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Examining current U.S. public art trust fund programs for applications in Taiwan: visions for Taiwan 's new public art trust fund

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Examining current U.S. public art trust fund programs for applications in Taiwan: visions for Taiwan 's new public art trust fund

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Content EXAMINING CURRENT U.S. PUBLIC ART TRUST FUND PROGRAMS
FOR APPLICATIONS IN TAIWAN:
VISIONS FOR TAIWAN’S NEW PUBLIC ART TRUST FUND

by
Yu-Wen Evelyn Tseng

A Thesis Presented to the
FACULTY OF THE USC, ROSKI SCHOOL OF FINE ARTS
UNIVERSITY OF SOUTHERN CALIFORNIA
In Partial Fulfillment of the
Requirement for the Degree
MASTER OF PUBLIC ART STUDIES

May 2008

Copyright 2008 Yu-Wen Evelyn Tseng
ii
TABLE OF CONTENTS
List of Figures iii
Abstract v
Chapter 1: Enriching Life Through Public Art 1
Chapter 2: Public Art Status Quo in Taiwan 5
Chapter 3: Meaningful Public Art in Urban Spaces 16
Chapter 4: Funding Models for Government-based Public Art Program 22
A. The City of Los Angeles Department of Cultural Affairs 23
B. Community Redevelopment Agency of the City of 26
Los Angeles
C. The City of Pasadena Cultural Affairs 29
Chapter 5: Visions for Taiwan’s New Public Art Trust Fund 35
Bibliography 37
Appendix A: Los Angeles Administrative Code, Division 19, Chapter 6. 39
Appendix B: Department of Cultural Affairs, City of Los Angeles. Arts 47
Development Fee Ordinance.
Appendix C: Community Redevelopment Agency of the City of Los 49
Angeles, Art Policy.
Appendix D: Community Redevelopment Agency of the City of Los 55
Angeles, Developer Guide to Art Requirements.
Appendix E: Community Redevelopment Agency of the City of Los 61
Angeles, Art Program Guide.
Appendix F: City of Pasadena Public Art Program. Guidelines for City 68
Construction (CIP) Projects.
Appendix G: City of Pasadena Public Art Program. Guidelines for New 77
Private Development.
iii
LIST OF FIGURES
Figure 1: The 15 Countries in Taiwan Island. 2
Figure 2: Budget Approved by Each Public Art Panel in 2005. 3
Figure 3: Taiwan is only 1/6 of the land size of California, but the 5
population in Taiwan is more than 1/2 of the population
in California.

Figure 4: Eggs, Pu Hao-Ming, 2005. Photo subscribed from Taipei 6
Public Art Website. http://taipeipublicart.culture.gov.tw/en/
index.php

Figure 5: Drinking Fountains (audio installations), Tsong-Pu, 2003. 7
Photo subscribed from Taipei Public Art Website.
http://taipeipublicartculture.gov.tw/en/index.php

Figure 6: A Glance Over Youth, Lin Shuen-Long, 2006. Photo 7
subscribed from Taipei Public Art Website.
http://taipeipublicart.culture.gov.tw/en/index.php

Figure 7: Rainbow Shins Upon River, Li Yuen-Xan, 2006. Photo 8
subscribed from Taipei Public Art Website.
http://taipeipublicart.culture.gov.tw/en/index.php

Figure 8: Stop, Look, and Listen, Fernandez Arman, 2006. Photo 9
Provided by Blue Dragon Art.

Figure 9: Chessboard, Daniel Buren, 2006. Photo provided by Blue 9
Dragon Art.

Figure 10: National Treasured Panda, Hung-Yi, 2007. Photo 10
subscribed from Fubon Art Foundation, Very Fun Park
Website. http://www.fubonart.org.tw/veryfunpark2/P2.htm

Figure 11: Cow Dodgems, Very Experi-site, 2007. Photo subscribed 10
from Fubon Art Foundation, Very Fun Park Website.
http://www.fubonart.org.tw/veryfunpark2/P2.htm

Figure 12: Public art Administrators’ Academic Backgrounds. 12
Figure 13: Types of Public Artworks Completed from 2003 to 2005. 13
iv
Figure 14:Awaking of a Chrysalis, Tseng Ying-Dong with inhabitants 14
In Ang-Dong Community, 2004. Photo provided by Blue
Dragon Art.

Figure 15: Concrete specialist is working on the stamps on the 27
sidewalk on Pico Boulevard. Photo provided by Susan Gray.

Figure 16: Concrete stamps on Pico Boulevard. Photo provided 27
by Susan Gray.

Figure 17: The Neon Signs in front of The Palace Theater in 29
Downtown LA. Photo by the author.

Figure 18: The Neon Signs in front of Los Angeles Theater in 29
Downtown LA. Photo by the author.

Figure 19: Floating candles light up ArtNight and also catch people’s 33
eye. Photo by the author.

Figure 20: Floating candles in Pasadena City College . Photo by the 33
author.

Figure 21: Visitors join the traditional Japanese tea ceremony. Photo 33
by the author.

Figure 22: Contemporary taiko drum performance. Photo by the 34
author.

Figure 23: People can ride the free shuttle to any ArtNight venue. 34
Photo by the author.
v
Abstract
The 2007 Public Art Ordinance Amendment Conference in the Council of
Cultural Affairs of Taiwan regulates that if a public art budget for a project is
lower than one million NTD (approximately 30,000 U.S. dollars), the
responsible public art agency should consider depositing the money into the
city’s or the county’s Public Art Trust Fund. This thesis tries to discover more
interesting and diverse public artworks for Taiwan. Firstly, it discusses the
public art status quo in Taiwan— including current artists (software), public
artworks (hardware), and art administrators (orgware). Then, it discusses the
transformation of public spaces into public places, and the impact of cynical
events to a city’s image. Finally, it compares PATF models in Los Angeles.
Through this research, this thesis presents new ways the PATF in Taiwan will
transform the public art program to contribute to more community-based, and
user-benefit public art projects.
1
Our objective should be to enrich the lives of all our people by making
things of the spirit, the creation of beauty part of their daily lives, by
giving them new hopes and sources of interest to fill their leisure, by
eradicating the ugliness of their surroundings, by building a sense of
beauty as well as mere utility, and by fostering all the simple pleasure of
life which are not important in terms of dollars spent but are immensely
important in terms of a higher standard of living.
1

~Edward Bruce

Chapter 1: Enriching Life Through Public Art
This 1930s quote from Edward Bruce, the former head of the Treasury
Department’s Section of Fine Arts, supports of the New Deal’s art which provided
artists job opportunities in the Great Depression. More importantly, his words tell
us that even when the economy collapses, the pursuit of beauty in a society will
never cease. In recent years, most Cultural Affairs Departments have set up
public art programs, in order that the art administrators and art consultants will
have the means to think about how to make a concrete-made city more humane
by adding artists’ thoughts and making it more loveable for people who visit, live
and work in it every day.
This belief still exists 70 years after Bruce said it, and influences other
countries, including Taiwan. In Taiwan, The Council of Cultural Affairs (CCA) is the
administrative department which supervises all of the public art programs. After 16
years of executing their public art ordinance, in the summer of 2007 the CCA
invited all the administrators from the 27 art programs to a series of Public Art
Ordinance Amendment Conferences in Taipei. These conferences revised the old

1
Harriet F.Senie, and Sally Webster. Critical Issues in Public Art: Content, Context, and
Controversy. (NY: Smithsonian Institution Press, 1992),132.
2
ordinance for the public art in Taiwan for the next decade. One of the most
important parts of the revised ordinances was that every project should consider
depositing the Percent for Art budget into a municipal Public Art Trust Fund when
the project site is not accessible to the public, or when the amount for public art is
insufficient for commissioning a quality artwork. Before the ordinance was revised,
the only way to satisfy the Percent for Art policy was either to commission a public
artwork or to purchase an artwork for the public building. However, with an
improper site or insufficient funds
2
, those public artworks were unable to achieve
their goals to public access, or to maintain a good quality of materials or design.

Figure 1: The 15 Countries in Taiwan Island.

In order to use the Percent for Art funding more efficiently among the 27
public art programs, three programs which include the Taipei City Department of

2
Taipei City Department of Cultural Affairs regulates that when the Percent for Art funding is less
than one million NTD, which is approximate 30,000 dollars, the administrator should notify Cultural
Affairs office and contribute the full amount to city’s Public Art Trust Fund.
3
Cultural Affairs, Kaohsiung City Department of Cultural Affairs, and Changhua
County Cultural Affairs, already have a Public Art Trust Fund program and have
completed several projects with their new Cultural Trust Fund (CTF). However,
the projects developed under the three programs’ CTF are not great examples for
the remaining 24 programs because of their funding scale. As shown in Figure 1,
Taipei City, the capital of Taiwan, has the most abounding funding resource for
public art in the country, as its public art budget is eight times the amount of the
combining budget for Kaohsiung City and Changhua County.

Figure 2: 2005 Approved Budgets for 20 of the 24 programs-Taiwan’s Department
of Cultural Affairs.
3

A key difference between the artworks created under Taiwan’s Percent for Art
policy and those artworks funded by individual Public Art Trust Funds is the goal
to turn passive, conservative, and static projects into active, progressive, and
community-based ones. So, what can we do for the development of the Public Art

3
Xuan-Qin Young, and Wang Yu-Ling ed., Public Art in Taiwan, Annual 2005. (Taiwan: Taiwan
Council for Cultural Affairs Press, 2006), 167.
4
Trust Fund programs in Taiwan, especially when most of the public art programs
are facing the problem of having small budgets to spend on public art? First of all,
by selecting case studies using community-based projects, it helps to highlight
what is lacking in the public art in Taiwan. Second, through the discussion of
Everyday urbanism
4
, we try to rediscover the transformation of a space into a
place. Finally, using government-based public art programs in Los Angeles as
models, new frameworks are presented for programs in Taiwan to manage their
trust funds and create projects which are more community-based, user benefit,
and help to upgrade the city image.

4
Margaret Crawford and Michael Speaks. Everyday Urbanism. Vol. 1, Michigan Debate on
Urbanism. (Michigan: The Regents of the University of Michigan, 2005).
5
Chapter 2: Public Art Status Quo in Taiwan
With their “Percent for Art” policy, cities in Taiwan have more and more
artworks in public spaces. Also, discourse about “art in public” and “art for the
public” have been brought up over and over again in Taiwan’s academia and the
press. Compared with architecture and landscaping, which are more familiar to
people, public art in Taiwan is still a new term for the public. Although most people
in Taiwan may not be familiar with the concept or the idea of public art, many have
already experienced the artworks in their surroundings without realization.
According to the Cultural Art Regulation formulated by Taiwan’s Council for
Culture Affairs (CCA) in 1992, every public construction project needs to
contribute no less than 1% of the project’s value to a public art fund, which is
generally called “Percent for Art” internationally. According to a report from CCA,
from 1999 to 2005, there were a total of 715 public art projects completed in
Taiwan as a result of this fund. For a small county like Taiwan, where 230 million
citizens live on a crowded island, 715 artworks indeed made a dramatic change of
people’s everyday urban experience and daily environment.

Figure 3: Taiwan is only 1/6 of the land size of California, but the population in
Taiwan is more than 1/2 of the population in California.
5

5
The estimate population in Taiwan in 2007 is 22,966,459; and the estimate population in
6
So far, most public art programs in Taiwan are government-based, and the
Percent for Art policy has provided stable funding for public art. The Percent for
Art policy has also directly provided artists more opportunities to make a
difference in the living environment by adding artworks to public buildings and
facilities. The policy has benefited many artists, such as Lai Jun-Jun, Pu
Hao-Ming, Tsong Pu, and Lin Shuen-Long as they became the first generation of
public art artists in Taiwan. It has also benefited artists in the younger generation,
such as Li Yuen-Xan and Liu Yu-Ming, increasing their opportunities for career
advancement by applying for the Request for Qualifications (RFQs), a program
which allows young artists to start their career in public art through a systematic
progression from small works to larger commissions.

Figure 4: Eggs, Pu Hao-Ming, 2005. Photo subscribed from Taipei Public Art
Website. http://taipeipublicart.culture.gov.tw/en/index.php.

California is 36,457,549.
7

Figure 5: Drinking Fountains (audio installations), Tsong-Pu, 2003. Photo
subscribed from Taipei Public Art Website. http://taipeipublicart.
culture.gov.tw/en/index.php.

Figure 6: A Glance Over Youth, Lin Shuen-Long, 2006. Photo subscribed
from Taipei Public Art Website. http://taipeipublicart.culture.gov.tw/
en/index.php.

8

Figure 7: Rainbow Shins Upon River, Li Yuen-Xan, 2006. Photo subscribed
from Taipei Public Art Website. http://taipeipublicart.culture.gov.tw/
en/index.php.

In some projects, public art administrators invite artists from other countries
to broaden local artists’ viewpoints, and this action also helps to enrich a more
diverse look in their city and public art collection. For instance, in a commission for
Taiwan Railways’ New Zuoying Station in 2006, the art selection panel invited
American artist, Fernandez Arman, to design a site-specific work for the station.
Arman created Stop, Look, and Listen which is a sculpture composed with
fourteen black and yellow railroad traffic signs. The traffic signs look randomly
arranged, but they were placed specifically as the artist assigned. Also in 2006, a
commission for Binjiang Junior High School invited French artist, Daniel Buren,
who is known for his stripes, to create a chessboard-style main entrance for the
school.

9

Figure 8: Stop, Look, and Listen, Fernandez Arman, 2006. Photo provided by
Blue Dragon Art.

Figure 9: Checkerboard, Daniel Buren, 2006. Photo subscribed from Taipei
Public Art website. http://taipeipublicart.culture.gov.tw/en/index.php.

Although government-based programs make most of the public art projects in
Taiwan, Fubon Art Foundation, one of the non-profit art organizations, made a
very interesting public art project called Fen Le Ting (also known as the Very Fun
10
Park project) in 2007. Fen means “very” in Hakka, the third major dialect in Taiwan;
Le means “happy” and “fun” in Chinese; and Ting means city block in Japanese.
The artists used the name Fen Le Ting to tell everyone this project was a
collaboration of the mainstream values and subcultures. Also, the ideal of a “no
wall” museum initiated the project Very Fun Park, and the purpose was to bring a
different urban surprise to people. The project was designed as an urban art
game with 58 outdoor and indoor contemporary exhibitions and performances in
the most crowed and busiest streets in Taipei and lasted for one month.

Figure 10: National Treasured Panda, Hung-Yi, 2007. Photo subscribed from
Fubon Art Foundation, Very Fun Park Website. http://www.fubonart.
org.tw/veryfunpark2/P2.htm.

11
Figure 11: Cow Dodgems, Very Experi-site, 2007. Photo subscribed from Fubon
Art Foundation, Very Fun Park Website. http://www.fubonart.org.tw/
veryfunpark2/P2.htm.

Although public art, as practiced for15 years in Taiwan, has created many
impressive artworks for the public, some basic problems are showing up. One
problem is about art administrators and the other is about artists. They are both
related to the “software” problem. Michael Speaks, the Director of the Metropolitan
Design and Research Program at Southern California Institute of Architecture,
has defined three new terms— software, orgware, and hardware— which he
learned from Crimson, a Dutch architecture agency. Speaks says, “software deals
with ideas, ideologies, policy or even meaning. Hardware is the actual physical
stuff that is designed, the buildings, infrastructure, etc. And orgware is the
middleware that negotiates between them and that actually makes and remakes
the city. Orgware gets things done.”
6
If we say an artist is the software which
contains basic concepts and skills, and an artwork is the hardware, then art
administrators and commissioners are the most important transition in between
them. It is not saying that the importance of the art administrators and
commissioners— the administrative body— is higher than the other two, but the
three elements— software, orgware, and hardware— should be seen and treated
equally. Moreover, art administrators should not be seen as merely bureaucrats in
the Cultural Affairs, but a competent art administrator should have certain artistic
training without doubt. However, right now, not having enough professional public
art administrators with training in Taiwan is a serious issue. Statistics show that

6
Margaret Crawford and Michael Speaks, 39.
12
only 12% of the public art administrators in the government come from an art
background. It means that 88% of the public art administrators have no previous
artistic training are in charge of most of the public art programs in Taiwan.

Figure 12: Public Art Administrators’ Academic Backgrounds.
7

Furthermore, for a very long time, the types of the public artwork in Taiwan
were very limited. Visual arts were seen as the only approved artworks in
government-based public art projects before the old ordinance amended in 2007,
thus sculptural works were the majority. Take the projects completed in 2004 and
2005, for example, there were 68 sculptures made in 2004 and 79 sculptures
were made in 2005, while other types of public artworks, such as bar relief
embossment and wall mounting, were less than 18 pieces.

7
Xuan-Qin Young, and Wang Yu-Ling ed., Public Art in Taiwan, Annual 2005. (Taiwan: Taiwan
Council for Cultural Affairs Press, 2006), 215.
13

Figure 13: Types of Public Artworks Completed from 2003 to 2005.
8

The purpose of this comparison does not mean to claim that sculptures in Taiwan
are not great public art, or people do not need any more sculptures in the
environment. It is just to remind the art administrators to rethink about the
possibility to have diverse types of public art in their programs, and to find out
what kind of public art is also inspiring and meaningful to people.
In fact, some artist-initiated public art projects in Taiwan can be great
examples for government-based projects to consider. The first example of this
new type is initiated by artist, Tseng Ying-Dong, in Ang-Dong community in Tainan
City. Awaking of a Chrysalis is a sculpture of a butterfly created as collaboration
between Tseng, and the inhabitants in Ang-Dong. The participants were mostly
families living in Ang-Dong, and Tseng designed a creation process for them and
helped them to shape their ideas, to create a model, and to decide materials for
the sculpture for an open space in the community. The parents brought their

8
Ibid., 169.
14
children to the workshops and contributed their labor to the sculpture every week.
First, they framed the sculpture with wire, paved the base with ceramic tiles, and
finally coated the sculpture with colors. Eventually, the team created a public
artwork which was representative of their community.
9

Figure 14: Awaking of a Chrysalis, Tseng Ying-Dong with inhabitants in
Ang-Dong Community, 2004. Photo provided by Blue Dragon Art.

Another example of an artist-initiated project was led by a sculptor, Lin
Zhao-Qing, in Fourth Alley, located in Xin-Zhong Street in Min-Sheng community
in Taipei City. Lin had recently moved to Min-Sheng and was surprised by how
people were alienated from each other in this beautiful neighborhood. The
residents did not know their next-door neighbors, and they were not interested in
being a part of the community. When this newcomer artist tried to talk to them and
built up a relationship, they were very stand-offish and impatient. This discovery

9
Xuan-Qin Young, and Wang Yu-Ling ed., Public Art in Taiwan, Annual 2003. (Taiwan: Taiwan
Council for Cultural Affairs Press, 2004), 208-211.
15
made Lin decide to lead a community project of creating a “street of art” for the
community. In the first stage, Lin trimmed the branches from the tall trees and
created eight site-specific artworks in Fourth Alley to make it easier for people to
enjoy sunshine and to appreciate the artworks in the day time. Additionally, to
remove mosquitoes and improve street lighting, he received approval from the
Taipei City Government to change the street lights from white light to
sodium-yellow light. After the six-month preparation, in the second stage, Lin
invited the grass roots artists to perform traditional Taiwanese music and
hand-puppet shows, and the adults and kids in Min-Sheng community were all
welcome to join together. Now, art events are taking place every year in
Min-Sheng community and become major attraction for visitors.
10

So, by adding what kind of characteristics can we make a public art project
more humane for people? From the above two cases, we realize that both
projects in Ang-Dong and Min-Sheng community developed a very humane
feature because they were designed for a specific group of people, but not for a
building. Furthermore, a project’s site is extremely important and takes a decisive
roll in a project. It does not mean that creating public artworks for a building is not
a good decision. But, in order to find out a meaningful site for a city and for its
citizens, defining the relationship between site and people or site and city may
guide us the road to rediscover a different need or possibility for public art.

10
Ibid., 212-215.
16
Chapter 3: Meaningful Public Art in Urban Spaces
The question of how to improve everyday life in an urban environment is
closely connected to the transformation of public spaces into public places. In his
From Places to Non-Places, Marc Auge defines, “if a place can be defined as
relational, historical and concerned with identity, then a space which cannot be
defined as a relational, or historical or concerned with identity will be a
non-place.”
11
For Auge, the definition of a space is fixed. A transit point, such as
airport, train station, and supermarket, where people come and go, are
non-places under his definition. In other words, a place is meaningful for people,
but a space, a non-place, is meaningless.
However, different from Auge’s definition, some scholars believe that any
space can be a space. In the Michigan Debates on Urbanism series, Margaret
Crawford, professor of Urban Design and Planning Theory at Harvard Design
School, claims that urban design should be connected to our everyday life and
everyday space. So, what does an “everyday space” mean to people? Crawford
defines an everyday space as “the physical domain of everyday public activity that
exists between the defined and identifiable realms of the home, the institution,
and the workplace.”
12
This means that this everyday space can be a street, a
sidewalk, a parking lot, a train station, even a bus stop. She also mentions that
these everyday spaces will become meaningful and “highly specific” to us, once
we can pay attention to the people who inhabit the space or to the activities that
take place there. But is there anything we can do to bring the public’s focus to

11
Marc Auge, Non-Place: Introduction to an Anthropology of Supermodernity. (New York: Verso,
1995), 77-78.

12
Margaret Crawford and Michael Speaks, Everyday Urbanism, 18.
17
these spaces and make them meaningful?
In public art practices, the administrators in many public art programs have
successfully taken public art into our everyday spaces. Although most Percent for
Art policies regulate that the monies have to be spent on the construction where
the funding is from, by utilizing trust fund programs to assist the public art
commission in our everyday spaces, which do not look like anything special and
which we are used to neglecting, the everyday spaces can become brand new
places and new attraction in the community. But the goal of such projects is not
just to bring in exotic experience; Crawford also points out that,

Everyday Urbanism tries to refamiliarize urban environment. This might be
contrasted to the work of Rem Koolhaas, which is primarily concerned with
producing the modernist sensation of defamiliarization. This is the avant
garde strategy of “making strange” ordinary experience. Koolhaas’ recent
urban research has dealt with extreme and radical types of urbanism,
embracing their shock values and accepting the alienation that they produce.
Everyday Urbanism seeks to replace this with what we would call
refamiliarization, which reproduces the opposite sensation. It domesticates
urban space, making it more familiar, more like home. So the urban
environment, instead of being a relatively brutal and not very pleasant place,
becomes more like the interior; it becomes a softer place that is more
inhabitable.
13

In other words, different than Koolhaas’ “making strange” strategy, we believe that
the public artworks in our everyday spaces provide a way to refamiliarize and to
soften the urban environment. We can see the urban spaces more like a home—
more humane and closer to people.

13
Ibid., 22.
18
If we say Crawford’s Everyday urbanism is what connects forgotten everyday
spaces, then John B. Jackson’s “the third landscape” which is a deeper-layered
relationship between people and city, adds one more dimension to Crawford’s
theory. In his book Discovering the Vernacular Landscape, Jackson brings up a
viewpoint which he claims that there is a “third landscape” constructing above the
ordinary landscape in our city. He categorizes landscapes in America into three
types. Landscape One comes from the “early colonial vernacular culture which
preferred the mobility, adaptability and transitory qualities of the short-lived log
cabin even while waiting for Jefferson’s classical farm village to appear.”
14
Later,
Landscape Two replaces Landscape One and becomes the most-found cityscape
among our contemporary cities. It “impressed upon us the notion that there can be
only one kind of landscape: a landscape identified with a very static, a very
conservative social order.”
15
And people who live in Landscape Two feel that they
are lonely and isolated, even though they live and work with many people in their
everyday life. Cities, as Jackson describes in Landscape Two, are easily found.
Especially after 18
th
century, people who live in a city which has been through an
industrial evolution, which probably covers 99% of the cities in this world, all have
this characteristic of alienation.
Finally, in Landscape Three, Jackson believes that community events are the
major element which can again associate people with each other and with their
city as well. Through the community event, people can interact with each other.

14
John B. Jackson, Discovering the Vernacular Landscape. New Heaven: Yale University Press,
1984. Quoted in Sarah Bonnemaison, “City Policies and Cyclical Events.” Design Quarterly,
no.147 (1990):31-32. http://www.jastor.org.libproxy.usc. edu/

15
Ibid., 32.
19
The interaction starts when an individual engages with another individual, then
continues when an individual engages with a community, and then a community
engages with another community, and eventually, communities engage with
communities. Thus, Landscape Three is no longer “static,” but “kinetic.” It is to say
that any event which is cooperated with many people’s efforts, no matter whether
the scope is as small as a farmer’s market or as big as an international festival,
helps to revitalize the relationship between people and their city.
Although community events are usually temporary projects and do not
conform to the permanent requirement of most public art projects, temporary and
cyclical events can provide more functional advantages to a city than permanent
public artworks. In her article, City Policies and Cyclical Events, published in
Design Quarterly in 1990, Sarah Bonnemaison, from a socio-political point of view,
she tries to discuss how an international event or a community event can be used
as a strategy for a city to achieve the goal to distinguish itself from other cities and
represent its unique identity. From what she has observed in several cities in the
world, Bonnemaison claims that cyclical events, from The Olympic Games and
World Fairs, to local festivals, are all used by cities as a strategy to upgrade their
city infrastructure or political image, and can help to solve the social problems in a
city.
Bonnemasion also uses two examples in the 1970s to point out how two
different cities solved their social issues at the time, and thus revitalized the
inhabitants’ city life by holding temporary and cyclical events. The first example is
Rome in the 1970s when the mayor hired festival specialists to hold a series of
City of the Night celebrations to attract the citizens to come back to public spaces
20
and to share street life again after some terrorists attacked the Red Brigades. The
festival became a great success. The silent film Napoleon, directed by Abel
Gance, was shown in the Coliseum on three giant screens, and attendance
exceeded expectations.
16
Similar events last up until today and they have all
benefited from City of the Night celebrations in the 70s. The other example was
the Haight Street Fair in San Francisco. Haight Street Fair was a large music fair
which started in 1977, designed by City Supervisor, Harvey Milk. Before the fair
took place in the Haight-Ashbury district, the neighborhood was full of drug
dealing and alcoholics. But Haight Street Fair was a successful music event which
bringing a run-down neighborhood back to its old time beauty and peace. Not only
that, the fair also helps the city government to raise enough funds to start a
communal kitchen to provide food for homeless in the area.
17

From Bonnemasion’s two cyclical events, to the project in Min-Sheng
community, which is mentioned in last chapter, these three examples show us that
temporary public art projects can not only help to open the dialogue about social
problems, but also have the characteristic of enriching people’s spiritual life.
These events— no matter they are film screening, music festival, or temporary
community art event— bring people together and join the activities. These events
enrich people’s arts experiences and popularize arts to their everyday life, and
thus form Landscape Three for their cities and communities.
The purpose of public art is not just to make an artwork and put it in the
environment but to have art in our everyday life, involving us from a physical level

16
Sarah Bonnemaison. “City Policies and Cyclical Events.” Design Quarterly, no. 147
(1990):25-26. http://www.jstor.org.libproxy.usc.edu/

17
Ibid., 26.
21
to a spiritual level is the ultimate goal. Using PATF on cultural programming, such
as art events and temporary art projects is another choice from commissioning
site-specific artworks or funding art education programs. If a community event
really can have this great scope of influence on individuals and society, then it is
not too hard to understand why many public art programs in the U.S. nowadays
list cultural and arts programming as one of the most important affairs to promote.
The majority of the public art in Taiwan is still focused on site-specific
artworks, although some scholars have already pointed out that to extend the
definition of site— to change the definition making it close to Crawford’s Every
Urbanism— in the existing public art ordinance would help public art to be
popularized in more urban spaces.
18
However, once the Public Art Trust Fund in
all the 24 programs starts to commission art projects in Taiwan, hopefully, we can
expect a smarter way of utilizing funds on more urban spaces than spending
monies on ineligible sites. Furthermore, different from permanent public artworks
which are more conservative, temporary art projects, such as all kinds of art
festivals, are less restricted by media and materials, thus, they are more
interesting for both artists and audience to explore and to extent the boundary of
arts and push public art to a more experimental level.

18
Xuan-Qin Young, and Wang Yu-Ling ed., Public Art in Taiwan, Annual 2003, 239.
22
Chapter 4: Funding Models for Government-based Public Art Program
In Taiwan, most funding sources for public art are still coming from new public
construction, and they are all under the same regulations listed by CCA.
Compared with Taiwan, the public art programs in the U.S. have more diverse
methods of regulating their funding sources and also have different funding
characteristics.
In Public Art by the Book, Barbara Goldstein lists five representative
government-based public art programs and discusses the differences and
specialties among the five funding models. Each funding models she lists was
developed at different times and in different cities, and their different timelines and
locations have helped them to all develop a unique way of funding which is great
for the cities. In one of the models, a program receives a fixed percentage of
funding from public construction and deposits it in one account, such as The
Office of Arts & Cultural Affairs in Seattle. In a second model, a program receives
a fixed percentage of funding from public construction projects, and it regulates
how the funds should be used by percentage, such as The City of Portland. In a
third model, a program receives a fixed percentage of funding from both public
and private construction projects, such as Community redevelopment Agency in
Los Angeles. The fourth model is a program receives permanent set-aside
funding from residents and deposits it in one account, such as The City of Kent in
Washington. Finally, in a fifth model, a program receives a fixed percentage of
funding only from selected public and private constructions, such as Commission
23
for Arts and Culture in San Diego.
19

Among these five models, except of the public art programs in Seattle and
San Diego, which tend to create a public art master plan every year for their city,
the rest tend to set up a trust fund program, and either use the funds on places
which need public art but have no funding source or for cultural programming. The
most important thing is that no matter whether a program decides to create a
master plan for public art or to do programming via trust fund, the purpose of all
public art programs is to ensure a wise use of the monies and to bring more public
art opportunities to more places in a city.
The following three public art programs in Los Angeles, Department of
Cultural Affairs, City Redevelopment Agency, and Pasadena Cultural Affairs, we
will use as examples to review their ordinance. We will also focus on off-site
temporary projects supported by the trust fund in each program, seeing how they
make efforts to bring arts into every corner of the city.

A. The City of Los Angeles Department of Cultural Affairs (DCA)
DCA is a public art program which emphasizes that public art should benefit
the end users of a building. So, even though most of the projects DCA has
accomplished are site-specific artworks and cultural facilities, programming arts or
cultural services to benefit building users is nevertheless one of the choices
available.
The current commission members in DCA include Adolfo V. Nodal (President),
York Chang (Vice President), Celeste M. Alleyne, Richard Montoya, Lee Ramer,

19
Barbara Goldstein. Public Art by the Book. (WA: University of Washington Press, 2005), 16-51.
24
Josephine Ramirez, and Gayle Garner Roski.
20
They oversee the projects which
are handled by two different public art programs in DCA; one is municipal
constructions, the other is private constructions. All municipal constructions need
to fulfill the requirement under City’s Percent for Art policy and contribute the fee
amount for public art to City’s Arts and Cultural Facilities and Service Fund, while
all private constructions need to contribute the required fee amount to City’s Arts
Development Fee Fund. The approved public arts projects for both DCA’s public
program and private program are basically the same. In the case of the Arts and
Cultural Facilities and Service Fund and Arts Development Fee Fund, acquisition
or contribution of arts or cultural services is approved as per Los Angeles
Administrative Code as follows “approved public arts project” shall be a project
receiving the approval of the Board of Cultural Affairs Commissioners prior to the
expenditure of the funds therefore, and consisting of: (1) acquisition or placement
of publicly accessible works of art; (2) acquisition or construction of arts or cultural
facilities; (3) provision of arts or cultural services; or (4) restoration or preservation
of existing works of art.”
21
The arts and cultural services include performing arts,
literary arts, media arts, arts education, and special events such as festivals and
parades, as described in Arts Development Fee Ordinance.
22

20
Department of Cultural Affairs, Los Angeles. About Us. http://www.culturela.org/

21
Los Angeles Administrative Code, Division 19 Miscellaneous Provisions, Chapter 6 Public
works Improvements, Article 2 Public Works Improvement Arts Program, Sec. 19.85.4 Direct
Expenditures on Approved Public Arts Projects.

22
Department of Cultural Affairs, Los Angeles. Arts Development Fee Ordinance, Sec.22.118 Arts
Development Fee Credits. (c) Cultural and artistic services are defined as follows: (i) Performing
arts; (ii) Literary arts; (iii) Media arts; (iv) Education; (v)Special events; (vi) Similar services on
cultural and the arts as determined approved by the Cultural Affairs Department.
25
DCA Project: Fox Entertainment Group Supports the Hammer Projects
DCA’s insistence of public art should benefit a building’s end users makes it
flexible for developers to choose from many forms of public art. They can choose
to fulfill the public art requirement by adding visual enhancement to a building, or
by holding arts and culture events to enrich building end users’ spiritual life.
One recent public art project from DCA’s private public art division is the art
exhibition and arts education collaboration by Fox Entertainment Group (FEG)
and the Hammer Museum. The whole project was designed to benefit the
employees in the new Fox building. FEG is a large media company engaged in
films, television programs, television broadcasting, and cable network
programming. In 2007, because of its construction of a new administration
building, FEG decided to fulfill the Arts Development Fee requirement by
supporting the Hammer Museum’s Hammer Projects initiative.
The Hammer Museum is located in Westwood Village, close to the UCLA
campus. It is not only recognized as a local cultural institution, but also runs
dynamic art programs internationally. Starting from 1999, the Hammer Projects is
a series of exhibitions which mostly contains emerging artists’ works. Its goal is to
provide a non-commercial environment for local, national, and international artists
a responsive and flexible arena to present their works.
In the proposal from DCA to FEG, a total amount of $88,000 will be spent on
three major projects. Firstly, there will be Hammer-curated installations, led by
James Elaine, Hammer Projects Curator, in the new Fox Building. For a minimum
of twice a year, starting from January 2007 to December 2009, the artworks will be
selected and placed in the Fox building. The curatorial team will also assist the
26
Fox staff to identify the exhibition areas. Secondly, Lunchtime Artists’ Talks will be
held in the new Fox building for the Fox employees and their guests exclusively.
The artists will be selected from the current exhibition and will have an
approximately 15 minutes to talk about his or her artworks. Thirdly, Fox will
receive credit for sponsoring the Hammer Projects at the Hammer Museum for
approximately eight exhibitions per year, for three years. All Fox staff will have
free admission to the Hammer Museum with valid ID or business card.
23

B. Community Redevelopment Agency of the City of Los Angeles (CRA/LA)
The recent seven commissioners in CRA/LA are William H. Jachson
(Chairman), Bruce D. Ackerman (Vice Chairman), Joan Ling, Madeline Janis,
John A. Perez, Alejandor Ortiz, and Natalie Cole. These commissioners are
assigned by the Mayor to oversee the development projects in CRA/LA.
CRA/LA’s Cultural Trust Funds are independent from its Arts Development
Fee. When a building’s public art budget is lower than 25,000 dollars
24
or higher
than 100,000 dollars
25
, all or a part of the budget will need to be deposited to each

23
Pat Gomez, email massage to author, January 5, 2008.
24
Community Redevelopment Agency of the City of Los Angeles. Developer Guide to Art
Requirements, 2. When the Art Budget total (1% of Development Cost, minus any credits or
deductions) is small (under $25,000), the developer, in consultation with Art Program staff, should
evaluate whether as Art Plan can meaningfully impact the public’s view and experience of the
project. When the budget is small in relationship to the size of the development, the developer
should contribute the full requirement to the Cultural Trust Fund for the redevelopment project
areas where the project is located.

25
Community Redevelopment Agency of the City of Los Angeles. Art Policy, 7. An artist or artists
may be hired to participate in design and execution of artwork for the development project. To
ensure that adequate funding is available to meaningfully impact the project, the CRA/LA will
establish a threshold (for example, $100,000) or fixed amount of the total Art Budget that may be
spent for on-site art. Above that fixed amount or threshold, up to 60% of the total Art Budget (60%
of 1%) can be spent for the effort. The remaining 40% of the total Art Budget (40% of 1%) must be
contribute to a Cultural Trust Fund established for the redevelopment area. Cultural Trust Funds
are guided by redevelopment project area-based art advisory panels and support public art
initiatives and Cultural Facilities that improve the project area as a whole.
27
redevelopment area’s cultural trust fund account. The same as in DCA, with a
similar concept to benefit the end users, each Cultural Trust Fund is named after
different redevelopment areas, for instance, Downtown Culture Trust Fund or
Hollywood Cultural Trust Fund, and the funds cannot be inter-mixed.
Susan Gray, the Cultural Arts Planners in CRA/LA, says the scale of each art
project in CRA/LA really depends on each redevelopment area. Some of the
redevelopment areas are economically depressed and the funding for arts is low,
and sometimes the budget is only 25,000 dollars for a project. But Gray says that
they always try to co-operate with artists to find a best project for low-income
redevelopment areas, and keep their costs under-budget. A recent project on the
sidewalk of Pico Boulevard is a great example. The artist fabricates concrete
stamps for the sidewalks, with the designs of the stamps reflect the old
Victorian-styled houses in the neighborhood. So, even though the budget for this
project is only 25,000 dollars, CRA/LA and the artist were able to provide very
meaningful sidewalks for the neighborhood.
26

26
Susan Gray. Interview with author. February 26, 2008.
28
Figure 15 and 16: Concrete specialist is working on the stamps on the sidewalk
on Pico Boulevard. Photo provided by Susan Gray.

CRA/LA Project: Historic District Neon Signs on Broadway
The neon signs project in Historic District in Downtown Los Angeles is an
example of how CRA/LA uses its cultural trust fund on historical preservation. The
Theater District in Downtown Los Angeles, many historical theaters have lost their
old glory and the younger generations have no idea about those theaters’ history
in the early 1920s. For instance, The Palace Theater was built after the French
Renaissance style in 1911 and it is now the oldest Orpheum Theater in the world.
Another theater, The Los Angeles Theater, was the theater which premiered
Charlie Chaplin’s “City Lights,” and was also the last movie palace built on
Broadway. In this district is another landmark, KRKD, it was a radio station which
went on the air in 1927 and was known for broadcasting Amiee Semple
McPherson’s sermons nightly for many years.
In January 2004, cooperating with Museum of Neon Art (MONA) and DCA,
CRA/LA refurbished three neon signs for these three historical buildings. In this
project, CRA/LA contributed $105,500 from its Downtown Cultural Trust Fund,
and $3,400 from DCA. The theater neon sign refurbishment was actually one part
of the LUMENS project (Living Urban Museum of Electric and Neon Signs)
overseen by MONA. The purpose of the LUMENS project is to light up original Art
Deco neon signs, and so far it has illuminated more than 150 neon signs in
Hollywood, Downtown Los Angeles, and on Wilshire Boulevard. And now, the
neon signs in Los Angeles have become the largest collection of the LUMENS
29
project.
27

Figure 17 and 18: The Neon Signs in front of The Palace Theater and Los
Angeles Theater in Downtown LA. Photo by the author.

C. The City of Pasadena Cultural Affairs
The recent Arts & Cultural Commission in Pasadena Cultural Affairs consists
of nine members, including Stan Kong (Chair), Samuel Estrada (Vice Chair), Dale
Oliver (Parliamentarian), Kathy Huante, Heather E. Davis, Thelma Johnson,
Lonette S. Rappoport, Sasha Anawalt, and Kellye Wallett.
28
These appointed
members, like in DCA and in CRA/LA, oversee the development of the projects in
the Pasadena Cultural Affairs Department.

27
Community Redevelopment Agency of the City of Los Angeles. “Artist List.” Frontline: Museum
of Neon Art LUMENS Project. http://www.crala.net/ internet-site/Other/ Art_Program/
mona_lumens1.cfm

28
Pasadena Planning & Development. Arts and Cultural Commission, Public Art Subcommittee.
http://www.ci.pasadena.ca.us/planning/meetings/notices.asp#Commission/
Committee
30
Also, as the case with the DCA, the public art program in the City of
Pasadena requires both public and private constructions to contribute 1% of the
total construction fee to public art. The guidelines for the city’s municipal
construction projects, which are called the Capital Improvement Programs (CIP),
indicate that the CIP Public Art Fund needs to be used on an art site, or any
artworks which are permanent and site-specific, pre-existing but original, or
integrated art component, at an identified CIP site.
29
But for the city’s new private
development, the developer can choose to fulfill the requirement by contributing
on-site artworks, cultural arts programming, or facilities. Also, 25% of the
mandated fee will be automatically placed in the city’s Cultural Trust Fund.
30
The
on-site cultural programming includes but not limited to performing arts, literary
arts, media arts, and arts education. Special events, such as festivals,
celebrations, and artists-in-residence programs, can be funded only if the product
of the program involves or is available to the public.
Furthermore, in order to encourage new art, design, and film in Pasadena
area, Pasadena Cultural Affairs uses a part of the Cultural Trust Fund to establish
an Annual Grants Program. The purpose of the grant program is to support
diverse arts and any small-scale art events, so any individual artists or art
organizations can look for funding through Annual Grants Program

29
City of Pasadena Public Art Program. Guidelines for City Construction (CIP) Projects, 3. CIP
Public Art monies may be used at any site, which is identified as a CIP site or a site, which is a
public/ private partnership. Monies may fund permanent site-specific artwork, per-existing original
work, an art site, or an integrated component.

30
City of Pasadena Public Art Program. Guidelines for Private Development. 25% of the
mandated 1% fee will be automatically placed in the Cultural Trust Fund if the project is in the
Downtown or Old Pasadena Redevelopment districts. Applicable projects outside of those districts
are assessed 20%.
31
Apparently, to require a small art budget to deposit in a program’s trust fund
pool has become a common phenomenon among public art programs. Rochelle
Branch, the Interim Executive Director of the Arts Cultural Affairs Division of the
City of Pasadena, mentioned that in 2006 the program proposed that private
development with public art budget less than 25,000 dollars should be required to
pay the full amount to the program’s Cultural Trust Fund. The past cases have
shown that art budget less than 25,000 dollars was not enough to commission an
artwork which can have positive visual influence to the surrounding. Though the
City Council did not approve the revised guidelines, Branch still encourages
private developers to contribute the required public art budget to the program’s
Cultural Trust Fund when the art budget is small.
31

Pasadena Cultural Affairs Project: ArtNight and Art & Ideas Festival
Among three programs, Pasadena Cultural Affairs has been making efforts
on creating its third cultural landscape by holding cyclical art events with the
program’s cultural trust fund, such as its most known ArtNight and Art & Ideas
Festival. Branch mentioned that Pasadena Cultural Affairs has been trying to
promote cultural events by sending out press releases to community media and
designing door hangers which contain event information to the surrounding
neighborhoods. She also mentioned that they have been making efforts to send
out the event information to more participants from non-white communities, for
instance, African-American and Latino-American communities close to Pasadena
area, to ensure the cultural events can be shared by more diverse groups.

31
Rochelle Branch. Interview with author. December 27, 2007
32
ArtNight is a semi-annual art event which celebrates Pasadena-area quality
art, artifacts, and performance, and every event in ArtNight is free and open to the
public. ArtNight is usually held on a Friday night, from 6pm to 10pm, in March and
October every year, and most of the cultural institutions in Pasadena area all
cooperate the in the ArtNight event.
32
In ArtNight, there are several routes
designed for different commuting groups’ need. The visitors can choose to take
Metro Gold Line to Old Town Pasadena, Memorial Park Station, or drive to any
venues, and then take a free shuttle to the next venue; or they can bike with the
bicycle tour designed for ArtNight.
Art & Ideas Festival is another art series in Pasadena area. In each festival,
there will be a specific theme expressed through performing art, visual art, and
literary art. There are several topics which have been explored in the past ten
years, such as Radical Past in 1999, The Universe in 2001, and The Tender Land
in 2004. In October 2007, this issue-based festival decided “Skin” to be the theme
of the year. So, within the 22 days in the festival, there were 243 performance,
exhibitions, and lectures all discussing the topic of skin in 26 venues in
Pasadena.
33

32
In ArtNight March 2008, the cultural institutions will include Art Center College of Design,
Pasadena Museum of History, Norton Simon Museum, One Colorado in Old Pasadena, Armory
Center for the Arts, Pasadena Jazz Institution, Pasadena Symphony, Pasadena Central Library,
Pacific Asia Museum, Pasadena City College, Pasadena Museum of California Art, Boston Court
Performing Arts Center, and Shumei Arts Council of America.

33
Art & Ideas. A Pasadena Festival: Skin. http://www.artideasfestival.org/
33

Figure 19 and 20: Floating candles light up ArtNight and also catch people’s
eye. Photo by the author.

Figure 21: Visitors join the traditional Japanese tea ceremony. Photo by
the author.
34

Figure 22: Contemporary taiko drum performance. Photo by the author.

Figure 23: People can ride the free shuttle to any ArtNight venue. Photo by
the author.
35
Chapter 5: Visions for Taiwan’s New Public Art Trust Fund
Although Public art is still a new and immature program in Taiwan, with CCA
and many of the art administrators’ continuing efforts, the city landscapes in
Taiwan are gradually transforming to be rich and better for the inhabitants. As
more funds will be deposited in each programs’ Public Art Trust Fund after the
newly-revised public art ordinance applies, we hope these monies can be used to
provide what has been missing in the public art in Taiwan; moreover, we hope the
trust fund can be used to upgrade public art from a physical-experience level to a
spiritual-experience level for the general public.
From the physical-experience level to the spiritual-experience level, the
following recommendations are for using the PATF in Taiwan. First, more public
artworks should be brought to everyday spaces. Every urban space is the key
element to piece together our urban experience and cannot be split from it.
However, restricted by the funding source, usually only the surrounding of a public
building is funded to commission public artworks, and most spaces in a city do not
get a chance to be funded. Now, by utilizing the PATF, each program can provide
a chance for more urban spaces to make a significant visual impact to the city and
create a softer and a more enjoyable living environment for people.
Secondly, public art programs should consider providing funding for
non-profit art institutions and artists. From the examples of artist-initiated projects
in Ang-Dong Community and Min-Sheng Community, we see how
community-based public art events function well bringing harmony to the
inhabitants. Projects which are not government-based usually have the problem
of lacking funding sources to support artists’ ideas. However, compared with
36
government-initiated projects, projects initiated by non-profit organizations or
artists are more active and less limited by specific site, thus they may bring more
diverse possibilities and create more styles of public art for Taiwan.
Third, even when a construction’s budget for public art is insufficient for
commissioning an artwork, the art administrators can still hold a cultural or art
event to benefit the end users. In the FEG example, the users in the building can
have an exclusive contemporary art exhibition; furthermore, the young artists are
also given the chance to show their works and be exposed to the public more.
Fourth, temporary and cyclical art event is a must. A city’s landscape is not
merely constructed on what we see, but also what and how we feel about it.
Through arts and cultural programming, an art event can provide an instant
sensation of art experience for people and it is also the best propaganda for a city
to relate its image as a cultural center. Also, when artists grow from the
conservative style of creating permanent public artworks, they will able to go
further and explore the potential which has not been discovered in the public art
realm.
These recommendations for utilizing of the Public Art Trust Fund are just a
beginning. When the art administrators start to carry out the new policy, there will
be some unexpected situations which we cannot foresee now. However, we still
hope these recommendations can serve as a beginning for utilizing the trust fund
to help the new policy create a better environment for artists and their art practice
in Taiwan.
37
BIBLIOGRAPHY
Art & Ideas. A Pasadena Festival: Skin. http://www.artideasfestival.org/

Auge, Marc. “From Places to Non-Places,” Non-Place: Introduction to an
Anthropology of Supermodernity. New York: Verso, 1995.

Bonnemaison, Sarah. “City Policies and Cyclical Events.” Design Quarterly,
no.147 (1990):24-32. http://www.jstor.org.libproxy.usc.edu/

Branch, Rochelle. Interim Executive Director of the Arts Cultural Affairs Division of
the City of Pasadena. Interview with author. December 27, 2007.

City of Pasadena Public Art Program. Guideline for New Private Department,
2002.

----. Guideline for City Construction (CIP) Projects, 2002.

Community Redevelopment Agency of the City of Los Angeles. “Artist List.”
Frontline: Museum of Neon Art LUMENS Project. http://www.crala.net/
internet-site/Other/Art_Program/artist_list/mona_lumens1.cfm

Community Redevelopment Agency of the City of Los Angeles. Art Policy, 2005.

----. Developer Guide to Art Requirements, 2005.

----. Art Program Guide, 2005.

Crawford, Margaret, and Michael Speaks. Everyday Urbanism. Vol. 1,
Michigan Debate on Urbanism. Michigan: The Regents of the University
of Michigan, 2005.

Department of Cultural Affairs, Los Angeles. “DCA Press Release.” Frontline:
Department of Cultural Affairs Works with Fox Entertainment Group and
the Hammer Museum to Transform Arts Development Fee into Unique
Learning Opportunity for Fox Employees. http://www.culturela.org/press/
releases/2007.03.30.Fox.pdf

Department of Cultural Affairs, Los Angeles. Los Angeles Administrative
Code, Division 19, Chapter6.
----. Arts Development Fee Ordinance.

Fubon Art Foundation. Very Fun Park. http://www.fubonart.org.tw/veryfunpark
2/P2.htm.

38
Goldstein, Barbara. Public Art by the Book. WA: University of Washington Press,
2005.

Gomez, Pat. Arts Development Fee and City Art Collection/ Murals Manager
of Department of Cultural Affairs of the City of Los Angeles. Interview with
author. January 3, 2008.

Gray, Susan. Cultural Arts Planner of Community Redevelopment Agency of
the City of Los Angeles. Interview with author. February 26, 2008.

Jackson, John B. Discovering the Vernacular Landscape. New Heaven: Yale
University Press, 1984. Quoted in Sarah Bonnemaison, “City Policies and
Cyclical Events.” Design Quarterly, no.147 (1990):31-32. http://www. jastor.
org.libproxy.usc.edu/

National Statistic R.O.C. (Taiwan). http://www.stat.gov.tw.

Pasadena Cultural Affairs. ArtNight. http://www.artnightpasadena.org/.

Senie, Harriet F., and Sally Webster. Critical Issues in Public Art: Content, Context,
and Controversy. NY: Smithsonian Institution Press, 1992.

Taipei Public Art. http://taipeipublicart.culture.gov.tw/en/index.php.

U.S. Census Bureau. http://quickfacts.census.gov/qfd/index.html.

Young, Xuan-Qin, and Wang Yu-Ling ed. Public Art in Taiwan, Annual 2003
Taiwan: Taiwan Council for Cultural Affairs Press, 2004.

----. Public Art in Taiwan, Annual 2004. Taiwan: Taiwan Council for Cultural
Affairs Press, 2005.

----. Public Art in Taiwan, Annual 2005. Taiwan: Taiwan Council for Cultural
Affairs Press, 2006.

39
Appendix A: Los Angeles Administrative Code, Division 19, Chapter 6
(Currently In Use 2008)

40

41

42

43

44

45

46

47
Appendix B: Department of Cultural Affairs, City of Los Angeles. Arts
Development Fee Ordinance (Currently In Use 2008)

48

49
Appendix C: Community Redevelopment Agency of the City of Los Angeles,
Art Policy (Currently In Use 2008)

50

51

52

53

54

55
Appendix D: Community Redevelopment Agency of the City of Los Angeles,
Developer Guide to Art Requirements (Currently In Use 2008)

56
57

58
59

60

61
Appendix E: Community Redevelopment Agency of the City of Los
Angeles, Art Program Guide (Currently In Use 2008)

62

63

64

65

66

67

68
Appendix F: City of Pasadena Public Art Program. Guidelines for City
Construction (CIP) Projects (Currently In Use 2008)

69

70

71

72

73

74

75

76

77
Appendix G: City of Pasadena Public Art Program. Guidelines for New
Private Development (Currently In Use 2008)

78

79

80

81

82
83

84

85

Abstract (if available)

Abstract The 2007 Public Art Ordinance Amendment Conference in the Council of Cultural Affairs of Taiwan regulates that if a public art budget for a project is lower than one million NTD (approximately 30,000 U.S. dollars), the responsible public art agency should consider depositing the money into the city s or the county 's Public Art Trust Fund. This thesis tries to discover more interesting and diverse public artworks for Taiwan. Firstly, it discusses the public art status quo in Taiwan -- including current artists (software), public artworks (hardware), and art administrators (orgware). Then, it discusses the transformation of public spaces into public places, and the impact of cynical events to a city' s image. Finally, it compares PATF models in Los Angeles. Through this research, this thesis presents new ways the PATF in Taiwan will transform the public art programs to contribute to more community-based, and user-benefit public art projects.

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Asset Metadata

Creator Tseng, Yu-Wen Evelyn (author)

Core Title Examining current U.S. public art trust fund programs for applications in Taiwan: visions for Taiwan 's new public art trust fund

School School of Fine Arts

Degree Master of Public Art Studies

Degree Program Public Art Studies

Publication Date 05/02/2008

Defense Date 05/14/2008

Publisher University of Southern California (original), University of Southern California. Libraries (digital)

Tag everyday urbanism,OAI-PMH Harvest,public art,Taiwan,the third landscape,trust fund

Place Name Los Angeles (city or populated place), Taiwan (countries), USA (countries)

Language English

Advisor Fischer, Leslie (committee chair), Decter, Joshua (committee member), Levy, Caryl (committee member)

Creator Email yuwentse@usc.edu

Permanent Link (DOI) https://doi.org/10.25549/usctheses-m1217

Unique identifier UC151845

Identifier etd-Tseng-20080502 (filename),usctheses-m40 (legacy collection record id),usctheses-c127-68979 (legacy record id),usctheses-m1217 (legacy record id)

Legacy Identifier etd-Tseng-20080502.pdf

Dmrecord 68979

Document Type Thesis

Rights Tseng, Yu-Wen Evelyn

Type texts

Source University of Southern California (contributing entity), University of Southern California Dissertations and Theses (collection)

Repository Name Libraries, University of Southern California

Repository Location Los Angeles, California

Repository Email cisadmin@lib.usc.edu