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88master vision89public art7. mural program Murals in Redwood City first began appearing in 1937 with Flower, Farming and Vegetable Raising by artist Jose moya del Pino. Since then murals have become the go-to public art and have helped educate the general public of the value of public art. Many cities began their mural program as anti-graffiti campaigns. Mural Arts Philadelphia is such an example. The organization receives significant funding from the city for anti-graffiti efforts. Their program has become so widely recognized that visitors come to town specifically to see the 2,000 murals, and the city happily promotes them as a tourist opportunity. At the same time, however, it is also debated if many of the murals are art or decoration, and if they have a value to the immediate neighborhood. In response, the organization recently hired a trained curator to consider the muralist and mural painting as an art form and to aid the program in better connecting murals to the Art World and those educated in the arts. CITyarts is a not for profit founded in 1989 and creates murals and mosaics throughout Manhattan, ny in underserved communities. Their process ensures quality art by eliciting established visual artists to create the mural design. Through an educational process, the artist works with the selected local community to teach them how to help install the mural. For murals it is recommended that the city invite a professional artist, not a muralist, to research the proposed wall and site, create a proposal, and then work with the community, in order to create a meaningful, quality artwork. The local community also gains a sense of authorship and ownership from the practical participation of painting the mural and pride from having a recognized artist brought to work with them. It is important to envision that the mural is not about anti-graffiti (but can serve that purpose in a secondary manner) but is an art form. It should really be viewed as a giant painting no different than Michelangelo’s Sistine Chapel. If one aspires to embed quality art in this manner, Redwood City will help elevate the international standard of “good murals”. Most importantly, the Redwood City mural program can help add to the energy and spirit of the collection. It is important to select the right artist for the right wall. The artist’s context, narrative and aesthetic are more important than the artist’s ability to paint the mural. CITyarts and often the San Francisco Arts Commission will work with the artist and community to develop the artwork, which is then installed by professional mural installers. In some cases, particularly for temporary works, vinyl applications can be used, which are quite cost effective. Some cities will work with the community to craft a mission statement for the Mural Program. The city and CCC should develop a clear vision for the look, narrative, style that the eventual mural collection should represent. This will help prevent a “random” look to the overall murals throughout town. Many cities, “including Philadelphia’s program,” do not have a specific “look” allowing for numerous individual styles. This can be successful if the program is big enough and there is a critical number of murals, but in the beginning stages it can appear unfocussed. Regardless of what the end desire is, a cohesive collection or the more individualistic approach, a clear mission statement will help to execute the full vision. Another approach for murals is to set parameters. One example to look at is Freemantle, Australia. There they decided to concentrate on abstract and contemporary murals. Their “Wall Projects” are bold, colorful, graphic and eye catching from both a great distance and up close. One idea is to revisit the aesthetic of painted and faded signage from the past such as what currently exists, not as art but as function, on the general Hardware and builder’s supply building in downtown. The committee could investigate an overall look and create several directions with designated areas for each style. Over time, this could aid Redwood City in its place making endeavor and neighborhood designations. Similar to old and current Sienna, “Italy,” each district would have its own characteristic and sense of pride. Most importantly, the steering committee should not be driving or suggesting a specific image or outcome. As with any commissioned public artwork, the steering committee’s role is to provide the raw material for the artists to react to and create from. Redwood City currently funds murals on city owned property and privately owned buildings. It is imperative that a comprehensive and transparent process be established and posted. The goals, location priorities, application process, and public notification of all pending and approved murals on private owned buildings should be available to the public. An application process with identified parameters should be created so that the beautification and improvement program can be establish. If a mural is created on a privately owned building, the artwork content should not be dictated by the owner, function of the business or any other promotional motivation. The artwork needs to be a stand alone piece that relates to the community, sense of place or other aesthetic or narrative issue. In no way should a mural incorporate a logo or branding colors lessening the quality and potential for the artwork or limit the creative ideas of the selected artist. The true private - public partnership should be one of enhancing the City and community’s goals of creating an outdoor museum. Jose moYa del Pino redwood City 8.A. - Page 50