CALL TO ARTISTS

In collaboration with Pima County, the Southern Arizona Arts and Cultural Alliance (SAACA) is seeking a qualified Public Artist or Artist Team for commission, through a Request for Qualifications application process (RFQ). This is a request for qualifications only. Do not submit proposals for artwork at this time.

1% FOR PUBLIC ART

Pima County’s 1% for Public Art program, established in 1990, is dedicated to enhancing public spaces with meaningful artworks that reflect the county’s unique character and cultural heritage. By setting aside 1% of funds from eligible capital projects, this program brings art to parks, libraries, roadways, bridges, and other community spaces, creating daily opportunities for residents and visitors to experience creativity in their surroundings. Facilitated by the Southern Arizona Arts & Cultural Alliance (SAACA), the artist selection process brings together local artists and community representatives to ensure each piece resonates with the diverse voices of our region. Today, with over 100 permanent installations, Pima County’s public art collection enriches public life, celebrating shared stories and inspiring connections across our communities.

SITE BACKGROUND 

The Historic Canoa Ranch, also known as the Raúl M. Grijalva Canoa Ranch Conservation Park, spans 4,800 acres of the original San Ignacio de la Canoa Grant. Listed on the National Register of Historic Places, this park is a landmark of Indigenous, Spanish, and ranching heritage in the Santa Cruz Valley where the Hohokam cultivated the land. Later, Spanish explorers, missionaries, and ranchers shaped its history, making it a key cattle operation. Canoa Ranch, now a conservation park, preserves both its cultural legacy and native ecosystems. The Pollinator Garden, a refuge for Sonoran Desert biodiversity, highlights the essential role of pollinators in sustaining life. 

ARTWORK MEDIUM AND LOCATION

The artwork will be installed at Historic Canoa Ranch, located at 5375 I-19 Frontage Rd, Green Valley, AZ 85614.

The artwork may integrate a variety of materials as long as the construction and material characteristics can withstand outdoor climate extremes. Special considerations for the strong wind, dust, and exposed outdoor conditions should be taken into account. 

The art will be integrated into 3 distinct interpretive node areas within the pollinator garden highlighting 3 unique groups of pollinator species. Each of the three interpretive art areas will highlight a unique species (or group of species) of native Sonoran desert pollinators and the native flora to which they are attracted. Each node will have an art display (or displays) and complementary interpretive signage provided by the County that will describe the art piece and the pollinators to which the art piece is responding. The selected artist will have the opportunity to contribute details and insight to the design of the interpretive signage. Art created for each node area should respond to the general prompts, educational goals and aesthetic objectives for each the interpretive art nodes as outlined below.

Artwork Locations - Site Document

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ARTWORK THEME

The public art project will unite history, ecology, and conservation, creating artworks that honor the land’s resilience and interconnected stories. The native pollinator art project aims to highlight the intricate relationships between native pollinators such as bees, butterflies, birds, and bats, and the native plants they pollinate. Through art installations, we seek to raise awareness about the importance of pollinators in our ecosystems and encourage visitors to create and support habitats that support pollinator survival and reproduction. Proposed art installations will creatively highlight and celebrate pollinator-plant relationship. 

Drawing on the principals of reconciliation ecology, the projects should strive to incorporate ecologically functional elements that conceptually support the wellbeing of pollinator species, such as integrating nesting sites, perches, enrichment, and water sources. The installations may also creatively integrate features that provide intentional benefits to nearby plant species, such as creating shaded microclimates, offering trellising structures, or providing wind protection. Projects should avoid literal representations and explore conceptual means of representing pollinator-plant relationships. Projects may be single objects or a “field” of multiple objects that incorporate into the natural landscape. 

Specific Node Themes and Criteria: 

BUTTERFLY NODE

This node will be a certified monarch waystation area and highlight the North American Monarch as an IUCN listed critically endangered species in addition to highlighting several native Sonoran Desert butterfly species. This node will highlight the importance of using native wildflowers, flower color selection, and bloom season (phenology) in designing backyard butterfly gardens. This node will additionally highlight our native butterflies’ relationship with milkweed species as a larval host and nectar source. This artwork should physically or conceptually comment on butterfly lifecycles and highlight the unique value of milkweed species to native butterflies. 

BAT AND MOTH NODE

This node will highlight nocturnal pollinator species including several species of Sonoran Desert bats and moths that pollinate predominantly night blooming species of cacti and succulents. This artwork should incorporate a conceptual or physical response to night / day cycles and highlight nighttime pollinator activity. 

WIND NODE

This node will highlight wind pollinated species, including a variety of native grass species. This artwork should incorporate a conceptual or physical response to wind via movement or sound. Electricity is not available at the site for potential installation inclusion. 

ARTWORK BUDGET

The all-inclusive budget of $150,000 for artwork must cover all costs related to: design, materials, production, transportation and installation of the artwork; permits, taxes, and insurance that may be required by the City of Tucson or Pima County; soil analysis, engineering, and mounting for the artwork. 

CONSTRUCTION PROJECT TIMELINE

Pima County is currently in the design phase and nearing 95% design completion for renovation of the Canoa Ranch Pollinator Garden site. The construction timeframe is anticipated to be 6 months and will commence in January 2025. 

TIME FRAME

Public art project timelines follow the schedule of the larger improvement. Dates are subject to change.

PUBLIC INTERFACE AND EXPECTATIONS

The selected Artist/Artist Team will be contracted directly with Pima County to produce the artwork. Once under contract, the Artist/Artist Team will work collaboratively with Pima County, SAACA, and a seven-person Public Art Panel (the Panel) to develop a conceptual design for the artwork. 

During the Artwork Design Phase, the Artist/Artist Team will work closely with the Panel on a conceptual design before approval of a  final design by the County Risk Manager, and then enter into the production phase. The Artist/Artist Team may be expected to attend one or more public meetings to present conceptual artwork designs to the broader community (to the extent practicable as determined by the County) during the design process. The Artist/Artist Team will adhere to the criteria outlined in Pima County Administrative Procedure, 3-16 section VI and detailed in the Artist Contract EXHIBIT ‘A’ SCOPE OF WORK, EXHIBIT ‘B’ PAYMENT, and EXHIBIT ‘C’ PUBLIC ART BUDGET/SCHEDULE FORM. (See supplementary Resources links provided at the bottom of the Guidelines to view Pima County Administrative Procedures and Artist Contract Template.)

ARTWORK DESIGN PROCESS

Once the Artist/Artist Team is under contract with Pima County, the Panel will reconvene and meet with the artist on a monthly basis to provide input on the artwork conceptual designs.  

When the Artist/Artist Team’s conceptual artwork design is approved by the panel the design will be submitted to the County for review. Upon acceptance by the county, the Artist/Artist Team may present the conceptual design to the broader public in up to two public meetings (to the extent practicable as determined by the County). The Panel will reconvene to consider any comments from those meetings. The artist will then pursue engineering of designs and the County Risk Managers approval. Upon Risk Managements approval, the conceptual design is officially considered the “Final Design”.

The Artwork Design Phase does not have a limit on the number of monthly panel meetings. Barring any delays on artwork design development on the part of the Artist/Artist Team or delays with the construction project that impact the artwork design, approximately 6-8 panel meetings for the Artwork Design Phase are anticipated for a project of this scope.

ARTWORK FABRICATION

Artwork fabrication/production timeline will be dependent upon the design. The Artist/Artist team and the County will agree on an appropriate schedule and delivery date as described in EXHIBIT ‘C’ PUBLIC ART BUDGET/SCHEDULE FORM of the Artist Contract prior to approval to production. The Artist/ Artist Team will be expected to adhere to the agreed upon timeline. Depending on the nature of the artwork and barring any delays with the fabrication on the part of the Artist/Artist team or delays with the construction project, production is estimated at 10 months for a project of this scope. 

ARTIST SELECTION 

A seven-person Public Art Project Panel will be assembled for the project with representation from the Project Manager of the construction site, the Project Design team, the District in which the project occurs, stakeholder groups/community members residing in the vicinity of the construction project, and arts professionals. The panel will review all qualified applicants, select 3 finalists for interviews and presentations, and select the Artist/Artist Team for the project. A new Panel is convened for each unique Public Art project. All panel meetings will be convened virtually.

The Artist/Artist Team will be selected through an open and competitive process. Selection of artists and artworks will be based upon criteria of artistic quality, demonstrated ability to meet the criteria set forth in the posted guidelines, as well as the goals expressed by the Panel. The Panel will select up to three finalists from the pool of applicants (Art Panel Meeting 1). Exact dates for virtual interviews and presentations will be scheduled once the finalists are determined (Art Panel Meeting 2). (Pima County Administrative Procedure, 3-16, Section V, Selection of Artists and Artworks). 

APPLICANT EVALUATION

All submitted applications undergo a Technical Review by the Public Art Coordinator. At this stage, applications are reviewed for completeness, eligibility based on the published Call to Artist, and compliance with the published guidelines.

The Public Art Panel will score each qualified applicant using criteria including, but not limited to:

• The professional qualifications of the artist(s) as evidenced by the supporting materials.
• Proven ability to undertake projects of the described scope and proposed budget.
• Artistic merit and superior caliber craftsmanship as evidenced by the images and video.
• Suitability of applicant to project intent and site.

SUPPLEMENTARY LINKS (Hyperlinked)

Questions/Follow Up

Questions regarding this opportunity should be directed to Matt Rolland, SAACA Deputy Director, at 520-274-2758, email: matt@saaca.org.

Application Requirements

Please read the following information carefully as incomplete or late submissions will not be accepted. Supplemental information beyond what is requested will not be reviewed by the Public Art Panel. Failure to provide any of the published requirements could result in disqualification from the competition. Duplicate submissions will not be accepted. All materials must be submitted via CaFÉ (callforentry.org) according to the specifications outlined below:

• An artist statement/letter of interest written specifically to address the following: Describe your artwork/approach/style/perspective/background. What excites you about this opportunity. How may you approach this public art project?
• Artist(s) resume or CV, relevant information for any other key team members - Applicants may submit a resume no longer than 2 pages in length. Artists teams may submit an additional 1-page resume per artist team member. The resume is an overview of your work and accomplishments in list form. Prioritize your accomplishments, commissions, and professional experience as it relates to this opportunity, with the most recent, relevant and strongest categories at the beginning. Do not include portrait photographs in the resume.
• Between Six and Ten images and up to five videos of artwork PREVIOUSLY created (portfolio) that showcases your artwork/style/perspective. Complete image citations will be required; including artwork title, medium, height, width and depth, price or value, year completed, and description. Please review and adhere to the Image and Media Preparation page on CaFÉ when formatting your images or videos. Tutorials can be downloaded using the links near the bottom of the page. By default, CaFÉ will organize the images in your submission alphabetically. If you wish to present the images to the committee in a different order you must prioritize the images before submitting an application.

Eligibility Criteria

The Public Art opportunity is open to professional Artists and Artist Teams including but not limited to individuals or teams who are engaged full-time or part-time in the production of eligible works of art, teachers of art, and emerging professional artists (Pima County Administrative Procedure, 3-16, Section II)

This REQUEST FOR QUALIFICATIONS is open to all artists/artist teams in the U.S. Artists submitting qualifications should demonstrate a level of experience and professionalism that is commensurate with the project scope and budget. Artists living in Arizona are highly encouraged to apply. Black, Indigenous, People of Color, Women, LGBTQIA+ community members are highly encouraged to apply. 

Artists using artificial intelligence (AI) tools in the creation of their proposal must identify the use of AI in the information accompanying each image. The sculpture must be an original creation by the artist(s). 

Note: Artist Teams are required to select a team lead as a point of contact for all communications. If selected for the project, team members will need to form an LLC or may designate the team lead as signatory in order to contract with the County. If selecting the team lead as signatory, the County will contract with them directly as the “Vendor/Contractor”. Subcontracting and performance of team members is the exclusive responsibility of the Vendor/Contractor. Artists applying as a member of a team are not eligible to also apply as an individual.