HomeMy WebLinkAboutAGENDA REPORT 2021 1006 CCSA REG ITEM 09CCITY OF MOORPARK, CALIFORNIA
City Council Meeting
of October 6, 2021
ACTION APPROVED STAFF
RECOMMENDATION, AS AMENDED.
BY B. Garza.
C. Consider Adoption of Arts Master Plan. Staff Recommendation: Adopt the Arts
Master Plan as presented. (Staff: Chris Ball, Senior Management Analyst)
Item: 9.C.
MOORPARK CITY COUNCIL
AGENDA REPORT
TO: The Honorable City Council
FROM: Jeremy Laurentowski, Parks and Recreation Director
BY: Chris Ball, Senior Management Analyst
DATE: 10/06/2021 Regular Meeting
SUBJECT: Consider Adoption of Arts Master Plan
SUMMARY
The Arts Master Plan, prepared by Southern California arts consultant Arts Orange
County (Arts OC), is the result of a robust public input campaign and detailed evaluation
of the City’s current policies and procedures related to public art. The objectives and
recommendations the plan contains offer a blueprint for aligning the City’s priorities with
those of the community, based on current best practices in the public art field. All of the
recommendations are presented with the understanding that the implementation of any
specific action is at the City’s discretion and will require review by the City Attorney and
approval by the City Council as appropriate. It is recommended that the City Council
adopt the Arts Master Plan as presented.
BACKGROUND
Recognizing that cultural and artistic resources, such as public artwork and performing
arts, enhance the quality of life for individuals living in, working in, and visiting the City,
in 2005 the Moorpark City Council adopted Ordinance 321, which formally established
the Art In Public Places (AIPP) program. This program requires certain residential,
commercial, and industrial development projects to either install public artwork or pay
an in-lieu fee. The in-lieu fee is established by City Council resolution and is currently
set at one percent of a project’s valuation (excluding land value and off-site
improvement costs). Ordinance 321 also established the Art In Public Places Fund to
collect and maintain these in-lieu fees for use exclusively for the AIPP program.
The City’s Arts Commission is tasked with reviewing and making recommendations
regarding City-sponsored art projects as well as private art installations required under
the AIPP program. Commission recommendations are forwarded to the City Council,
who has approval authority over art installations in the City. Examples of art
installations in private developments that went through this approval process include the
Item: 9.C.
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stone sculpture in the Patriot Commerce Center on Miller Parkway and the bronze
sculpture in Campus Plaza on Campus Park Drive.
To date, City-sponsored AIPP activities have generally involved the installation of
permanent sculptural features. A total of six projects have been funded through the
AIPP program including the 911 Memorial sculpture/fountain at the corner of Tierra
Rejada Road and Mountain Trail Street, Veteran’s Memorial Park, the mammoth bone
sculpture at Mammoth Highlands Park, the “We Are One Family” sculpture at the Ruben
Castro Human Service Center and the Lithomosaics and bronze toad sculpture at
Arroyo Vista Community Park. Most recently the City commissioned the “Thin Blue
Line” sculpture at the Police Services Center, honoring the men and women in law
enforcement. A proposed project to install an art piece at the north Metrolink station,
located at 300 High Street, is currently under development. While these are noteworthy
public art accomplishments, they have been achieved on an individual basis, without the
benefit of an overarching vision or plan to guide the City’s public art activities.
In 2019 the City embarked on the development of its first Arts Master Plan (Plan). The
goal of the Plan is to establish a community-wide vision for the City’s public art program
and to establish feasible priorities that will serve to guide the City’s efforts over the
coming decade. To guide the development of the Plan, the City chose to bring in a
qualified consultant with arts master planning experience and an understanding of the
best practices in the public art arena. An Arts Commission Ad Hoc committee was also
formed, consisting of Commissioner Blaugrund and Commissioner Roullard, to provide
input during the consultant selection and Plan development process.
A Request for Proposals (RFP) from qualified consultants was released in March of
2019, and in June of 2019 Arts Orange County (Arts OC) was selected as the
consultant to carry out the development of the Plan. Arts OC stood out because of their
strong background in providing arts related programs and cultural planning services to
public agencies in the Southern California area. Although based in Orange County, Arts
OC’s project team included a Ventura County-based arts consultant and an experienced
diversity specialist to guide outreach efforts to the Moorpark community.
Beginning in the fall of 2019 and continuing through the spring of 2020, Arts OC
conducted an extensive community outreach campaign to assess the community’s
opinions and interests regarding art. Arts OC established and actively managed a
Facebook page specifically to promote and solicit feedback regarding the Plan. Twenty-
six individual interviews were held with key community stakeholders including City
Councilmembers, City staff, members of the Moorpark Foundation for the Arts,
Moorpark Unified School District representatives, Moorpark College leadership, and
various community stakeholders. A total of four visioning sessions were conducted, one
with the Moorpark Arts Commission and three with the general public (including a
bilingual session at the United Methodist Church), to collect input and ideas regarding
art and culture in Moorpark. Arts OC also launched an online community arts survey
during the February 18, 2020, Arts Commission meeting. The survey was promoted
and available in both Spanish and English versions and hard copies of the survey were
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also made available and collected at City facilities. Concerns regarding the spread of
COVID-19 caused the cancellation of a final planned community visioning session in
March 2020 at the High Street Arts Center. To continue the collection of public input,
however, the deadline for submitting the community survey was extended and the
survey was promoted through the spring of 2020, finally closing in mid-May. By that
time over 400 community surveys had been received.
A preliminary draft of the Plan was provided in the fall of 2020 for staff review and
revisions were made during the winter of 2020/21. A revised draft was considered by
the Ad Hoc committee in May with feedback incorporated into the final draft, which was
reviewed by the Arts Commission on June 17, 2021. The Arts Commission collectively
supported the draft Plan and recommended that it be forwarded to the City Council for
adoption as presented in Attachment 1.
DISCUSSION
The draft Arts Master Plan represents a compilation and synthesis of the input collected
by Arts OC. As noted earlier, the goal of the Plan is to establish a community-wide
vision for the AIPP program and to recommend feasible priorities and programs that
align with that vision. The objectives and recommendations contained in the Plan
reflect current best practices in the public art field and proven strategies to enhance the
art and culture infrastructure in the community. The Plan provides a blueprint for
aligning the City’s priorities with those of the community and offers short and long-term
direction for program activities. It is important to note that the implementation of any
specific recommendations following Plan adoption will be at the City’s discretion, and
any modifications to current ordinances, policies and procedures will be made under the
guidance of the City Attorney and will be subject to final approval of the City Council.
In conducting its outreach, Arts OC found a Moorpark community eager to engage in
arts and culture offerings and that values the role that the arts play in the community.
When asked about the importance of arts and culture in their lives, 70% of survey
respondents ranked it as “very important”. Top priorities for residents included
activating High Street through arts and culture, having access to more programs such
as concerts and festivals, and adding more public art to activate and beautify the City.
The Plan is anchored by a Mission Statement that distills the desires of the public as
follows:
It is the mission of this Arts Master Plan to spark the imaginative spirit and enrich
the lives of all Moorpark residents and visitors to the community, with a
commitment to respect, equity and inclusion. To fulfill this mission, the City
commits to the following goals:
• Goal 1: Engage the community in a robust array of arts and cultural
experiences that provide opportunities for all to connect and socialize, to
create and learn, and to celebrate Moorpark.
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• Goal 2: Strengthen Moorpark’s creative community of artists, arts
organizations and arts educators.
• Goal 3: Harness the economic vitality generated by the arts for the benefit
of all.
Each of these goals is further defined in the Plan by a set of objectives with
recommended actions to achieve the goals.
Goal 1 speaks to the community’s desire for a wide range of arts and cultural
experiences. Arts OC notes that while there continues to be support for permanent art
installations, local opinion mirrors the worldwide trend that more broadly defines public
art to include temporary art installations, festivals, and the performing arts. It is worth
noting that this finding was corroborated in the 2020 National Community Survey where
Moorpark residents ranked “opportunities to attend cultural/arts/music activities” as
being lower than the comparative national benchmark. A number of objectives aimed at
widening the scope of activities undertaken through the AIPP program are identified to
achieve this goal. These include distinguishing Moorpark as a destination through
creative placemaking, transforming public places into points of interest that foster civic
pride and attract visitors, engaging the community’s heritage and diversity to build on
existing events and develop new experiences, and increasing the availability and
awareness of arts learning opportunities to engage the creativity of residents. Along
with each of these objectives, the Plan presents a variety of associated actions that
align with the community’s interests. A sampling of suggested actions contained in this
section include:
• Enliven public space such as parks and bike paths and functional elements such
as utility boxes with art and design.
• Consider aesthetics during the early stages of planning for both the City projects
(including the new Library) and new private development projects, to encourage
attractive and imaginative additions to the Moorpark cityscape, with special
attention in this regard given to development in historically and culturally
important areas of the community.
• Think beyond installing free-standing permanent sculptures for public art and re-
define public art to include temporary sculpture installations, pop-up exhibitions
of art, community participation art projects, festivals and performing arts events.
• Develop an amphitheater that makes full use of the great weather and natural
beauty of Moorpark.
• Celebrate the City’s cultural heritage throughout the community through the
placement of interpretive exhibits at significant locations and the incorporation of
historical themes in civic buildings, new works of public art and community
events.
• Strengthen the Multicultural Festival and highlight multicultural programming
offered in different venues.
Goal 2 aims to strengthen the creative community in Moorpark by updating the City’s
policies and procedures to align them with best practices, and by engaging the larger
arts community to drive the implementation of the Plan. Objectives outlined to meet this
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goal include strengthening the AIPP program to attract high quality projects and artists,
expanding cooperation among the arts, expanding access to facilities for arts uses, and
evaluating the role of the Arts Commission and the capacity for current City staff to
support the implementation of the Plan.
A supplemental deliverable supporting Goal 2 is a comprehensive review of the City’s
AIPP program. Arts OC has provided a detailed analysis of the current ordinances,
policies and procedures, along with recommendations intended to align the program
with best practices in the field. A few of the various suggestions related to the existing
AIPP Ordinance include:
• Updating the definition of an “Artwork” to mean “an original creation of art,
designed and envisioned by an artist…”
• Defining an “Artist” as “a person who has established a reputation of artistic
excellence in the fine arts, including but not limited to visual, or performing arts,
as judged by peers and experts in the field…”
• Expanding the allowable uses of Art In Public Places funds to include:
o The acquisition, construction and maintenance of art and cultural display
and performance space;
o Developing programs for the enjoyment and appreciation of art, heritage
and culture within the Moorpark community;
o Building functional capacity of eligible nonprofit organizations devoted to
the development of arts and culture in Moorpark.
Additional recommendations are included regarding topics that are not currently
covered by the City’s policies and ordinances such as the development of a mural
program, the handling of art donations, and deaccession of City artwork. These
recommendations are provided in Appendix II to the Plan and will be used to guide
updates to the current ordinances and policies following its adoption.
Goal 3 seeks to take full advantage of the economic benefits that a robust arts
environment would bring to the community. Arts OC notes that harnessing the drawing
power of the arts is a proven tool for cities seeking an economic boost. Moorpark is well
positioned to realize this potential, with High Street considered the foremost opportunity
for the City to center its arts and culture efforts. Objectives related to this goal include
actively promoting Moorpark’s arts and culture assets, harnessing the arts in economic
and community development planning, and providing business development
opportunities for creative enterprises. As with the other goals and their supporting
objectives, a wide array of individual actions are suggested, a sampling of which
includes:
• Build the City’s identity as a place for authentic community festival offerings by
encouraging local artists, historians and artisans to create “uniquely Moorpark”
experiences.
• Develop a list of unique events, activities, classes, tours, public art sites, etc.,
that could be accessed through the City website and distributed regionally
through the Chamber of Commerce and other promotional channels.
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• Incorporate arts and culture in project design on High Street to establish it as a
regional destination. The inclusion of outdoor community gathering spaces in
development projects would provide opportunities to activate High Street with
performances, art shows, craft food fairs and other special events to draw visitors
to the area.
• Consider establishing an arts entrepreneurship zone with incentives to
encourage arts-related for-profit businesses to locate in Moorpark.
• Support local creative businesses, teaching artists, etc., through the development
of a directory that would offer an opportunity to advertise their services.
• Offer a quarterly newsletter or quarterly feature in the M-Powered Economic
Update newsletter focused on resources to assist the City’s creative businesses.
• Strive to home grow creative talent by collaborating with Moorpark Unified School
District and Moorpark College to explore ways to support and promote creative
career pathways.
In addition to the goals, objectives, and recommended actions, the Plan provides a
wealth of supporting information. A detailed review of the community input collected
from Arts OC’s outreach activities is provided, including various quotes from
contributors that serve to illustrate the community’s varied interests in the arts. The
document also presents a brief summary of Moorpark’s history, highlighting its arts and
culture evolution. A detailed look at the creative economy in Moorpark and the state of
the arts in neighboring cities provides valuable insight into the impact the arts have both
regionally and locally, and further sets the stage for the Plan’s recommendations.
The staff recommendation is for the City Council to adopt the Arts Master Plan as
presented in the Attachment. Following adoption of the Plan, the next step will be to
begin implementation of various recommendations in the Plan in accordance with City
Council Goal 4, Objective 4.2, which reads “Complete Arts Master Plan, prepare policy
recommendations, and seek community partner(s) to develop arts and cultural events.”
Staff anticipates initially focusing efforts in several areas:
• A key area of focus will be the engagement of a local arts organization (or
organizations) to act as a coordinating body to present and promote arts
opportunities to the community and to participate in the implementation of the
Arts Master Plan. This is recommended in the Plan under Goal 2 as a means of
strengthening cooperation and leadership among the arts.
• Recommended updates to the current ordinances and policies would be
formalized and prepared for consideration by the Arts Commission and the City
Council.
• Staff would work on the development of policies regarding programs that are not
currently in place, such as a mural program, which would also eventually be
brought to the Arts Commission and City Council for consideration.
Although the Plan recognizes the Moorpark Foundation for the Arts as the most likely
organization capable of expanding the arts ecology in the community, detailed
discussions regarding the nature of this engagement would follow adoption of the Plan.
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The outcome of these discussions would determine the City’s course of action on many
of the other recommendations in the Plan. For example, Objective 2.2 in the Plan
recommends that consideration be given to expanding the role of the Arts Commission
to include fostering creative endeavors in the community. The nature and extent of
such consideration will depend heavily on the role that local arts organization(s) adopt
regarding the development and promotion of arts opportunities for the community.
FISCAL IMPACT
There is no fiscal impact associated with the adoption of the Plan, and the adoption of
the plan does not constitute the approval of funding for any specific recommendations
that are set forth in the document. If approved, funding considerations related to the
implementation of the Plan will be determined during the annual budget cycle process
or as stand-alone items brought to the City Council on a case-by-case basis. It is
anticipated that Plan-related programming and expenses would be funded from the Art
In Public Places Fund (2007), which is comprised of developer-paid art in-lieu fees and
currently has a balance of approximately $4.5 million.
COUNCIL GOAL COMPLIANCE
This action is consistent with City Council Goal 4, Objective 4.2: “Complete Arts Master
Plan, prepare policy recommendations, and seek community partner(s) to develop arts
and cultural events.”
STAFF RECOMMENDATION
Adopt the Arts Master Plan as presented.
Attachment: Draft Arts Master Plan
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Arts Master Plan 1
CITY OF MOORPARKARTS
Prepared By
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Arts Master Plan 3
TABLE OF CONTENTS
Introduction .............................................................................................................................. 5
Executive Summary .................................................................................................................. 6
How the Arts Benefit the Community .......................................................................................8
Research Methodology .............................................................................................................12
Sources of Community Input ....................................................................................................13
Stakeholder Interviews ...............................................................................................14
Community Visioning Sessions ....................................................................................16
Online Survey ..............................................................................................................19
Social Media ................................................................................................................25
Research Findings ....................................................................................................................29
Highlights of Moorpark’s Arts & Culture Evolution ......................................................30
Moorpark’s Arts & Culture Assets ................................................................................34
Creative Economy in Moorpark ....................................................................................37
Arts in Neighboring Cities ...........................................................................................40
Funding the Arts in Moorpark .....................................................................................44
Moorpark Arts Master Plan ......................................................................................................46
Mission & Goals ...........................................................................................................46
Goals & Objectives .......................................................................................................48
Goal 1: Engage ......................................................................................................48
Goal 2: Strengthen ................................................................................................52
Goal 3: Harness .....................................................................................................56
About the Consultant ...............................................................................................................60
Appendices ................................................................................................................................61
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CITY OF MOORPARK
OFFICIALS
Moorpark City Council
Janice S. Parvin, Mayor
Dr. Antonio Castro, Councilmember
Chris Enegren, Councilmember
Daniel Groff, Councilmember
David Pollock, Councilmember
City of Moorpark Arts Commission
Charles Blaugrund, Chair*
Rose Hoberg, Vice Chair
Tania De Haz
Carol Roullard*
Kim Simons
*Arts Master Plan Committee
City of Moorpark Staff
Troy Brown
City Manager
Jeremy Laurentowski
Parks & Recreation Director
Jessica Sandifer
Community Services Manager
Brian Chong
Assistant to the City Manager
Chris Ball
Senior Management Analyst
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Arts Master Plan 5
The City of Moorpark is truly fortunate to have an established Art in Public Places Program that provides
a strong funding mechanism to beautify and distinguish the community aesthetically. Having successfully
selected and installed a number of works through the program, City leaders recently determined that its
current policies and procedures, which were established in 2005, would benefit from a review by experts in
the field, and that development of an Arts Master Plan that provides a more comprehensive vision for public
art in the community was necessary to guide future program initiatives.
Arts Orange County was engaged to facilitate the cultural planning process which began in August 2019,
with the results to date documented within this report. This report represents the beginning of an active
engagement and dialogue with the public to participate in their arts environment in their community, now,
and years to come.
The City of Moorpark Arts Master Plan results from the compilation and synthesis of significant community
input collected over the course of one year and reflects the dreams and wishes of Moorpark residents. The
methodology included collecting input through interviews with stakeholders representing broad sectors of
the community, facilitating multiple widely publicized community visioning sessions, conducting a vigorously
promoted online survey, and open engagement with the public through a dedicated Arts Master Plan
Facebook page. Throughout the process, communication was maintained with and guidance was provided
by Moorpark’s Arts Commission and City staff.
It is our hope that this report will stimulate greater arts and cultural inclusion and activity for the benefit
of the residents and the greater community of Moorpark.
INTRODUCTION
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6 City of Moorpark
Moorpark is on the cusp of becoming a sterling example of a community enhanced by arts and culture. It has
the legacy, assets, resources and wide public enthusiasm to infuse the city with a diverse, innovative and
active creative environment. Moorpark residents are eager to engage in arts and culture offerings and value
the role that the arts play in their community. When asked about the importance of arts and culture in their
lives, 70% of survey respondents ranked it “very important,” and top priorities included activating High Street
through arts and culture, having access to more programs such as concerts and festivals, and adding more
public art to activate and beautify the City. This document includes a comprehensive summary of survey
results and selected public comments and insights that demonstrate the community’s appetite and enthusiasm
for artistic and cultural endeavors in the community.
The Arts Master Plan is anchored by a Mission Statement that distills the needs, wishes and ideas communicated
by the public:
It is the mission of this Arts Master Plan to spark the imaginative spirit and enrich the lives
of all Moorpark residents and visitors to the community, with a commitment to respect,
equity and inclusion.
To fulfill this mission, the City commits to the following goals:
ENGAGE the community in a robust array of arts and cultural experiences that provide
opportunities for all to connect and socialize, to create and learn, and to celebrate Moorpark.
STRENGTHEN Moorpark’s creative community of artists, arts organizations
and arts educators.
HARNESS the economic vitality generated by the arts for the benefit of all.
Prescribed objectives accompany each of these goals to update and fortify the City’s Art in Public Places
program, align its priorities with those of the community, and provide short and long term direction
for program activities. The adoption of recommendations contained herein is at the City’s sole discretion.
Any modifications to current ordinances, policies and procedures should be made with City Attorney
guidance and are subject to final approval of the Moorpark City Council.
EXECUTIVE SUMMARY
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Arts Master Plan 7
A thorough review of the City of Moorpark’s Art in Public Places Program is also included, along with
recommendations to update its policies and procedures to bring it into alignment with best practices in the
field. Additional policy proposals for murals, siting of artworks, and the acquisition and deaccessioning
of artworks are also included to assist the City in expanding and strengthening the program.
There is no doubt that the impact of the pandemic will present challenges for civic leadership and the
public to overcome unprecedented obstacles. Wise and disciplined leadership will be needed to determine
the recovery of the local economy and the social life of its citizens. Some sacrifices are sure to follow. But,
a modest investment in the arts and cultural infrastructure will—as it has been proven across the country in
thousands of other communities—actually serve to leverage the local economy, stimulate greater community
citizenship and participation, and improve the local environment with a creative, enhanced civic identity
and source of local pride. This Arts Master Plan provides a blueprint, constructed by the citizens and leaders
themselves, that can forge a greater, more beautiful and thriving community.
High Street Arts Center
578
The arts are fundamental to our humanity. They ennoble and inspire us—fostering
creativity, goodness, and beauty. The arts bring us joy, help us express our values,
and build bridges between cultures. The arts are also a fundamental component
of a healthy community—strengthening them socially, educationally, and
economically—benefits that persist even in difficult social and economic times. Improve
academic
performance
Improve
well-beingMake
neighborhoods
safer
Improve the
well-being of
military & veterans
Improve
physical and
mental health
Have
social impact
Unify
communities
Strengthen
the economy
Drive tourism
revenue to
local business
Drive the
creative
industries
Spark
creativity and
innovation
HOWTHE ARTS BENEFIT THE COMMUNITY
8 City of Moorpark
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Arts Master Plan 9
Arts improve individual well-being.
69 percent of the population believe
the arts “lift me up beyond everyday
experiences,” 73 percent feel the arts
give them “pure pleasure to experience
and participate in,” and 81 percent say
the arts are a “positive experience
in a troubled world.”
Arts unify communities. 72 percent
of Americans believe “the arts unify our
communities regardless of age, race,
and ethnicity” and 73 percent agree
that the arts “helps me understand
other cultures better”— a perspective
observed across all demographic and
economic categories.
Arts improve academic performance.
Students engaged in arts learning have
higher GPAs, standardized test scores,
and college-going rates as well as lower
drop-out rates. These academic benefits
are reaped by students regardless of
socio-economic status. Yet, the Depart-
ment of Education reports that access
to arts education for students of color is
significantly lower than for their white
peers. 91 percent of Americans believe
that arts are part of a well-rounded
K-12 education.
Arts strengthen the economy.
The production of all arts and cultural
goods in the U.S. (e.g., nonprofit,
commercial, education) added $804
billion to the economy in 2016, including
a $25 billion international trade surplus
— a larger share of the nation’s economy
(4.3 percent) than transportation,
tourism, and agriculture (U.S. Bureau
of Economic Analysis). The nonprofit
arts industry alone generates $166.3
billion in economic activity annually
— spending by organizations and their
audiences — which supports 4.6 million
jobs and generates $27.5 billion in
government revenue.
Source: Americans for the Arts
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10 City of Moorpark
Arts spark creativity and innovation.
Creativity is among the top 5 applied
skills sought by business leaders, per the
Conference Board’s Ready to Innovate
report — with 72 percent saying creativity
is of high importance when hiring.
Research on creativity shows that Nobel
laureates in the sciences are 17 times
more likely to be actively engaged in
the arts than other scientists.
Arts drive the creative industries.
The Creative Industries are arts
businesses that range from nonprofit
museums, symphonies, and theaters
to for-profit film, architecture, and
design companies. A 2017 analysis of
Dun & Bradstreet data counts 673,656
businesses in the U.S. involved in the
creation or distribution of the arts —
4.01 percent of all businesses and 2.04
percent of all employees. Arts for the health and well-being of
our military. The arts heal the mental,
physical, and moral injuries of war for
military servicemembers and Veterans,
who rank the creative arts therapies
in the top 4 (out of 40) interventions
and treatments. Across the military
continuum, the arts promote resilience
during pre-deployment, deployment,
and the reintegration of military service-
members, Veterans, their families, and
caregivers into communities.
Arts improve healthcare. Nearly
one-half of the nation’s healthcare
institutions provide arts programming
for patients, families, and even staff.
78 percent deliver these programs
because of their healing benefits to
patients — shorter hospital stays, better
pain management, and less medication.
Arts have social impact. University
of Pennsylvania researchers have
demonstrated that a high concentration
of the arts in a city leads to higher civic
engagement, more social cohesion, higher
child welfare, and lower poverty rates.
Arts drive tourism and revenue to
local businesses. Nationwide, attendees
at nonprofit arts events spend $31.47 per
person, per event, beyond the cost of
admission on items such as meals, parking,
and babysitters — valuable commerce for
local businesses. 34 percent of attendees live
outside the county in which the arts event
takes place; they average $47.57 in event-
related spending. Arts travelers are ideal
tourists, staying longer and spending more
to seek out authentic cultural experiences.
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According to a 2017 study by the Social Impact of the Arts Project (SIAP) at the University of
Pennsylvania School of Social Policy & Practice, low- and moderate-income residents in New York
City neighborhoods with many cultural resources are healthier, better educated, and safer
overall than those in similar communities with fewer creative resources. The report documented:
An 18% decrease in the serious crime rate
An 18% increase in children scoring in the top stratum on English and math exams
A 14% decrease in cases of child abuse and neglect
A 5% decrease in obesity
Source: University of Pennsylvania School of Social Policy & Practice
https://www.sp2.upenn.edu/new-research-shows-arts-culture-improve-health-safety-well/
ADDITIONAL HEALTHY COMMUNITY
BENEFITS FROM THE ARTS
Making Neighborhoods Safe
Arts Master Plan 11
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12 City of Moorpark
During the past twelve months, the consultant collected community input and data
through a variety of tools.
Conducted 26 individual key stakeholder interviews to identify community arts and cultural
needs. These individuals were identified in consultation with City of Moorpark staff and the
Arts Master Plan Committee, and included a representative sampling of various important
constituencies within or serving the City of Moorpark.
Conducted four visioning sessions to which the public was invited to attend, participate and
provide input by identifying arts and cultural strengths and weaknesses in the community and
sharing ideas for advancing arts and culture in the City. These were held in various locations
around the City.
Conducted an online survey that was open to the public, and promoted widely, to collect input
from Moorpark residents and visitors to the City. The survey was available in English and
Spanish, and more than 400 responses were received.
Maintained ongoing communication with City of Moorpark staff, members of the Arts Commission
and its Arts Master Plan Committee to review project goals and scope of work, to keep them
informed of our progress, and to seek assistance in our research.
Obtained from City of Moorpark staff documentation of city policies related to art in public
places, arts programs and facilities, and historical background.
Collected information from neighboring cities and others within the region regarding their arts
expenditures, facilities, programs and public art policies for comparative purposes.
RESEARCH METHODOLOGY
583
SOURCES OF
Arts Master Plan 13
• High Street Arts Center
• Moorpark Symphony Orchestra
• Moorpark Film Festival
• Moorpark Foundation for the Arts
• Moorpark Historical Society
Arts & Culture
• Mayor and City Council
• City Manager
• Moorpark Arts Commission
• Community Services Department
• Economic Development Department
• Moorpark Public Library
City Government
• Moorpark Chamber of Commerce
• Moorpark Morning Rotary Club
Business
• Moorpark College
• Moorpark Education
Foundation
• Moorpark Unified
School District
• Ventura County
Office of Education
Education
• Visioning Sessions
• Online Survey (English and Spanish)
• Facebook/Social Media
Residents
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14 City of Moorpark
STAKEHOLDER
INTERVIEWS
585
STAKEHOLDER INTERVIEWEES
(listed alphabetically)
Stephanie Anderson, Recreation Services Manager, City of Moorpark
Chris Barrett, Board Member, Morning Rotary Club, sponsors of Moorpark Film Festival
Troy Brown, City Manager, City of Moorpark
Dr. Antonio Castro, Associate Superintendent, Ventura County Office of Education
and President, Board of Directors, Ruben Castro Charities, Moorpark
Christine Conwell, Library Director, City of Moorpark
Jay Ellison, Board Member, Morning Rotary Club, sponsors of Moorpark Film Festival
Chris Enegren, Councilmember, City of Moorpark
Bill Gomez, President, Moorpark Chamber of Commerce
Kelli Hayes, Superintendent of Schools, Moorpark Unified School District
John Loprieno, Chair, Theatre Arts Department, Moorpark College
Michael Marion, Former Chair, Board of Directors, Moorpark Foundation for the Arts
Roger Mason, Board Member, Moorpark Symphony
Roseann Mikos, Ph.D., Councilmember, City of Moorpark
Monica Morenu, Dean, Applied Arts, Moorpark College
Janice S. Parvin, Mayor, City of Moorpark
Pennie Paterson, Former Director of Moorpark Arts Festival
Bernardo Perez, Former Mayor, City of Moorpark; Trustee, Ventura County Community College
District; Trustee, Moorpark Foundation for the Arts
Victoria Perez, Real Estate Professional
David Pollock, Councilmember, City of Moorpark; President, Moorpark Education Foundation
Ken Rayzor, General Manager/Artistic Director, High Street Arts Center
Hugh Riley, Chair, Board of Directors, Moorpark Foundation for the Arts
Ken Simons, Councilmember, City of Moorpark
Jeff Smith, Board Member, Moorpark Symphony
Julius Sokenu, Interim President, Moorpark College
Douglas Spondell, Planning Manager, City of Moorpark
Mike Winters, President, Moorpark Historical Society
Arts Master Plan 15
586
16 City of Moorpark
City of Moorpark Arts Commission Visioning Session
Open Public Meeting on September 16, 2019, City Hall Conference Room
COMMUNITY VISIONING SESSIONS
587
Arts Master Plan 17
Community Visioning Session
January 24, 2020 – Moorpark Methodist Church
Community Visioning Session
January 26, 2020 – The Alley
Community Visioning Session
November 18, 2019 – Apricot Room, City Hall
588
COMMUNITY VISIONING SESSIONS
ATTENDEES
September 16, 2019
City Hall
Conference Room
Michelle Barrett
Charles Blaugrund
Tania De Haz
Rose Hoberg
Carol Roullard
November 18, 2019
City Hall
Apricot Room
Cathy Agnew
Wayne Agnew
Mark Di Cecco
Jim Friery
Linda Goble
David Kropp
Eliza Kropp
Andrea Lamberth
Linda Legman
Moorpark Symphony
Pennie Patterson
Hugh Riley
David Ross
Miriam Ross
Lisa Sophos
Robert Thompson
Mary Zangerle
January 24, 2020
Moorpark United
Methodist Church
Tania De Haz
Kathleen Puntar
Patricia Torres
Christina Torres
January 26, 2020
The Alley at
Enegren Brewing Co.
Traci Adams
John Bird
Steve Burch
John Chester
Molly Chester
Chris Enegren
Ron Fischbach
Rachel Fischbach
Geri Freeland
Dylan Gunning
KC Kellman
Eliza Kropp
Linda Legman
Luigi Lucas
Linda Plaks
Jill Quijada
Robert Thompson
A fifth Visioning Session,
scheduled to take place on
March 16, 2020 at High Street
Arts Center, was canceled
to comply with the required
COVID-19 shutdown.
Thanks to all who assisted
the consultant on organizing
and hosting these Visioning
Sessions, including
Rev. Kathleen Puntar,
Moorpark United Methodist
Church; Chris Enegren,
Enegren Brewing Company;
Bernardo Perez and Hugh
Riley, Moorpark Foundation
for the Arts; Ken Rayzor,
High Street Arts Center.
42 Attendees
18 City of Moorpark
589
Arts Master Plan 19
ONLINE SURVEY
OVERVIEW
SURVEY UNIVERSE
• Moorpark residents
• People who work in Moorpark
• People who visit Moorpark
SURVEY PERIOD
February 18—May 18, 2020
RESPONSES
407 total
400 (English language version)
7 (Spanish language version)
PROMOTION
• Moorpark Acorn (2 articles)
• City of Moorpark e-mail, website,
publications, and social media
• High Street Arts Center newsletter
• Moorpark Arts Master Plan Facebook page
• Targeted Facebook advertising to Moorpark
residents (English and Spanish speaking)
• Various Moorpark-focused Facebook pages
• Stakeholders’ networks
• Visioning session attendees’ networks
High Street Arts Center graciously provided complimentary admission tickets for random
drawings used as an incentive to encourage public participation in the survey.
590
20 City of Moorpark
ONLINE SURVEY
RESPONSES
Importance
of arts & culture
in your life
How the
arts benefit the
community
Activating
public spaces
through
arts & culture
Value of
public art in the
community
Economic value
of arts in the
community
How often do
you attend or
participate in arts
in Moorpark?
Programs
you’d like
more of in
Moorpark
Are you an
artist, creative
worker or engage
in creative
expression?
70% responded “Very”
Additional 28% responded
“Somewhat”
TOP REASONS
• Providing opportunities
for residents to have fun
and socialize
• Engaging youth in creative
practices and life skills
• Engaging the personal
creativity of city residents
TOP LOCATION
81%
High Street
TOP REASONS
• Enrich the vibrancy of
commercial districts
(e.g. High Street, etc.)
• Add fun, color, and
enjoyment in the city
• Transform public spaces
into gathering spots
TOP REASONS
• Providing reasons to stay
& spend in Moorpark
• Strengthening local
support for the creative
& cultural sector
• Supporting or developing
local creative talent
72%
Several times each year
27%
At least monthly
TOP CHOICES
Concerts and festivals
54%Responded “Yes”
50% of those
that said yes have
creative careers
591
Arts Master Plan 21
PERSONAL CREATIVE ENDEAVORS
SURVEY RESPONSE
HIGHLIGHTS AT A GLANCE
The creative activities
survey respondents
take part in
(Multiple responses permitted,
does not add to 100%)
In what ways could the
City of Moorpark help
you advance your artistic
or creative practice?
(Multiple responses permitted,
does not add to 100%)
At what level would you
describe your creative
practice?
70% Book reading, creative writing, poetry
49% Play an instrument, write music, sing in a choir
42% Drawing, painting, ceramics
41% Photography, movie-making, animation
41% Prepare traditional foods, cooking classes
40% Crafts i.e. quilting, knitting, scrapbooking
36% Dance shows, dance lessons, social dancing events
19% Designing and building, woodworking, 3D printing, etc.
56% Local artists showcases
44% Grants for artists or arts organizations
38% Free or inexpensive studio or exhibit space
36% Produce cultural festivals
33% Free or inexpensive rehearsal or performance space
33% Grants to create public events
27% Incentives for creative businesses
22% Improved permitting processes
50% Personal expression/hobby
21% Committed practice
11% Emerging career professional
11% Established professional
7% Mid-career professional
592
22 City of Moorpark
The top programs that
respondents would
like to have more
available in Moorpark
(Multiple responses permitted,
does not add to 100%)
Respondent’s favorite
ideas for activating
or improving
public space
(Multiple responses permitted,
does not add to 100%)
66% Concerts and musical offerings
63% Festivals (arts, crafts, performances, food, etc.)
53% Performing arts (dance, storytelling, theater, etc.)
40% Comedy, cabarets, date-night options
35% Culinary events (tastings, wine-making, beer brewing)
34% Film festivals, independent cinema
82% High Street development project with focus on arts, culture & heritage
47% Visual improvements on Los Angeles Avenue corridor
41% Arts component in recreation features (bike trails, play structures)
39% Murals, community-engaged mural making
35% Infuse art into public works (utility boxes, bridges, etc)
30% Public art that is quirky, original, prompts “selfies”
SEEK OUT ARTS AND CULTURE ACTIVITIES
OUTSIDE MOORPARK
Respondents who
travel to other
communities to
participate in arts
& culture activities
The types of arts &
culture events or
activities respondents
travel to attend
(Multiple responses permitted,
does not add to 100%)
Thousand Oaks 70% 1-3 times a year 12% monthly 6% weekly
Los Angeles 68% 1-3 times a year 11% monthly 1% weekly
Simi Valley 58% 1-3 times a year 4% monthly 4% weekly
Ventura 54% 1-3 times a year 3% monthly 2% weekly
Santa Barbara 50% 1-3 times a year 1% monthly 1% weekly
66% Plays, musicals & dance
42% Concerts
36% Festivals & fairs (street, food, craft)
20% Museums
16% Art shows & artwalks
10% Libraries, lectures & classes
WHAT WOULD YOU LIKE FOR MOORPARK?
593
Arts Master Plan 23
WHAT WOULD YOU LIKE FOR MOORPARK? (CONTINUED)
Which of the following age groups need more arts programming (events,
activities, classes) in Moorpark? (Multiple responses permitted, does not add to 100%)
The top four venues respondents believe would be important additions
to meet the growing needs of the City’s residents and visitors
(Multiple responses permitted, does not add to 100%)
Is there anything else
you’d like to tell the
City as it prepares its
long-term arts and
culture plan?
75%
Teen
69%
Children
61%
Adults
46%
Older Seniors
71%
Families
65%
Active Seniors
60%
Young Adults
66% 32% An outdoor amphitheatre to accommodate concerts and festivals
62% 38% A larger or brand new High Street Arts Center
50% 50% Public gallery in new library
44% 56% Art studios and exhibition space for use by local artists
(Comments from survey
participants appear
throughout this report.)
594
24 City of Moorpark
ABOUT THE RESPONDENTS
Have school-age children living at home
Age
Annual income
Gender
Education
Ethnicity
68%
Female
33%
Yes
3%
Other or no answer
67%
No
29%
Male
1% Under 18
3% 18 – 24
6% 25 – 34
15% 35 – 44
24% 45 – 54
25% 55 – 64
20% 65 – 74
6% 75 or above
2% Some high school
10% High school diploma, GED, or HiSET
18% 2-Year associate’s or technical degree
37% Bachelor’s degree
33% Master’s, doctoral, or
professional degree
64% White, alone
<1% Black or African American, alone
<1% American Indian or Native American,
alone
3% Asian, alone
0% Native Hawaiian & other Pacific Islander,
alone
10% Two or more races
9% Hispanic or Latino
12% Decline to state or other
6% $39,999 or less
8% $40,000 – $69,999
15% $70,000 – $99,999
22% $100,000 – $149,999
13% $150,000 – $199,999
12% $200,000 or more
24% Prefer not to answer
595
Social Media
Arts Master Plan 25
In an effort to promote community engagement in the Arts Master Plan process, consultant launched
a dedicated Facebook page in September 2019. Identified as being operated by the consultant (and
not an official City of Moorpark page), the page was used to share examples of public art and arts
programs from other communities to stimulate discussion. These ranged from sculptures, murals,
utility box art, street art and festivals to performing arts of various genres and types. It also shared
examples of arts activities already taking place in Moorpark—in the City’s parks and community centers,
public schools, Moorpark College, churches and synagogues, and High Street Arts Center.
ARTS MASTER PLAN PAGE ON FACEBOOK
SOCIAL MEDIA
596
Public Art
How about placing art on the BACKS of buildings facing all the train passengers?
When I take the trains in & out of Moorpark I’m always thinking it would be an awesome
way to tell others about what a great community this is. – Brenda Duncan Cusick
How about a community wall that artists can freely paint? It can be monitored and
policed by the community. Give the kids an outlet for their expression. – Alex Mendoza
Ventura has art pieces around town painted on the cable boxes in very beautiful bright
colors. I like to look at them when I go there. – Margaret Rios
The bridge at Arroyo Vista would be great site for a mural. – Belén Contreras
Festivals
Bring back the “Moorpark Beautiful” that we had back in the day. Everyone participated,
all groups and schools. It maintained pride of our town. It was originally conceived by the
principal of the elementary school. He was an art major. The large rooms in the school
were opened and set up like an art gallery. All the organizations in town chose a project
to help beautify our town. Some painted things that needed it. Some planted flowers.
Murals can be made. It’s up to the organization. There was a parade. There was a list of
beautifications made and where they could be viewed. Historical buildings can be open.
A stage for a talent show to share talent with the town. – Terry Davenport
Facilities
I would like to see a nonprofit art center like Studio Channel Islands Art Center (SCIART)
in Old Town Camarillo where local artists could have studios in which to work that
would be open to the viewing public on one Saturday a month (Open Studios). Since
SCIART’s Open Studios is the first Saturday of every month, Moorpark’s needs to be on
another Saturday so we could support the arts in both communities. – Linda Legman
A gallery on High Street would be wonderful. A place to go with the whole family.
– Victoria Laba
26 City of Moorpark
The page attracted 225 followers and succeeded in collecting dozens of comments
by visitors, offering their reactions to posts and prompting them to share their own
ideas. Here is a selection of them:
A SELECTION OF COMMENTS FROM THE
ARTS MASTER PLAN FACEBOOK PAGE
597
High Street
Please continue to support High Street Arts Center. It is an incredible gift of talent
and incredible performances in our community! – Bobbette Gantz
How about a mural walk up and down High Street? (In hopes we will still someday
build High Street up) – Joell Cunningham Lennox
How about venues for musicians, strolling street musicians/a capella groups or a
music festival? – Linda Shishino-Cruz
Arts in Schools
I’d like to have more funding for the non-magnet schools in the community. Funding
to support our children’s K-12 education in visual arts & instrumental music. More
funding would help alleviate much of the stress volunteers like Boosters & PTAs face
in trying to raise funds for arts programs in the schools. In some cases, these volunteer
run organizations need to earn over $90,000 for school programs year after year in
order to supplement our kids education. In addition, having more City exposure &
support for Music performances that MHS develops would be nice for people in the
community to enjoy. We have many remarkable & talented students at the high
school. – Pamela Kirkland
The Moorpark High School PTSA has a wonderful Reflections Program!
– Jackie Alonge Flame
Collaboration
I hope that local artists will be integral parts of the entire process. An Arts Festival
inclusive of public art, visual arts, music and film would be fantastic. Moorpark has High
Street, its diamond in the rough that is just calling out for something like this. Partner-
ships with Moorpark College, Cal Lutheran and/or the Ronald Reagan Presidential Library
either in sponsorship or in collaboration could be great resources. – Andres Duran
A Robust Vision for the Arts
I would love to see a once-a-month arts Festival, where local, Ventura County artists
set up their work for display/sale, while local bands play original songs. Additionally,
opening up a Moorpark Art Gallery on High Street would also allow restaurant patrons
to have a place to stroll to and enjoy. Expansion of the Film Festival (through sponsor-
ship) would be amazing. I’d also love to see art at/on our freeway exits to set the tone
for the city. (Like Agoura, Westlake, and Calabasas). We’ve also got to do something
theatre-related. Can’t wait to see what you come up with! – Joey Carnes
Arts Master Plan 27
598
28 City of Moorpark
Apricot Lane Farms
599
Arts Master Plan 29
A Brief Summary of Moorpark History, Arts and Culture
Moorpark’s first residents, the Chumash people, inhabited this fertile valley with its sweeping vistas 10,000
years ago. They were also its earliest artists, adorning caves in the region with pictographs 1,000 years ago
and crafting beautiful functional objects—examples of which may be seen at the Chumash Indian Museum in
nearby Thousand Oaks.
A new era began when Robert W. Poindexter, a Los Angeles investment banker, acquired title to the land
that is now Moorpark (1887) in anticipation of securing a railway station (1900). This enabled Moorpark’s
growth as a farm community and led to the establishment of its earliest cultural assets: a public library
(1912), a high school (1919), and a theater on High Street (1927). Moorpark is believed to have held its very
first arts festival in 1930. These preceded Moorpark’s incorporation as a City by more than 50 years, reflecting
the important value placed upon arts, culture, and education by its residents.
Like much of California, Moorpark depended through most of its agricultural heyday upon migrant farm
laborers who mostly came from Mexico but also included workers of other backgrounds as well. While many
returned to their homes after the harvest, some settled permanently in Moorpark and today Latinos constitute
about one third of the City’s population.
Like much of the region, Moorpark experienced rapid growth in recent decades as a result of having available
land for new home construction and business expansion along the heavily trafficked Los Angeles Avenue
highway corridor that bisects the community. The City has worked to keep pace with this growth through the
construction of new schools and parks and recreation facilities, and has plans to build a new library.
A large residential development, Hitch Ranch, is also in the works, and early plans call for it to include a park
and amphitheater. This may be Moorpark’s last residential building project of comparable size and scale due
to the lack of available land. But other opportunities exist, such as repurposing shopping plazas or other
underutilized commercial areas. One infill project, High Street Depot, a mixed use residential and retail
development on High Street, is currently under review.
RESEARCH FINDINGS
600
30 City of Moorpark
Robert W. Poindexter
was granted title to
the present site of
Moorpark. He named
the city after the
Moorpark apricot which
grew throughout
the valley
Moorpark Depot
built and Southern
Pacific trains arrive
daily running
between Los
Angeles and
San Francisco
Moorpark Library
opens
Moorpark Memorial
Union High School
established
Quimisac, a Chumash
village established
in what is now
Happy Camp Canyon
Regional Park
Spanish Colonial Era Mexican Era California statehood
1887 1900 1912 1919
PRE-1542 1542–1821 1821–1848 1850
El Rancho Theatre
opens at 45 East
High Street as a
silent movie house
First Moorpark
Arts Festival held,
offered annually
for many years
Moorpark Theatre
(former El Rancho
Theatre) used for
school and community
productions
Moorpark Depot
closes
1927 1930 1950s 1955
Highlights of Moorpark’s
Arts & Culture Evolution
601
Arts Master Plan 31
Moorpark College
opens
Magnificent Moorpark
Melodrama & Vaudeville
Co. opens in former
Moorpark Theatre;
changes names and
uses over the years,
closing its doors as
Moorpark Playhouse
in 1999
Annual Country Days
Festival is founded,
presented by City and
Moorpark Chamber
of Commerce
Larry Janss purchases
Moorpark Theatre,
renovates it, renames
it The Theatre on
High Street
Moorpark Depot
is demolished
City of Moorpark
passes resolution
requiring Art in Public
Places in certain
developments
“Monument to the
Victims and Heroes
of 911” Fountain and
Sculpture dedicated at
corner of Tierra Rejada
and Mountain Trail
Moorpark Historical
Society is founded
Moorpark Arts Festival
is revived by volunteer
committee after a
period of dormancy
City of Moorpark
is incorporated
Arroyo Vista
Recreation Center
opens
1967 1968 1979 1983
1994 2001 2002 2003
Moorpark
Symphony Orchestra
is founded
1983 1984 1988 1990
602
32 City of Moorpark
City of Moorpark
establishes its Art in
Public Places Program,
requiring certain
residential, commercial
and industrial
development projects
to install public artwork
or pay an in lieu fee
The “Moorpark
Mammoth” (remains
from a Pleistocene-era
pachyderm) discovered
during excavation for
new development
in Moorpark
City established the
Art in Public Places
Fund to collect and
maintain in lieu fees
for use exclusively
by the Art In Public
Places Program
City assumes
management of
Moorpark Arts Festival
City of Moorpark takes
over Moorpark Library
from Ventura County
Library System
The “Moorpark
Mammoth” is
relocated to Santa
Barbara Museum
of Natural History
Moorpark Foundation
for the Arts, a 501c3
nonprofit organization,
is founded and
enters joint operating
agreement with
City for High Street
Arts Center
City of Moorpark
established an
Arts Commission
to “provide review
and comment on
the operations of
the High Street Arts
Center and place-
ment of artwork in
the community”
2006 2007 2007 2007
2009 2009 2009 2012
2005 2005 2005 2006
Veterans Memorial
by Community
Works Design Group
dedicated at corner
of Spring Road and
Flynn Avenue, includes
eagle sculpture,
fountain and plaza
Mammoth Bone
Stone Sculptures by
NSP3/Parks Associates
installed in Mammoth
Highlands Park
“We Are One Family”
by John Fisher
installed in Ruben
Castro Human Services
Center courtyard
City of Moorpark
purchases The Theatre
through its Redevelop-
ment Agency, renaming
it High Street Arts
Center, and eventually
establishes it as a
performing arts venue,
operated by the City’s
Community Services
Department
603
Moorpark Foundation
for the Arts agreement
with City gives the
nonprofit full operating
authority with
a reduced
financial
contribution
from the City
City cancels annual
Moorpark Arts Festival,
citing lack of staff
time available and
declining attendance
City debuts
Multicultural Arts
Festival, a reinvented
version of the earlier
annual Moorpark
Arts Festival
Lithomosaics and
Bronze Toad by
Anne Mudge installed
outside Arroyo Vista
Recreation
Center
Moorpark High School
is one of 23 schools
statewide to receive
the honor of
“Exemplary Arts
Award” from the
California Department
of Education
Moorpark Film Festival
inaugurated by
Morning Rotary Club
Moorpark Foundation
for the Arts agreement
with City renewed for
another 3 years with
the elimination of a
financial contribution
from the City but
with continued City
responsibility for
major building
maintenance
“Thin Blue Line”
sculpture by
Heath Satow
installed in
front of Police
Services Center
“The Biggest Little
Farm,” a documentary
by John Chester
depicting his and his
wife Molly’s experi-
ences revitalizing a
Moorpark area farm
debuts at Telluride
Film Festival, screened
in 2019 at Sundance
Film Festival
City of Moorpark
approves creation of
an Arts Master Plan
High Street Arts
Center becomes
known for successful
community theatre
productions, concerts,
and as a venue for
other performing
arts presentations
COVID-19 pandemic
forces temporary
closure of venues
and cancellation of
arts programs
2012 2014 2015 2015
2015 2017 2018 2018
2018 2019 2019 2020
Arts Master Plan 33
604
34 City of Moorpark
MOORPARK’S ARTS & CULTURE ASSETS
LOS ANGELES AVE
TIE R R A R E J A DA RD
SPRING RD
MILLER P
K
WY WALNUT CANYON RDP RINCETON AVE CAM P U S P A R K D R
M O U N TAIN TRAIL ST
C O UN T R Y W OOD DR
CHRISTIAN E LK RUN L O OPMOORPARK AVESPRING RDHIGH ST
2ND ST
POINDEXTER AVE
PEACH HILL RD
BARRETT DR
605
Arts Master Plan 35
CITY-OWNED PUBLIC ART
911 Memorial Sculpture/Fountain
Lithomosaics & Bronze Toad
Mammoth Art Bone Sculptures
Sculpture “We Are One Family”
Sculpture “Thin Blue Line”
Veteran’s Memorial
COMMUNITY PROGRAMMING
FACILITIES
Active Adult Center
Arroyo Vista Recreation Center
Moorpark City Library
Moorpark College Art Gallery
Moorpark Community Center
MOORPARK PERFORMING
ARTS FACILITIES
High Street Arts Center
Moorpark College Performing Arts Center
Moorpark High School Performing Arts Center
Walnut Canyon School Auditorium
ORGANIZATIONS
Moorpark Civic Ballet & Dance Theater
Moorpark Foundation for the Arts
— Moorpark Historical Society
— Moorpark Symphony Orchestra
— Old Time Country Bluegrass Gospel Music
Association (OTCBGMA)
ARTS & CULTURE
EDUCATION ASSETS
Arroyo West Elementary School
Campus Canyon College Prep Academy
Chaparral Middle School
Flory Academy of Sciences & Technology
High School at Moorpark College
Mesa Verde Middle School
Moorpark College
Moorpark High School
Mountain Meadows School
Peach Hill Academy
Walnut Canyon School
FESTIVALS, COMMUNITY EVENTS
Concerts in the Park
Haunted High Street
Moorpark 3rd of July Fireworks Extravaganza
Moorpark College Multicultural Day
Moorpark College Spring Festival
Moorpark College Writers Festival
Moorpark Country Days Parade & Street Festival
Moorpark Craft Beer & Wine Festival
Moorpark Field of Valor
Moorpark Film Festival
Moorpark Has Talent
Moorpark Multicultural Arts Festival
Movies in the Park
PUBLIC ART ON PRIVATE PROPERTY
Bronze Figure Sculpture
Bronze Sculpture and Fountain
Fountain
Fountain
Fountain & Rock Sculpture
Fountain with Horse Sculptures
Rock Sculpture with Fountain
Stone Archway Sculpture
Stone Sculpture and Fountain
606
36 City of Moorpark
Photo credit: Pam Rossi’s Dance Ten
607
The creative sector is an important driver of economic activity and tax revenue
for the City of Moorpark. The consultant has compiled some estimates of
creative economy data based upon research from other sources. These include
the 2020 Otis Report on the Creative Economy and the 2017 Americans for the
Arts Creative Industries: Business & Employment in the Arts.
What is the creative economy?
The creative economy is the basket economy inclusive of creative industries,
creative occupations and creative people working in nonprofit, for-profit
and self-employed businesses. The creative industries as defined in this
Report consist of five primary sectors: (1) Architecture and Related Services;
(2) Creative Goods and Products; (3) Entertainment & Digital Media; (4) Fashion;
and (5) Fine Arts and Performing Arts. In California, the creative economy
comprises 8% of the statewide workforce with an economic impact of more
than $650 billion (2020 Otis Report on the Creative Economy). Creative
employment data encompasses people employed in the creative industries, as
well as workers with creative occupations in other industries, such as graphic
designers working for local government, marketing professionals working
for auto dealerships, or cabinet makers working in construction. The economic
output of the creative economy, along with the creative talent driving the
success of the private, public and education sectors, are vital contributors to
California’s economy.
California’s creative economy is growing. From 2008–2017, creative sector
employment in California grew 12.7%. And it provides good paying jobs, with
average wages well above the statewide average annual wage of $68,500.
(2020 Otis Report)
CREATIVE ECONOMY
IN MOORPARK
Arts Master Plan 37
608
38 City of Moorpark
Arts-related businesses
located in Moorpark
People employed in arts-related
businesses located in Moorpark100+600+
The Creative Economy in Ventura County
Ventura County has been called out in the national press and in local studies for having a high density of
creative economy businesses and independent artists that generate significant economic and employment
impacts. In 2008, the Ventura County Community Foundation produced a report that found that the local
creative sector generated $2.1B in economic activity, on par with agriculture and construction. The report also
found that creative businesses supported over 20,000 jobs in the county and arts and cultural nonprofits
employed almost 2,000 people while enlisting another 7,000 community members as board and staff volunteers.
The 2020 Arts Vibrancy Index report scored Ventura County as eighth in the nation in their Top Ten Arts-
Vibrant Medium Communities list, out of 957 medium-sized communities studied. Defining arts vibrancy
indicators as supply, demand and support, the report finds Ventura County is second in the nation for
density of independent artists, fourth in the nation in density of creative business, 337th in arts revenues
and 624th in government support.
While Ventura County boasts a high density of independent artists, cultural nonprofits and creative busi-
nesses, the region is missing some key elements of arts infrastructure that are typically found in counties with
similar demographics. The region lacks an organization devoted to advocacy and fundraising. These activities
are essential to circulating and sustaining awareness of the value of the arts and activating donors to play a
role in supporting them. The county also lacks a regional arts and culture marketing platform with only a few
areas promoting the arts through ad hoc web-based calendars. Arts presenters, already under-resourced, are
competing for ever-shrinking local press to reach beyond their audiences. The region as a whole is not lever-
aging the volume and diversity of cultural offerings to attract visitors and cultural tourism dollars.
Ventura County and the Arts: Impact & Opportunity for Community. (Sept. 2008). Ventura County Community Foundation
Arts Vibrancy Index Report VI: Hotbeds of America’s Arts and Culture. (Sept. 2020). SMU Data Arts — The National Center for
Arts Research. https://culturaldata.org/what-we-do/arts-vibrancy/
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Arts Master Plan 39
Arts-related employees as a percentage
of all Moorpark employment5%
High Street Arts Center
economic impact on Moorpark$3 million
The Creative Economy in Moorpark
The 2020 Otis Report finds that employment in the creative industries in the Central Coast region (which
includes Moorpark) accounts for 5% of regional jobs — approximately 20,000 wage and salary positions
and 15,000 contractors. But Moorpark’s creative economy is more contiguous with that of Los Angeles
County, particularly in Entertainment and Digital Media, where the city falls within the 40-mile Secondary
Studio Zone for film and television production. Los Angeles County is home to roughly 38% of all direct
Creative Industry employment in California, and 1 in 3 jobs in the county are directly and indirectly generated
from the creative industries. Not only does this suggest that it is likely Moorpark’s creative industry
employment exceeds that of the rest of the Central Coast, but it also means that Moorpark is uniquely
positioned to harness its proximity to LA as an incentive to attract new creative industries to the City.
While the Otis Report does not include a creative economy analysis specific to Moorpark, the 2017
Americans for the Arts Creative Industries: Business & Employment in the Arts does provide a somewhat
closer look. It is based upon 2015 Dun & Bradstreet data for the 44th State Assembly District, where
Moorpark is located. This District had 1,433 arts-related businesses employing 8,348 people.
We estimate there are more than 100 creative businesses employing over 600 people in Moorpark.
This is likely an undercount, as the report only includes businesses with Dun & Bradstreet registration
numbers, omitting many small enterprises, and also does not include the self-employed which also play
an important role. Contractors occupy four of every ten jobs in California’s creative economy while the
overall economy average is one contractor for every 10 wage or salaried workers. (2020 Otis Report).
Economic Impact of the High Street Arts Center
Moorpark’s largest nonprofit arts organization reported $685,624 in gross receipts during the 2017–18
fiscal year (Source: IRS Business Master File). Based upon accepted methodology using industry-standard
multipliers, the economic impact on Moorpark by the High Street Arts Center exceeds $3 million.
(Source: A. Gary Anderson Center for Economic Research at Chapman University).
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ARTS IN NEIGHBORING CITIES
Just as each Ventura County city has its own unique geographic and cultural characteristics, so too are their
diverse approaches to municipal arts and culture programs and policies. Each city has a slightly different take
on providing leadership, facilities, funding and other forms of support to artists and cultural organizations
and to providing arts and culture opportunities to its community. A scan of these policies reveals some
shared patterns and some distinctions.
Cultural Planning & Leadership
Moorpark appears to be the most current and proactive city in terms of strategic planning for the arts. The
city of Ventura led the county charge in the early to mid-nineties, establishing artists and cultural nonprofits
as essential to the city’s success and adding elements to their General Plan and Downtown Specific Plan to
both retain artists and encourage the establishment of cultural districts. But after the 2008 economic downturn,
Ventura collapsed its Cultural Affairs department into Community Partnerships and has not produced a
cultural master plan since 2005. Currently the cities of Ventura and Thousand Oaks are seeking feedback on
the assets and issues in their respective arts and culture communities as part of their General Plan updates.
The cities of Oxnard and Ojai have the most recent arts master plans, both adopted in 2009, but they appear
to be expired. The County of Ventura has never adopted a cultural master plan.
With the exception of Port Hueneme and Santa Paula, all of Ventura County’s cities have a designated
cultural arts commission. Some of their various powers and duties include offering leadership and guidance
to city council and staff, reviewing budgets, ordinances and capital purchases, overseeing grant or public
art programs, or assisting in fundraising and marketing. Simi Valley’s arts commission role is overseeing
the budget and operational plan for the city’s Cultural Art Center. The city of Ventura requires that there be
at least one urban planning or architecture professional on their arts commission. Oxnard expects their arts
commissioners to assist in developing leadership capacity in the arts by tasking them to create evaluation
tools and training their local arts leaders on how to measure impacts and submit stronger grant proposals.
Libbey Bowl, City of Ojai
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Municipal Facilities
Along with Moorpark, several cities own arts facilities and utilize various methods for managing them.
The primary focus of the Cultural Affairs Department of the City of Thousand Oaks is to operate and manage
the Bank of America Performing Arts Center. With a $4.3M budget, the city maintains and improves the
facility, underwrites rental agreements with local performing arts groups that are considered residents of
the theatre, and provides staff to the TOArts foundation, which programs and fundraises for the center as the
primary tenant. While the City of Oxnard owns the Oxnard Performing Arts and Convention Center (OPACC)
and the Carnegie Museum, it recently stopped paying the operational costs of each facility, shuttering the
museum and contracting with an events producer to program the OPACC theatre. The nonprofit that ran the
theatre must self-fund while reimagining the facility as a community center. Both Thousand Oaks and Oxnard
fund their facility through an Enterprise Fund. The Simi Valley Cultural Art Center is funded by the city’s
General Fund and managed by city staff, with an annual budget of approximately $560K. The Towne Theatre
in Fillmore is owned by the city but is closed and slated for sale as part of the state dissolution of redevelop-
ment assets. Many of these facilities are managed by diverse arrangements between cities and a nonprofit.
Several cities program art shows in municipal galleries, including Ojai, Oxnard, Ventura and Thousand Oaks.
Ojai, Oxnard, Ventura and Santa Paula possess municipal art collections, several of which were initiated
as gifts by civic-minded collectors. Ojai and Ventura display their collections in gallery spaces within their
city halls, while Santa Paula and Oxnard established museums, the Santa Paula and Carnegie Museums
respectively, to house and display theirs. The County of Ventura pays a stipend to the Ventura County Arts
Council to curate art shows featured in the Government Center atrium.
Public Art Programs
Along with Moorpark, the cities of Fillmore, Ojai, Oxnard and Ventura have public art programs. The City of
Ventura’s program focuses on “enduring” visual or physical artworks that are often integral to public works
projects. Their ordinance stipulates that the “artworks may be permanently sited or be portable, and may
serve as venues for various performing and cultural art forms.” The other cities include programming and
performances in their public art guidelines. Ojai defines public art as “artwork created by artists for spaces
accessible to the public for specified time periods,” whether permanent or temporary, and “may include, but
is not limited to, works of sculpture, painting, tile work, street furniture, murals and place-making and arts
programming.” Ojai, Oxnard and Ventura also have mural programs. And while Santa Paula does not have
designated funding for the arts, the city does maintain its public murals and monuments.
Several cities offer unique municipal arts programs. Ventura’s Think Outside the Box and Ojai’s Paint Box
programs provide funding for artists and community groups to transform utility boxes into works of art.
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42 City of Moorpark
For the Artist Mentor Program, the Ojai Arts Commission partners with the Ojai Education Foundation to hire
professional artists to mentor high school students during a summer internship program. Oxnard recently
adopted its Downtown Arts Hub project to catalyze arts activity in the district. The cities of Ojai and Ventura
host annual art awards programs to celebrate and support local artists, cultural organizations and patrons.
Supporting the Arts
Several cities use grant programs to strengthen the arts in their communities. The City of Ventura distributes
around $90K annually through its Cultural Funding Program, which provides unrestricted funds to Ventura-
based cultural nonprofits for organizational support, programming, or services. Both Ojai and Oxnard provide
grants to individual artists as well as nonprofits. The Ojai Arts Commission’s Arts Grants Program funds
non-profit arts organizations and individual artists whose “primary purpose is to produce or present arts
and cultural programs” in the City of Ojai and require a dollar-for-dollar match. Oxnard’s Art In Public Places
Program is the county’s most comprehensive grant program, offering funding for projects, for individual
artists and for operating support for organizations. While only Oxnard-based artists and organizations are
eligible to apply to their grant program, Ventura and Ojai are open to applicants from outside the community.
Simi Valley offers a Community Project Grants program open to all types of 501(c)3 organizations, and arts
orgs are welcome to apply.
Currently, no Ventura County city provides art production space beyond theaters, but the city of Ventura
was the lead driver in developing the live/work complex, Working Artists Ventura, or the WAV. Having
identified the threat that the lack of affordable housing and studio spaces posed local artists, the city helped
Left: Bank of America Performing Arts Center, City of Thousand Oaks
Below: WAV – Artists live/work/retail complex, City of Ventura
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acquire the land (previously a brownfield) and drove the political process that made the nationally-recognized
project happen. The WAV is a unique model, offering fifty-four affordable rentals that combine living and
studio space to working artists, fifteen apartments for youth emancipated from the foster system or
families transitioning from homelessness and market-rate ocean view penthouses. The development is
also LEED-certified and received much of its financing from innovative tax credits.
Ventura County is also lacking in coordinated arts marketing. There is no regional event calendar or
promotional platform, leaving local artists and nonprofits to compete for limited coverage in local press.
The ArtsVentura website was created by arts supporters in the city of Ventura to promote Ventura-based
artists and cultural events, but it is not featured on either the City or visitors bureau websites. Only Ojai
provides an Artists Directory on its Arts Commission website. And while Ventura often gets lauded for its
Art Walk, the city withdrew its support of the event several years ago and, without resources and leadership,
it is struggling to continue. Without shared marketing platforms, local artists and nonprofits don’t have
a way to reach beyond their existing audiences, local businesses can’t locate local creative talent and the
region misses the opportunity to market itself to visitors.
One measure that a few cities have taken to spur arts and cultural activities is to lower the costs associated
with permitting or using city facilities. Thousand Oaks supports several performing arts groups by offering
them low-cost residencies at the Bank of America Performing Arts Center. Ventura offers Special Event Grants
to cover all or part of the permit fees charged by the city for special events occurring on public property.
The fees that the City of Ojai charges to rent Libbey Park and the Libbey Bowl are extraordinarily reasonable
and they offer a fee waiver program for local groups who are creating public benefit events.
Funding the Arts
Ventura County cities vary slightly on how they raise money for the arts. Ventura allocates two percent of
city capital improvement projects for their public art fund. Fillmore, Ventura, Ojai and Oxnard assign “percent-
for-art” developer fees. Ojai assesses construction projects two percent of the value of the project up to
$1 million, and then one percent on the value above $1 million. Fillmore’s recently adopted percent-for-art
fee is applicable to both residential developments and city capital improvements. Camarillo city council
recently voted down a developer fee program for arts funding. In Port Hueneme, the City Manager’s office
recently created a fundraising 501C3 called “REACH: Recreation, Education, Arts and Culture” and economic
development officials see a big potential in funding the arts through cannabis licenses, which require 1%
in revenue to go to city nonprofits. Recognizing the importance of the many cultural assets maintained by
private support in Santa Paula, city staff reports that they are working to develop assigned funding.
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44 City of Moorpark
As with the cities of Fillmore, Ojai, Oxnard and Ventura, the City of Moorpark utilizes “percent-for-art”
developer fees to fund its arts program. Such Percent for Art programs are common municipal mechanisms
to fund public art. The City of Moorpark assesses a 1% fee on new development and currently has a balance
of approximately $4 million in its Art In Public Places fund. The use of these funds is limited to public art,
and to date the City has utilized the fund to commission and install permanent sculptures and fountains
in public places. A more prevalent interpretation by cities worldwide today favors the use of such funds
for a wider range of public arts experiences, including temporary art installations, festivals, arts grants,
and permanent arts facility capital expenditures. This topic is discussed more fully later in this report.
Outside of Percent for Art programs and General Fund appropriations, many cities also utilize the
following mechanisms to fund their arts programs.
Transient Occupancy Tax
Another common municipal funding mechanism to support city arts programs and arts organizations
within a city is the allocation of a portion of transient occupancy (hotel) tax revenue or revenue from a
tourism BID (business improvement district). The rationale is that arts programming is valuable in driving
visitor traffic to hotels and restaurants in a city and that visiting artists also occupy rooms and spend
their money at local businesses during their stays in the community. The City established a 10% transient
FUNDING THE ARTS IN MOORPARK
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occupancy tax in 2007, and in 2020 welcomed its first hotel in nearly a century. These tax revenues are
allocated to the city’s General Fund.
Outside Sources of Funds Available to City of Moorpark
Typically, the following sources support one-time special initiatives or provide limited project funding
through competitive grant processes—not ongoing operating expense support for city-operated facilities
or programs (see Appendix III).
• National Endowment for the Arts (a federal agency)
• Community Development Block Grants (CDBG) (Local distributions are limited to programs
that address homelessness and provide affordable housing, which can include artists.)
• USDA Rural Placemaking Initiative (federal)
• California Arts Council (a state agency)
• State of California Park Development & Revitalization Grant Program (public art)
• California Humanities
• Ventura County Community Foundation
• Private Foundations
• Business Sponsorships
• Local Citizens
Moorpark Community Foundation for the Arts
Better known as Moorpark Foundation for the Arts (MFA), MFA’s stated mission is “to support and promote
the growth and enjoyment of the performing and visual arts in the City of Moorpark.” It received its tax
exempt status in 2009 as a 501(c)3 nonprofit organization, and is not a private grantmaking foundation.
In 2012, it entered an agreement with the City of Moorpark to become the exclusive management of the
City-owned High Street Arts Center (HSAC). Since that time, MFA has steadily built a successful community
theatre and performing arts center operation on the premises, and currently has an annual operating
budget of approximately $650,000 of which about 70% is derived from earned revenue, mostly from
ticket sales. The City retains responsibility for major maintenance of the building, but all operating
expenses are now the responsibility of MFA. Although MFA’s sole operational focus has been the production
and presentation of performing arts at HSAC, the City of Moorpark Arts Master Plan process has prompted
new thinking by MFA’s Board and Staff leadership regarding the possibility of playing a wider role in
advancing the arts ecology in Moorpark. This is discussed elsewhere in this report.
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MISSION GOALS
MOORPARK ARTS MASTER PLAN
ENGAGE
the community in a robust array of arts and cultural experiences
that provide opportunities for all to connect and socialize,
to create and learn, and to celebrate Moorpark
STRENGTHEN
Moorpark’s creative community of artists,
arts organizations and arts educators
HARNESS
the economic vitality generated by the arts
for the benefit of all
To fulfill this mission, the City commits to the following goals:
It is the mission of this Arts Master Plan to spark
the imaginative spirit and enrich the lives of all
Moorpark residents and visitors to the community,
with a commitment to respect, equity and inclusion.
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James Song Music Director Moorpark Symphony
Arts Master Plan 47
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48 City of Moorpark
GOAL 1: ENGAGE
Engage the community in a robust array of arts and cultural experiences that provide opportunities for all
to connect and socialize, to create and learn, and to celebrate Moorpark.
The City of Moorpark first passed a resolution requiring the placement of public art in certain new developments
in 1988, but a formal Art in Public Places (AIPP) program did not begin in earnest until 2007, after which five
works of permanent sculpture were commissioned and installed in various locations around the City. While
there continues to be support for the placement of permanent art installations through AIPP, local opinion
in Moorpark mirrors the worldwide trend that more broadly defines public art to include temporary art
installations, festivals, and the performing arts. Moorpark residents value the ability of public art to enliven
historic and commercial districts and beautify blighted areas, to bring joy and encourage social gathering
in parks and neighborhoods, and to celebrate the City’s heritage and diverse cultures.
The City should therefore consider the use of AIPP funds not only to support permanent public art installations
and their maintenance, but also temporary art, arts programming such as the Multicultural Arts Festival, and
free admission events by local arts organizations (e.g. High Street Arts Center, Moorpark Symphony, etc.).
Some residents also view the AIPP fund as a potential resource to help create new facilities, acquire the
necessary equipment to facilitate community events, and to expand and improve the High Street Arts Center.
It is recommended that the City review whether such uses of AIPP funds conform to the current ordinance
and, if necessary, amend it (see Objective 2.1).
Imminent plans for building a new City of Moorpark Library led many residents to point to it as a pre-
construction opportunity to plan for accommodating arts uses in the new building. Suggestions include an
art gallery, a community gathering space for lectures and performances, sites for permanent art inside and
on the grounds of the new library, and ensuring that it is a worthy architectural addition to the community.
Residents would like to have more arts learning opportunities through new program initiatives by the City,
but also feel that some of these might be fulfilled by making them aware of such offerings at Moorpark
College and Moorpark Unified School District.
GOALS OBJECTIVES
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The following objectives are recommended:
Objective 1.1: Engage creative placemaking techniques that leverage the visual and physical characteristics
of Moorpark to distinguish it as a community and as a destination.
This objective could be achieved by enlivening public space throughout the City with art and design,
such as parks and bike paths, and by commissioning artists to design playground equipment, gazebos
and gateways. Opportunities to beautify functional elements with art, such as utility boxes, public-facing
walls, and streetlight fixtures, should be explored. Furthermore, it is recommended that aesthetics be
considered during the earliest stages of planning for both the City projects—including the planned new
Library—and new private development projects, to encourage attractive and imaginative additions to
the Moorpark cityscape, with special attention in this regard given to development in historically and
culturally important areas of the community.
Objective 1.2: Engage people in social gatherings by transforming public spaces into points of interest that
foster civic pride and attract visitors.
It is recommended that the City think beyond installing free-standing permanent sculptures for public
art and re-define public art to include temporary sculpture installations, pop-up exhibitions of art,
community participation art projects, festivals and performing arts events. The City should seek out
opportunities to engage people of all ages in the creation of permanent and temporary art projects,
GOALS OBJECTIVES
Please consider art as more than just paintings and murals.
— Comment from survey respondent
I really think Moorpark needs something for teens and pre-teens. If we could create a
cultural, fun hang out for these youth for after school, it could take them off the streets
and out of the stores causing mischief. I feel they just don’t have a place to be after
school that gives them a sense of belonging or that holds their interest.
— Comment from survey respondent
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50 City of Moorpark
including mosaic walkways, bench seating, murals, etc., under the guidance of professional artists and
including themes that illuminate Moorpark’s physical beauty, proud heritage and cultural diversity.
An example would be the creation of a location for teens and young adults to engage in artist-supervised
mural painting for temporary display.
Survey respondents identified an outdoor amphitheater as the most desirable venue to meet the
growing needs of the City’s residents and visitors. Therefore it is recommended that the City continue
its efforts to develop an amphitheater that makes full use of the great weather and natural beauty of
Moorpark with the local appetite for the performing arts. Alternatively, the City could invest in portable
equipment that would provide an adequately equipped stage for outdoor performances that can be
utilized at locations throughout the City.
Objective 1.3: Engage the heritage, history and diversity of Moorpark to build upon existing events and
traditions as well as to develop new, unique and authentic experiences reflecting the City and its people.
It is recommended that the City make High Street a focal point of the Art in Public Places Program,
highlighting its role as Moorpark’s historic downtown and as an inviting place to gather. Opportunities
to celebrate the City’s cultural heritage throughout the community could include the placement of
interpretive exhibits at significant locations, the incorporation of historical themes in civic buildings,
new works of public art and community events, or even a history museum in the downtown High Street
area. These activities could highlight Moorpark’s paleontological pre-history, its earliest native American
residents, its agricultural heyday and railstop legacy, its proud Latino and Asian farm labor heritage,
and its evolution and bright future as a 21st century community.
As noted above, it is recommended that the City strengthen the Multicultural Festival and highlight
multicultural programming offered in different venues. Consideration should also be given to developing
new events such as a culinary festival to celebrate Moorpark’s agricultural roots and its food and
beverage entrepreneurs.
We need a Moorpark History center! A place to preserve and display Moorpark artifacts.
A place our children can learn the history of Moorpark and even learn about genealogy
research. I strongly feel our community can benefit from an on-site history center from
cultural growth to appreciation of our lovely community we call home!
— Comment from survey respondent
Moorpark is a diverse community. Make sure it’s inclusive of all groups that help make
Moorpark great.
— Comment from survey respondent
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Objective 1.4: Engage the creativity and imagination of residents by increasing the availability of arts
learning opportunities for all.
In addressing this objective it is recommended that the City expand the learning experiences available
to residents and visitors in the form of cultural tours, heritage hikes, classes, and library talks, as well as
develop ways to inform the public of non-City-sponsored arts learning opportunities such as lectures at
Moorpark College or workshops held at High Street Arts Center. Further engagement would be achieved
by supporting clubs and meet-ups devoted to creativity by providing meeting spaces for groups to share
crafts, 3-D printing projects, music jams, etc. Additionally, the City could incorporate competitions with
a public voting component into community events, for activities like swing or salsa dancing, fiddle and
banjo picking, or tastings of locally-produced or home-made culinary products.
Survey respondents identified “book reading, creative writing, poetry” as their top creative activity,
suggesting that residents would benefit from an annual “The Big Read” or similar program in which the
community reads, discusses, and celebrates one outstanding book from American and world literature
over the course of an entire year. These programs can engage other art forms as well.
Moorpark Multicultural Arts Festival
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52 City of Moorpark
GOAL 2: STRENGTHEN
Strengthen Moorpark’s creative community of artists, arts organizations and arts educators.
The consultant has conducted a thorough review of the City’s current Art in Public Places (AIPP) program
and has provided a detailed analysis of policies and procedures, along with recommendations intended to
align it with best practices in the field and strengthen the program’s ability to attract the very best artists
to submit their proposals for consideration (Appendix II).
The Moorpark Arts Commission is limited in scope to performing two primary functions: serve as a review
panel for the AIPP and, if requested by City Council, act in an advisory capacity in matters pertaining to the
High Street Arts Center. Its role expanded in 2019 to participate in the Arts Master Plan process, to review it,
and recommend its consideration by the City Council.
The success of the Arts Master Plan will depend upon a body of people to “drive” its implementation over
a period of years. While the Moorpark Arts Commission will have new responsibility in the form of general
oversight on the implementation of this Plan, that body will also see its workload intensify as the City
Moorpark High School
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Arts Master Plan 53
looks to expand its Art in Public Places program. In order to meet the Plan goals related to Moorpark’s
larger arts community, we recommend that the City identify a community arts organization that can take the
lead in actively promoting and implementing many of its recommendations. Such an organization would
also be asked to serve as a nexus for communications among the artists and arts organizations in Moorpark,
fostering collaboration, and working in tandem with the Moorpark Arts Commission on the fulfillment of
the Plan goals.
For several years, the City has entrusted the management of its High Street Arts Center to MFA in what has
been a highly successful partnership. It now makes perfect sense for the City to look to MFA as the ideal
organization to help it meet its goals of expanding and strengthening the overall arts ecology of Moorpark.
Moorpark Unified School District (MUSD) has received statewide recognition for its arts instruction. Given its
small size, it has no district-wide Visual and Performing Arts Coordinator position on staff but relies instead
upon a small brain-trust of its key arts faculty and staff who work collaboratively. The consultant recommends
the exploration of increased opportunities to collaborate with MUSD and the Moorpark Education Foundation
to support arts education and share resources, perhaps through a City-designated organization as described
in Objective 2.3 which follows.
Artists and arts organizations in Moorpark have expressed the need for space in which to work, exhibit,
rehearse and perform. Possibilities for meeting these needs include creating space for art production or
presentation in the new City of Moorpark Library, incorporating live/work spaces in new downtown mixed-
use projects, or partnering with landlords to activate underutilized commercial spaces with pop-up shows
or studio spaces. As noted earlier, a history museum and an outdoor amphitheater are cultural assets also
being sought by the community. Creating a space/facilities inventory with specifications and a schedule of
availability and usage fees is a project that a City-designated community arts organization might take on;
it could include Moorpark College, MUSD schools, the City’s recreation centers, and privately-owned spaces.
Do not be afraid to be big bold and beautiful—and art does not have to be permanent.
Please stimulate our minds and imaginations.
— Comment from survey respondent
Murals make a small quaint town a very cool place to be, inspire people to come back,
tell others and feel happy!
— Comment from survey respondent
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54 City of Moorpark
The following objectives are recommended:
Objective 2.1: Strengthen the City of Moorpark’s Art in Public Places Program so that it attracts high quality
projects and artists (see the Art in Public Places Program Review and Recommendations in Appendix II for
detailed review, analysis, recommendations and references).
To accomplish this objective it is recommended that the City update and formalize current AIPP policies
and ordinances to align the program with best practices in the field as detailed in Appendix II and
strengthen the program’s ability to attract the very best artists to work on City projects. In undertaking
this effort, it may be desirable to create and adopt new policies encompassing the development,
placement and maintenance of public art commissioned by the City of Moorpark through the expenditure
of the Art in Public Places Fund.
This also includes consideration of a murals ordinance, the details of which are discussed in Appendix II,
which would allow artists and property owners to enliven public-facing structures with original artwork.
Objective 2.2: Strengthen the Moorpark Arts Commission’s role and impact
To facilitate the implementation of the Arts Master Plan, and support greater arts and cultural activity,
it is recommended the City reimagine the Arts Commission’s current role as a public art selection
panel into a body that fosters creative endeavors through program initiatives, both independently and
in collaboration with the Arts Community (see Objective 2.3). This would require updates to relevant
ordinances governing Arts Commission meetings and activities.
Objective 2.3: Strengthen cooperation and leadership among the arts in Moorpark
To accomplish this objective, it is recommended that the City engage a nonprofit organization, such as
Moorpark Foundation for the Arts (MFA), to act as a coordinating body to promote arts opportunities
available to the community, host workshops and trainings to increase leadership capacity in the arts,
and identify and help facilitate opportunities for cooperation and collaboration among local artists, arts
organizations, educational institutions, and other public and private partners. The scope of work for this
partnership should also include assisting in the implementation of the Arts Master Plan, promoting and
presenting arts and cultural activities and initiatives, community events and fundraising activities.
We need an organization to drive the arts sponsored by the city
— Comment from survey respondent
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Arts Master Plan 55
Moorpark College Art Fallery
Objective 2.4: Strengthen the ability of City management to support the increased activity required for
implementation of the Arts Master Plan
Recognizing the limited resources currently available to manage the implementation of the Arts Master
Plan, it is recommended that the City review current staff assignments and distribution of responsibilities
and consider planning for the establishment of a Cultural Arts Specialist position in the City and/or
engaging outside consultants where appropriate.
Objective 2.5: Strengthen access to and availability of new and existing facilities for arts uses
The new City Library project provides an opportunity to address this objective through the incorporation
of a gallery and/or community programming spaces into its design. The City should also look for new
and creative opportunities to develop arts facilities such as incorporating an arts center into planning
for new recreation facilities, or investigating the possible use of vacant commercial spaces as rehearsal,
performing arts, and other collaborative spaces. Coordination with Moorpark College and Moorpark
Unified School District to make facilities available, when possible, to local artists, performers and
cultural organizations could provide additional access to facilities in the community.
We need an arts council that represents all arts in the community
— Comment from survey respondent
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56 City of Moorpark
GOAL 3: HARNESS
Harness the economic vitality generated by the arts for the benefit of all.
Moorpark’s potential as a destination for residents and visitors alike requires a catalyst, and harnessing
the drawing power of the arts is a proven tool for cities seeking an economic boost. The arts are already
contributing millions of dollars into the Moorpark economy, with hundreds employed in more than one
hundred creative businesses. And Moorpark’s combination of authenticity, charm, and a robust community
of creative people and consumers of the arts distinguishes it from neighboring communities.
The vacancies created by changing buying trends present an opportunity to attract creative businesses
to Moorpark, and our recommendations include creating incentives, identifying prospects and campaigning
to recruit them to re-locate to the City. Additionally, providing them with business development guidance
and helping them to promote their unique offerings will create greater impact.
Moorpark High School
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Without a doubt, High Street is considered by virtually everyone who contributed their ideas to this plan
as the foremost opportunity for the City to center its arts and culture efforts. They are compatible with its
historic character, they can amplify the beauty of the district, they attract the audiences critical to supporting
visitor-serving businesses that line the street, they can provide a memorable window shopping experience
to the train travelers passing through, and they can remind locals why they found Moorpark an irresistible
place to live. The further development of High Street offers an opportunity to preserve and enhance
these assets.
The following objectives are recommended:
Objective 3.1: Harness Moorpark’s distinction as a desirable destination for visitors and locals alike by
actively promoting its arts and culture assets
To accomplish this objective it is recommended that the City build its identity as a place for authentic
community festival offerings by encouraging local artists, historians and artisans to create “uniquely
Moorpark” experiences. Such cultural assets could be promoted by developing a list of unique events,
activities, classes, tours, public art sites, etc., that could be accessed through the city website and
distributed regionally through the Chamber of Commerce and other promotional channels. The develop-
ment of stay-and-spend strategies such as creating a branded Moorpark community events/activites
calendar and hashtag system, establishing a community ambassadors network to “get the word out”
on social media, and maintaining a media relations contact list to share with arts groups, would support
and promote Moorpark’s cultural assets within the community.
Regarding development on High Street, it is recommended that the City focus on incorporating arts and
culture in project design to establish it as a regional destination. Public art elements, such as archways,
artistic banners, murals and sculptures could be utilized to distinguish the area and further define its
character. The inclusion of outdoor community gathering spaces in development projects would provide
opportunities to activate High Street with performances, art shows, craft food fairs and other special
Please help school music and arts programs
— Comment from survey respondent
Providing a free space for artist studios, exhibits, and communal areas, with a provision
that each artist teach free classes to the community would not only be helping artists,
but also foster creativity, build a sense of community, and increase the vibrancy and
cultural visibility we seek.
— Comment from survey respondent
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58 City of Moorpark
events to draw visitors to the area. The development of indoor spaces such as galleries, artisan markets,
artist studios and incubator spaces for creative ventures would further drive activity on High Street.
The area could also benefit from the addition of a Farmers Market on High Street that also showcases
culinary arts, beer and winemaking, visual arts and crafts, and performances.
Objective 3.2: Harness the arts in economic and community development planning in order to reap the
many benefits of the creative economy
It is recommended that the City ensure that artists and arts leaders have an opportunity to contribute
their ideas and views to community planning processes. The City should consider establishing an arts
entrepreneurship zone with incentives to encourage arts-related for-profit businesses to locate in
Moorpark. To the greatest extent possible, campaigns to attract or retain businesses should include
creative enterprises and address their needs (production space, presenting or selling spaces, networking,
marketing, etc.).
Objective 3.3: Harness local entrepreneurship by providing business development opportunities for
creative enterprises
Support for local entrepreneurs could be provided by collaborating with groups such as the Economic
Development Collaborative, Women’s Economic Ventures, and/or the SCORE mentorship association, to
host workshops or resource fairs for local businesses. The City could also offer a quarterly newsletter,
or quarterly feature in the City’s M-Powered Economic Update newsletter, focused on resources to assist
the City’s creative businesses. The City could incentivize registering for business licenses by waiving
renewal fees for self-employed artists or creatives earning less than $30,000–$50,000 annually. Local
creative businesses, teaching artists, etc., would further benefit from the development of a directory
that would offer an opportunity to advertise their services. The City can also strive to home grow
creative talent by collaborating with Moorpark Unified School District and Moorpark College to explore
ways to support and promote creative career pathways.
Revitalize High Street as an Historic, Cultural and “fun” destination location.
— Comment from survey respondent
It would not take much effort or fiscal resources to attract innovative businesses to
establish in High Street. There is so much potential there.
— Comment from survey respondent
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Arts Master Plan 59
James Song Music Director Moorpark Symphony
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60 City of Moorpark
Arts Orange County (ArtsOC) is the leader in building
appreciation of, participation in, and support for the
arts and arts education in Orange County, California.
A countywide nonprofit arts council, Arts Orange County
is designated by the County’s Board of Supervisors as
its official Local Arts Agency and State-Local Partner.
Founded in 1995, ArtsOC offers a broad range of traditional
arts council programs and services that are augmented
by an innovative portfolio of consulting and project
management services for government, education and
nonprofit organizations.
Richard Stein, President & CEO
ABOUT THE CONSULTANT
17620 Fitch, Suite 255
Irvine CA 92614
714.556.5160 | ArtsOC.org
City of Moorpark
Arts Master Plan Consulting Team
Richard Stein
Lead Consultant
Tracy Hudak
Project Consultant
Pat Gomez
Public Art Consultant
Tomas Benitez
Community Engagement
Consultant
Victor Payan
Community Engagement
Consultant
Tricia Hayden, Hayden Design
Graphic Designer
631
I. Public Art Inventory . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . . .62
II. Art in Public Places Program Review & Recommendations . . . . . . . . . . . . .63
III. Outside Funding Sources Available to City of Moorpark . . . . . . . . . . . . . .90
IV. Moorpark Municipal Code Chapter 2.38 — Arts Commission . . . . . . . . . . . .91
V. Moorpark Municipal Code Chapter 17.50 — Art in Public Places . . . . . . . . .93
APPENDICES
Arts Master Plan 61
632
Moorpark Art In Public Places Projects (2002–Present)
Project Location/Address Artist/Designer Materials Completion Cost
911 Memorial Corner of Tierra Rejada Rock Designs, Pools Various March 2002 $147,157
Sculpture/Fountain and Mountain Trail & Waterscapes, Inc.
Veteran’s Memorial Veteran’s Memorial Park Community Works Various May 2009 $519,657
Corner of Spring Rd Design Group
and Flynn Ave
Mammoth Art Bone Mammoth Highlands Park NSP3/Parks Stone July 2009 $25,291
Sculptures 7000 Elk Run Loop Associates
Sculpture Ruben Castro John Fisher Stone April 2012 $113,497
“We Are One Family” Human Services Center
612 Spring Road
Lithomosaics Arroyo Vista Community Park Anne Mudge Lithomosaic November 2014 $151,944
& Bronze Toad 4550 Tierra Rejada Road Tile, Bronze
Sculpture Police Services Center Heath Satow Stainless October 2018 $145,000
“Thin Blue Line” 610 Spring Road Steel
Located on Publicly Accessible Private Property
Project Location/Address Artist/Designer
Fountain & Rock Sculpture Shopping Center, 742 New Los Angeles Avenue Unknown
Rock Sculpture with Fountain Moorpark Freeway Business Center, Science Drive Unknown
Fountain Tuscany Square, 140 W. Los Angeles Avenue Unknown
Bronze Figure Sculpture Campus Plaza, 6591–6599 Collins Drive Unknown
Stone Archway Sculpture Patriot Commerce Ctr, 882 Patriot Drive Unknown
Stone Sculpture and Fountain Mission Bell Plaza, 530 W. Los Angeles Avenue Unknown
Bronze Sculpture and Fountain Moorpark Marketplace, 848 New Los Angeles Avenue Unknown
Fountain with Horse Sculptures Moorpark Country Club, 11800 Championship Drive Unknown
Fountain 76 Station Car Wash, W. Los Angeles Avenue Unknown
PUBLIC ART INVENTORY
62 City of Moorpark
APPENDIX I
633
Introduction
The City of Moorpark has recognized that public art improves the character of the community and enhances
the quality of life for individuals living in, working in, and visiting the City. In support of this understanding,
City Ordinance 321, adopted in 2005, established the Art in Public Places program. As described in the RFP
for the development of an Arts Master Plan, “This program requires certain residential, commercial and
industrial development projects to either install public artwork or pay an in-lieu fee. The in-lieu fee is
established by City Council resolution and is currently set at one percent of the project valuation (excluding
land value and off-site improvement costs). Ordinance 321 also established the Art in Public Places Fund to
collect and maintain these in lieu fees for use exclusively for the Art in Public Places Program.”
While the City of Moorpark has advanced the idea of public art through this ordinance, a review of the
current public art offerings as well as the acknowledgement of a sizable Art in Public Places Fund balance
invites an analysis of the current ordinance, policies, and procedures.
City of Moorpark Art in Public Places Program
Review & Recommendations
“The Eyes of Freedom” at Moorpark College
Arts Master Plan 63
APPENDIX II
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64 City of Moorpark
The following report provides a review of City of Moorpark ordinances, policies, and procedures enacted
in support of the Art in Public Places Program, through the review of the ordinance, public art RFPs, City
Council reports, interviews with staff, and public outreach.
The policies and procedures of six major areas were analyzed, with commentary and recommendations.
These areas encompass the creation of public art by developers through the Art in Public Places ordinance,
the development and placement of public art commissioned by the City of Moorpark through the expenditure
of the Art in Public Places Fund, siting of public art, art donations, deaccession, and the development of
a city ordinance establishing a permitting process for murals created without city funds on private property.
The information and recommendations in this report are offered with an eye toward the support of an
overarching program offering opportunities for artists and community enhancement that take advantage
of varied approaches and perspectives. The adoption of any and all recommendations is at the City’s sole
discretion, and any modifications to current ordinances, policies and procedures should be made under
further guidance from the City Attorney and are subject to final approval of the Moorpark City Council.
The Art in Public Places Ordinance —
Working with Private Developers
A review of the artworks created by developers in compliance with the Art in Public Places ordinance
reveals that few developers have taken advantage of the opportunity to commission artwork that they
will own and will be placed on their property. This is supported by the large Art in Public Places Fund
balance indicating a preference for the in-lieu pay option. Several areas have been identified where the
Moorpark processes and procedures are inconsistent with the field.
The following advances the discussion and recommendations to revise the ordinance and procedures to
clarify and ease the process, provide clear criteria for approval, adjust the approval process, and encourage
an elevated aesthetic and greater diversity found within the artworks individually and as a collection.
This review will address the process in regards the artwork eligible projects, criteria for approval, and
allowable expenses for compliance, and navigation of the process itself.
Eligible Artwork for Compliance
The Moorpark Art in Public Places Ordinance does not include clear criteria for artwork to be allowed
for compliance, leaving the developer subject to an uncertain subjective approval process.
In order to ensure private developers embrace the use of artists to create artworks that truly elevate
the private development, agencies have utilized varying requirements in defining artists and artworks
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Arts Master Plan 65
eligible for compliance. Of upmost importance in this endeavor is for the City of Moorpark to adjust the
ordinance to include or refine definitions of an artist, artwork, and an arts consultant, provide for the
fee to allow for the costs of an arts consultant, allow for artwork transportation costs, and include a
revised list of eligible and ineligible projects. These areas will be addressed in separate discussions:
1. Defining an artist
ANALYSIS
It is essential that the ordinance include the definition of an artist to ensure that the project is truly
unique and encourages a diversity of artistic approaches. For example, a review of the current artworks
has identified that a disproportionate number of approved developer projects are commercial fountains
or rock sculptures that have the potential to be considered as hardscape aesthetic enhancements but
are questionable when reviewed within fine art understandings. The following is an example of this
type of definition:
City of San Diego:
“Artist means an individual generally recognized by critics and peers as a professional practitioner of
the visual, performing, or literary arts, as judged by the quality of that professional practitioner’s
body of work, educational background, experience, public performances, past public commissions,
exhibition record, publications, and production of artwork.”
“Thin Blue Line” sculpture by Heath Satow installed in front of Police Services CenterPhoto: Charles Blaugrund636
66 City of Moorpark
2. Defining an artwork
ANALYSIS
The Moorpark ordinance does include a definition of artwork for compliance, but a more robust
listing will allow for an objective review of a developer’s proposal for compliance. The following is
an example of this type of requirement:
City of San Diego:
“Artwork – An artwork may be in any style, expression, genre or media, provided that it is
designed by an artist as defined herein. Artworks may be stand-alone, functional or integrated
into the architecture or landscaping and should encompass the broadest range of expression,
media and materials.
Artwork includes:
Sculpture: may be made of any material or combination of materials; may be free standing, wall
supported or suspended, kinetic, electronic or mechanical.
Murals or paintings: may be made of any material or variety of materials with or without collage;
may be made with traditional or non-traditional materials and means.
Earthworks, neon, glass, organic materials (i.e., fiber, clay, wood, etc.), mosaics, photographs,
prints, literary expression, calligraphy, any combination of media, including audio, video, film,
CD-ROM, DVD, holographic or computer generated technologies, or new genres.
Artwork as defined herein may be permanent, fixed, or portable, may be an integral part of a
building, facility, or structure, and may be integrated with the work of other design professionals.”
Equally important is the listing of works not eligible for compliance. The following are examples
of this aspect:
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Arts Master Plan 67
City of Los Angeles:
“The following facilities, services and community amenities are ineligible costs for a credit
provided herein:
(i) Directional elements such as supergraphics, signage, or color coding except where these
elements are integral parts of the original work of art.
(ii) Art objects which are mass produced of standard design such as playground equipment,
fountains or statuary objects.
(iii) Reproductions, by mechanical or other means, of original works of art, except in cases of
film, video, photography, printmaking or other media arts.
(iv) Decorative, ornamental, or functional elements which are designed by the building architect
as opposed to an artist commissioned for this design enhancement purpose.
(v) Landscape architecture and landscape gardening except where these elements are designed
by the artist and/or are an integral part of the work of art by the artist.
(vi) Services or utilities necessary to operate or maintain the artwork over time.”
Los Angeles County includes the following as an ineligible project to ensure the artwork does not
contain a commercial message:
“Artworks that contain a commercial message by referencing, presenting, or promoting a product
or service that is available on or off site of the subject property through text, image, logo,
trademark, or other mechanism”
The need to differentiate artwork from standard fountain design are articulated thusly by the City of Brea:
“Water Features and Fountains: Water feature sculpture or sculpture requiring water, must be
conceptualized and designed by an approved, qualified artist in order to be considered. The
sculpture must stand on its own should the water cease to function properly. There must be a
demonstrated collaboration between the artist and the water feature design company.”
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68 City of Moorpark
3. Allowing for and defining Art Consultants
ANALYSIS
The Moorpark ordinance lists “expenses to locate an artist” as an ineligible cost. It is common for
municipalities to allow for a percentage of the fee compliance to include the services of an arts
consultant. The utilization of an arts consultant can go far in aiding the developer in identifying a
qualified artist and art project that is integrated into the development in exciting and innovative ways
for the enjoyment of the visitors to the site. An arts consultant can greatly aid the developer by
providing the reports required as a liaison to the City as the developer’s representative in this regard.
An arts consultant can also provide critical outreach to the arts community via a professional network
that the City may not possess, which can increase the caliber of applicants.
A sample definition utilized for this purpose is evidenced by the County of Los Angeles:
“Art Consultant. An organization or individual working as a professional administrator of the arts,
who realizes income through the provision of services relating to the arts such as, but not limited
to, contracting artists and arts media for venues with public audiences or providing oversight of
on-site logistics, demonstrates previous success in project management, and provides leadership
in completion of the Civic Art.”
4. Allowing for the cost of art transportation as an eligible cost
ANALYSIS
It is generally recognized that the cost of transporting an artwork or artwork elements is a legitimate part
of the overall cost of design, fabrication, and installation. Many specialized art fabrication companies are
located outside of the immediate location. The City of Moorpark specifically denies this as an eligible cost,
and should allow this as an eligible expense.
Moorpark College Art Gallery
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Arts Master Plan 69
5. Adjusting the ordinance to conform with practices
ANALYSIS
It is understood by municipalities that a private developer has the choice of participation options in a
private development for the arts program. Through conversations it is understood that this is also the
practice within the City of Moorpark.
However, the Moorpark ordinance has a qualifier stating, “At the city’s sole discretion, an applicant
may satisfy the contribution obligation required by subsection A of this section in one (1) of two (2)
ways:” (italics added.) This phrase should be adjusted to remove the first five words in order to
conform with the Moorpark practices.
6. Time of Compliance in relation to Application and Approval Procedures
ANALYSIS
The City of Moorpark requires that a developer has a fully approved art plan in place prior to issuance
of a Building Permit. The process to identify an art project, artist, and to develop a design can be
lengthy, and many developers are focused on other construction and design aspects when they are
preparing to pull their permits. (This process is another reason to allow for art consultant services as
an eligible cost.) The requirement as written can be considered as a deterrent to developers pursuing
the art project option or may encourage a project to be identified that is not as ambitious or artistically
innovative due to time constraints. Also, a developer may not wish to enter the art project path
without knowing conceptually that their project will likely be approved, thus wasting time and effort.
Other agencies address this in different ways. One way to address this is to allow for a preliminary
conceptual art plan to be provided with minimal detail, such as an indication of sculpture, artist’s
designed façade or hardscape element, or integrated art installation, without specific artist and design
details for review and approval by staff. If this adjustment is incorporated with more robust criteria
requirements, this can be an objective counter-type approval. The developer can then be required to
provide the detailed art plan for approval within 30-60 days of pulling the permit. The requirement
that the project be complete prior to a Certificate of Occupancy being issued will ensure compliance
of the ordinance.
7. Application and Approval Procedures for Artwork
ANALYSIS
The City of Moorpark approval process provides that the Arts Commission review a developer’s art plan
submission and recommends it for final approval by the City Council. It is unusual that a City Council
body reviews and approves an art plan for compliance that a developer identified, will own, and is to
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70 City of Moorpark
be placed on their private property. The City Council are generally not in possession of art and design
expertise and their review and approval can be based on personal taste and subjective.
With more robust criteria, other agencies address approval in one of two ways: Either the review and
approval is considered as an objective review based on the criteria and performed by the arts program
city staff (such as the City of Los Angeles, Los Angeles County, or San Diego), or the staff performs a
preliminary review and the Arts Commission performs the final review and approval based on the
criteria (such as the City of Brea or Culver City).
RECOMMENDATIONS
It is recommended that the Art in Public Places ordinance be adjusted to reflect the following:
1. The following be added to the Definitions section:
A. Artist. A person who has established a reputation of artistic excellence in the fine arts, including
but not limited to visual, or performing arts, as judged by peers and experts in the field, through a
record of public exhibitions, performances, commissions, sale of works, recognition and/or educa-
tional attainment. The qualified artist shall work primarily in the production of unique fine art.
B. Art Consultant. An organization or individual working as a professional administrator of the arts,
who realizes income through the provision of services relating to the arts such as, but not limited
to, identifying artists and on-site art opportunities, and contracting with artists for venues with
public audiences, or providing oversight of on-site logistics, demonstrates previous success in
project management, and provides leadership in completion of public art projects.
2. The following changes and additions be made to the “Artwork” Definition:
A. “Artwork” means an original creation of art, designed and envisioned by an Artist, including but
not limited to, the following media and materials:
B. 3. Decorative, ornamental, or functional building elements such as gates or other architectural
High Street Arts Center
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Arts Master Plan 71
elements of a building, as approved by the city, commissioned for the purpose of creating a
permanently affixed piece of art.
C. 4. Water features or fountains, if the design is not dependent on the addition of water to function
as an artistic enhancement should the water cease to function properly. There must be a demon-
strated collaboration between the Artist and the water feature design company with the Artist as
the lead concept designer.
D. Artwork, as defined herein, may be made with any material or combination of materials and may
be permanent, fixed or temporary. It may include public gallery/exhibition space, public performance
spaces, public artistic studio spaces and public arts education facilities.
3. The following changes and additions be made to the Artwork Valuation section:
A. Add to the “Expenses which may be used for calculating the value of an Artwork are limited to”
4. Transportation of the Artwork
5. Art Consultant fees for services related to the identification of an Artist, arts opportunity, facilita-
tion and oversight of artwork fabrication and installation, or performing as the liaison to the city
in regard to providing reports, application materials, and other information related to the review
and approval of the Artwork. The Art Consultant fees may not exceed 10% of the art compliance
requirement.
6. On site identifying plaque identifying the artist, title, year, and crediting the Art in Public Places
program.
B. Remove the following from the “Expenses not allowed to be calculated in the value of the artwork
include, but are not limited to”
1. Expenses to locate an artist
4. Transportation of the Artwork
C. Add to the “Expenses not allowed to be calculated in the value of the artwork include, but are not
limited to:
7. Directional elements such as signage or color coding except where these elements are integral
parts of the original work of art.
8. Art objects which are mass produced of standard design such as benches, playground equipment,
fountains, or statuary objects.
9. Reproductions, by mechanical or other means, of original works of art.
10. Decorative, ornamental, or functional elements which are designed by the building or landscape
architect as opposed to an Artist commissioned for this design enhancement purpose.
11. Artworks that contain a commercial message by referencing, presenting, or promoting a product
or service that is available on or off site of the subject property through text, image, logo,
trademark, or other mechanism.
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4. The following change be made to the Development Obligation Section:
A. Remove “At the city’s sole discretion” from “At the city’s sole discretion, an applicant may satisfy
the contribution obligation required by subsection A of this section in one (1) of two (2) ways:”
5. The following changes be made to the Application and Approval procedures for Artwork section:
Remove the Application and Approval procedures for Artwork section in its entirety and replace with
the following:
A. Application Procedures. A preliminary application for placement of artwork on private property
shall be submitted to the community development department with a copy to the park, recreation,
and community services department and shall include, but not be limited to:
1. Preliminary sketches, photographs or other documentation of sufficient descriptive clarity to
indicate the type of proposed artwork to be developed and the location on the property;
2. A plan including a timeline and the artists identification process to be enacted in order to develop
a final application for the placement of artwork approval;
Preliminary Approval.
1. The parks, recreation, and community services director or their designee shall review the prelimi-
nary application, and if it is found complete and in compliance with the ordinance requirements,
approve the preliminary plan. This approval will be deemed sufficient for the issuance of a
Building Permit.
Final Application.
Within 45 days of the applicant obtaining a Building Permit, a final application for placement of
artwork on private property shall be submitted to the community development department with
a copy to the park, recreation, and community services department and shall include, but not be
limited to:
1. Final sketches, photographs or other documentation of sufficient descriptive clarity to indicate
the nature of the proposed artwork and its compliance with the ordinance requirements;
2. An appraisal or other evidence of the value of the proposed artwork, including acquisition and
installation costs;
3. Preliminary plans containing such detailed information as may be required by the community
development department to adequately evaluate the site location of the artwork in relation to
the proposed development and its compatibility with the neighborhood in which it is located;
and
4. A narrative statement indicating how the artwork will be displayed in a public place freely
available to the general public at least ten (10) hours each day, or equivalent alternatives
acceptable to the city.
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Final Approval.
1. The parks, recreation, and community services director or their designee shall review the final
application, and if it is found complete and in compliance with the requirements of the ordinance,
prepare a recommendation to the arts commission.
2. The commission shall be responsible for review and approval of the proposed artwork for its
compliance with the ordinance requirements, aesthetic quality, and the proposed location of and
public accessibility to the artwork.
3. An applicant may appeal the decision of the commission to the City Council. Action by the city
council is final. (Ord. 344 § 2, 2006; Ord. 321 § 1, 2005)
Public Art in Public Spaces —
Utilization of the Art in Public Places Fund
The Art in Public Places Fund is a tremendous asset and has resulted in the creation of public artworks
such as the newest addition, the “Thin Blue Line” at the Moorpark Police Headquarters by artist Heath
Satow. The review of this program begins with the evaluation of the process of commissioning artworks.
Overall, the review of the City of Moorpark’s commissioning process for new work shows the process
is not inconsistent with the practices in the field with notable exceptions as articulated below.
Request for Qualifications and Request for Proposals
Best practices as articulated by the Americans for the Arts and exhibited by the practices of established
programs at other municipalities recommend a two-step process of artist selection. This process starts
with an open Request for Qualifications (RFQ) process wherein the project’s budget, parameters, and
goals are articulated along with the artist selection criteria and expectations regarding the selected
artist’s experience, interest, and past work images. The selection panel meets and selects 3–4 finalists
based on the stated criteria and submission materials. Proposals are requested only from the finalists
in a second Request for Proposals (RFP) stage. The selection panel meets a second time to review the
proposals as presented in person by each artist separately, wherein they can ask questions directly.
After all the artists have presented, the panel will deliberate and select the artist and work.
ANALYSIS
There are two areas identified for adjustment in the City of Moorpark selection process.
The first area identified is in relation to providing finalists with a fee or stipend for the development of a
proposal during the artist selection process. The City of Moorpark currently conducts a two-stage process
requesting qualifications followed by a proposal stage for selected finalists. However, the City of Moorpark
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74 City of Moorpark
does not provide finalists preparing proposals with a proposal development fee. It is a basic tenet
within public art programs that professional artists are paid for the development of proposals.
Professional practices require that artists be paid for their work, and the development of a proposal
requires considerable research, time, and effort. The amount of the proposal fee per artist finalist in
large part is dependent on the project budget and can range from $500 to $1,000 for a project budget
of $100,000 or less, to $5,000 or more for a project with a $1M budget or higher.
The second area identified is associated with the selection bodies themselves. Currently, the Arts
Commission evaluates the qualifications and proposals and recommends the selected artist to the City
Council for their approval. The City Council then reviews all the proposals of the artist finalists and makes
the final decision on the selected artwork.
Other municipalities and the Americans for the Arts recommend as best practice site- or project- specific
selection panels with a more diverse perspective including experts in public art, site end-users, and
professional project design participation. In this configuration there is Arts Commission participation by
1 or 2 members (who rotate among projects). A sample of the panel composition is as follows:
• 1 or 2 Arts Commissioners
• 1 or 2 public art professionals (can be curators, arts administrators, or experienced peer public artists)
• The architect of the project (if applicable)
• A representative of the city department with oversight of the public art location (i.e. Police Department
or Parks and Recreation)
• A community member at large with a link to the art location, such as a “friends” or other support
group member
In this manner the artist selection has professional design expertise as well as provides a voice to the
groups that will experience the artwork daily. The inclusion of public art professionals insures a high
design aesthetic and fabrication proficiency. In this configuration, common practice is to provide a
stipend to the non-city employee (or non-Arts Commission) panelists for their service typically ranging
from $150–$300 per day.
The final part of the design approval for the City of Moorpark requires that the City Council review all the
proposals and make the final artist selection determination from the panel recommendation. This is an
unusual role for a City Council that generally lacks arts expertise and invites second guessing and politics
to enter the selection process. Many other municipalities allow for a selection panel with a wide range of
perspectives to make the recommendation, with the full Arts Commission providing the review and approval to
ensure the selection is in accordance with the safety, durability, and programmatic requirements. In this
instance, the Arts Commission reviews the recommendation only and does not compare it to other submissions.
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In cities where the City Council has the final review and approval, as with the Arts Commission, they
review the panel recommended submission only and do not review every final submission. In this
manner the panel’s wide range of perspectives are acknowledged. As the full Arts Commission or City
Council are not privy to the artist presentations and discussions, it respects the panel process.
RECOMMENDATIONS
The following recommendations are made regarding the Public Art RFQ and RFP processes as discussed above:
1. Artists selected as finalists to develop a proposal should be provided with a proposal fee.
2. Artist selection panels are recommended to be reconfigured as project specific, including
representatives from the site, arts professionals, and representative Arts Commissioners.
3. The full Arts Commission and the City Council restrict their review to the artist proposal recommended
by the selection panel.
Public Art Contracting
The City of Moorpark public artist contract review reveals the requirements are generally consistent with
the field. However, there are two areas in which Moorpark is on the exceptionally conservative side of
caution to the point that these provisions may provide a barrier to experienced professional artists
choosing to participate in the program.
ANALYSIS
There are two laws protecting artists rights, the federal Visual Artists Rights Act (VARA) and the California
Arts Preservation Act (CAPA). These laws provide for a series of artists rights including the rights of
authorship and rights surrounding the removal, alteration, or destruction of artwork. There is a range of
ways in which municipalities address these rights.
The City of Moorpark requires artists to waive any and all rights associated with VARA and CAPA.
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76 City of Moorpark
The handling of artist’s rights varies among agencies. For example, the Los Angeles County Department
of Arts and Culture expressly acknowledges artists’ rights by incorporating them into their public art
policy, referencing them in artist agreements, and requiring artists to register their works with the U.S.
Copyright Office. Agencies such as the L.A. County Metropolitan Transportation Agency (Metro) and the
City of Los Angeles Department of Cultural Affairs both require that artists waive their rights under CAPA
and VARA while simultaneously reinstating specific rights back into artists contracts.
While it is generally accepted in artist agreements that the agencies can freely depict artworks for
non-commercial educational or program promotional activity, activities resulting in commercial gain
from the depiction of an artist’s work (such as t-shirts, posters, or mugs) should be negotiated with an
artist independently.
The VARA and CAPA laws require that 90 days written notice be provided to an artist prior to the removal,
alteration, or destruction of an artist’s work. It is also understandable that an agency would want the
ability to remove an artwork immediately if issues of safety arise. However, even when the 90-day notice
requirement is contractually waived, it is common for policies to be put into place to provide good faith
advance notice to artists where possible should this need occur.
“We Are One Family” by John Fisher
installed in the Ruben Castro Human
Services Center courtyard
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The other area of review is in relation to stringent insurance requirements. It is common for agencies to
require $1–2M liability insurance for public art projects. However, the City of Moorpark requires separate
endorsements specific to the artist’s Moorpark project and beyond the artist’s general policy coverage, which
is more than many other cities require and costly to the artist.
RECOMMENDATIONS
The following recommendations are made regarding contracting provisions for artists commissioned
through the Art in Public Places Fund. While it is acknowledged that Moorpark has contract provisions to
ensure the highest level of risk protection, a review of these provisions is warranted to understand the
effect on attracting and retaining artists of the highest caliber possible.
1. The City of Moorpark reevaluate the VARA and CAPA provisions to see what rights can be re-granted
to artists.
2. The City of Moorpark reevaluate insurance requirements in consideration of artists ability to obtain
the required endorsements and level of insurance. If Moorpark deems it necessary to retain existing
requirements, then it is recommended that the city articulate these requirements in a separate
informational document early in the process, in easily understood language, with an indication of
the cost range. This should include possible resources to assist and allow artists to plan and consider
the budget impact at the beginning of design development. Further, in consideration of the extra
cost that the artist will bear in order to comply with its insurance requirements, the City should
include this cost when determining budgets and the artist fee for its projects.
Public Art Maintenance
The City of Moorpark is at the beginning stages of amassing a public art collection. The single most
important aspect in ensuring the value of this asset is the regular maintenance of the artworks.
ANALYSIS
While the ordinance allows for the use of the Art in Public Places fund for public art maintenance,
a provision in the ordinance or policies was not found that requires the allocation of specific dollars in
maintenance funds for public art. A conversation with staff supported this understanding. Also, it is
understood that murals are a public artwork of desire, and the protection and regular usage of anti-
graffiti coatings are essential to maintaining their longevity.
RECOMMENDATIONS
It is recommended that staff assess public art maintenance costs and this amount be allocated as part of
the city budget process on an annual basis for this purpose.
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Expanded Use of Art in Public Places Fund
In recognition of the broader definition of public art as “creative placemaking” that has become common
practice in communities worldwide, the following additions to Section 17.50.03 Public Art Fund are
proposed to expand the allowable expenditures under the Art In Public Places program.
• For the acquisition, design, construction, operation and/or maintenance of art and/or cultural
display space, demonstration, and performance space to be utilized by individuals and nonprofit
arts organizations for arts and cultural programming.
• For developing cultural programs for the enjoyment and appreciation of art, heritage and culture
within the Moorpark community.
• For building the functional capacity of eligible nonprofit organizations devoted to the development
of arts and culture in Moorpark.
Siting of Public Art
Care in the selection of locations in consideration of thematic and aesthetic appropriateness, public
access, conditions affecting ongoing maintenance, and use of materials go far in ensuring the long life
of an artwork for the enjoyment of the community.
While it is tempting to consider free-standing sculpture as the norm when evaluating the placement
and commissioning of Public Art, artwork can take many forms from artist designed functional objects
or artwork integrated into architecture, to stand-alone artistic expressions enhancing single or multiple
areas within a project site.
On-site locations for public art projects include, but are not limited, to walls, floors, ceilings, windows,
exterior facades, stairways, rooftops and patios. Locations can encompass parks, plazas, civic centers,
roadway medians, traffic islands, and bridges among other possibilities.
The following is intended to establish a framework for the approach to establishing a location and to the
commissioning of public art. The questions and criteria offered are intended to be flexible and allow for
individual case by case commissions to be established using best practices in the field.
Before settling on a specific location and form for an artwork, the selection committee, private developer,
or other commissioning body should establish the goals and concepts the work should encompass.
While the following are not mutually exclusive, within a project one aspect may form the overriding
purpose in the establishment of a public art project. Questions to consider and possibilities include:
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Arts Master Plan 79
• Is there a specific purpose for the artwork in relation to celebrating the community’s history,
services, culture, or heroes? If so, will a specific location (or locations) resonate more than others
with this purpose?
• Is the artwork intended to enhance the aesthetics of a location and bring a moment of visual
respite to a viewer’s day? Are there locations that can particularly benefit from this intervention?
• Is the goal to bring an arts experience to a site for the sake of establishing an uplifting cultural
moment? Are there locations with many pedestrians that can benefit from this intercession?
• Is there an equitable distribution of artwork in the community? How will an artwork location
balance the entirety of the public art offerings in the city?
Because of the almost unlimited options for the placement and the form Public Art can take, public art
project managers may invite artists to visit the selected location if it is a preexisting site, or view plans
in an early stage of development to allow the artist to bring their creativity and concepts to bear.
This can result in fresh and unique perspectives in site placement within the location and the formation
of the artwork project.
When selecting artwork commissioned by the city, review criteria associated with specific proposals can
consider the following as appropriate to the project:
• Does the artwork satisfy the goals of the project?
• Is the artwork relevant to the building or city, its values, culture, history, and people?
• Is the artwork suitable for the location/outdoor display, including the use of materials,
maintenance needs, or conservation requirements?
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80 City of Moorpark
• Is the scale of the artwork impactful and appropriate to the site?
• Will the artwork serve to activate or enhance public space and create a desirable environment?
• Is the artwork compatible with the function of the site and design of the immediate environment?
• Will the artwork be visible and accessible to the public?
• Will the artwork help to create a gathering place, establish a landmark, or neighborhood gateway?
• Is the artwork of the highest artistic quality possible?
• Can the artwork be realized within the budget and plan as proposed?
Public art projects can come in many forms, be they permanent or temporary in nature. Success with a
project is highest when goals, issues, and considerations are understood, and decisions are made before
a project’s onset. The above is designed to aid in establishing that the location and criteria support the
project goals and ensuring the site, materials, and maintenance are harmonious to the longevity of the
finished artworks.
Art Donations
How exciting it can seem for a municipality to be offered artwork as a donation. While it can be tempting
to accept any and all art donations, there are considerations that should be understood to ensure donated
artwork fits within the city’s goals and environment and will not become a burden to the city’s resources.
The following will discuss areas and issues to consider in the acceptance of artwork and areas in which
background information and assurances should be considered prior to the acceptance of a donation.
There are many sometimes complex reasons that a donor will be motivated to gift artwork to a city.
Reasons can range from a sincere desire to share a work with the community, the understanding that a
work of art has a special connection to a site or part of the city’s history, to the desire for a tax deduction,
the need to find a home for a large or unwieldly work that the owner no longer can store or no longer
has the resources to provide upkeep. Regardless of the motivation, any offer has the potential to be a
welcome and uplifting addition to a city’s collection or have cause for denial of the opportunity.
Art Collection Goals
Of fundamental importance to the development of an art collection and the subsequent acceptance of
donations is the understanding and establishment of the goals of the collection. For example, the
donation of an 19th century European religious painting may have high monetary value, but does it
relate to Moorpark and is there an appropriate place for its display? The following are questions to guide
the establishment of art collection goals.
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What is important to the city regarding the art it owns and maintains? For example, is it important for
artwork to relate to the city’s location, history, and interests inherent in the cultural context of Moorpark?
Should it represent the City in an interesting and expanded manner? Can the collection be used as a
mechanism to support and uplift artists that reside in Moorpark? What is the storage or physical capacity
to keep portable artworks? Are there limitations that restrict the number of donated items? Should the
City collect the works of significant Moorpark artists to preserve and celebrate the City’s cultural legacy?
In addition to permanent public artwork installations, are there programs and opportunities to display
portable paintings, drawings, photography, textiles or other art mediums?
Some municipalities have internal loan programs allowing departments and civic offices to borrow
portable artworks for a designated time period to enhance their surroundings for the benefit of staff
and visitors. Moorpark may want to consider this as a mechanism to accept donations of artwork into
the collection with a purpose and display opportunity.
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Donation Process
An application process should be established up front to capture the relevant information for an
informed decision and to identify any additional considerations to the donation offer. The following
identifies main areas in which information should be captured.
Object Ownership and Valuation
There is more than one type of ownership to consider in the acceptance of artwork. While a donor
may have ownership of a work of art as an object, this does not necessarily extend to the donor having
ownership of the image and copyrights as articulated in the federal Visual Artists Rights Act (VARA)
or the California Arts Preservation Act (CAPA).
To establish the donor’s ownership of the artwork as an object, the application should require information
about the provenance and procurement of the object, including documentation such as a receipt or other
proof of ownership. Copies of any agreements the owner has with the artist or gallery should be included
if applicable.
The value of the object should be established as part of the consideration of acceptance. This value can
be established through:
a. Appraisal Report: An appraisal report including, but not limited to, dollar amount value, description,
disclaimers, and additional support for valuation conclusions by a certified third-party appraiser
affiliated with at least one of the four appraisal organizations: Appraisers Association of America,
the American Society for Appraisers, Appraisal Foundation, or the International Society of Appraisers.
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Arts Master Plan 83
b. A receipt for the purchase of the artwork
c. Other documentation establishing the value of similar artworks by the same artist.
This valuation is essential as the artwork will become a physical asset for the city, and as such, a
documented value is needed for asset accounting. Also, donors commonly request a letter from the city
acknowledging the donation with the value indicated for their use as a tax donation. The city should
have confirmation of the value for this purpose.
Copyright Ownership
As indicated, while a donor may have ownership of the artwork as an object, the artist may have retained
the copyright ownership as established by the VARA and CAPA laws. The application should include artist
information including contact, resume or bio, birth/death dates, and any known copyright information
as available. This is particularly important if the donation is a work to be installed as a permanent public
artwork as the artist should be notified of the donation and location of the installation.
The application should indicate the copyright owner of the object. If the donor is the copyright owner,
the application should include documentation of this and should ask if the donor intends to transfer the
copyright to the City of Moorpark should the donation be accepted by the city.
The city attorney should identify if and how the acceptance of the artwork and installation will make the
city subject to any applicable VARA and CAPA notifications or copyright requirements in the future. It is
recommended that the city attorney weigh in regarding these considerations and requirements prior to
the acceptance of the donation.
Materials, Maintenance, Conservation
The application should identify the materials and any known maintenance or conservation needs.
A condition report should be provided by the donor or obtained by the city to identify any issues and
immediate or future costs associated with keeping the artwork in good condition.
Transportation and Installation
If the artwork is a large sculpture or other public artwork, it is important for the city to understand the
costs to transport the artwork and install it at the desired location. Questions to consider are the need for
any footings or special attachment systems, permits, insurance, storage, installation, and any conservation
and maintenance needed in the immediate future. It should be established if these costs and the
responsibility for this activity will be borne by the donor or if the city is expected to handle these costs
and the scope of work to see to the full completion of the installation.
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Other Information
In addition to the above information the application should request any exhibition history, edition
certifications or other pertinent information about the artwork as applicable and available.
CRITERIA FOR ACCEPTANCE
The identification of collection goals and the information above will greatly aid in evaluation of the
donation application. It is recommended that the Arts Commission evaluate the donation based on the
criteria below for an acceptance recommendation to City Council. The City Council should maintain final
approval, considering the Arts Commission recommendation.
The following are recommended criteria to utilize as applicable in assessing the acceptance of an
art donation:
1. The artwork supports the goals of the art collection and would contribute positively to the City’s
public art, meeting the standards for public art commissioned by the city.
2. The artwork is of high quality and aesthetic excellence.
3. There is an identified location to site the artwork if it requires a public installation, or there is a
program or mechanism to display the artwork if it is a portable piece.
4. The scale, form, context, and design of the artwork are appropriate for the setting and audience.
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5. The donor has committed to cover all applicable costs associated with permits, bonding, insurance,
transportation and installation of the artwork or the city has committed the resources to cover
these applicable items.
6. The future maintenance and conservation need of the artwork is understood and the city has
identified the resources to attend to these requirements.
7. The legal considerations of ownership, copyright, liabilities, maintenance, and deaccessioning are
understood and acceptable to the city.
8. The artwork supports an equitable collection inventory, allowing for a diverse range of artists to be
represented, considering if there are already multiple donations of the same artist’s work.
Memorials
As we know through recent events, memorials can become controversial and what may seem appropriate
to honor today can be shown to offend or cause dissention in the community later. Any memorial donations
should have extra care in their consideration, understanding if the memorial represents broad community
values, and the significance of the person(s) or event being memorialized has a timeless quality and
makes a positive inclusive statement to future generations.
Deaccession
There are numerous reasons that a city or municipality may wish to deaccession an artwork. These
considerations can include safety, condition, change in the physical location of the artwork so it is no
longer supported physically, community complaints, or other controversies.
As city owned artwork is a civic asset, the process should require a staff report addressing the applicable
issues related to the deaccession criteria including the review of any restrictions which may apply to the
artwork based on legal or contractual requirements. The report should include an analysis of the reasons
for deaccessioning, options for storage or disposition of the artwork, and the appraised value of the
artwork, if obtainable.
If the deaccession is the result of the destruction of the supporting structure, consideration should be
made regarding the appropriateness and feasibility of relocating the artwork to another location.
Any considerations or requirements associated with VARA and CAPA laws, including notice to the artist, if
applicable should be carefully followed in accord with the city attorney’s direction.
The following represent acknowledged criteria for deaccession and are recommended for Moorpark’s
consideration.
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1. The artwork’s present condition poses a safety hazard to the public;
2. The artwork has been damaged or has deteriorated to the point that it can no longer be represented
to be the original artwork;
3. The restoration of the artwork’s structural or aesthetic integrity is technically not feasible, or the
expense of restoring it exceeds the resources of the city;
4. The architectural support (building, wall, plaza) is to be destroyed and the artwork cannot be
removed intact for relocation;
5. The use of this particular public space may have changed, and/or the artwork may have lost its
contextual meaning and it cannot be re-sited, or re-siting the artwork would be inappropriate;
6. The artwork requires excessive and inappropriate conservation and/or maintenance or has faults
of design or workmanship which can be termed inherent vice;
7. An artwork is not, or is rarely, on display because of lack of a suitable site.
8. The condition or security of the artwork cannot be reasonably guaranteed in its present location;
9. The artwork was not installed or fabricated as proposed, is incomplete, or does not meet the
requirements of the commission;
10. The artwork does not meet the goals of the collection;
11. Removal has been requested by the artist in writing and it has been determined by the Art
Commission to be a reasonable request;
12. The artwork has reached the end of its original anticipated lifespan;
13. The artwork is proved to be inauthentic or in violation of existing copyright laws; and/or
14. The artwork has received adverse reaction from community members where the artwork is located,
and the City Council has determined the artwork no longer reflects the values of the community.
Murals
Murals are a popular and impactful way to enliven the community and have a wide variety of approaches,
with possibilities including imagery with historic or cultural roots, community references and heroes,
abstract designs, fantasy images, or anything else an artist can conceive. The possibilities are unlimited.
Municipalities utilize mural ordinances to regulate the size, number, and process of permitting to ensure
that mural projects are developed with full awareness of the technical and legal considerations in relation
to materials, maintenance, and artist’s rights, in a manner designed to maintain the character and
beauty of the community.
Murals have also been the subject of controversies and legal battles in relation to first amendment rights
and clashes over the ways in which fine art murals are sometimes treated differently than commercial
mural-sized signs.
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As a result of these issues, which have now found resolution in cities such as the City of Los Angeles and
Portland, Oregon, guidelines can be recommended in relation to the development of a murals ordinance
for the City of Moorpark in consideration of these concerns.
While the city cannot initiate requirements dictating the subject matter or design of a mural that impede
on the first amendments rights of a property owner, requirements can be put in place that control the
time, place, and manner of the mural creation and installation.
The following are guidelines to use in the development of an ordinance for the placement of murals on
private property. This assumes that the murals will be funded by the property owner with non-city support.
It is important to note that as the mural permit requirements are content neutral, the process of review
and approval can be completed by city staff qualified to confirm that the materials, manner, and processes
follow requirements.
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Moorpark Civic Ballet and Dance Theater
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88 City of Moorpark
Fine Art Mural Definition
This is an essential first step to ensure that murals are original, artistic expressions that are not confused
with advertising or signage which is regulated separately.
RECOMMENDED DEFINITION
Mural. A one-of-a-kind original artwork created by an artist that is affixed directly upon an exterior
wall of a building or other public-facing structure that is hand-painted or hand-tiled and does not
contain any commercial message. For definition purposes, a commercial message is any text, image,
logo, or other visual communication that advertises a business conducted, services rendered, or
goods produced or sold on or off the premises.
Technical Requirements
The following are technical requirements designed to address the placement, scale, materials, protective
coating, and maintenance needs of the mural. Maintenance is of the upmost importance to ensure that
murals do not deteriorate, become graffiti magnets, or cause blighted conditions.
RECOMMENDED REQUIREMENTS
1. No part of a mural shall exceed the height or width of the structure to which it is tiled,
painted or affixed.
2. No part of a mural shall extend more than six (6) inches from the plane of the wall upon
which it is tiled, painted or affixed.
3. No mural shall be placed over the exterior surface of any building opening, including, but not limited
to, windows, doors, and vents.
4. Murals shall be placed on non-residential property only.
5. Only one mural will be permitted per lot.
6. A specialized anti-graffiti coating must be applied to the mural and maintained for the life of the
mural. Varnish, other coatings or finishes that are not specifically designed as graffiti abatement products
as part of a graffiti removal system do not comply with this requirement.
7. The property owner is required to maintain the mural in good condition and free of graffiti. If the
property owner is negligent in this regard after two written notices within a 30-day period, they can
be issued a 90-day order to remove the artwork at their own cost. If removal is ordered, the property
owner is responsible for the proper advance notification to the artist as required by the federal
Visual Artists Rights Act (VARA) and the California Art Preservation Act (CAPA) laws.
8. Mural permits are valid for one image at a time. Property owners wishing to change the mural design
or replace it with another artwork must apply for a new permit.
9. Proper high-quality mural paint must be utilized to prevent premature chipping, flaking or fading.
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Process Requirements
The following processes allow for the mural designs to be reviewed by the community in advance of its
placement. While this review cannot be considered an opportunity for the community to veto the mural’s
content or design, it does allow for community input and dialog. Being that business owners wish to
establish and maintain good relations with the community, it behooves them to install a mural that will
be welcomed by the neighborhood.
It is also essential that property owners are aware of the federal Visual Artists Rights Act (VARA) and the
California Art Preservation Act (CAPA). Property owners will be responsible for compliance with all aspects
of these laws (including requirements for 90-day advance written notice prior to the removal, destruction,
or alteration of the mural) or negotiating waivers of any aspects of these laws through advance written
agreements with artists.
RECOMMENDED REQUIREMENTS
1. Applicants must hold a meeting at a publicly accessible location at least 30 days prior to the start of
the mural fabrication. This meeting is to allow for the public to see the design, ask questions, and
provide comments.
2. Applicants for mural approval must post notice of the public meeting 15 calendar days in advance of the
meeting on the proposed mural site. This notice must include the intended mural size and location with a
color depiction of the proposed mural design, in full view of the community. The notice must also be mailed,
or hand delivered to properties located within a half-mile mile radius of the proposed mural location.
3. No mural shall be permitted until the applicant certifies that he or she has completed this neighborhood
involvement requirement.
4. Property owners must sign a declaration that they are aware of the federal Visual Artists Rights Act
(VARA) and the California Art Preservation Act (CAPA) artist’s rights laws, acknowledging they, and not
the city, are responsible for compliance with these laws.
5. Property owners must provide subsequent owners with maintenance information, anti-graffiti
requirements, and artist rights information.
6. No changes may be made to the mural design without written notification and written approval by the City.
City-Sponsored Mural Program
It is important to note that City staff has expressed an interest in establishing a City-supported mural program
on privately-owned property that would operate through the Art In Public Places program, such as the one
that is funded by the City of Portland, Oregon, and operated by the Regional Arts and Culture Council, a 501(c)3
nonprofit organization. In developing such a program, special care should be given to ensure that any legal
concerns, including 1st Amendment, VARA and CAPA rights are considered and addressed, under guidance from
the City Attorney. Arts Master Plan 89
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National Endowment for the Arts .................................................................................https://www.arts.gov/
Community Development Block Grants ...............................https://www.hudexchange.info/programs/cdbg/
USDA Rural Placemaking Initiative .........................................https://www.rd.usda.gov/about-rd/initiatives/
rural-placemaking-innovation-challenge
California Arts Council .......................................................................................................https://arts.ca.gov/
State of California Park Development & Revitalization Grant Program ..................https://www.parks.ca.gov/
page_id=29939
California Humanities .......................................................................................................https://calhum.org/
Ventura County Community Foundation .................................................................................https://vccf.org/
OUTSIDE FUNDING SOURCES
AVAILABLE TO CITY OF MOORPARK
APPENDIX III
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Arts Master Plan 91
1/30/2019 Chapter 2.38 ARTS COMMISSION
http://qcode.us/codes/moorpark/1/2
Moorpark Municipal Code
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Title 2 ADMINISTRATION AND PERSONNEL
Chapter 2.38 ARTS COMMISSION
2.38.010 Created.
An arts commission for the city is established with membership and duties as provided in this chapter. (Ord. 432 § 10, 2014; Ord. 344 § 3, 2006)
2.38.020 Membership—Term of office.
A. The arts commission shall consist of five (5) members to be appointed by the city council through an advertisement and recruitment process as established by council policy
and/or resolution. Pursuant to that policy, the mayor shall solicit suggested nominees from members of the council; prior to making a motion for appointment, the mayor shall
announce the names of all persons he or she intends to nominate, and in the order to be nominated; the mayor shall then make a motion putting forth each individual name to be
approved for appointment; a second shall be required; and the council shall vote on each appointment individually. The term of the arts commissioner shall be for a period of two (2)
years. All appointments shall occur during the second regularly scheduled city council meeting held in December every even-numbered year, or as soon as possible thereafter. The
existing term shall be extended until such new appointments occur. If a vacancy occurs otherwise than by expiration of a term, it shall be filled for the unexpired portion of the term
of office by the same nomination process described herein for a new term of office.
B. Nothing in this chapter is intended to preclude the reappointment of any arts commissioner upon the expiration of his or her term. (Ord. 379 § 5, 2009; Ord. 344 § 3, 2006)
2.38.030 Qualifications.
A. The members of the arts commission shall be registered voters and shall reside in the city’s area of interest or the Moorpark Unified School District boundaries, or own a
business within the city of Moorpark. When a person serving on the commission ceases to reside in the city’s area of interest or the Moorpark Unified School District boundaries, or
ceases to own a business within the city of Moorpark, the mayor shall declare vacant such person’s position on the commission, and the city council shall appoint another eligible
person to the unexpired term of such former member pursuant to Section 2.38.020(A) of this chapter.
B. No member of the commission shall receive any compensation from the city or otherwise have any interest in any city contract. For purposes of this section, an interest in a
city contract shall be measured as though the arts commission were the approving body for such contract, utilizing then relevant provisions of the California conflict of interest laws
and regulations. The foregoing exclusions shall not apply to any stipend received by the commissioner for service on the commission, or any reimbursement for necessary expenses,
to the extent such reimbursement is permitted by city policies. The foregoing exclusions shall also not apply to any contracts in existence as of the date the commissioner assumes
office to the extent such continuing contract would not be precluded by state conflict of interest laws if the commissioner were a city councilmember. (Ord. 379 § 6, 2009; Ord. 344 §
3, 2006)
2.38.040 Removal of members.
Any member of the arts commission may be removed by either of the following:
A. A majority vote of the city council; or
B. Absence from three (3) consecutive regular meetings without formal consent of the commission shall be deemed to constitute the resignation of the commissioner and the
position declared vacant. (Ord. 344 § 3, 2006)
2.38.050 Absence from meetings.
A. If a member of the arts commission is absent from three (3) successive regular meetings of the commission, without cause, the office of such member shall be deemed to be
vacant and the term of such member ipso facto terminated and the secretary of the commission shall immediately inform the city clerk and city council of such termination.
B. An absence due to illness or an unavoidable absence from the city and written notice thereof to the secretary of the commission on or before the day of any regular meeting
of the commission shall be deemed absence for cause. (Ord. 344 § 3, 2006)
2.38.060 Resignation.
Any member of the arts commission may resign at any time. The resignation of the commissioner shall be in writing and shall be deemed effective immediately upon receipt by
the city clerk regardless of the date specified in the resignation. The city clerk shall immediately inform the city council of any such vacancy by causing a copy of the resignation to
be sent to each councilmember. (Ord. 344 § 3, 2006)
2.38.070 Organization.
A. At the first (1st) regular meeting of each year, the arts commission shall elect its chair from among the appointed members for the term of one (1) year; and, subject to other
provisions of law, may create and fill such other offices as it may determine.
B. The commission shall hold regular quarterly meetings as determined by the commission at its first (1st) regular meeting of each year, such determination to include the dates,
time and place of such meetings.
C. The commission may hold such additional adjourned or special meetings as may be called in accordance with the provisions of the Government Code.
D. If any regular meeting falls on a holiday, it shall be held on the next scheduled business day and all meetings otherwise scheduled or noticed to be held on a regular meeting
day falling on a holiday shall be held at the meeting of the next business day without the necessity of any other or further notice. (Ord. 432 § 10, 2014; Ord. 344 § 3, 2006)
2.38.080 Duties and responsibilities.
The duties and responsibilities of the arts commission are as follows:
A. When requested from time to time by the city council, act in an advisory capacity to the city council in any matters pertaining to the High Street Arts Center’s programming
activities, administration and development of the annual theatrical season, promotion of the arts center’s programs and services to stimulate interest therein, and review of a long-
range capital improvement plan.
B. In accordance with Chapter 17.50 of this code, act in an advisory capacity and review the conceptual design and placement of artwork, solicit public comment, and provide a
recommendation to the city council on the design and location.
C. Perform such other duties as may be requested from time to time by the city council. (Ord. 432 § 10, 2014; Ord. 344 § 3, 2006)
APPENDIX IV
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1/30/2019 Chapter 2.38 ARTS COMMISSION
http://qcode.us/codes/moorpark/1/2
Moorpark Municipal CodeUpPrevious Next Main Collapse Search Print No FramesTitle 2 ADMINISTRATION AND PERSONNELChapter 2.38 ARTS COMMISSION2.38.010 Created. An arts commission for the city is established with membership and duties as provided in this chapter. (Ord. 432 § 10, 2014; Ord. 344 § 3, 2006) 2.38.020 Membership—Term of office. A. The arts commission shall consist of five (5) members to be appointed by the city council through an advertisement and recruitment process as established by council policyand/or resolution. Pursuant to that policy, the mayor shall solicit suggested nominees from members of the council; prior to making a motion for appointment, the mayor shallannounce the names of all persons he or she intends to nominate, and in the order to be nominated; the mayor shall then make a motion putting forth each individual name to beapproved for appointment; a second shall be required; and the council shall vote on each appointment individually. The term of the arts commissioner shall be for a period of two (2)years. All appointments shall occur during the second regularly scheduled city council meeting held in December every even-numbered year, or as soon as possible thereafter. Theexisting term shall be extended until such new appointments occur. If a vacancy occurs otherwise than by expiration of a term, it shall be filled for the unexpired portion of the termof office by the same nomination process described herein for a new term of office. B. Nothing in this chapter is intended to preclude the reappointment of any arts commissioner upon the expiration of his or her term. (Ord. 379 § 5, 2009; Ord. 344 § 3, 2006) 2.38.030 Qualifications. A. The members of the arts commission shall be registered voters and shall reside in the city’s area of interest or the Moorpark Unified School District boundaries, or own abusiness within the city of Moorpark. When a person serving on the commission ceases to reside in the city’s area of interest or the Moorpark Unified School District boundaries, orceases to own a business within the city of Moorpark, the mayor shall declare vacant such person’s position on the commission, and the city council shall appoint another eligibleperson to the unexpired term of such former member pursuant to Section 2.38.020(A) of this chapter. B. No member of the commission shall receive any compensation from the city or otherwise have any interest in any city contract. For purposes of this section, an interest in acity contract shall be measured as though the arts commission were the approving body for such contract, utilizing then relevant provisions of the California conflict of interest lawsand regulations. The foregoing exclusions shall not apply to any stipend received by the commissioner for service on the commission, or any reimbursement for necessary expenses,to the extent such reimbursement is permitted by city policies. The foregoing exclusions shall also not apply to any contracts in existence as of the date the commissioner assumesoffice to the extent such continuing contract would not be precluded by state conflict of interest laws if the commissioner were a city councilmember. (Ord. 379 § 6, 2009; Ord. 344 §3, 2006) 2.38.040 Removal of members. Any member of the arts commission may be removed by either of the following: A. A majority vote of the city council; or B. Absence from three (3) consecutive regular meetings without formal consent of the commission shall be deemed to constitute the resignation of the commissioner and theposition declared vacant. (Ord. 344 § 3, 2006) 2.38.050 Absence from meetings. A. If a member of the arts commission is absent from three (3) successive regular meetings of the commission, without cause, the office of such member shall be deemed to bevacant and the term of such member ipso facto terminated and the secretary of the commission shall immediately inform the city clerk and city council of such termination. B. An absence due to illness or an unavoidable absence from the city and written notice thereof to the secretary of the commission on or before the day of any regular meetingof the commission shall be deemed absence for cause. (Ord. 344 § 3, 2006) 2.38.060 Resignation. Any member of the arts commission may resign at any time. The resignation of the commissioner shall be in writing and shall be deemed effective immediately upon receipt bythe city clerk regardless of the date specified in the resignation. The city clerk shall immediately inform the city council of any such vacancy by causing a copy of the resignation tobe sent to each councilmember. (Ord. 344 § 3, 2006) 2.38.070 Organization. A. At the first (1st) regular meeting of each year, the arts commission shall elect its chair from among the appointed members for the term of one (1) year; and, subject to otherprovisions of law, may create and fill such other offices as it may determine.
B. The commission shall hold regular quarterly meetings as determined by the commission at its first (1st) regular meeting of each year, such determination to include the dates,
time and place of such meetings.
C. The commission may hold such additional adjourned or special meetings as may be called in accordance with the provisions of the Government Code.
D. If any regular meeting falls on a holiday, it shall be held on the next scheduled business day and all meetings otherwise scheduled or noticed to be held on a regular meeting
day falling on a holiday shall be held at the meeting of the next business day without the necessity of any other or further notice. (Ord. 432 § 10, 2014; Ord. 344 § 3, 2006)
2.38.080 Duties and responsibilities.
The duties and responsibilities of the arts commission are as follows:
A. When requested from time to time by the city council, act in an advisory capacity to the city council in any matters pertaining to the High Street Arts Center’s programming
activities, administration and development of the annual theatrical season, promotion of the arts center’s programs and services to stimulate interest therein, and review of a long-
range capital improvement plan.
B. In accordance with Chapter 17.50 of this code, act in an advisory capacity and review the conceptual design and placement of artwork, solicit public comment, and provide a
recommendation to the city council on the design and location.
C. Perform such other duties as may be requested from time to time by the city council. (Ord. 432 § 10, 2014; Ord. 344 § 3, 2006)
1/30/2019 Chapter 2.38 ARTS COMMISSION
http://qcode.us/codes/moorpark/2/2
2.38.090 Compensation.
Members of the arts commission shall receive compensation for their attendance at each meeting of the commission as approved by resolution of the city council. (Ord. 344 § 3,
2006)
2.38.100 Employment and compensation restrictions.
No member of the arts commission shall be eligible for employment by the city or to perform contractual work for compensation by the city during his or her appointment term
and for a period of one (1) year after leaving that appointed office, with the exception of the compensation received for the elected office of mayor or as an elected or appointed
councilmember, after leaving the commission. (Ord. 432 § 10, 2014)
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Arts Master Plan 93
1/30/2019 Chapter 17.50 ART IN PUBLIC PLACES
http://qcode.us/codes/moorpark/1/2
Moorpark Municipal Code
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Title 17 ZONING
Chapter 17.50 ART IN PUBLIC PLACES
17.50.010 Purpose.
The city council finds and declares:
A. Cultural and artistic resources, including artwork and performing arts, enhance the quality of life for individuals living in, working in, and visiting the city.
B. Balanced development of cultural and artistic resources preserves and improves the quality of the urban environment and increases real property values.
C. As development and revitalization of the real property within the city continue, the opportunity for creation of cultural and artistic resources is diminished. As development
and revitalization continue as a result of market forces, urbanization of the community results. As these opportunities are diminished and this urbanization occurs, the need to
develop alternative sources for cultural and artistic outlets to improve the environment, image and character of the community is increased.
D. Development of cultural and artistic assets should be financed by those whose development and revitalization diminish the availability of the community’s resources for those
opportunities and contribute to community urbanization.
E. Establishment of this art in public places program will promote the general welfare through balancing the community’s physical growth with revitalization and its cultural
and artistic resources. (Ord. 321 § 1, 2005)
17.50.020 Definitions.
As used in this chapter:
“Artwork” means an original creation of art, including, but not limited to, the following media and materials:
1. A sculpture which may be freestanding, wall-supported or suspended, kinetic, electronic, or in any material or combination of materials;
2. Affixed murals, mosaics, or paintings in any material or combination of materials;
3. Decorative, ornamental, or functional building elements such as gates, fountains, etc., or other architectural elements of a building, as approved by the city, commissioned
for the purpose of creating a permanently affixed piece of art.
“Building valuation” means the total valuation for an applicable project, excluding land value and off-site improvement costs, as determined by the building official.
“Public place” means any exterior area on private or public property which is easily accessible or clearly visible to the general public. (Ord. 321 § 1, 2005)
17.50.030 Public art fund.
An art fund shall be created where fees are deposited pursuant to this chapter. The fund shall be maintained and used solely for the city’s art in public places program:
1. For the acquisition, installation, improvement, maintenance and insurance of an artwork;
2. For the acquisition and improvement of real property for the purpose of displaying artwork, which has been or may be subsequently approved by the city;
3. For maintenance and utility charges related to property purchased pursuant to subsections A and C of Section 17.50.130 of this chapter;
4. For the development of a design concept and the preparation of construction drawings;
5. For costs associated with administering the art in public places program, in an amount not to exceed fifteen percent (15%) of the program allocation. (Ord. 321 § 1, 2005)
17.50.040 Moorpark arts commission.
The Moorpark arts commission, established pursuant to Chapter 2.38 of this code, shall be responsible for the review of proposed artwork design and location pursuant to Section
17.50.120 of this chapter. (Ord. 344 § 1, 2006; Ord. 321 § 1, 2005)
17.50.050 Projects subject to provisions of this chapter.
A. All new residential developments of more than four (4) units, and all commercial and industrial development projects, with a building valuation exceeding five hundred
thousand dollars ($500,000.00) shall be subject to the provisions of this chapter.
B. Including but not limited to exterior modifications, alterations and additions, all remodeling of existing residential buildings of more than four (4) units and all remodeling of
existing commercial and industrial buildings shall be subject to the provisions of this chapter when such remodeling results in additional gross square footage of the building and has
a valuation exceeding two hundred fifty thousand dollars ($250,000.00). (Ord. 321 § 1, 2005)
17.50.060 Exceptions.
The following developments or modifications, alterations and additions to the developments are exempt from this chapter: low or moderate housing, senior housing, performing
arts facilities, museums, public buildings, interior remodeling/tenant improvements, and national and state disaster repairs/rebuilding required by code. This exemption shall apply
only as long as the exempt use is maintained. (Ord. 321 § 1, 2005)
17.50.070 Development obligation.
A. Any development subject to this chapter pursuant to Section 17.50.050 of this chapter shall be obligated to contribute to the city’s art in public places program. The amount
of such contribution shall be a percentage of the total building valuation for the development. The percentage required to be contributed shall be set by city council resolution.
B. At the city’s sole discretion, an applicant may satisfy the contribution obligation required by subsection A of this section in one (1) of two (2) ways:
1. Through payment in cash of the contribution amount directly to the art fund (the “in-lieu fee”); or
2. Through installation of an approved artwork, equal to or exceeding the value of the contribution amount, pursuant to Section 17.50.100 of this chapter. Artwork must be
installed in a public place, with the specific site location to be approved by the city.
C. Fifteen percent (15%) of the revenue generated from the art fund may be allocated for city administrative costs. (Ord. 321 § 1, 2005)
17.50.080 Covenant for maintenance.
A. The applicant must record a maintenance covenant on the subject property, in a format approved by the city, which provides for ongoing maintenance of approved artwork
prior to the issuance of a certificate of occupancy or prior to the final building permit sign-off.
APPENDIX V
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1/30/2019 Chapter 17.50 ART IN PUBLIC PLACES
http://qcode.us/codes/moorpark/1/2
Moorpark Municipal CodeUpPrevious Next Main Collapse Search Print No FramesTitle 17 ZONINGChapter 17.50 ART IN PUBLIC PLACES17.50.010 Purpose. The city council finds and declares: A. Cultural and artistic resources, including artwork and performing arts, enhance the quality of life for individuals living in, working in, and visiting the city. B. Balanced development of cultural and artistic resources preserves and improves the quality of the urban environment and increases real property values. C. As development and revitalization of the real property within the city continue, the opportunity for creation of cultural and artistic resources is diminished. As developmentand revitalization continue as a result of market forces, urbanization of the community results. As these opportunities are diminished and this urbanization occurs, the need todevelop alternative sources for cultural and artistic outlets to improve the environment, image and character of the community is increased. D. Development of cultural and artistic assets should be financed by those whose development and revitalization diminish the availability of the community’s resources for thoseopportunities and contribute to community urbanization. E. Establishment of this art in public places program will promote the general welfare through balancing the community’s physical growth with revitalization and its culturaland artistic resources. (Ord. 321 § 1, 2005) 17.50.020 Definitions. As used in this chapter: “Artwork” means an original creation of art, including, but not limited to, the following media and materials: 1. A sculpture which may be freestanding, wall-supported or suspended, kinetic, electronic, or in any material or combination of materials; 2. Affixed murals, mosaics, or paintings in any material or combination of materials; 3. Decorative, ornamental, or functional building elements such as gates, fountains, etc., or other architectural elements of a building, as approved by the city, commissionedfor the purpose of creating a permanently affixed piece of art. “Building valuation” means the total valuation for an applicable project, excluding land value and off-site improvement costs, as determined by the building official. “Public place” means any exterior area on private or public property which is easily accessible or clearly visible to the general public. (Ord. 321 § 1, 2005) 17.50.030 Public art fund. An art fund shall be created where fees are deposited pursuant to this chapter. The fund shall be maintained and used solely for the city’s art in public places program: 1. For the acquisition, installation, improvement, maintenance and insurance of an artwork; 2. For the acquisition and improvement of real property for the purpose of displaying artwork, which has been or may be subsequently approved by the city; 3. For maintenance and utility charges related to property purchased pursuant to subsections A and C of Section 17.50.130 of this chapter; 4. For the development of a design concept and the preparation of construction drawings; 5. For costs associated with administering the art in public places program, in an amount not to exceed fifteen percent (15%) of the program allocation. (Ord. 321 § 1, 2005) 17.50.040 Moorpark arts commission. The Moorpark arts commission, established pursuant to Chapter 2.38 of this code, shall be responsible for the review of proposed artwork design and location pursuant to Section17.50.120 of this chapter. (Ord. 344 § 1, 2006; Ord. 321 § 1, 2005) 17.50.050 Projects subject to provisions of this chapter. A. All new residential developments of more than four (4) units, and all commercial and industrial development projects, with a building valuation exceeding five hundredthousand dollars ($500,000.00) shall be subject to the provisions of this chapter. B. Including but not limited to exterior modifications, alterations and additions, all remodeling of existing residential buildings of more than four (4) units and all remodeling ofexisting commercial and industrial buildings shall be subject to the provisions of this chapter when such remodeling results in additional gross square footage of the building and hasa valuation exceeding two hundred fifty thousand dollars ($250,000.00). (Ord. 321 § 1, 2005) 17.50.060 Exceptions. The following developments or modifications, alterations and additions to the developments are exempt from this chapter: low or moderate housing, senior housing, performingarts facilities, museums, public buildings, interior remodeling/tenant improvements, and national and state disaster repairs/rebuilding required by code. This exemption shall applyonly as long as the exempt use is maintained. (Ord. 321 § 1, 2005) 17.50.070 Development obligation. A. Any development subject to this chapter pursuant to Section 17.50.050 of this chapter shall be obligated to contribute to the city’s art in public places program. The amountof such contribution shall be a percentage of the total building valuation for the development. The percentage required to be contributed shall be set by city council resolution.
B. At the city’s sole discretion, an applicant may satisfy the contribution obligation required by subsection A of this section in one (1) of two (2) ways:
1. Through payment in cash of the contribution amount directly to the art fund (the “in-lieu fee”); or
2. Through installation of an approved artwork, equal to or exceeding the value of the contribution amount, pursuant to Section 17.50.100 of this chapter. Artwork must be
installed in a public place, with the specific site location to be approved by the city.
C. Fifteen percent (15%) of the revenue generated from the art fund may be allocated for city administrative costs. (Ord. 321 § 1, 2005)
17.50.080 Covenant for maintenance.
A. The applicant must record a maintenance covenant on the subject property, in a format approved by the city, which provides for ongoing maintenance of approved artwork
prior to the issuance of a certificate of occupancy or prior to the final building permit sign-off.1/30/2019 Chapter 17.50 ART IN PUBLIC PLACES
http://qcode.us/codes/moorpark/2/2
B. Removal of approved artwork on private property pursuant to this chapter without city approval is a violation of this chapter. (Ord. 321 § 1, 2005)
17.50.090 Art in phased developments.
For developments to be built in phases, the applicant shall provide the city with a detailed phasing plan and timeline. In phased developments, the applicant may be required to
install public art in each development phase at the city’s discretion. (Ord. 321 § 1, 2005)
17.50.100 Time of compliance.
A. If the city approves an applicant’s payment of an in-lieu art fee to satisfy his public art obligation, such payment shall be made prior to the issuance of a building permit. As
used in this chapter, “applicant” shall be an applicant for a building permit for a development which is subject to this chapter, pursuant to Section 17.50.050 of this chapter.
B. If the city approves an applicant’s installation of an approved artwork on private property to satisfy his public art obligation, the artwork shall be approved, as provided
herein, prior to the issuance of a building permit. Such approved artwork must be installed and complete prior to issuance of a certificate of occupancy.
C. The applicant must record a maintenance covenant of the subject artwork as provided in Section 17.50.070 of this chapter, prior to the issuance of a certificate of occupancy.
D. If any approved artwork placed on private property pursuant to this chapter is removed without city approval, the certificate of occupancy may be revoked. (Ord. 321 § 1,
2005)
17.50.110 Artwork valuation.
A. Expenses which may be used for calculating the value of the artwork are limited to:
1. Fees for the artist, structural engineering and fabrication;
2. Mountings, pumps, motors, subterranean equipment, pedestals, or materials directly necessary for installation of the artwork; and
3. Lighting elements integral to illuminating the artwork.
B. Expenses not allowed to be calculated in the value of the artwork include, but are not limited to:
1. Expenses to locate an artist;
2. Architect and landscape architect fees;
3. Landscaping around an artwork;
4. Transportation of the artwork;
5. Utility fees associated with activating electronic or water-generated artwork; and
6. Lighting elements not integral to the illumination of the artwork as determined by the city. (Ord. 321 § 1, 2005)
17.50.120 Application and approval procedures for artwork.
A. Application Procedures. An application for placement of artwork on private property shall be submitted to the community development department with a copy to the park,
recreation, and community services department and shall include, but not be limited to:
1. Preliminary sketches, photographs or other documentation of sufficient descriptive clarity to indicate the nature of the proposed artwork;
2. An appraisal or other evidence of the value of the proposed artwork, including acquisition and installation costs;
3. Preliminary plans containing such detailed information as may be required by the community development department to adequately evaluate the site location of the artwork
in relation to the proposed development and its compatibility with the neighborhood in which it is located; and
4. A narrative statement indicating how the artwork will be displayed in a public place freely available to the general public at least ten (10) hours each day, or equivalent
alternatives acceptable to the city.
B. Approval.
1. The parks, recreation, and community services director shall review the application for completeness, and if it is found complete, prepare a recommendation to the arts
commission.
2. The commission shall be responsible for reviewing the proposed artwork for its aesthetic quality and harmony with the existing and proposed on-site improvements, and the
proposed location of and public accessibility to the artwork.
3. The commission shall provide a recommendation to the city council regarding the site location and conceptual design of the proposed artwork.
4. At the next regularly scheduled city council meeting, following the action by the commission, the parks, recreation, and community services director shall present the
commission’s recommendation for council consideration. Action by the city council is final. (Ord. 344 § 2, 2006; Ord. 321 § 1, 2005)
17.50.130 Maintenance and ownership of artwork.
A. All artwork placed on the site of the applicant’s project shall remain the property of the applicant; the obligation to provide all maintenance necessary to preserve the artwork
in good condition shall remain with the owner of the site.
B. “Maintenance of artwork,” as used in this chapter, shall include, without limitation, preservation of the artwork in good working condition to the satisfaction of the city;
protection of the artwork against physical defacement, mutilation or alteration; and securing and maintaining fire and extended coverage insurance and vandalism coverage in an
amount to be determined by the city. Prior to the placement of an approved artwork, the applicant and owner of the site shall execute and record a covenant in a form approved by the
city for maintenance of the artwork. Failure to maintain the artwork as provided herein is hereby declared to be a public nuisance.
C. In addition to all other remedies provided by law, in the event the owner fails to maintain the artwork, upon reasonable notice, the city may perform all necessary repairs and
maintenance, or secure insurance, and the costs therefor shall become a lien against the real property. (Ord. 321 § 1, 2005)
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