts-only fund."South Coast Today,January 13,2017.https://www.
southcoasttoday.com/news/20170113/new-bedford-wil I-put-50-percent-
of-h otel-tax-into-arts-only-fun d
42 1K
MAPC
Public Art in Private Development
Increasingly,jurisdictions are adapting percent- Public Art Master Plan generally recommends
for-art models to secure funding for public art contributions to the Public Art Fund, except where
from private developers.Approximately 100 art on-site furthers the objectives offered in the
municipalities in the U.S. have a Public Art in Public Art Master Plan.
Private Development(PAPD) ordinance.15 These Other jurisdictions have adopted voluntary policies
ordinances vary in their scopes and guidelines, that offer developers a menu of options. These may
but most require developers to allocate a certain include two or more of the following:
percentage of a project's construction budget to a
public art fund or to commission site-specific work Contribute to a public art fund (typically
on a per-project basis. a small fee assessed per%square foot of
It is worth noting that mandatory percent-for- development).This/may'set a maximum
art ordinances may antagonize developers and contribution and/or bye restricted to
be more appropriate for municipalities with developments with`budgets over the specified
threshold.Alexandria,-Virginia, calculates the
many developers competing for projects. In
value of/a a Contribution al t_he,rate of$.30 per
municipalities with weaker markets, a voluntary i
or semi-voluntary approach may be the more gross square foot up to a maximum amount
of t7.5,OOO for each buildingX,"'
prudent choice. l / / ,
• stall and;maintaln public art on-site,
Arlington County,Virginia, encourages developer 8.
accQrdmgto,fhe jurisdiction's Public Art
contributions through a mandatory meeting with Master Plan process and guidelines.
Public Art Program staff prior to filing a site plan \
application in order to address public art as Provide flee space within the jurisdiction
one of five community benefits developers are for use by a'locdl arts organization.This
expected to address.At this pre-filing meeting,the approach is__used by Rockville, Maryland.
developer and county staff assess opportunities
for integrated public art on-site and discuss the
appropriateness of a Public Art Fpnd:contributron \
versus an on-site commission.,According to the
county's administrative code;the developer must
include documentation that they met with Public
Art Program Staff in their site plah,application in
the form of a memo. This pre filing mechanism .- _
allows public art program staff to emphasize --- —
public art as a community benefit and fosters
culture of communication among eyelopers and
county staff. _ .-•�.=
According to one Aeli�gton County P blic Art
Program staff memb&\, dev0 pers are generally
expected (though not required)to contribute
$75,000 for County-initiates(public art projects
on public property through a cash contribution to y-
the Public Art Fund. Less commonly, developers
may opt to include public art within their site r „ s
plan. In this case,the developer must work with
the County's Public Art Program staff and follow Figure 19.Mural by Ouizi Jones,Aresenal Yards,2019
the county's commission process.The County's
15 Daniel Grant,"Developers Fight Efforts to Make Them Pay for
Public Art,"The New York Times,July 10,2018, https://www.nytimes.
cc m/2018/07/10/busi ness/a rt-rea I-estate.htm I.
Watertown Public Arts Master Plan 43
MAPC
Other Potential Funding Sources
While percent-for-art policies can be effective Contributions from local businesses:
vehicles for integrating artworks into the public Ideal for high visibility projects, such as
realm,they have some shortcomings. Because temporary exhibitions, performances, and
of limitations placed on government bonds, programming. Contributions could also be
artwork funded through public percent-for-art solicited from through an annual or semi-
programs typically must be a permanent feature annual campaigns for Public Art Fund.
of a publicly funded construction project.The
result? Public percent-for-art funds cannot Benefits: Cultivating a culture of giving among
fund ephemeral public art initiatives,such as local businesses can provide a stable funding
temporary exhibitions, performances, municipal stream. Often fewer/feporting requirements
partnerships, and artist residencies. Below are than other types,6f grants.Successful
some fundraising strategies that can be used partnerships p8in be a long-lasting and reliable
in lieu of, or as a supplement to, percent-for-art source of funoiri ` \
funds to maximize the creative potential of new Challeng�lf a comet gny does not have an
projects. established philanthropylprogram, it may
require more work to deteriaine,the company's
Partnerships with local arts organizations: Priorities an&develop a partribrship. May
�equire t06-coordination of special donor-only
Benefits: Build local support for public arts by e ents.
tapping into existing networks and audiences, �\
and build goodwill by avoiding competition/for-
limited funds. Crowdfundi
'Benefits•Ge erates buzz bu -in and ride for
Challenges: Difficult to sustain partnership � buy-in, p
over time as organizational priorities and ;'a projectf
programming strategies shift:'
Challenges: Must develop a strong, creative
marketing strategy;time consuming to
Contributions from ind' al donor promote the project and manage rewards for
donors.
private foundations:
Benefits: Can support mo vative and
partnership'based.inifiatives. Funds generated from festivals, fairs, and
special events:
Challenges:For grants;\time-con§pml:ng
application and reporting��r�cesses For Benefits:Watertown already has an annual
donors,jime consuming relationship-building public event, Faire on the Square.A small
processes,Ten\ds to priviyg�established portion of proceeds from this event could go
and well-endowed organizations with staffing, toward public art.
resources, a4'rtetworks'to develop successful Challenges: Event fees would potentially
proposals and pitches. need to be raised to generate a meaningful
contribution to a Public Art Fund.
44
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Additional Public Arts Policy Considerations
Intellectual Property, and Copyright, Public Art on Private Property
and Legal Title of Artistic Works -\
The Town's Public Arts and Culture Policy should The Town's Public Xits,arid\Calture Policy should
'
include language about intellectual property and also describe the`pe nissiohs and approvals
copyright, and legal title of public artworks funded process for pd is art to be located,on private
in whole or in part by the Town. In general,for property.Tfie.Policy should also e§tablish clear
permanent works of public art,the Town would own rules fgrartists to display their work as,public art on
the physical work and copyright would be retained private property. Iftj�-,Town develops a requirement
by the artist,with reproduction rights allowed to the for public art in,private development,the Town's
Town for appropriate promotional and educational guidelines;,policy, or ordinance should spell out
purposes. Each project contract should also expectationsregarding care and maintenance of
spell out the intellectual property, legal title, and the work. Guiddine�,,should be consistent with the
copyright, and patents or other title rights in or to federal Visual Artists Fights Act of 1990.
the artwork with respect to the Town, artist, and
property owner, if applicable. Contract language '
should be consistent with the provis' th
federal Visual Artists Rights Act o 0.
Watertown Public Arts Master Plan 45
MAPC
Implementation
Public Arts in the Era of Covid-19
In the midst of drafting this plan document,
the arrival of the global COVID-19 pandemic
Matrix disrupted the underlying conditions that shaped
much of this plan. Implementation of the plan's
2020 -
2025 recommendations in the first year will need to
respond to the shifting realities of life during a
pandemic and recession.Although implementation
Legend may be slower, it is important that it continue.
The importance of the arts, and particularly
public arts, in suppor ing bommunity vitality and
Policies and Procedures Program connectedness has%nly grown in this period
Design of social separation.The need for meaningful
collective experiences set in Watertown's outdoor
areas is pressing.And the heed for collective
Management and �.
Administration recovery, m rphewal and reembrance is on the
hori4dn,,Establishing and investi%in Town
Time Item Action
1 A Setup structure for Public Arts and_Culture Committee (PACQ,conduct outreach to prospective
members through Town Council)qnd DeparLmenf'of_Planning.aqd Community Development.
Appoint committee members thrduc1h,Town Manoger with approval through Town Council.
1 g Assess the technical and content exVineecled to support the appointed Public Arts and
Culture Corhmittee and Public Arts and,Cn ure program staff and recommend the appointment
of standing or ad hoc committees or working groups to meet those needs.
Allocate,2621 resources through Town C�uncil appropriation to cover the hire of part-time staff
1C capacity and/or to establish programmatic funding to start-up program.Continue allocation of
current town staff time towards start-up administration of program and to serve as liaison to the
PACC.
W �_ A
pDevelop diversity equity,and inclusion policy that will inform project selection criteria, Public
Q `� ID Arts and Culture Committee and selection panel appointment criteria,and guide the provision of
LU \ translation aitd interpretation resources to augment Public Arts and Culture Program
communications;
1 E Daft and adopt Watertown Public Arts Policy outlining goals,values,and priorities of the
Pulillc'Arts Program, PACC structure,staffing,funding sources and decision-making processes.
1 F Establish curatorial vision and programmatic priorities through PACC in alignment with
Watertown's public art values.
I G Conduct virtual outreach to the artistic community for networking and ongoing COVID-19
response initiatives through PACC.
1 H Establish partnerships with local cultural organizations and community service providers and
organize temporary art projects to build community connections in the wake of COVID-19.
46
MAPC
processes to foster public arts and culture as part staffing,funding sources and decision-making
of public life will support Watertown's ongoing processes for approval by Town Council and the
recovery and renewal after the pandemic has ended. Town Manager.
Getting Started As part of drafting this policy,the PACC should
draft a diversity, equity, and inclusion policy to
Implementation in the first year will involve guide committee appointments, project selection,
establishing structures and policies and initiating selection committee appointments, and priorities.
programming within the constraints of COVID-19. In the first year,the Committee will establish a
The first steps are to create a formal, appointed foundation for arts and culture.,programming by
Public Arts and Culture Committee (PACC)with establishing a curatorial vjs orrand evaluation
established membership, staffing, and terms and priorities and by using yirtua convenings to
committing a municipal funding stream to support network and partnei:Witlq local artists and arts and
the Committee's work.The PACC will adopt the culture organizat(ons to id'ntikchallenges related
Public Arts Master Plan and draft a Public Arts to COVID-19 and,create programming to build
Policy outlining goals, values, committee structure, community,during the pandemic: ..\
Topic Sub-Topic Aligning Vallue(s)/
Management and Organizational Soliaify.Commitrnents toAe Public Arts through Stable Funding
Administration Infrastructure stme licies,and Partnerships
Management and Solidify\Commitments to the Public Arts through Stable Funding
Administration nEpertij Invesftn�eRets, Policies,and Partnerships
Policies,Procedures,and Solidify Commitments to the Public Arts through Stable Funding
Funding Funjp Investments.Policies,and Partnerships
Policies,NProcedurres,
Diversit uity, and Center Local Context and Identities in Engaging with
FundingIn( Watertown's Past,Present,and Future
Policies, Solidify Commitments to the Public Arts through Stable Funding
Funding er.c." Investments,Policies,and Partnerships
Center Local Context and Identities in Engaging with
Watertown's Past,Present,and Future;Make Connections to
Program Design Curatorial Vision Nature and Sustainability
Community Engagement and
Program Design Partnerships Bolster Creativity in Community Life
Community Engagement and Foster Diversity and Interaction;Bolster Creativity in
Program Design Partnerships Community Life
Watertown Public Arts Master Plan 47
MAPC
Building Momentum
The second year of implementation will build the will enable the PACC to initiate Calls for Art and
capacity of the PACC to tackle larger projects and Artists. Committee staff will build relationships
initiatives. Creating a staff position to support the across relevant Town departments to expand the
PACC for an arts administrator within the town PACC's capacity to coordinate with other Town
government will be a priority. In addition, drafting priorities and activities. Building relationships with
procedures for allocating public art funds and organizations and institutions, including the public
managing selection processes; and establishing school system, will help the Committee to identify
a policy regarding copyright of artistic works new opportunities for public arts and culture in
town.
Legend
Policies and Procedures Management and \ Program Design
Administration cz
<1
Time Item Action
Convene staff in town departments that will advise,on project siting,installation,and
2A maintenance to share Public Arts'Policy --including curatorial vision and programmatic priorities:
Recreation, Public Works,Purchasing,Town Counsel.
28
Develop clear process for Town Council to,cipprove public-art funding allocations annually.
Develop procedures and criteria to guide.artist selection,project selection,and site selection.
2C Ensure application ond'selection procedures track priority metrics identified in program
evaluation"design. A
2D
Develop\pojicy in regards to intellectual copyright of artistic works that is in line with national
O public arts best ractices.
UJI l Establish p�gram evalt�aJion priorities and metrics to guide ongoing learning and assessment of
\ the quality and jmpact of calls for art,ongoing public arts initiatives,and partnerships through
._.
PACC DeveI p(Land administer evaluation tools to track Public Arts and Culture Committee,sub-
committee, nd/selection panel demographics as well as recipients of program funding.
Vi\tually convene cultural organizations and community service providers to explore
2F partnerhips to sponsoring public arts opportunities in the public realm and in arts and cultural
institutions located in Watertown through PACC.
2G Identify private establishments and institutions that serve as hubs for community social and
cultural events to partner on sponsoring public arts opportunities with the Town of Watertown.
2H Partner with colleagues in the public school system to identify opportunities to align current arts
curriculum and activities with public arts opportunities in public places and spaces in Watertown.
48
MAPC
Expanding Impact
Starting in year three,the PACC will establish policies related to collections documentation and
working groups and ad-hoc standing committees management. By year five,the Committee should
to support its work, particularly in relation to begin a comprehensive review of monuments
public school partnerships and connections and memorials in town, conduct a preliminary
to nature and sustainability. PACC will begin evaluation of completed projects, and explore
to manage the execution of projects initiated revisions to its adopted policies and procedures as
in year two, and by year four will start drafting needed.
Topic Sub-Topic Aligning\Vdlue(s)
Management and Interdepartmental Solidify Commitments to the Public Arts through Stable Funding
Administration Collaboration Investments. Policies,and Partnerships
Policies,Procedures,and \ Solidify Commitments to thc'Public Arts through Stable Funding
Funding Funding Invostments-Polities,and'Partnerships
Policies,Procedures,and Selection"of Artisti;\Projects, Soli{�4\Commitments to the Public Arts through Stable Funding
Funding and Sites f 1! Inve\s ments,Policies,and Partnerships
Bolster- reativity in Community Life;Solidify Commitments to
Policies,Procedures,and Intellectual Copyright of the Public Arts through Stable Funding Investments,Policies,
Funding Artistic Works, and Partnerships
JCenter Local Context and Identities in Engaging with
Program Design, , \ Evaluation! Watertown's Past, Present,and Future
Community Engagement and Foster Diversity and Interaction;Bolster Creativity in
Program Design Partnerships Community Life
Community Engagement and
Program Design Partnerships Foster Diversity and Interaction
Community Engagement and Foster Diversity and Interaction;Bolster Creativity in
Program Design Partnerships Community Life
Watertown Public Arts Master Plan 49
MAPC
Legend
Policies and Procedures Management and Program Design
Administration
Time I Item Action
3A Manage execution of programming in public buildings and on public property including the
town hall, library,and parks,open spaces,and squares.
3B Create a youth advisory group for PACC to advance public engagement of youth arts leaders
to support partnership with Watertown Public Schools.
,w„ 3C Support professional development of Town staff and Public Arts and Culture Committee
= members by providing access to public art professional development opportunities.
a 3D
7w- Establish regular networking opportunities for Watertown artistic community through PACC.
3E Convene Town staff,cultural organizations and community service providers to identify
opportunities for collaboration and emerging priorities through PACC.
3F Develop goals,guidelines,and strategic framework for PACC-led initiatives that center and
celebrate the local natural landscape and/or promote sustainability in partnership with
Conservation Commission and Environment and Energy Efficiency Committee.
Develop policies and procedures for public art inventorying,placement,conservation and
O
4A maintenance (funding levels and priorities),deaccessioning,and acquisitions (purchases,
U. donations,and loans). doom—*
m
a
4B Partner with Watertown Public Schoo s and Watertown Cultural Council to create a program for
emerging artists in grades K-12.
Convene a special ad-hoc committee charged with conducting a comprehensive review of
Watertown's commemorative landscape (monuments,memorials,and nmorkers,and
5A festivals/events with a commemorative purpose sited on Town property or sponsored by the
Town). Special committee will conduct historical research and a robust public process to identify
j potentially controversial commemorative works and festivals/events,and present PACC with
11 recommended strategies to address controversial works through recontextuolization,relocation,
a
Q or removal.
w
5B Review public art policies and procedures and adopt amendments as appropriate for achieving
program goals.
5C Conduct Public Arts Program evaluation through PACC based on priorities and metrics
established in Year One.
50 - - --
I
MAPG
Topic Sub-Topic Aligning Value(s)
Management and Solidify Commitments to the Public Arts through Stable Funding
Administration Program Implementation Investments, Policies, and Partnerships
Management and Diversity, Equity, and Center Local Context and Identities in Engaging with
Administration Inclusion Watertown's Past, Present,and Future
Management and
Administration Professional Development Foster Diversitv and Interaction
Community Engagement and
Program Design Partnerships Bolster Creativity in Co munity Life
Community Engagement and Foster Diversity and Interaction;Bolster Creativity in
Program Design Partnerships Community Life
Center Local Context and Identities in Engaging with
Watertown's Past, Present,and Future;Make Connections to
Program Design Curatorial Vision Nature and Sustainability
Policies, Procedures, and Solidify Commitments to the Public Arts through Stable Funding
Funding Collections Management Investments, Policies, and Partnerships
Community Engagement and Foster Diversity and Interaction;Bolster Creativity in
Program Design Partnerships Community Life
Management and Diversity, Equity, and Center Local Context and Identities in Engaging with
Administration Inclusion Watertown's Past. Present,and Future
Center Local Context and Identities in Engaging with
Policies, Procedures, and Watertown's Past, Present,and Future; Make Connections to
Funding Program Implementation Nature and Sustainability
Center Local Context and Identities in Engaging with
Program Design Evaluation Watertown's Past, Present,and Future
Watertown Public Arts Master Plan 51
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Appendices
Appendix 1 :
Current Processes for
Selection, Management,
and Funding of Public
Arts in Watertown
Below, we have provided detailed case studies %
of five recent public art projects in Watertown.
These projects have emerged on an ad hoc basis
and in response to local circumstances, with <\
organizers seeking the support and approval of �\\
specific Town departments and individual Town 1
staff as needed.The Town currently does nod,/
a role in maintaining these works, and there
standard process that governs how maintenanc is
managed or funded. Despite their disparate obi s,
collectively these projects demonstrate the value
of.a public arts program that ip/hot only'responsi
to local needs and concer s'6ufthat a so�takes
advantage of existing and'erriergent n�.tvyorks and
relationships to facilitate communit ` riv. S.
discussion with the Advisd e.
f
L
I
I
= 1
i
52 IK
MAPC
Case Study 1
Joshua Winer.
"Peter B. Clough Memorial Mobile."
1999-2000. Mixed media.
Watertown Middle School,Watertown MA.
This project—one of two memorials that artist Josh According to Ms. Mosley Hunt,the project was
Winer created in Watertown public schools—was developed in anticipation of renovations to the
developed through an interdisciplinary process that Middle School building.She and other members
infused student learning about public memory into of the school community knew that the new space
a participatory art project. Patricia Mosley Hunt, a would feature g,l�r-ge atrium with high ceilings,
former Global Studies teacher at Watertown Middle so the memgria[Vas designed to function an
School, spearheaded the project, which grew out of instal latio thet flcould convey Mr. Clough's and the
a desire to memorialize a Peter Clough, a deceased wider school community's values of welcoming and
former Global Studies teacher. embracing differejicer"
In a combined Global Studies and English course, Prior to this project, Mr.Winer also created The
Ms. Mosley Hunt and her students began studying Meredith Kamm Memorial (1998-1999), a mixed
the ways that communities memorialize people grid-- media mural in the..lobby of Watertown High School
events. Building on a curriculum from Brookline M created-in honorW a former student.
based non-profit Facing History and Ourselves, Ms.
Mosley Hunt and her students studied memorials j" ; \✓
and their meanings and paired this leorning_with an
exploration of Mr. Clough's life in orc'erto consider
how they might construct art to remember
The school secured fundingand brought Mr. .-
Winer, an accomplished public,artist, into the-
school to co-create the memorial'With students.
AP
Over the course of one month, Mr.Winer workethd t„J
with students in Ms. Mosley Hurit's class and e
school's art classes to develop the memorigl to Mr. /� �"� i 7
Clough. In Ms. Mosley Hunt's clan room,students + t
brainstormed there e\s, ideas, and imgges with
Mr.Winer, and cohsid'ered questidn�of intent, ti�
message, audience,'a4medi,um.-Eventually,they t i ', s may. •�
settled on a globe-like structure; ringed by a series � I
of plates, each of which symbolized a value that r`*�1�
Peter held and tried to inculcate in the school.
Figure 1: "Peter B.Clough Memorial Mobile."Watertown
Middle School.Photo courtesy of Joshua Winer.
Watertown Public Arts Master Plan 53
MAPC
Case Study 2
Ruth K.Henry.
"The Time Is Always Right."
2018. Exterior paint, aerosol/stencils, ceramic tile, cement backer board.
Watertown Boys and Girls Club,Watertown MA.
Genesis of the Project I Putting Principles Municipal and Inslitutional Support:
of Nonviolence into Practice:
Ms. Henry began,by asking a police lieutenant
This multimedia mural project,spearheaded by who had completed Ki'hgian Nonviolence training
lifelong Watertown resident and local Middle School to meet with'the'directo\of\the Boys and Girls
teacher Ruth Henry, represents an example of a Club, Renee Gaudette. Ohce'sre had secured Ms.
privately developed, sited, and funded project that Gaud�ette's approval, Ms. Henry'coordinated the
functions as public art because of its prominent rest'of her efforts through the Watertown School
outdoor location near Watertown's civic core. superintendent,jn the hope that the school
The project stemmed from Ms. Henry's
yetem could fufnction as a hub for the project.
Frorn�there�,she proceeded to secure support
involvement in the local Kingian Nonviolence from the Recreation Department, which oversaw
Coordinating Committee, which runs a progr�fi'r�, the basketball;court adjacent to the mural site,
to train Watertown residents and Town staffn ' ---,--as well as the.Police Department. Even the Fire
Martin Luther King Jr.'s principles of nonviolec.
(involving
artinent participated:they hosed down the wall
According to Ms. Henry, her intent with this eparation for installation.
project was to translate the momentum from th
Committee's programming into'a participatory Henry also recognized the importance of
mural that represented Dr.King's six principles of cultural institutions and community-based
nonviolence. She began,bjrselecting a/site: a blanknizations to extend the project's reach and
wall along the basketball,cou,rt of the Watertown r new, cross-sector connections. She secured
Boys and Girls Club as the`project'site, reasoning the support of both the Mosesian Center for the
that the location was a_popular destination for the Arts and Hatch Makerspace, both of which agreed
local teenagers whom she hoped,to'involve in the to host tile-making workshops for the project.
project. i \\ \ The Mosesian Center integrated its workshop
\ with its free Family Fun Day, while Hatch hosted
To bring,her.vision to life, Ms� E�'�nry developed a three workshops—two for tile making and one for
creative concept—a participa ory mosaic mural mosaic-making. Each organization contributed in
composed of\�abd-painted ti es that reflected
other ways,too:the Mosesian Center did all kiln
individual interpretations of Dr. King's principles
� firing for the project, while Hatch opened their
of nonviolence.Td,corhp�ernent the project's
space to the mural crew for a handful of additional
participatory ethos, slle designed a strategy mosaic building sessions and stored mural
intended to bring together key institutions and
departments in Watertown, create multiple panels in their space.According to Ms. Henry,
the experience "brought the two organizations
entry points for meaningful and creative public together" in a new way,fostering connections in a
participation, and include activities for people of somewhat fragmented cultural landscape. Hatch's
all ages.The entire project took approximately one involvement also helped broaden participation in
year,with approximately six months devoted to the project:they publicized tile-making workshops
conceptual development and outreach, and another and recruited workshop participants, including
six months devoted to implementation. residents of a local elder-care facility.
54 1K
MAPC
Figure 2:The completed mural at the Watertown Boys and Girls Club.Photo courtesy of Ruth K.Henry.
Participatory Engagement'and Design:
I Over nearly six months, Ms. Henry collected
contributions from institutions and organizations
across Watertown Adults enrolled in a local anti-
racism class,stdents at the Mosesian Center, and
r students at/Watertown Middle Schooi'and High
f� School al(designed stencils and tilesfopthe mural.
The rnural's execution was similarly participatory:
middleand,high,sc ool students, as well as adult
volunteePs ail"helped prepare the wall, paint the
install mosaic panels. By the time
final mural,
y \ of the project s\Fompletion, Ms. Henry had engaged
12 towmdepartments;and organizations, including
over 400 residents ages 2-100 in its creation.
h r rJ At the dedication-ceremony, Bernard Lafayette,
a leader of the Student Nonviolent Coordinating
Committee and a contemporary of Dr. King, spoke
alongside the family of someone who had died on
tho,basketball court—a reflection of the project's
Figure 19:Closeup of mosaic in the finished mural.Photo deep resonance and reach.
courtesy of Ruth K.Henry.
Several interviewees cited Ms. Henry's project
as an example of what a successful public art
project could look like in Watertown. In their
remarks, interviewees remarked on Ms. Henry's
multifaceted approach to engagement: she secured
k, key commitments from local organizations and
Town staff, generated meaningful opportunities for
a diverse cross-section of Watertown residents to
participate, created a work of art that resonated
II with progressive community values, and amplified
the site's importance as a gathering place.
Figure 20:Workshop participants designed and painted their own tiles
that reflected their interpretation of Dr.King's principles of nonviolence.
Photo courtesy of Ruth K.Henry.
Watertown Public Arts Master Plan 55
MAPC
Case Study 3-5
WPACC-produced murals
The following three case studies reflect the stories According to WPACC member Aramais Andonian,
behind three of Watertown's murals: "A Bicycle Ride the total budget for each mural—including site
Through Watertown" (AKA the Linear Path Mural), preparation, materials, artist fees,stipends
two iterations of"Tapestry of Cultures,"and "Seeds for students and maintenance—ranged from
of Change."All three projects were independent approximately,,$14,000,to$30,000.Although
ventures that the resident-led WPACC organized the Waj&r�pWn Cultural C6uncilprovided a small
within three years.Although the WPACC initiated, grant�or,the first mural ("A Bic�cle.Ride Through
planned, and fundraised for all three murals, Watertown"), most support for al(three projects
artist Gregg Bernstein notes that Steve Magoon <carrte from Iocal,businesses and individuals.
(assistant Town Manager and head of the Planning WPACC volunteers leveraged local connections
and Community Development Department) played to secure small-scale cash contributions(on the
a key role as an advocate for these projects,/ order of,$00-400) as well as in-kind donations
particularlyfor the Linear Path Mural. In ad�itipn,\ —from individuals and local businesses. For example,
the Town's Recreation Department, led by Pe ei Sherwin Willibrn 'donated paint for all three
Centola,facilitated youth involvement in each m:"urals,Home Depot provided brushes and other
project by recruiting student volunteers (studen s /equipment;and Tufts Healthcare made in-kind
were asked to provide a CV ano,submit'aformal donations to help clean and prepare walls for
application) and by developjrig agreerrl ri s that painting through their employee service program.
held the Recreation Department liable o student
participants.
- - - -,r-
IIIIIIIIIIIIIINuflll � .
-
Figure 21: `A Bicycle Ride Through Watertown."Photo courtesy of Annis Sengupta
56
MAPC
Case Study 3
Project Team: Gregg Bernstein(project director), Liana Aleksanyan, Sondos
Alnamous, Faiza Amin, Marvin Aramthip, Isabella Carton, Julia Harrington, Emily
Hart,Veronica Torres, Abigail Vershbow.
"A Bicycle Ride Through Watertown."
2013.Acrylic paint.Watertown Linear Path between
Whites Avenue and Waverly Avenue,Watertown MA.
Genesis of the Project I Planning for the Youth Engagementin,Concept
Watertown Community Path Development;
In 2010, a group of five students enrolled in Tufts Other than a,general desire to d.pvelop the mural
University's Urban and Environmental Policy and through a;community-engaged process{the
Planning Program produced a report with guidelines Committee,did not mandate a speciific theme,
and recommendations for a proposed, multi-use concept or medium.To this end,the WPACC's
Watertown Community Path.Although the report agreernent,with,MT:Bernstein gave him freedom
did not include a specific recommendation for to determm�ethe'artistic expression, design, and
integrating art along the path, one of the authors,, materials of'the artwork, and simply specified that
Eric Giambrone, mentioned the idea to WPACC ho-meet with local high school students as early as
members Deborah Peterson and Janet Jameson. possible-in_the schematic development process.
(Both Ms. Peterson and Ms.Jameson were also Mr. Bernstein's began by giving a presentation at
leaders of two other local groups with an-interest WatOriown High School, which inspired several
in the project:the ad hoc Bicycle and'pedest-rian students to volunteer for the project. Donna Calleja,
Committee and Watertown Citizens for Pea'be,l re\high school art teacher, also helped recruit
Justice and the Environment.),MszPeterson}ar�d students to join the core project team. In order
Ms.Jameson subsequently b(rodght the idea to the -- to rJtigate the Committee's liability for student
attention of Danielle Evans, a st�f)lme.mber in the-- _pp ticipants,the Town's Recreation Department
Watertown Department of Planning anq'Community facilitated a formal process by which students could
Development and secured_permissior for mural apply to join the project team.
project from the,owner of a 207 foot cobcrete In 2013,the Massachusetts Cultural Council
service wall along the path. `��
� granted the project a Gold Star award for
Permission in'tlarid, Ms. Peterson nil Ms.Jameson community engagement.
teamed up with\rrnprnbers of the nas,-ent Watertown
Public Arts and Culture'Committbe to organize
a request for proposalsJor a community mural,
which they sent to a targeted,list of local mural
artists. Intrigued, Mr. Bernstein applied. Although
he was less experienced than other applicants,the
Committee selected him based on his experience r
working with young people and the quality of his
previous artistic work.
Figure 22: 'A Bicycle Ride Through Watertown."
Photo courtesy of Annis Sengupta
Watertown Public Arts Master Plan 57
MAPC
Resident Engagement and Input Leveraging Local Business Support
To gather public input,the project team set up In order to support the project, WPACC members
boxes around town with a questionnaire. Reasoning secured grants from Watertown Savings Bank,
that the mural's audience would primarily be Belmont Savings Bank, Watertown Community
Watertown residents,the project team asked Foundation,Vanasse Hangen Brustlin, Inc. (a
people to share what they wanted to see in a mural Watertown-based engineering firm),The Hamilton
about Watertown, as well as what they loved about Company(a local developer and owner of the
the town.They received 1,000 surveys, but the mural site),Sasaki Associates, and $950 from
responses were, in Mr. Bernstein's words, "all over the Watertown Cultural Council.The Town did
the place" and difficult to analyze.After the survey not provide financial support for the project.The
had closed, Mr. Bernstein took reference photos of total project budget w"t$14,000, which included
everything that respondents had suggested,from a $10,000 artist's,fee,for Mr. Bernstein and
"the buildings on Arsenal Street"to "the Girl's field approximately$,2;000\\earmarked for maintenance.
hockey team." Student participahts,did-not receive stipends for
their work�on;,t 'is project.��
Thematic and Design Development
Maintenance %
Based on this research and engagement, Mr. At� i'
Bernstein developed a schematic proposal for i;he1outset of the project,the Committee and
the mural, which he submitted to the WPACC for Mr. Berstein established a written agreement
review and approval. Eventually,the Committee, that delineated Mr. Bernstein's responsibilities
chose a theme that they hoped would enco /pass---,,for routingmaintenance of the mural.This
everyone's suggestions: a bicycle ride throug, doeument stipulated that Mr. Bernstein would be
Watertown. Next, Mr. Bernstein revised his. responsible for routine repairs to the mural within
schematic proposal into a detailed design prop sal pne year ofthe project's completion at no cost
for review by WPACC.The agreement between M� to the Committee. It also specifically limited Mr.
Bernstein and the committee'specified��th�t this �� Bernstein's responsibility to repair damage due
proposal should include graphic materi'ale and \to acts of vandalism and acts of God. In addition,
written specifications, a;description of/installation the Committee established a separate agreement
methods, a prefabrication,Cediew oarr.ied out by____ / to address vandalism.This contract, which was
an art conservator provided'by the Committee modeled on an example from the Cambridge Arts
at its discretion;a plan for,routine maintenance, Council, stipulated that Mr. Bernstein would be
a list of Cor6T am mernf�ers,,andad atailed responsible for covering the first such repair for
budget includ�g but not limited to estimate free; after this point,the WPACC would be obligated
for materials surface prepay tiro,fabrication to pay$1,000 for future repairs.Since the project's
and installation, and artist fe�, nd a timeline completion in 2013,the WPACC has hired Mr.
demonstratingtliat the Art/. rk can be completed Bernstein three times to remove graffiti and repaint
within the scope,of tlge comm ission. the mural. Funding for these repairs has come from
\ \' // the project's $2,000 maintenance fund.
According to Mr. Bernstein,the overall design
process revealed some issues with the WPACC's Given the targeted nature of this vandalism,
fluid approach to curation.Various members of Committee members suspect that the person
the Committee had differing opinions about which responsible took issue with specific content, likely
elements and local imagery to include in the based on a personal dispute with an individual
final design. In the end, Mr. Bernstein revised his depicted in the mural.The mural's relatively
sketch three times. Finally,the project was ready secluded location may also have made it an
to execute. Over the course of seven weeks that appealing target.
summer, Mr. Bernstein and the core project team
transformed their interpretations of Mr. Bernstein's
reference images into a 7-foot high, 207-foot long
mural on a blank wall along the path.
58 1K
MAPC
Y= -
Aol
� I ,1 i` �, �I •Aye '� 1}ir � ti. ' '��l��.•,` t- e
14
rry
4•��,',r''�7�'t -`f_ k_:..` S-.9�.. � : - .ts � `^ _ -_��,T ,a'7^�� `z'ai',c
�� � „yam.` � K`��• S� a;��.
• is ra�rvLa ai{' Eli
�M'r. '' ' ,+ ,r ` ��I 1�tI ,`• �� .1. y _ l _ -
�ta
Case Study 4
Project Team: Gregg Bernstein(project director), Aaseia Ahmed, Liana
Aleksanyan, Marvin Aramthip, Katy Bedig, Caitlyn D'Amico, Brianna Hache, Julia
Harrington, Emily Hart, Sedra Katerji, Alain Mondesir, Svetlana Sheehan, Abigail
Vershbow."Tapestry of Cultures."
2014.Acrylic paint. Baptist Walk,Watertown MA.
Genesis of the Project I Youth From Public Scho6l:to Public Space
Engagement in a Two-Phase Process
The team's goal,/according to Calleja, was to
As with a "A Bicycle Ride Through Watertown," create a work.6f publcart that would celebrate the
Mr. Bernstein collaborated with a group of local identity of the,Watertown community as one that
students to conceptualize and execute this project. is welcoming to, and benefjts from, differences.
Mr. Bernstein and the WPACC developed the Building on their work in the (igh,school, Ms.
project in two separate iterations, beginning with a Calleja, Mr. Bernstein, and the students decided
modular installation at Watertown High School and Ito translate their,aesign to public space by
culminating in a large-scale mural on a blank wall in establishipg a mural that could be a welcoming and
the heart of Watertown Square. visually appealing gateway to town. First, however,
The project grew out of a conversation that they needed a location.
�` 'In_kee in w th their vision for gateway,
Watertown High School art teacher Donna Call��'1a�- p� g� l� g Y,
had with students about what ideas were uni ua -Committee members met with local property and
to their community. In the spring of 2014, Calleja\ business owners to identify a suitable site. Lexus
reached out to Gregg Bernstein and-invited him of Watertown, located on Arsenal Street near
to begin to explore this theme4ith a-grou.p of the intersection of School Street, had a prime
interested students throu�gh`a;visual ar1w rk for an Virould
lcation along a busy thoroughfare, but Committee
exhibition at the high school's library. embers were concerned that the proprietor
/ desire too much oversight of the mural's
Through a collaborative process l9dby Mr.---
�� � content. Eventually,the Committee approached
Bernstein, students envisioned a concept that local property owner Myer Dana and Sons about a
would weave Watertowin's divei`se cultures into
-- \ �. blank wall facing Mt.Auburn Street at the gateway
a tapestry-like.motif.They began�y\researching to Watertown Square, reasoning that the location
WatertoWn's cultural communities,supplemented
would afford the project team more creative
their research with ideas collected from the
\ freedom.The space was not perfect: its proximity
Linear Path mural public eng6g ment process, to an active parking lot presented the potential
and developed 11 magery that/Mr. Bernstein could for damage from vehicles. However, its prominent
translate into a`mufal design:Throughout the location near Watertown Square presented the
spring,students worked under the auspices of an
perfect opportunity for the WPACC to realize their
after-school program`to Translate Mr. Bernstein's gateway concept.Working full-time over two months
design into a series of panels that were assembled during the summer of 2014, Mr. Bernstein and a
into a modular mural.The mural, which was team of 12 students—many of whom had worked
installed in the High School's library,served as a on the mural in the High School library—translated
study for an outdoor mural that eventually took their tapestry concept to the wall.
shape in Watertown Square.
60
MAPC
i
1 • ' # i.i is ir1 _ —
� � , ■ Y} .i� a lii:, ,. ..
Figure 8:"Tapestry of Cultures,"Baptist Walk, Watertown.Photo by Anthony Pelton.
Securing a Major Grant to Spur Local
Support
_ Building on their ward for the Line r.,Path Mural,
! the WPACC secured a $15,000 grantfiam Fund
• for the,,Arts,New England Foundationf6r the
Arts'$ublic art progr,.a/ to support"Tapestry of
_ Cultures:"This grant allowed the Committee to
amass more funding for their second mural.As
with the Linear,Pk Mural, local companies and
Qrganizations prbvidbd financial support. In addition
�to MQ60 from AthenaHealth,the Committee
secured donation8 from Watertown Savings Bank
\(�3,500),the Watertown Community Foundation
r�$2,500), and the owner of the mural site, Myer
___ _ •� an and Sons ($2,000).All told,the budget for
stry of Cultures"totaled $31,000—more
-thah'twice as much as the budget for the WPACC's
-first mural along the Linear Path. In addition to
dedicating a line item for maintenance in the
project budget,the WPACC offered small stipends
—- for student artists.These ranged from $274 to
$880, based on the number of hours of work, and
were distributed in two installments throughout
the summer. Mr. Bernstein received an artist fee
- of$16,000, distributed in three installments of
$3,000 each, plus a final payment of$7,000.16 As
with the Linear Path mural,the project budget also
included a dedicated line item for maintenance.
Figure 26:"Tapestry of Cultures."Photo courtesy of Annis Sengupta
16 Income and Expenses for Summer 2014 Mural Art Project,September
17,2014.Document courtesy of Janet Jameson.
Watertown Public Arts Master Plan 61
MAPC
Case Study 5
Project Team: Gregg Bernstein(project director), Aaseia Ahmed, Faryal
Amin, James DeRocher, Sara Fulton, Brianna Hache, Julia Harrington, Emily Hart,
Svetlana Sheehan, Abigail Vershbow, Isabella Vitti.
"Seeds of Change."
2015.Acrylic paint and MDF boards.
Corner of Mt.Auburn Street and Melendy Avenue,Watertown MA.
Genesis of the Project I Highlighting
Personal Experiences of Immigration
and Engaging Local Businesses Through
Storytelling:
the WPACC ha'd'nQt secured a space for the mural.
A$2,000 grant from the Watertown Community Without a location to define the physical scope of
Foundation provided the initial funding for this their work,the project team struggled to synthesize
mixed-media project, which honored and engaged and refrne`Ahe results of their interviews into a
with the experiences of immigrant business/ cohesive q cept. WPACC members took up the
role of location'scout,talking to dozens of business
,
owners through oral histories, murals, and c ea iva g
wayfinding. Although the WPACC had developdd lagd property oVners in the Square. Eventually,
previous public art projects through close //t6e,Ccmmittee selected a site:two small, blank
collaboration with students in Watertown High ti%alls next to Uncommon Grounds, a local cafe in
School,the Foundation's grant stipulated that a ' Coolidge Square.Although the location did not
more intentional community�rigagemgnt/)strategy offer much visibility,the cafe's owner was generally
should inform both the project's conce/ tj a_I_ n good terms with the WPACC, so Committee
development process ari'd,ttie final,product.As / members felt that partnering with him would
with previous WPACC-initiated mural projects, Mr.-- provide the path of least resistance.
Bernstein worked With a tear'of local high school Building on this research,the project team decided
students to,develop theloverall c��cep\a mural that the mural should depict fruits commonly found
that reflected'local stories\of`immigration and food in Armenian and Middle Eastern cultures. Mr.
culture,'based on interviewsrith predominantly Bernstein translated their concept into a small-
Armenia n,bu�;iness owners it Coolidge Square. scale mural, spread across two adjacent(albeit
Working with\Mr':,Bernstein,students visited several less than ideal) surfaces: a low, angled retaining
businesses, including a barber shop and Armenian wall separating the sidewalk from a raised lot, and
markets and invitbO them to share their personal a refrigeration unit in the lot beside Uncommon
stories of immigration,an daily life in Watertown. Grounds in Coolidge Square. In a subsequent
second phase of the project,the students designed
and fabricated a set of fruit-shaped wayfinding
Challenges Aligning Concept and signage.According to Mr. Bernstein,the mural and
Location: signage never gelled into a coherent work, and he
regrets not having focused more on the individual
In a departure from the WPACC's previous projects, business owners and their stories, rather than on
"Seeds of Change" began on uncertain footing. the symbolic elements of their experiences.
Although the project team had identified their site
of interest—Coolidge Square's small businesses-
62
MAPC
Leveraging Community Foundation Reflections on Process and Priorities:
Funding for Private Donations
This project represented the last collaboration
In contrast to "Tapestry of Cultures," WPACC between the WPACC and Gregg Bernstein.
struggled to raise funds for this project. One Although local business owners expressed
previous major donor,AthenaHealth, had been interest in continued creative collaborations,
acquired, and the company's new leadership the project's uneven process revealed fractures
declined to contribute. However,the WPACC did within the WPACC. According to Mr. Bernstein,
manage to secure grants from Tufts Health Plan various members of the group began to gravitate
Foundation ($7,000), Watertown Savings Bank toward different artistic media and programming
($2,500), Dunkin Donuts($1,000),Toyota of priorities;some Committee members preferred
Watertown ($1,000), and Coolidge Square I, LLC murals, while others wanted'fobus on storytelling,
($1,000) (owner of the parcel on Mt.Auburn Street wayfinding, and signage/This not only complicated
between Kimball Road and Arlington Street), and Mr. Bernstein's efforts'to manage the competing
local resident John Airasian ($250), in addition desires and priorities of WPACC members but also
to the initial $2,000 grant from the Watertown made it difficult for,the gro p\toa(ign on a strategic
Community Foundation. Committee members also direction to mbve forward. �\
attempted to secure funding from local business Despite these difficulties,the proje�treceived a
owners in Coolidge Square but were not successful, 2016,awaf: for Envitonmental Preservation from
likely because of the narrow profit margins of these the Watertown I}istorical Commission.The award
small businesses. recognizes project'§that improve properties that
In total,the WPACC managed to amass a budget have fallen'ipto`disrepair or neglect.
of$14,750 just shy of the budget for the Linear/
Path mural project but far short of the budget for ����, �v
"Tapestry of Cultures." Of this, $11,000 went to
an artist fee for Mr. Bernstein, and approximately
$3,000 went to stipends for student participants.
(Students were paid at a rate of$4/hour.)Ads with
the previous two murals,the project budget al�o
included a dedicated line item for mainte/nance.-
While the project has not required any rpa,or_____
maintenance since completion,th\E pr6ppe'rty owner
occasionally trims vegetation in frohtorhe mural.
-77
Figure 4:"Seeds of Change."Pho
to courtesy
of Annis Sen u ta.
Watertown Public Arts Master Plan 63
MAPC
Appendix 2:
Summary of Outreach and Engagement Activities
Advisory Committee Meetings
The Advisory Committee met four times throughout 3. SeptemberZ019'- Meeting#3
the Master Planning Process.The group discussed • Welcome arid�)'ntreductions
the following issues at each meeting: `",/ \� \\
• Corh unity Engagement and Data Collection
1. April 2019 Kick-off Meeting /df dates \ \`.
• Welcome, Introductions, Overview to the \\ \\
i6 ;October 30,th Public Forurh,Agenda and
Planning Process Pre a.atrn
p
• Roles and Responsibilities arch Update
• Project Goals, Objectives,Scope of Wor and N �t Steps and Closing
Q&A '�.
4: December019 - Meeting#4
• Project Startup Questions \� ram►
j �Wefcorr�e and Introductions
• Data requests /
Fall Forum Recap
• Engagement inquiries -,What.are 0me
upcoming events tha�/i'py infor t e January 30th Public Forum Agenda and
process. /
Preparation
• Candidates for P of dvis9 y Committee:'- Master Plan Draft Review
who is missing? Next Steps and Closing
• What's Next__ _
• Tour'of,Arts and Cu Asse Watertown
2. Jufy\2619 - Meeting#2
• Welcbme,and Introduc io s
� � Informational Interviews and Outreach
• Vision and\Values foFPublic Art in Watertown
` To ensure that the planning team was gathering
• Engagement Strategy ran input from a diverse e of stakeholders in
p g
• Data Collection Watertown,the MAPC engagement team (Emma
• Next Steps and Closing Boast and lolando Spinola) conducted outreach
to and one-on-one informational interviews with
people who represented hard-to-reach populations
in Watertown. These conversations ensured
that diverse voices were heard and that their
participation was invited into the process. Over the
course of summer 2019,the Engagement team
contacted the following people:
64 1K
MAPC
Date Outreach Members Organization/Contact and Details
7/8 lolando Spinola Donna Calleja Former Watertown Arts Teacher
7/12 Emma Boast Saeed Pirooz at Iranian Association of Boston
7/12 Emma Boast Philippa Biggers at Project Literacy
7/19 Emma Boast&lolando Spinola A Barber Shop:5 Main St,Watertown,MA
7/19 Emma Boast&lolando Spinola Janier Barber Shop:123 Mt Auburn St,Watertown,MA
7/19 Emma Boast&lolando Spinola Molana Restaurant:5 Spring St,Watertown,MA
7/19 Emma Boast&lolando Spinola Roksana's Persian Food:509 Mt Auburn St,Watertown MA
7/19 Emma Boast&lolando Spinola C Hair Studio:8 Mt Auburn St,Watertown,MA
7/19 Emma Boast&lolando Spinola Tranquility Day Spa:15 Spring St,Watertown,MA
7/19 Emma Boast&lolando Spinola Watertown Laundromat:119 Mt.Auburn St Watertown,MA
7/19 Emma Boast&lolando Spinola John's Tailoring:129 Mt.Auburn St.Watertown,MA
7/19 Emma Boast&lolando Spinola The Comic Stop: 134A Main Street Watertown,MA
7/19 Emma Boast&lolando Spinola The Thread&Wax Bar:11 Spring Street Waterto
i
7/19 Emma Boast&lolando Spinola Sunshine Massage:15 Spring St,Watertown,
7/19 Emma Boast&lolando Spinola Starbucks:75 Mt Auburn St,Watertown,
7/19 Emma Boast&lolando Spinola Crown Cafe:106 Main St,Watertown
7/19 Emma Boast&lolando Spinola Kefi's Kitchen:142 Main St,Wate MA 02472
7/29 Emma Boast Saeed Pirooz at Iranian Associ of Boston
8/5 lolando Spinola Adrienne Sloane at Munroe Cen the
8/5 Emma Boast Saeed Pirooz at Iranian Association
8/6 lolando Spinola Anne-Marie Gagnor)-Council on Aging/ n Food Pantry
8/6 lolando Spinola Romualda(Roma)Jerome Watertown Com oundation
8/7 lolando Spinola Leone Cole,Watertown Free Public Library Dire
8/14 Emma Boast&lolando Spinola Charlie Bresitrose,Watertown News
8/14 Emma Boast&lolando Spinola Renee Gaudette and s,WatertovJRBoys and Girls Club
8/14 lolando Spinola Rebecca Margoli,Mose enter for the Arts
8/15 Emma Boast Renee Gaudet' t Waterto oys and Girls Club re:survey and engagement at 9/10 Open House
8/16 lolando Spinola Dan Hogap;News Produce tat Watertown Cable Access Corp
8/16 lolando Spinola East End Watertown eastendwatertown.com
8/16 lolando Spinola Sasaki Foundation
8/16 lolando Spinola - Stephanie Venizelos,Community Wellness Program Manager
8/16 lolando Spinola EIIe'n Wineberg and Cathleen Daley at Room 83 Spring
8/16 lolando Spinola Watertowizens for Black Lives/Watertown Citizens for Peace,Justice,and The Environment
8/16 Emma Boast Ja'p Singer Watertown Community Foundation to follow up on leads to religious institutions
8/16 Emma Boast Anne-Marie Gagnon,Watertown Council on Aging to follow up about sharing survey via food pantry
8/19 Emma Boas Seed Pirooz at Iranian Association of Boston
8/19 Emma Boast Stephen Nyakairu at Grace Chapel
8/20 Emma Boast Church of the Good Shepherd
8/20 Emma Boast Diane Murphy and Patricia Richardson of Watertown Housing Authority
8/20 lolando Spinola Alexandra Lee Executive Director at the Sasaki Foundation
8/27 lolando Spinola Alexandra Lee and Alicia Deluga at the Sasaki Foundation
9/2 lolando Spinola Watertown Citizens for Peace,Justice and the Environment
9/3 Emma Boast Ann Callahan(local activist;former Learning Center Coordinator,Watertown Housing Authority)
I
9/9 Emma Boast Jan Singer of Watertown Community Foundation
9/9 Emma Boast Ruth Henry(local artist and teacher)
9/9 Emma Boast Chantal Zakari(local artist)
9/10 Emma Boast Ora Grodsky of Watertown Community Conversations
9/11 Emma Boast&lolando Spinola Susan Kuder of World in Watertown
9/12 Emma Boast Gregg Bernstein(local artist)
9/13 lolando Spinola Tony Palomba at Watertown Citizens for Peace,Justice and the Environment 65
9/13 Emma Boast Sue-Ellen Hershman Tcherepnin and Philippa Biggers re:Project Literacy
Pop-Up Engagement Strategy
During the summer of 2019 the MAPC team and Collateral:
members of the Advisory Committee reached out Zer�Z
to the public at popular events throughout the WPACC be�an
Town of Watertown. Popping up at these events • Boa rdsand'easels`,,
helped attract potential new stakeholders to attend �J �, �.
the Public Forums and encouraged them to stay Pji�te�l/bound WPACK'Kit
engaged in the process after the completion of the / \
p p , Surveys in English, Spanisfi;",Portuguese, and
Plan. ,Pashtu
During these pop-up engagements residents were \• \First foryrri event flyer in English,Spanish,
introduced to the WPACK kit and were asked to fill Portu Oese, and Pashtu
out a survey which was based on that kit to convey \ <
• Sign-Op sheet for Public Arts Master Planning
their priorities for their preferences and locations, \
for public art within that neighborhood. \ Process as well as the Watertown Public Art
--Comm�te�e�
Half-sheet flyer with general information
Pop-up Station Design \' about the process, a timeline, and link to sign
--� up and learn more.
Whenever the engagementleam poppd/lup at an
event,the following elem� is were us, d to create a
welcoming environment\fo Engage tf�e public: - Locations for Pop-up Engagements
- ` <; During the summer of 2019,the Engagement Team
Materials: -- \ and Advisory Committee members popped up at
;/' the following locations to distribute information and
• Cafd table,table cloth,a" d ch\,airs engage people in the Master Planning process:
• P07up,tent(optional)f r hade
• Paperw s and to r collateral
Set up for the state,
• Table and chairs set up
• Tablecloths
• Hang or place boards on easels
• Signage/Banner
• Survey packet on table
• Postcards and sign-up sheet on table
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MAPC
Surveys Translation of Surveys:
Surveys were inspired by the WPACK Kit, Surveys were translated into Spanish, Portuguese,
offering a way for the public to provide and Pashtu.These languages were chosen because
feedback on the types of public arts that they are the most popular second languages
they would like to flourish in Watertown. spoken in Watertown High School.Although the
The surveys also inquired about people's translated surveys may have signaled an openness
preference for the areas where they would to ideas from all Watertown residents, no filled-out
like these artistic practices to be located, surveys were received in any language other than
and collected basic demographic information English.
to ensure that survey respondents reflected
Watertown's demographic diversity. Over the
course of the planning process,the project Promotional Materials'
team collected 440 survey responses.To
To promote the PubJI6 Forums, promotional
learn more about the results of the survey, materials were distributed`at the pop-up events.
see Appendix 4. Content was deVel6ped by MAPC'in consultation
with the Advisory Committee, and,tte�design
was cornoleted by Advisory Committpelnember
AraaViis,Andonian%^`,
Copies`of he promotional materials may be found
below.
i N;i
t
N7lT6RTO"o •i
;. omic 4nri❑
' Lt U51VH 1EAE UTS SU � •�---� _
Figure 25:Pop-up Engagement,Summer 2019
Watertown Public Arts Master Plan 67
MAPC
Promotional Materials
�: ..�,p •S :•, ti: tl 1 .
� I
What shoul ,pu c arts in
Waterto �10 ok`\like? a
I ' . 1 1 : 1 a �e
Who is the"public"iii.public a. s?And c n we imagine new kinds of creative expres-
sion in the public realm? We want to hear from you so that we can shape the future of
publics�ar s mr ua&Eriown together.
Join the'Watertown'Public Arts, aster Plan Advisory Committee on October 30 for a com-
munity conversation a d workshop on Watertown's first-ever Public Arts Master Plan.
Light dinner refreshment'provided.Free childcare will be available upon request.
Your pant cioation is,important to us. Call 617-933-0700 for accommodations. Advance
notice(10 liusir3 ss sj is necessary for certain accommodations.
Wdaand open to the public.Please register at:
• • 1
In addition to this event,there will be a second public workshop on Monday,December 9,2019.
To stay up to date on the project and receive announcements about the second workshop,
sign up for our mailing list:maps.org/watertownpublicartmasterplan
ERT04
JK
- cgars s�J MAP C
He can we help?Lusknow.
68
MAPC
M = i
oil6ftteAt-urm,
0 I (I
I o Qn(ne:
son
Creating AThrivin
� '5 " 'ublic Arts Edvsystem
r �tWat`ertown
0.0
How can we create the conditions for public arts to When:
thrive in Watertown? January 9,2020
6 p.m.to 8:30 p.m.
What are some stratevies for desig'nii_q-an�inclusive
and democratic public arts program n d process?_ Location:
j Watertown Free Public Library
Who should be involvedzin sup ortinjAgnd carrying 123 Main St,
out th gales? \ Watertown, MA 02472
Watertown Savings Bank
Join the Town of Wategdw 's Public Arts Master Plan Advisory Meeting Room
Committee on Jlanuar�,q for a worksho� exploring how we can
shape a public arts program that speaRs tG Watertown's commu-
nity values. �/ FREE and open
You'll have the-opprrrt `ity,to learn about inspiring examples of to the public
public art,programs both here in Massac.�husetts and around the
country!You'll also engage in' mall group discussions where Light dinner refreshments
you'll have'an opportunity t�weigh on preliminary recommends- provided.
tions for how'the Town of W tehown can manage, fund, and Free childcare available up-
maintain a ogblic.arts progrpt Zarting in 2020.
Whether you're a,ne)tCorlifelong resident, a student, a teacher, a WATERTOWN
local business owner, or an artist, your input is vital and will help Public arts
inform the Town's debis'ions about how the town's public art pro-
gram will be managed and funded. 1K
Dinner refreshments provided. Free childcare and interpretation MAP C
and translation services are available upon request.
MEIROPOITAH AR[A PLAHNIHO COIl11CIL
Your participation is important to us. Call (617) 933-0713 or email
isoinola(o)mapc.ora for accommodations. Advance notice (10 1630
business days) is necessary for certain accommodations.
:RSVP s s
Watertown Public Arts Master Plan 69
MAPC
Public Forums
Two Public Forums were organized as part of the Forum#I:Vision and Values
Watertown Public Arts Master Planning process in
order to gather input from the general public. On Wednesday,,October 30, MAPC's Arts and
Culture department\Watertown's Department of
Community Development and Planning, and the
Pop-up Station Design resident-led,Watertown Publ'i�,Arts and Culture
Comp�ittee (WPACC) co-hosted the first of two public
Whenever the engagement team popped up at an forums on the Watertown Publib-Arts Master Plan.
event,the following elements were used to create a IheJorum drew 74 attendees who participated
welcoming environment to engage the public: in hands-on activities,facilitated dialogue, and
creative brainstorming sessions designed to
generate discussion about the future of public arts
Materials: in Watert(5wn.'In addition to local artists, educators,
nd advocates the attendee list included six of
• Card table,table cloth, and chairs Watertown's,nine Town Councilors: Lisa Feltner,
• Pop-up tent(optional)for shade \Anthony Donato, Caroline Bays,Susan Falkoff,
\ ,;'Anthony Palomba,and Vice President Vincent Piccirilli.
• Paperweights and tape AWllater' I
The evening kicked off with a presentation by
\\ epresentatives from the Town, WPACC, and MAPC,
Set up for the station• as well as a series of informal talks from local
artists. Middle School Spanish teacher and artist
• Table and c ' set u Ruth K. Henry shared the story of developing
• Tableclu a participatory mural at the Watertown Boys
and Girl's Club, while artists Mike Mandel and
• Hang or place board easel Chantal Zakari spoke about their practices as
• Sigrta�e/Banner public artists. Participants then joined a series of
\ breakout discussions and activities, including a
• Survey-packet on table creative mapping exercise in which participants
• Postcards and aigri up'sheet on table shared personal memories of significant places
\ in Watertown and a facilitated discussion—
complemented by emoji sticker voting—designed to
build consensus around core values for public arts
in Watertown.
70 ,
MAPC
Forum #1
Agenda:
Goals: Audiences
• Demonstrate why Watertown needs a Public • Artists and other creatives who could make or
Arts Master Plan. have input into public arts opportunities.
• Create an engaging space to envision public • General public who have been engaged
arts opportunities in Watertown. during the summer poi ups.
• Generate interest and enthusiasm about Community leader's including city officials,
engaging with public arts and artists. heads of local)nonprofits and other
• Connect with people who would not ordinarily organizations locatetl.,in`Watertown.
participate in a public arts planning process. v
• Collect information that will inform the Master `
Activities.,
Plan - and the eventual public arts program -
as it goes forward. Mentgry,Maps�
Objectives Inspired'by a\participatory mapping project
designed by\N 6v York-based exhibition design firm
• Shared preliminary results about residents' -Local Projects and nonprofit City Lore, participants
public arts interests and shared feelings wereInvited to rePlect,en personally meaningful
about the Town's current collection of public \pla es,and people in Watertown. Participants wrote
arts. reflections on,pieces of translucent vellum and
• Created opportunities for people to provide pinned these to an abstract map, approximating
input on the kinds of public arts theybvo'Id he0ocation in which that memory took place.
This\activity helped shape recommendations for
like to see throughout Town, ) po eritial locations for public arts and programming,
• Facilitated interactive break-outsessions as,Vdell as recommendations guiding the program's
that encourage participants to e)(/Pand their curatorial direction.
imagination of_public arts' possibilities
and envision'public-arts opportuni '- in
Watertown. ; �' Refining Values
• Creat d a space for meanin f I conversations This activity invited participants to collectively
where MAPC's.erves as a cc veer to elevate develop a list of values that could inform
the expertise,oflocal peopl who have recommendations for funding sources,
the capacitytddedelop more/public arts management structures, decision-making
opportunities. \�' processes, and programming priorities for public
• Refined values for the`"�'ublic Arts Master arts in Watertown.The activity was structured to
Plan. facilitate a dialogue to refine a set of values that
the Advisory Committee had started to envision,
and to create opportunities for people to express
their feelings about each idea.
Watertown Public Arts Master Plan IK 71
MAPC
Forum #2
Getting it Done: Creating a
Thriving Public Arts Ecosystem
in Watertown Audiences
On Thursday,January 9, 2020, 54 people gathered • Community leaders including city officials,
at the Watertown Free Public Library for Getting it heads of local non-profits and other
Done: Creating a Thriving Public Arts Ecosystem organizations located in Watertown.
in Watertown.The second and final of two public Z1'
• Artists and other'creatives who could make or
events to inform the development of the Watertown have input into public art opportunities.
Public Arts Master Plan,this event invited those i
who live, work, and play in Watertown to learn • General public who was engaged during the
about strategies for developing a successful public Master Planning,process.
arts program. • Representatives from:ldc�l social service
'provider organizations.\
Goals i�
l�ctivvities,• !
Create opportunity to share knowledge on
how public art programs generally operate, Due\clos�coordination among Watertown's
and their goals and objectives. Department of\Community Development and
• Share back what we heard (from Oct 3 lanning,the,.resident-led Watertown Public Arts
about values that are important to guiding i;he aster Plan A�Visory Committee, and MAPC
establishment and implementation of a p bl'c staff,the meeting drew a mix of artists, local
arts program in Watertown.' ` \ eaders, educators, and other residents to envision
,. , the staffing, decision-making structures, and
• Create opportunity for people new and
I engagement strategies necessary to create a
returning to this project to provide rieaningfu uccessful public arts program.
input on draft recomm ndatiohs.
The event kicked off with remarks from Watertown
Town Council President Mark Sideris and a brief
presentation from Jenn Erickson, Director of Arts
and Culture for MAPC. Participants then engaged
Objectives in guided,small group discussions where they
• Pa'rticij�antfeedback (c ments, brainstormed and explored approaches public
suggestions)on the dr ft ecommendations arts administration, staffing, and decision-
to guidebur7cvisions. ;� making; shared ideas for continued community
\ \, ;, \ engagement, and envisioned what success would
• Communication of the Town's next steps look like over the next five years.
(finalizing the plan with the Advisory
Committee, presenting it for Town adoption,
and Town Council request for starter funding
to implement first year activities).
72 IK
MAPC
Appendix 3: Copy of Public Arts Interests Survey
,A&S .1
j
12tsr �
WATERTO �Rr°�ti isau
Public Art Ivi S b .u.roay...e.n..MAPC,,,.c.
PUBLIC ART IN T ESTS SURVEY: TELL US WHAT YOU THINK!
The Town of Watertown i',working with local consultants to develop a Public
Art Master Plan to guide implementation of the Watertown Public Art &
Culture Committee's work., Established as an ad-hoc committee of the Town, the
Com I\ eJs working to integrate artworks and the ideas of artists into a
variety o�,public settings for the benefit of the people of Watertown and
visitors to the community.
In 2018, the Committee published the Watertown Public Art and Culture Kit
(WPACK) in order to generate ideas and support for public art. The Committee
seeks your input on how to put the ideas and inspiration captured in the
WPACK into action. Please take a moment now to complete this survey and
tell us about the types of public art you hope to see more of in Watertown!
Watertown Interests. .
Watertown Public Arts Master Plan 73
MAPC
WATERTOWN PUBLIC ART
Public Art iv astez kiiii. INTERESTS SURVEY
INSTRUCTIONS
This survey reviews different types of public art that were highlighted in the
Watertown Arts & Culture Kit. What types of public art are you interested in
seeing more of in Watertown?
1. On each page, review the images below each jading as you consider
each type of public art.
2. Use the scale next to each heading to indicate your interestin,hdving that
type of public art in Watertown.
3. At the end of the survey, tell us which page'of/examples most interests you
and help us document existing-art in Watert+�wn
4. Return your completed survey tb the WPACC-Committee member who
handed it to you or drop it in t e WPACCbbx:&the Watertown Public
Library.
5. Sign up to/b(�notified,/W_en findin, re shared at a public Watertown
Public Art 1N�rksho -the-fal
www.maac.ord ertownaublicartmasterDlan.
PIrAddress
7or
llowin ormation to help us track engagement:
ZIP Code
Do � your home? ❑ Rent ❑ Own
Househo,d lnfo,(p ease share the number of people in your household)
# Age`D•19 # Age 20-40 # Age 40-65 # Age Over 65
. gg
How do you Identify Yourself? (circle all that apply)
White African American Asian Hispanic/Latino Other
What languages) do you speak of home? (circle all that apply)
English Spanish Pashtu Portuguese Arabic Other
rrrow
8 i
Watertown - - Survey
M A%P --�
16J
74
MAPC
I
Public Art and Events
How interested are you in having each type of public art in Watertown on a
scale of 1 (very uninterested) to 5 (very interested)?
Very uninterested Very Interested
Memorials 4 O
t! v
Outdoor Very uninterested <\ Very Interested
Sculpture
Murals Very uninte��ted �� Very Interested
D,
K
Events and \Ver\y/uninterested Very Interested
Performance Q Q
�crto
Watertown Public Art Interests Survey 3
+ers s�
Watertown Public Arts Master Plan 75
MAPC
Streetscape Art IFIFIF
How interested are you in having each type of public art in Watertown on a
scale of 1 (very uninterested) to 5 (very interested)?
Art in
Very uninterested Very Interested
Transportation 0
LL
Art in Very uninterested /�/ � `Very Interested
Wayfinding
1 2 \ \. 3 /�' 4 S
Q .. j
IIAtDENWALKS
Art In Vefy umntereste \ \ Very Interested
i \
3 4 5
Furniture `� 2
Alt
y
V 'ry,Jrlinterested Very Interested
i Art n � ,
Sid ewalks\\./,/ 0, 2 3 4 5
MM
°G
0
Watertown Art Interests
Survey
76
MAPC
Sensory Art Irlwir
How interested are you in having each type of public art in Watertown on a
scale of 1 (very uninterested) to 5 (very interested)?
Interactive Very uninterested Very Interested
Art o --c 4 o
AYt1St1C Very uninterested Very Interested
Lighting
Art With Very uninterested Very Interested
Sound 1 \ O
I
SOC1a1` \` , Very unintere ted Very Interested
Practice�t. 1 Q Q ® 0
1
Alm •1 - - -�
(Art focused on engagement through interaction and civic dialogue.)
4[{ip
. Watertown PublicInterests
Watertown Public Arts Master Plan 77
MAPC
Architectural Art Irr 1W
How interested are you in having each type of public art in Watertown on a
scale of 1 (very uninterested) to 5 (very interested)?
Art in Building Exteriors
Very uninterested /�� Very Interested
® 0
Art in Building Interiors/ ---
Very uninterested ��\ ' Very Interested
Q 12
Lime
Ar6*n Fences � Barriers
Very u nterested Very Interested
mm
s
cvo�
MP
6�
Watertown Public Art Interests Survey
78
MAPC
Which page of examples are you most excited about? (check one)
❑ Public Art & Events ❑ Art in Nature
❑ Streetscape Art ❑ Architectural Art
❑ Sensory Art
THANK YOU FOR COMPLETING
THE PUBLIC ART INTERESTS SURVEY!
For more information about this project, please visit.
www.mai3c.orq/watertownDublicartmasterplan
Are you (check all that apply):
i
❑ An artist? \`
Artistic Discipline Contact Info
❑ A representative of an arts or cultiural-organizatio
C>raanization Contacfi Info
❑ A resident interested in art1 and cult 71'�
o
<�
❑ Other? Please De tribe'
What arts/,or cultured'ssets sh uld we include in our inventory?
Please"Include the name and locgtion of the asset and a short description of
why it'-shou\be included.
OERTp
WATERTOWN � r �s:
M A PC
Public Art Master Plan
�gRTS&LJ
Watertown Public Arts Master Plan 79
MAPC
Appendix 4:
Public Arts Interests Survey Summary of Findings
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Watertown Public Arts Master Plan , 81
MAPC
Appendix 5:
Program Design Case Examples from Forum #2
This is a sample list of public art projects and initiatives administered by public art programs in other
jurisdictions that align with the Watertown public art values.
Aligning Value: Aligning Value:
Bolster Creativity in Community Life Center Local,Coritext and Identities
in Engaging with Watertown's Past,
Topic: Providing Professional Development and Present andFuture\
Funding Support for Emerging Artists
Topig:, liciting Calls for A?t,that Honor History
and the Curren Experience
Program Name: Public Art Bootcamp
Place and Dept. Name:Seattle, WA:The Office of \, ;
Arts & Culture (ARTS) ProjeciWatrie: Call for a 2D Work of Art for a City/
Countyy uild.ing
Overview:This program is for emerging arti is
-Place: City oaf Brookings, South Dakota
looking to become more engaged with publi � � ,
art, creating culturally relevant artworks whic \� `-Overvievv:The Bookings Public Art Commission,
resonate with city populations.The city provide a\ ,partnership with the City of Brookings,SD, has
"boot camp"that aims to help prepare-artists w o /,released a Call for Art seeking an artist to design,
are interested in working in t�hi public.,re�lm.The fabricate and install 2D artwork in a public area of
program also commissioned 14 tempera public the shared use City/County building that honors
arts projects for the surn,6f of 2018,� he history, cultures, and current experience of
Value of the Award:Attehdees may Brookings County,SD residents.
attend the -
camp at no cost. Upon completioR,6f the program, Value of the Award: $10,000 commission.
artists are provided with accessJo's ipends to
commission their own projects. Selection Criteria:The Call is open to all artists
residing in South Dakota or in a neighboring state.
Selection Criteria: Not eligi lei f the artist has One artist will be selected based on their past work
received',qnyypublic arts awa r more than $5K. which exhibits style and materials appropriate to
\\ the site,the artist's biography, recommendations,
and a strong letter of intent.
82
MAPC
Aligning Value: Aligning Value: /
Foster Diversity and Interaction Make Connections W,Nature and
Sustainability�//%
Topic:Collaborating with Public Schools for \\
Creative Youth Development Topic: Celebrating an Underutillized Greenway
with Performances and Public r�
Program Name:The Urban Arts Fund (UAF) i
Place and Dept. Name: Denver, CO: Denver Public Project,Nsm j oor�asquatucket River Greenway
Arts
Art
Overview:The Urban Arts Fund (UAF) is a graffiti Pace: Provi e.nce,,\RI
prevention and youth development program that verview The Cityof'Providence Department
"provides access to positive, creative experiences of Art;Cultufe-+Toulrism, along with cultural
for youth and transforms dilapidated areas into artners staged-a'series of public art projects and
well-tended and active community gathering, performances along the Greenway, highlighting the
spaces."The program focuses on t15e preventign potential for a permanent linear art park connecting
of unsanctioned graffiti through.the'creaticnof d'Qwhtown to emergent arts institutions and diverse
culturally relevant murals by,local'artists with resid8ntial neighborhoods.
local youth. Lead artists (adults) must ino(tude_
programming for youth developmontand' Value of the Award:The City has made (2)
engagement in their,projects., \
awards of$7,500 each for site-specific public art
j v� A installations on the river.
Value of the Award:Ranges frorh42,00.0 to,,
Selection Criteria: RFQ process - https://
$8,000. \ '� artculturetourism.com/rfq-woonasquatucket-river-
Selection Crlteria;Jhe program is§o0en to all greenway/
artists but gives'preference to we�l-planned
youth development'and\Community/engagement
plans,first time applicants;;aswe(] as projects in
neighborhoods with few or\,Tro UAF murals.
Watertown Public Arts Master Plan 83
MAPC
Aligning Value:
Solidify Commitments to the Public Arts
through Stable Funding Investments,
Policies, and Partnerships
Topic: Building Art into Public Infrastructure in
Partnership with the Local Business Community
Program Name:Art in Public Spaces
Place and Dept. Name: Mill Valley, CA:Arts
Commission, which is staffed by the Recreation
Department
Overview:Art in Public Spaces is a program
designed to incorporate functional and
infrastructural art to public and natural spaces
through the transformation of everyday objects.
The project is divided into five main programs:
the Sculpture Program,ArtBox,Art Benches, Little
Libraries Project, and the Public Outdoor Ping Pong
Table (POPP)with decorative murals.
Selection Criteria: Selection prioritizes beapti d
organic design and benches made from
environmentally sustainable materials.
Funding Source:The project stprted With an an \ual
budget of$22,000 that has been allo ati d by thA
City. Organizers are also rjaising matchi gKnds \�
from a variety of sources. __--__ ;
Value of the Award: $500 for gn,ArtBo-X.Benches
are purchased by donors after,designs have been
completed and approved the Arts 6�Cnmission
through and op call.\
84
MAPC
Appendix 6:
Summary of Watertown Public Arts Collections
Documentation of Current Public Arts Public Arts in the Public Realm
Collection
Public Arts in the Public Realm is the primary focus
Broadly speaking, public arts in Watertown fall into of the Watertown Public Arts & Culture Committee,
three categories, each with different implications and their work has generatpd,O>number of new
for partnerships,funding, and coordination with a installations that build oji h.e'existing public arts
town-led public arts and culture program: and culture assets in town�i.ncluding the ongoing
Summer Concert Series t4af'brings free outdoor
music performances to Saltopstall Park during the
summer months; \
• Public Arts in the Public Realm includes
arts in Watertown's public streets,sidewalks,
paths, and open space, encompasses the
town's arts and cultural events, murals,
artistic wayfinding, and monuments and \
memorials.This category is the primary foc s'_.,
of this plan.
• Public Arts in Public Buildings encompasses %
architecture and decorative arts in public \
buildings, and art collections and installations `
managed and led by public ehtjtresin lining \
the Watertown Public LibX6�Tand the
Watertown Public Scheols\ j
• Public Arts in Privately-owned Spaces and --
Buildings includes-interior murals in private
buildings acQessible_to the_public, murals
commissjonedby develbpeesor pro�erty
owner,for/privately-owne�d�bu'i�dings,and
events'apd'festivals managed and run by
private arts,and culture org � i)ations or
individuals.
Watertown Public Arts Master Plan IK 85
MAPC
Murals
The murals and wayfinding elements generated by
the WPACC have demonstrated the impact of public
arts and community engagement.The three murals
completed with oversight from the WPACC highlight
important town assets:the linear park bike path
and two key commercial areas in Watertown Square
and Coolidge Square. Details about these projects
are included as case studies in this report.
Title: A Bicycle Ride Throbgb'Watertown
Location: Watertown Linaar Park
Lead Artist: Gregg Bernstein
Date: 2 1",�• \� \
Youth Artists: Liana,Aleksanyan,Sondos Alnamous,Faiza Amin,Marvin
Aramthip,Isabella Carton,Jul a marrington,Emily Hart,
Veronica 'o.rt�,Abigail Vershbov�✓
'New England F undation for the Arts,Athena Health,
� Donors:
Waterfown Savings Bank,Watertown Community
Pion and Myer Dana and Son
K _ _
Title: A Tapestry of Cultures
Location: Baptist Walk at Mount Auburn Street
Lead Artist: Gregg Bernstein
Date: 2014
Youth Artists:
Aaseia Ahmed,Liana Aleksanyan,Marvin Aramthip,Katy
Bedig,Caitlyn D'Amico, Brianna Hache,Julia Harrington,
• Emily Hart,Sedra Katerji,Alain Mondesir,Svetlana
Sheehan,Abigail Vershbow
• ' Donors: New England Foundation for the Arts,Athena Health,
Watertown Savings Bank,Watertown Community
Foundation and Myer Dana and Son
1 1 .IF
86 1K
MAPC
Events and Festivals Monuments and Memorials
Due to their ephemeral nature, events and festivals Watertown's prominent monuments and memorials
can be more challenging to inventory.They can have been documented through the Massachusetts
also generate new connections with artists Historical Commission's cultural resources
and performers, create opportunities to gauge inventory, which is available to the public through
community interest in different kinds of arts and the searchable Massachusetts Cultural Resource
cultural programming, and share information with Information System (MACRIS).
community members.The annual Summer Concert Restoration of Watertown's monuments and
Series is an arts and culture event that provides memorials has been initiated through partnerships
an opportunity for residents to experience music, between the Town and the Historical Society
performing arts, and buy crafts. It is complemented of Watertown.The ongoing htaintenance work
by the Winter Concert Series, run by the Watertown provides opportunities for the Town to collaborate
Free Public Library.The Faire on the Square is with local sculptors and art preservationists, as
another example of a community-wide event happened through'the restoration of the Soldier's
that brings arts and culture together with family Monument in 2QP.These partrie(ships can be
activities and local organizations and businesses to
strengthened through clarity on stewardship related
draw residents downtown. to monitoringthe condition and maintenance needs
of the.t6wn's historic'monuments and�rhemorials.
Notable rrionumen1sinclude the Founders
Monument located along Charles River Road and
the Soldier's Monument on display in Saltonstall
Park, whose renovation employed the local art
conservation spebialist Daedalus and local sculptor
David-LaRocca.Investment in the restoration of
publicly owned-monuments should be accompanied
approach to review and address controversial
b�j�an/
'sitar and monuments such as the Columbus Delta
Mon ment.
Title: Seeds of Change
Location: MelendeyAvenue at Mount A�buri�Street
Lead Artist: Gregg Bernstein
Date: �015
Youth Artists.
AaaQia Ahmed, Faryal Ami ,James DeRocher,Sara a
Fulton�Brianna Hache,J lia/6rington, Emily Hart, iyY
Svetlana\,$heehan,Abjai/Vershbow,Isabella Vitti.
Tufts Health Plan Foundation,Watertown Savings Bank, I
Donors: Watertown Cornrriunity Foundation,Toyota/Lexus,
Dunkin Donuts,Mark Investments,John Airasian
Y Y
Watertown Public Arts Master Plan 87
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Public Arts in Public Buildings a fireplace.These are kept on public display in the
T. Ross Kelly Family Gallery and other locations
Watertown is also home to public art that includes throughout the building. Many of the works in the
the architectural features of public buildings, collection were donated to the library by the local
decorative arts on display within public buildings, artists who created them.
and visual art collections and installations held
by the public library and the public schools.
These public art assets fall outside the purview Public Arts in Public Schools
of the existing Public Arts&Culture Committee in
terms of acquisition, maintenance, restoration, or The Watertown Public Schools have also
deaccessioning. commissioned commemorative artworks by
Waltham-based artist J6shua Winer. These
works are installed,f6r,pOblic viewing inside the
Public Art in Architecture and Decorative Watertown Middje School and Watertown High
School.The Peter.Clough Memorial is a mixed-
Architectural Detailing
media mobile hung in`the'Watertown Middle School
Public art integrated into building facades and to honor/Peter Clough, a'Clobal Studies teacher.
interiors is one type of public arts identified The Meredith Kamm Memorial mural is a mixed-
in the WPACK.A few of Watertown's historic media,mural installed in the Idbby;of the Watertown
public buildings feature artistic detailing through ,High'School , modular installation of the Tapestry
sculptural moldings and decorative elements. of,Cuiturep'mural was created by student artists
Perhaps the most prominent public building to and`artist Gregg Bernstein and is displayed in the
feature such details is the Town Administration" library\of thP Watertown High School.
Building. These artistic assets located on hi4t/0ri6-- `
buildings fall largely under the purview,of the X
Watertown Historical Commission.The work of\\ P,ublic Arts\in Privately-Owned, Public
maintaining and restoring these resources req�l're /, _, l
p Spaces
access to the skills and talents-of-Watertown's '
creative community, and WPAC could.b�� involved \ Watertown is also home to public arts
in identifying and hiring axt sts as nee('ed!for commissioned by private entities and displayed on
maintenance of historic architectural, ssets.___ private properties as well as events and festivals
organized and hosted by private organizations.
i Mount Auburn Cemetery is home to a wealth of
Public Library Collection artistic resources, including over one hundred
and eighty monuments and memorials and public
In additionto the extensive collection,of literary programming that highlights the many visual and
arts represent
ed ed in the Watertown Frei Public literary artists buried in the grounds.
Library,the ilbrary also owns�and curates a robust
collection of\fine.and decorative artworks, including
paintings, drawings,,sculptures, bas reliefs, maps, Murals
and decorative items'inc�uding stained glass and
• Watertown Past and Present Mural on the side
of CVS building along Merchants Row.
• Town Diner Mural by Matthew J. Kraus (2011)
at 627 Mount Auburn Street, in the center
of the Coolidge Square business district
complements the more recent Seeds of Change
mural located at the western end of Coolidge
Square.
88
MAPC
• The Old Glory Mural on the New Yorker Diner at Monuments and Memorials
39 Mount Auburn Street was a project initiated
by a New York-based artist in response to the Mount Auburn Cemetery is largely situated within
Boston Marathon bombings in 2013. It is a Watertown although its main entrance is located in
dramatic visual juxtaposition to the Tapestry of Cambridge.The cemetery is historically significant
Cultures mural completed in 2014 along Bishop as the first rural cemetery in the country, serving
Walk across Mount Auburn Street. as both a burial ground and an educational and
recreational resource. Its significance is recognized
• The newly finished Arsenal Yards murals by by its designation as a National Historic Landmark.
Louise "Ouizi"Jones, Kim Carlino, and Felipe Within the cemetery is a vast collection of artistic
Ortiz extend public arts into the southeast assets in the architectural design, landscape
corner of Watertown within a half-mile of the design, and sculptural elements the comprise many
Arsenal on the Charles, home to Watertown arts of the cemetery's commernorations of those buried
anchors the Mosesian Center for the Arts (MCA) in its grounds. It has catalogued those resources
and the New Repertory Theatre. with significance toAhe arts and has initiated an
• The MCA has worked with property owners and artist residency program to�ensiare that"the nature
installed several temporary outdoor murals in and history of-Mbunt Auburn continue to offer
highly visible locations along Arsenal Street and inspiratior9l'The 2018-2019 residency culminated
in surrounding communities. in the presentation in,a two-part series of site-
spec�ic plays by playwright Patrick Gabridge: "The
Nature,Plays," presented in June 2019 and "The
Events and Festivals America Plays" presented in September 2019.
A variety of events and festivals are organized ant \
Other moms ents.and memorials have been
hosted by private entities in Watertown. Cultural � commissioned and
by private entities.
A notable-example l'
festivals include two annual Armenian Festivals
s.th set of two memorial e
in June and September and a Grecian Festival �hachkars at St.Stephen's Armenian Church and
fundraiser for the Taxiarchae/Archangels Greek Sk;Hagop's Armenian Church, which memorialize
Orthodox Church in June.Arts and culture-events the 1915 Armenian genocide by the Ottoman
and festivals organized by locaj/organization)s Cure and anchors of an annual memorial
include events at the MCA and the Plumbi,g prQce�sion between the two churches.6
Museum's inaugural WATERt6wnFilmFestof-
2019).The MCA provides severakfree,festivals
every year- including First-Day, a fa)-nily indoor
festival,Arts for AlI Festival;-including an inclusive
experience for�pa�ticipants of differing abilities,
and also educational events and'mo ies on'britical
community topics-In 2OO8 the M�A urated the
temporary outdoorart,exhibit Nat6r�l and Balance
on the Arsenal site,brid has produced exhibits open
to the public at Boston'Bior'nedical (formerly on
Grove Street),Watertown'Savings Bank, and other
private venues.
6 https://www.armenian-genocide.org/Memorial.128/current_
category.75/offset.40/memorials_detail.html;https://www.armenian-
genocide.org/Memorial.127/current_category.75/offset.40/memorials_
detail.htmWmemorial_image
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