1

Request for Qualifications Public Art Project Manager Water Works Note: Requests for qualifications for a public art project manager are also posted for Hennepin Avenue Downtown, the Hiawatha Campus Expansion and The 2020/2021 Project. Applicants may apply for one or more. For more information see section I. below. The City of Minneapolis is seeking a consultant with strong experience in public art coordination in diverse communities to enter into three-year contract to coordinate the commissioning of permanent outdoor public art projects for Water Works. A. Overview For 40 years, the City of Minneapolis has enriched the lives of citizens and visitors by integrating public art into city design and infrastructure by funding the Art in Public Places Program through an annual allocation from the capital budget. The focus of the program includes:

• Integrating art into infrastructure and city building projects, i.e., buildings, roads, bridges, parks, plazas, water resources, bike trails, etc.

• A planning and implementation process consistent the City’s public art policies. • Permanent artworks with a life span of 25 years or more. • A community engagement process tailored to the needs of each individual project and a community-

based steering committee to advise the project.

A map of many of the works commissioned through Art in Public Places can be found here. Each public art project involves planning in the community, artist selection, community engagement, design development, fabrication, installation and a celebratory event, and on average this process takes three years. (See the attached Commission process diagram for more information.) B. Water Works Water Works is a project of the Minneapolis Park and Recreation Board within Mill Ruins Park overlooking Saint Anthony Falls. This area is rich in historical significance and a place where this history, community, nature, and industry intersect. The river has served as a key transportation corridor, and the milling industry was the foundation for much of the modern city. The Falls have been a sacred place for Indigenous communities for millennia.

The Dakota call this dynamic place, Owamniyomni - “whirlpool” or Haha - “curling waters / waterfall” (Riggs 1992:160; Westerman and White 2012:26); while in Ojibwe it is Gakaabika,1 - “severed rock” or Gichi Gakaabika – “great severed rock” (Anfinson 1989:19; Durand 1994:68).

Minneapolis Native American Context Statement and Reconnaissance Level Survey Supplement

2

Also, culturally significant to the Dakota, Wanagi Wita (Spirit Island) was located at the falls and destroyed when the lock and dam in the area was constructed. In the mid-19th century, flour mills, powered by the Falls, brought diverse people together for jobs. While other infrastructure in the Saint Anthony Falls Heritage District currently tells the story of the milling history, the role of African Americans, Indigenous people, and women within the area is less visible. Research suggests the nearby railroad depots that served the mills, included a significant African American population of porters and red caps, including some who may have boarded in the adjacent entertainment district. In the 1960's, Reiko Weston built the Fuji Ya restaurant into the existing mill walls, which signified a return to the riverfront as a destination for people and not industry. The first phase of Water Works includes a public pavilion building and a mix of outdoor spaces including a multipurpose lawn area, outdoor seating plazas, terraced city steps that may also serve as a performance area, play area, and circulation improvements. The former railroad corridors and other industrial areas will be reflected in the park design. The new pavilion will be set into existing historic stone walls which are the remnants of the Bassett Sawmill and Columbia Flour Mill. The pavilion will be a public building with a lobby, stairway and elevator to the rooftop and upper park level, multipurpose room, restrooms, and a food vendor. A future Water Works phase includes reconfigured trails, public river access, and unearthing of additional historic infrastructure to create a sunken event space and a plaza area with water features. C. Public Art Opportunities Public art is integral to the design of Water Works and is an important strategy for communicating the layers of history and cultural meaning at the site. The Park Board has identified public art opportunity zones and is working with artists to integrate artistic designs into fire pits and text and imagery into wooden benches on the City steps. The public art budget for this project is $450,000. (This does not include the budget for the Project Manager.) The City’s Public Art Advisory Panel allocated a significant budget to this project because the City does not currently have a major work of public art along the river and because this site provides an opportunity to reveal and celebrate the history of a significant Indigenous site. The public art opportunities that will be created through this project have not yet been identified but may include gateways at 5th Avenue and/or the rail/woornerf corridor. A tentative timeline for this project may be:

• Summer 2020: Initial planning in the community; • Fall 2020: Artist selection; • Winter – Spring 2021: Design development; • Fall – Winter Spring – 2021, 2022: Fabrication; • Summer 2022: Installation.

D. Project Manager Scope of Services: See the attachment “Detailed Project Management Tasks and Deliverables and Available City Tools” for more information on this scope of services. Note that all of these services need to be performed in accordance with

3

the City’s Public Art Policies, Strategic and Racial Equity Action Plan, as well as all Minneapolis Park and Recreation policies and plans. The City has developed a range of examples and tools related to this work that will be available to the selected consultant. These are listed on the attachment as well. The selected consultant will have a City email address, access to the City’s Outlook and will need to manage the project files in the City’s Sharepoint system. People who complete the Intent to Apply form, (see How to Apply Below), will be given access to a folder with examples of these tools. Public Art Project Managers report to the Public Arts Supervisor. E. Who is Eligible to Apply?

• The opportunity is open to people who are eligible to be accepted into the Target Market Program. • People may apply individually or as a team of no more than two people. A lead contact must be

identified and stated upon application, as well as information about how the fees and budget will be managed within the team.

• City staff and members of City of Minneapolis Boards and Commissions are ineligible to apply. • Selected finalists must apply and be accepted into the Target Market Program prior to being

interviewed. F. Qualifications The qualifications for the Project Manager include:

• A minimum of 4 years’ experience in arts administration and working with artists. Experience engaging and building trust with diverse communities, particularly the Native American community, through interviews, meetings, and creative engagement events.

• Experience with and capacity to build strong collaborative relationships with City Departments and project designers.

• Strong written and verbal communications skills. • Ability to maintain project timelines. • Ability to identify and manage the work of local artists. • Knowledge about and experience creating permanent public artworks and about construction materials

and techniques appropriate for an outdoor environment. • Significant experience in program and event management. • Capacity to work manage this project fairly, transparently and in the context of the City’s Strategic and

Racial Equity Action Plan, Public Art Policies and other City policies as they apply. • Capacity to manage this project within the context of other commitments and over a multi-year process. • Experience with Microsoft Work, Outlook and PowerPoint. Experience with and access to Adobe

Acrobat. G. Compensation: The budget for this work is $35,000-$50,000 per year depending on the community and artist’s needs for the project. The Public Arts Supervisor and the Project Manager will define the actual annual budget after artist selection, and prior to the beginning of years two and three. Applicants must provide information about hourly rates and projected expenses for this work.

4

H. Timeline

• Request for Proposals Distributed: Monday, May 1 • Optional Informational Meeting: Friday May 15, 10:30 a.m.

To register for online this meeting, complete the Intent to Apply Form by: Thursday, May 14 at 4:00 p.m.

• Deadline for Questions: Monday, May 18, 4 p.m. • Posting of Responses to Questions Wednesday, May 20

and Recording of Informational Meeting: • Intent to Apply Form Due: Tuesday, May 27, 4 p.m. • Deadline for Applications: Friday, May 29, 4, p.m. • Interviews and Contractor Selected: Week of June 15 • Contract Processed and Services Begin: Mid July, 2020 • Estimated Completion Date of Services: Fall 2022

I. How to Apply: Complete the Intent to Apply Form by Tuesday, May 27, 4 p.m.. If you are responding to more than one Request for Qualification, indicate each on the form. Questions: All questions regarding applications should be submitted in email to: mary.altman@minneapolismn.gov by Monday, May 18, 4 p.m. All questions and answers will be compiled and shared with those who complete the Intent to Apply Form. Do not contact other contractors, architects or City staff working on this project. How to Upload Your Application: After you complete the Intent to Apply Form, you will receive an email with a link to a folder to upload your application. If you are responding to more than one request for qualifications, you only need to complete one application, however, you will need to upload that application in multiple folders. Proposals submitted by email or through file transfer programs, such as Drop Box will not be accepted. Application Deadline: Applications must be submitted by Friday, May 29, 4, p.m. Submit the Following:

1. Cost/Fees

Information about hourly rates and estimated project expenses (meeting supplies, etc.) for each year.  

2. Consultant Experience and Capacity Up to two-page resume including background and related experience that demonstrates your ability to provide required services meet the qualifications outlined above.

3. Two project examples of projects managed by you that are similar in scope and scale, and in similar

communities, including: • Brief description of Project,

5

• Dates, • Client, • Communities (groups and people) engaged, • Location, • Subcontractors (if any), • Three attached images of project activities and completed artworks in jpeg format.

  4. References - Two references from the above projects.

J. Attachments

Art in Public Places Commissioning Process diagram Detailed Project Management Tasks and Deliverables and Available City Tools Additional Scope Terms

6

7

Public Art Project Manager Detailed Project Management Tasks and Deliverables and Available City Tools   TASKS AND DELIVERABLES AVAILABLE CITY TOOLS 1. Planning Write brief project description. Previous Examples Meet and coordinate with City staff and the design team assigned to these projects (i.e. Public Works or Property Services)

Meet with project stakeholders to inform them about the project and gather input on Steering Committee

Identify possible locations for artworks in consultation with staff, the design team and steering committee.

Previous Examples

Develop location map. Previous Examples (Staff can assist with map graphics).

Develop and maintain budget. Previous Examples Develop and maintain timeline. Previous Examples Ensure project plans are consistent with public art policy.

Policies

  2. Steering Committee Meetings: Form steering committee. Steering Committee Role Facilitate approximately 6 meetings with the committee.

Examples of Agendas and Powerpoints

Define goals and themes possible goals and materials.

Previous Examples

Develop strategies for community engagement (see below).

Previous Examples Community Engagement Planning Tool

Meeting administration (scheduling and communications).

City email address, and access to City Outlook

  3. Request for Proposals and Artist Selection Draft Call for Artists (based on City's approach) and coordinate revisions.

Previous Examples

Work with staff to obtain internal City approvals. Work with staff to distribute. Previous Distribution Lists Coordinate and facilitate artist information meeting. Examples of Agendas and Powerpoints Form selection panel. Panel Make-Up in Policy Coordinate applicant question and answer process. Previous Examples Process applications and distribute to the selection panel.

Managed through Smartsheet and Sharepoint Application Checklist

Meeting administration (scheduling and communications).

Previous Examples

8

Coordinate and facilitate first panel meeting and selection of finalists.

Examples of Agendas and Handouts Policy and Criteria

Coordinate and facilitate second panel meeting and selection of artist(s).

Examples of Agendas and Handouts Policy and Criteria

Notify artists selected and not selected. Orient selected artists. Artist Orientation Packet Assist artists with City financial paperwork.   4. Design Development Meet with artists as needed. Share information on precedent projects. Oversee design development at conceptual and final stages, including development of scaled drawings and site plans, detailed design development, technical drawing development, budget and timeline.

Detailed Checklists and Examples of Artist Deliverables

Help artists connect to subcontractors (if needed). Lists of Previous Subcontractors Approve artists submittals (with Public Art Supervisor).

Facilitate and document feedback by the Steering Committee, staff , design team and the community.

Examples of Agendas

Coordinate input from conservator through scheduling and participating in the design phase assessment.

Review all specifications and drawings for accuracy.   5. Community Engagement Work with steering committee and artist to identify strategies for engagement that are consistent with the City's public art policies.

Sample Agendas Community Engagement Planning Tool

Oversee community engagement activities and facilitate input from the community on the goals for the public artwork, locations, and draft designs. (This includes approximately three to five community engagement events/strategies throughout the project).

Previous Examples

Document community input with the artist. Sample community engagement summaries.

  6. Final Design Approvals Support the process for bringing the artist's final design to the Public Art Advisory Panel and Minneapolis Arts Commission, including working with the artist to submit their deliverables for these meetings and presenting at these meetings.

Detailed Handouts and Examples of Artist Deliverables

Report to these bodies on the results of community input throughout the project.

9

  7. Fabrication and Installation Oversee artist's creation of fabrication plan. Detailed Handouts and Examples of

Artist Deliverables Work with artists to develop and track project timelines.

Assure artist stays within budget and timeline. Conduct 2-3 visits to artwork in progress and inspect as necessary studio visits per project; oversee verification of paint specs.

Oversee mill thickness test, concrete testing and other testing as needed

Access to City Lab Techs if Needed.

Coordinate a preconstruction meeting with all contractors and relevant City staff

Example Agendas, Artist’s Installation Checklist

Develop scopes for and coordinate any work by other City forces or contractors on footings, installation, etc.

Previous Examples

Inspect installed artwork and work with artist to develop punch list implementation/touch up.

Previous Examples

Conduct a final inspection with the Public Arts Supervisor and other appropriate City staff.

Conduct site visits during installation as needed. Work with artist to finalize items punch list and oversee artwork final completion.

Previous Examples

  8. Project Celebration Work with the steering committee to design the celebration event and coordinate their assistance.

Previous Examples

Work with City Communications to promote the event.

Previous Examples of press releases, social media posts, post cards, etc.

Plan and implement project unveiling event including scheduling presenters and entertainment, set-up, arranging for equipment, clean up, arranging for food.

Previous programs, talking points

  9. General Project Management Document project and artworks in process through photographs.

Provide regular updates via email. Regular check-ins with the Public Art Supervisor. General communication (and answering questions) with key stakeholders and constituents.

Prepare staff to brief elected officials and attend briefings as necessary.

Draft press releases and website materials. Previous Examples

10

Follow the City's communication and social media policies.

Policies

Advise staff on artist's scope of services for contract and artist payments.

Identify when support and presence of Public Art Supervisor is needed and schedule her involvement.

Track Artist’s progress toward scope and timeline and notify Public Art Administrator of anticipated changes or increases.

Work in City email system, schedule meetings in Microsoft Outlook, compile materials in Adobe Acrobat., Develop project PowerPoints

Review and approve the artist’s final documentation. Checklist for Final Documentation

11

City of Minneapolis Art in Public Places Additional Scope Terms Communications

• Email: The primary means of communication for this project shall be email. o This allows the City to document all decisions related to this artwork and incorporate them into

the artwork archive. All approvals must have written documentation BEFORE work begins, email is easiest.

o City Public Art staff should be copied on all communication between City contractors and City Staff.

• Texting: shall only be used when necessary, or when decisions need to be made in the field. • Phone communication: is appropriate for discussing complex issues;

o Phone calls should always be followed up with an email summarizing all decisions and rational for these decisions.

• Media: The City is the lead agency on all communications with the media about City Public Art projects.

o The contractor shall notify City Public Art staff when they are contacted by the media before they provide any information or resources to media.

• Social Media: Contractors need to follow all City social media policies. Contractors should coordinate the release of public information about the project with City Public Arts Staff. This includes sharing information about selection for commissions, the release of designs to the public and the release of images of works in progress.

o This includes publicly releasing designs and images of works in progress. Notify all of your fabricators of this expectation.

Billing/Payments:

• Do not submit invoices for services rendered until all documentation for those services has been submitted and approved by City Public Art staff.

• To Submit an invoice: o Clearly list your contract number, P.O and supplier number. These numbers are available to you

in eSupplier. o Submit the invoice to submitinvoices@minneapolismn.gov, and your Contract Manager. If you have any

questions about the accuracy of the invoice, submit a draft to your contract manager in advance. o Please note that invoices can take as long as 30 days to process. You can sometimes check that status by

logging in to your eSupplier. o Information about when you can invoice is available on Attachment A of your contract. You may invoice for

payment after you have completed the appropriate deliverables. Use of Contingency Funds:

• Use of any contingency funds outlined in the scope and budget for this contract must be requested in writing by the contractor and approved by City Public Art staff in advance.

• Use of contingency funds may be initiated by either City Public Art staff or the contractor. Changes to this scope:

• Any changes to this scope must be requested in writing, including, but not limited to:

12

o Use of contingency funds, extensions, changes to the budget, work, or timeline. All approvals must have written documented of approval BEFORE any new work related to the scope begins.

o Any significant changes in this Public Artwork not in substantial conformity with the final design as approved by the Minneapolis Arts Commission. A significant change is any change in the scope, design, color, size, material, texture or location.