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HomeMy WebLinkAbout05.18.26 PAAB Complete Agenda Package CITY OF DANIA BEACH PUBLIC ART ADVISORY BOARD - AGENDA NW CONFERENCE ROOM/ CITY HALL 100 W DANIA BEACH BLVD MONDAY, MAY 18, 2026 5:00 PM I. ROLL CALL II. APPROVAL OF MINUTES a) Approval of Minutes of the Public Art Advisory Board from the April 13, 2026 Board Meeting. III. ACTION ITEMS a) Buoy Program Framework Approval b) Let Love Guide The Way Conservation Plan Review i) Chad Shores, Conservationist attending virtually IV. DISCUSSION ITEMS a) USCM America 250 City Art Project (2026) Temporary Mural at 401 Stirling Road: Additional Usage of Poster Image. V. ADMINISTRATIVE UPDATES a) Board Member Current and New Updates b) Summer Meetings VI. MEETING ADJOURNED CITY OF DANIA BEACH PUBLIC ART ADVISORY BOARD MEETING – MINUTES REGULAR MEETING / NW CONFERENCE RM – CITY HALL 100 W DANIA BEACH BLVD MONDAY, APRIL 13, 2026 – 5:00 P.M. I. ROLL CALL The meeting was called to order at approximately 5:04PM by Co-Chair Lilli Schipper. Board Clerk Ibel Larios called the roll. Discussions/actions noted below were not limited to what was typed. Board Members Staff Chair Kelly Sharaby Absent Comm. Dev. Deputy Dir. Corinne Lajoie, MURP, AICP Attended Co-Chair Lilli Schipper Present Board Clerk Ibel Larios Attended Meghan Kent Absent Marc Aptakin Present Others Lloyd Goradesky Present Mayor Joyce L. Davis, Commission Liaison Attended Rebecca Pollesch Present Dr. Linda Flynn, Planning Art Consultant Attended Najuma Gayle Present Rosario Psy, Planning Art Consultant Attended II. APPROVAL OF MINUTES a) Approval of Minutes of the Public Art Advisory Board (PAAB) from the February 23, 2026 Meeting. Motion was made by Board Member Pollesch to approve the PAAB Minutes from February 23, 2026 and was seconded by Board Member Goradesky. Motion passed 4-0. III. ACTION ITEMS a) USCM America 250 City Art Project (2026) Concept Review and Selection Dr. Linda Flynn reviewed this item. City of Dania Beach was one of the participating cities in the America 250 City Art Poster Project which was a national initiative of the U.S. Conference of Mayors (USCM) celebrating the 250th anniversary of the signing of the Declaration of Independence/birthday. Nine artists submitted their poster concepts and they would be listed in alphabetical order below. Mayor Davis explained the poster contest with its specific poster dimensions and criteria reflecting how your city celebrated America, representing local history, community, and the future. All submissions would be showcased in a commemorative book but there would also be a prize for the winning poster. Rosario Psy presented a slide for each of the nine submissions. They were reviewed and discussed: (1) Carlos Pons concept – the Mayor liked the inclusivity/bringing community together, diversity and representation of the unique community and Board Member (BM) Pollesch felt it showed a grand and beautiful idea, (2) Dawne Arnold concept – Co-Chair Schipper felt it was missing feeling and that it fell short, (3) Jen Little concept {Jen was present in audience} - Co-Chair Schipper felt it incorporated colors and history, BM Gayle and BM Pollesch felt it showed Dania Beach. The Mayor said it represented the City and told its story and Dr. Flynn spoke about the flag not being the dominate feature, (4) Marjorie Guyon concept – the Mayor saw the representation of the past and future and Co- Chair Schipper and BM Gayle felt it was missing the why and background, (5) Nate Dee concept – BM Pollesch felt the elements were good and showed some diversity more than just beach and Co-Chair Schipper felt the stars were weirdly placed, (6) Richard DuBose concept – the Mayor said that people may not know this history, Co-Chair Schipper felt it was like a coloring book, BM Pollesch liked the tagline and BM Goradesky felt it ignored the struggles of the south, (7) Richard Vergez concept – Co-Chair Schipper felt that out of this artist’s three submissions, she really liked the first one, (8) Shi Ma (Shiva Maharaj) concept had 2 submissions. Co-Chair Schipper liked the second one. Dr. Flynn spoke about the baseball history in Dania Beach and liked the artistry. The Mayor said that baseball was an all-American sport. BM Pollesch felt this would make people know about Dania and (9) Shye C. Pierrot concept – the Mayor wished they had an explanation. They quickly went over all nine slides again and felt that #1, #3, and #8 were top contenders and maybe #7. Dr. Flynn would confirm the May 1st deadline date and let the Mayor know. The Public Art Advisory Board Meeting - Minutes 2 April 13, 2026 Mayor would pick the #1 favorite poster. The final poster should be submitted by April 24th giving the chosen artist a week to ensure everything like City colors, City logo, full name of City, etc. were all in, if necessary. Discussion ensued and Dr. Flynn would contact Shiva Maharaj to add the word Florida and to transfer the tagline. Mayor Davis thanked everyone for their hard work and input. IV. DISCUSSION ITEMS a) Bouy Program Framework The City of Dania Beach maintained a number of buoys across the City in public places which have become weathered over the years. This situation provided for a very unique program. Dr. Flynn showed a slide with a before (weathered) and after (restored) picture of the buoy on State Road 84. She then showed slides of a weathered buoy in Frost Park, AMO, City Beach, etc. She proposed fabricating a mold of a buoy and using it for all kinds of opportunities including revenue generating. She explained the eligibility for this program could be students, emerging artists, professional artists, etc. The application process would be streamlined. The artistic process would require marine-grade vinyl wrap for salt-water environments. BM Aptakin was answered that this program would not be limited to the four weathered buoys. This was why working with a fabricator for a buoy mold was suggested. New buoys did not have to be the same as the old. BM Aptakin spoke about a 3D Printer instead of a mold. Dr. Flynn talked about naming the City Buoy Program and gave some suggestions. Beacon Program was the Mayor’s favorite name. Locations were discussed and there were already some identified for the gateway project. We would have a Call To Artists. We would come up with the measurement for scale and the artist would design the buoy to that and maybe some buoys would have lights. Dr. Flynn cautioned that for some locations, there could be a need to ask FDOT. V. ADMINISTRATIVE UPDATES (For the record, these items were not heard in the order of the agenda.) b) Public Art Funding update Deputy Director Lajoie explained that Public Art Funding was based on the impact fee which was a one-time charge on new development. It was typically assessed and collected at the time the building permits were issued. She explained that it looked like the development slowdown now was affecting the amount of impact fee money slated for public art funding. The Deputy Director just wanted the board to be aware. a) Status of Creative Visions Dr. Flynn explained that because we were on a budget now, we were moving forward with one artist (Sonata Kazimieraitiene) and not three this year. They would be sending out letters informing the other artists about this unfortunate reduction. Xavier Cortada would be the artist for the next fiscal year (starting in October). So we would start with the three that were originally selected and the other five selected would be told they were on hold until funding came up a little bit. c) Maintenance and Conservation Update Dr. Flynn explained that Totor has been cleaned and we were replacing the incorrect spelling in the graphic. Mayor Davis inquired about the two misspellings on the beach mural and spoke about misspellings on the metal plaques which would be taken care of. Dr. Flynn then said that next month there would be an update on new conservation proposals. Mayor Davis inquired about uplighting. Discussion ensued about the fact that there was lighting on the mural but not on the sculptures. d) PAAB Membership Update Deputy Director Lajoie explained that in June the terms would be up for Meghan Kent, Lloyd Goradesky, Marc Aptakin, and Kelly Sharaby. In order to eliminate another mass rollout like this, there would now be two three-year terms and two two-year terms for these artist background type of positions. Marc Aptakin already handed in his application and any other member who wanted to re-apply could get their application in now. At the May 18th board meeting, there would be an election for Chair and Vice-Chair (Co-Chair). VI. MEETING ADJOURNED As all board business was discussed and without objection, the meeting was adjourned at approximately 6:04P.M. ATTEST _______________________________ ___________________________________________ IBEL LARIOS CHAIR KELLY SHARABY BOARD CLERK PUBLIC ART ADVISORY BOARD (Date) (Date) For more details regarding this meeting of the Pubic Art Advisory Board, please request a file of the meeting by calling Ibel Larios at (954) 924-6805 X3792 or emailing ilarios@daniabeachfl.gov. CITY OF DANIA BEACH | PUBLIC ART ADVISORY BOARD Buoy Arts Initiative – Program Framework | DRAFT | For PAAB Review Dania Beach Buoy Beacon Program Arts Initiative The Buoy Beacon Program reimagines Dania Beach's navigational and decorative buoys as a citywide collection of distinctive artistic landmarks. By partnering with artists to transform existing buoys — and introduce newly sited installations — the program repurposes familiar coastal infrastructure into bold, place-specific works of public art. More than a beautification effort, the Initiative builds a visual identity that is unmistakably Dania Beach, celebrating the city's coastal character and fostering community pride through art that is woven into the everyday landscape. Background The City of Dania Beach maintains several buoys within the city boundaries. Over time, many of these buoys have become weathered and visually inconsistent, diminishing the aesthetic character of the public spaces they occupy. Rather than simply repainting or replacing these structures, staff recommends leveraging them as a canvas for a new public art activation program — one that can be launched quickly, engages local artists, and reinforces Dania Beach's identity as a creative coastal destination. The Buoy Arts Initiative is envisioned as a complement to the Creative Visions program — a lower- cost, higher-frequency format that can welcome a broader range of artists (including emerging and local talent), generate ongoing visual interest citywide, and create opportunities for public art without the complexity of large-scale permanent installations. Treatment Method: Vinyl Wrap vs. Direct Paint There are two primary treatment methods for the buoy program. The comparison below is intended to inform Board direction on the preferred approach. Vinyl Wrap Direct Paint Durability 5–8 years; UV-resistant marine-grade vinyl holds color well 3–5 years before fading/peeling in salt air; touch-ups required Cost ~$300–$600/buoy (print + install); predictable per-unit pricing ~$150–$400/buoy; lower initial cost but higher maintenance Design Quality Photo-quality, full-color reproduction; pixel-perfect artist renderings Limited by painter skill; gradients and fine detail are difficult Changeability Removable; designs can be swapped for future programs or events Permanent until repainted; higher cost to refresh or update Marine Suitability Marine-grade vinyl products designed for saltwater environments available Requires marine-grade paint; surface prep and primer critical CITY OF DANIA BEACH | PUBLIC ART ADVISORY BOARD Buoy Arts Initiative – Program Framework | DRAFT | For PAAB Review Installation Specialized installer needed; 1–2 hours per buoy Artist or contractor; longer cure time; weather-dependent Artist Experience Artist submits digital file; less direct community engagement Can involve live painting events; stronger community activation Recommendation PREFERRED for permanent program buoys Consider for artist-led activation events Recommendation on Treatment Staff recommends vinyl wrap as the primary method for the Buoy Arts Initiative, with an exception allowing direct paint for artist-led community activation events where live painting is a core component of the engagement strategy. The rationale is as follows: • Marine-grade vinyl wrap products are purpose-built for saltwater environments and offer significantly longer service life than painted surfaces in Dania Beach's coastal climate. • Vinyl wraps allow exact reproduction of an artist's digital design, ensuring the installed artwork matches the approved concept without quality variability. • Wraps are removable, enabling the program to refresh designs on a rotating cycle (e.g., every 3–5 years) without surface damage to the buoy. • Wrap installation can be completed rapidly (1–2 hours per buoy), minimizing disruption and allowing the program to scale efficiently. • Direct paint may be considered on a case-by-case basis when live painting is integral to the community engagement component of an artist's proposal. Program Framework Program Goals • Activate Dania Beach's buoys as a distributed public art network visible throughout the city's waterway areas, parks, and corridors. • Create a recurring, accessible opportunity for artists — with particular emphasis on South Florida and Dania Beach-connected artists. • Generate community pride and visual identity aligned with Dania Beach's coastal character and the city's arts programming goals. • Complement and extend the Creative Visions initiative with a lighter-weight, faster-moving format. Eligibility • Open to professional artists with visual art, public or commercial art experience. • Student and emerging artists are eligible when participating as part of a team with a qualified lead artist. • South Florida artists are strongly encouraged to apply; national artists are welcome. • Applicants must possess valid U.S. work authorization. CITY OF DANIA BEACH | PUBLIC ART ADVISORY BOARD Buoy Arts Initiative – Program Framework | DRAFT | For PAAB Review Call to Artists – Overview The Call to Artists will be a streamlined process relative to Creative Visions, appropriate to the scale of the program. Key elements: Application Format Single PDF submission: design concept image(s), brief artist statement (250 words max), short bio, stipend cost or installation budget (if applicable). Design Requirements Artist submits a full-color design concept scaled to the buoy dimensions provided by the City. Designs must interpret Dania Beach's coastal identity, history, or community. Site Flexibility Designs may be site-specific (artist proposes a specific buoy location) or flexible (City assigns location based on available inventory). Community Engagement Encouraged but not required. Artists who propose a live painting event, workshop, or unveiling activation will receive preference in scoring. Review Process PAAB reviews submissions and selects designs for fabrication and installation. No finalist presentation required unless PAAB requests it. Selection Criteria Submissions will be evaluated by PAAB using the following criteria: Criterion Artistic Quality – originality, visual impact, craftsmanship of the design concept Relevance to Dania Beach – connection to the city's coastal identity, community, or history Feasibility – design is practical for fabrication and installation on a buoy surface Community Engagement – proposed activation or engagement component (if applicable) Artist Experience – relevant portfolio and professional background CITY OF DANIA BEACH | PUBLIC ART ADVISORY BOARD Buoy Arts Initiative – Program Framework | DRAFT | For PAAB Review Budget Framework Staff proposes a tiered budget structure to accommodate both pilot-scale and program-scale implementations. Budgets are all-inclusive (artist fee, design, fabrication, installation, insurance, and contingency). Tier Scope Budget Range Single Buoy Individual buoy design; artist stipend; design + wrap/install (paid by City). $2,000 - $2,500 Proposed Program Timeline Milestone Target PAAB Direction / Framework Approval May 2026 PAAB Meeting Buoy Inventory & Condition Assessment May/June 2026 Call to Artists Published June 2026 Application Deadline July 25, 2026 PAAB Review & Selection August/September 2026 PAAB Meeting Artist Notification & Stipend Issued September 2026 Wrap Fabrication & Installation September – October 2026 Public Unveiling / Community Celebration October / November 2026 Implementation Considerations Prior to launching the Call to Artists, staff recommends the following preparatory steps: CITY OF DANIA BEACH | PUBLIC ART ADVISORY BOARD Buoy Arts Initiative – Program Framework | DRAFT | For PAAB Review 1. Buoy Inventory: Conduct a field assessment to identify and document all city-owned buoys eligible for the program, including GPS coordinates, dimensions, material, and current condition. 2. Vendor Research: Obtain quotes from marine-grade vinyl wrap vendors and identify at least three qualified installation contractors for program use. 3. Additional Buoy Fabrication: Research 3-D Printing for buoy options and identify sites across the city for buoy placement. 4. Template Development: Prepare dimensioned design templates for each buoy type so that artists can design to accurate specifications. 5. Budget Authorization: Confirm funding source and appropriation for pilot phase before Call to Artists is published. 6. Program Name: PAAB may wish to adopt a distinct program name and brand for the initiative to support marketing and community recognition. Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150 323.377.8425 • 305.573.7011 http://rlaconservation.com 1 CONSERVATION ASSESSMENT & TREATMENT PROPOSAL LLOYD GORADESKY – LET LOVE GUIDE YOUR WAY Prepared for: The City of Dania Beach Community Development 100 W. Dania Beach Blvd. Dania Beach, FL 33004 c/o Cultural Planning Group 2816 NW 8 Ave. Wilton Manors, FL 33311 Linda T. Flynn 954.804.3044 linda@culturalplanning.com Prepared by: Caroline Dickensheets, Miami Managing Conservator cdickens@rlaconservation.com Date of Assessment: October 20, 2025 Date of Proposal: November 17, 2025 RLA Conservation, LLC is pleased to submit the following conservation assessment and proposal to The City of Dania Beach for the sculpture Let Love Guide Your Way, by LYOWD, currently located at Dania Beach City Hall, 23 SW 1st Ave. RLA was asked to conduct this assessment and proposal after corrosion was identified during maintenance of the artwork by the city’s vendor. Of primary concern to the client is the deterioration of the existing finish layer. This assessment outlines the causes of deterioration that has resulted in the current conditions and suggests possible treatment options with associated costs. Record photographs are included in this document. Additional digital photographs were taken during the assessment. To access, please copy and paste the following link into your browser: www.dropbox.com/scl/fo/dnmtjc5rtf979aie37hoi/AAjdpJal5L2idfCV07C3Hl0?rlkey=agppjqqdvuxt 7pgwcqa9z65lo&st=94s6kl8s&dl=0 Artist: Lloyd Goradesky Title: Let Love Guide Your Way Date: 2018 Materials: Steel (unknown grade), coating system (possibly powder coating originally), concrete plinth Dimensions: Approx. 14’ height (16’ with pedestal) Circumference width: 15’ 6” Weight: 4,350 lbs. Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150 323.377.8425 • 305.573.7011 http://rlaconservation.com 2 BACKGROUND & DOCUMENT REVIEW: Documentation on the sculpture was provided to RLA by Cultural Planning Group prior to our on- site assessment. The following three documents were provided: 1. Lloyd Goradesky Part 1_Info.pdf – document addressed to the City of Dania Beach, The PAAB Community Development Staff outlining the artist’s biographical information, artwork information, including a condition report authored Nov. 2, 2022 based on a site visit on June 5, 2022 by a Sten K Henriksen who is listed as the engineer. This document lists an annual conservation budget of $150.00 annually. This does not appear to be based on any formal proposals or estimates provided by a conservation team. Of note is the engineer’s comment that “This sculpture requires very little maintenance.”1 2. Personal Property Appraisal Report: Public Art Sculpture “Let Love Guide Your Way”– Appraisal report from “LSS Appraisals” authored on October 27, 2022. This report provides estimated replacement value of the sculpture and justification. 3. Maintenance 2025.docx – document roughly outlining maintenance that was performed in 2025. No photo documentation was included in this report nor specific products used for maintenance. Maintenance performed included washing with an unknown “PH neutral / Biodegradable soap”, “removal of stains, algae and animal waste” with no listed product/method, “pressure washed concrete pad” (no PSI provided), and “sealed sculpture with Hydrophobic Coating (like wax)” with no specific product mentioned. The report states “the seams around the welded edges as beginning to blister with rust.”2 DESCRIPTION: The artwork in question is a single component free standing coated steel sculpture. The sculpture includes a weathervane with a rotating kinetic wind vane in the shape of a cupid’s arrow with hearts on either end. The artwork is approximately 16’ overall with the arrow having a circumference or width of 15’ 6”. The front end of the Cupid’s arrow is measured at 36” cut out while the opposite side featuring a solid heart shape measure 48”.3 Ten foot (10’) curved steel plates support the arrow while steel rods approximately ½” in diameter create an ‘X’ on each side of the sculpture. Cut out hearts the produce negative space and applied hearts decorate the sculpture. The sculpture is bolted to a concrete plinth. The grade of steel used in the sculpture is not known. Provided documentation lists “Steel” and “Stainless-Steel Industrial Bearings”4. This document also mentions that “recycled-steel, aluminum” including “’scrap’ from the cut-outs” were also used in the construction of the sculpture. The sculpture was fabricated at Absolute Metals, LLC located in Las Vegas, Nevada. 1 “Condition Report”, pg. 8 of Lloyd Goradesky Part 1_Info.pdf 2 Maintenance 2025 3 Personal Property Appraisal Report: Public Art Sculpture “Let Love Guide Your Way”, LSS Appraisals, 2022, pg. 6. 4 Ibid. Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150 323.377.8425 • 305.573.7011 http://rlaconservation.com 3 The artwork was originally powder coated by National Powder Coating Inc., but it is noted that the finish was “ruined during storage” and that the sculpture was refinished at Jet Tech Painting located at the Fort Lauderdale Executive Airport.5 No reports were provided that outlined this specific scope of work or products used. It is not known if the sculpture was completely re-powder coated at this point or repainted. The plinth to which the sculpture is attached to is in the shape of a heart and is coated with a matte black paint. The plinth is installed on a concrete pad along with a descriptive plaque. The sculpture is installed outdoors outside of the City of Dania’s Beach’s City Hall. There are nearby palm trees but otherwise no overhanging vegetation in close proximity to the sculpture. There is a plant bed behind the sculpture with at least three visible sprinkler heads that may be contributing to the mineral deposits seen on the sculpture surfaces. The sculpture is near SW 1st Ave, a relatively heavily trafficked road. The installation site is roughly one mile away from the Atlantic Ocean. RLA understands that prior to its current installation location, the artwork was installed at the 2019-2021 International Kinetic Art Exhibit and Symposium in Boynton Beach, Florida. CONDITION: Note that RLA’s assessment of the sculpture was limited to a ground level assessment. Upper sections of the sculpture could not be assessed at close range. RLA has included an assessment of all sculpture surfaces in the conservation treatment proposal section of this document; however, treatment recommendations and associated costs assume that the conditions are similar to those observed at lower sections. The artwork in question appears to be in stable structural condition overall. The artwork shows no signs of instability or movement (aside from the intentional kinetic qualities) that suggests structural compromise. Visible corrosion of the steel substrate is present but does not appear to be of a degree associated with structural compromise at this point in time. Furthermore, the locations where corrosion is visible do not appear to be critical to the structural integrity of the sculpture. Attachment hardware that secures the sculpture to the concrete plinth also show signs of visible corrosion. This corrosion only appears to be surface level and does not appear to compromise the connections. Missing nuts were noted in two (2) locations. Of primary concern is the corrosion of the underlying steel substrate resulting in delamination and loss of the paint layer. This condition is most noticeable in the interstices of the sculpture where water can collect such as around the base of the sculpture where it meets the concrete plinth, where the steel rods come into contact with the sculpture, and at the applied/cut out heart shape patterns. 5 Personal Property Appraisal Report Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150 323.377.8425 • 305.573.7011 http://rlaconservation.com 4 There is slight fading of the red coating on south facing surfaces. This condition is minor but would impact color matching of areas as part of conservation treatment. Mineral deposits were noted at areas where water collects, particularly on the bottom base plate. Overall, the sculpture had light levels of atmospheric and microbiological soiling as it was recently cleaned. Slight winds that occurred during the assessment resulted in movement of the sculpture’s arrow indicating that the kinetic aspect of the artwork continues to function properly. SELECT CONDITION PHOTOGRAPHS: Overall image of the artwork. Detail of damage. Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150 323.377.8425 • 305.573.7011 http://rlaconservation.com 5 Overview of sculpture base. Overview of sculpture base. Detail of bottom edge of sculpture where it meets the painted base. This area shows visible mineral deposits, lifting coating, and corrosion of the steel substrate. Detail of the front bottom edge of the sculpture. Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150 323.377.8425 • 305.573.7011 http://rlaconservation.com 6 Detail of heart accent on the sculpture with blistering/lifting paint and visible corrosion. Detail of heart shaped opening with slight bubbling. Detail of opening on the visual left side of the sculpture with visible corrosion and bubbling of the paint layer. Additional detail of bubbling paint and corrosion. Detail of sculpture attachment hardware with visible corrosion and a missing washer visible on the visual left. Detail of weld with possible detachment Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150 323.377.8425 • 305.573.7011 http://rlaconservation.com 7 DISCUSSION: Given the observed levels of deterioration of the sculpture’s finish layer, on site spot treatment remains a viable conservation approach. Alternative restoration style approaches would require complete recoating of the artwork either completed on site or at an off-site facility. As there is corrosion beneath the current coating layer, it could be recommended that the artwork be completely stripped, and any areas of corrosion properly treated prior to recoating. If the artwork is to be powder coated, this process requires deinstallation and transportation of the sculpture to a power coating facility. This work cannot be completed in situ given the type of equipment required. Please note that if the artwork is powder coated, future touch-ups cannot be performed in kind. Areas of damage/corrosion would need to be in-painted to seal the underlying metal and restore a continuous coating finish. During the assessment, RLA was asked whether the conditions present on site are indicative of a lack of maintenance. While RLA understands that the sculpture is regularly cleaned, it does not appear that any previous spot treatments by a trained conservation team have been included as part of the maintenance protocol. While cleaning can go a long way in terms of increasing the lifespan of an artwork, additional maintenance steps can be required to address deterioration over time. Many times, small breaks in the paint layer are not noticeable to a typical viewer until they reach a level of deterioration that requires more intensive conservation treatment methods. Such breaks are particularly common along sharp edges where the paint stack is inherently thinner due to surface tension pulling the material away from the peak of the edge. While small (thumbnail size) breaks or areas of bubbling in the paint layer can be carefully excavated and in painted, this process becomes more intensive if additional corrosion and deterioration of the paint layer is allowed to continue as the area of repair increases in diameter overall. Blending such repairs on a smooth continuous finished surface is difficult and requires use of special equipment, high quality conservation grade materials, and a trained professional. This work is even more difficult when performed in situ versus in a controlled studio setting. Based on outdoor painted sculptures RLA currently works on in South Florida, maintenance for artworks of this nature is recommended to take place annually. That said, repainting of outdoor painted sculpture in harsh marine environments is typically recommended every five to ten (5-10) years. This time varies based on specific environmental considerations, sculpture substrate, original coating materials, and, as previously discussed, maintenance protocols among other factors. As this sculpture was first installed outdoors in 2018, its age could warrant restoration in the form of a complete repaint in the next few years. Other items to consider is the steel substrate of the sculpture. Based on the information provided to RLA, it is possible that the sculpture is not made (or entirely made) of a high-grade stainless-steel material that can withstand the harsh marine environment of Dania Beach. For future outdoor painted sculpture considerations, RLA typically recommends 304 or preferably 316N grade stainless steel in conjunction with a three-coat industrial paint system that uses a zinc rich initial primer layer, an epoxy primer tie coat, followed by a topcoat. However, converting the sculpture Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150 323.377.8425 • 305.573.7011 http://rlaconservation.com 8 to a high-grade stainless steel would require refabrication of the artwork and therefore is not proposed at this time. TREATMENT OBJECTIVE: To remove loose and bubbling paint, mitigate corrosion, and in paint areas of finish loss on sculpture surfaces. PROPOSED TREATMENT: RLA proposes to access upper areas of the sculpture via a 2-story mobile baker scaffolding tower with outriggers. RLA will bring plywood to provide a stable surface to work off of. Note that this may damage adjacent plantings, most notably the flowers in the bed behind the sculpture. It is recommended that any plantings be temporarily removed prior to treatment and replanted once the scaffold is dismantled. RLA is able to set up temporary barriers while work takes place (i.e., caution tape and stanchions). Costs for a temporary construction fence are not included in this proposal but can be added upon request, generally at an estimated cost of $3,000.00. 1. Document the treatment with a written report and high-resolution digital photographs. Provide a Dropbox link to all treatment images as well as recommendations for ongoing routine maintenance. 2. Rinse the sculpture with filtered tap water. Follow this with a cleaning of a conservation grade detergent and filtered tap water. Rinse with filtered water followed by a distilled water rinse. 3. Carefully remove, source, and replace corroded hardware with appropriate 316N grade stainless steel washers, nuts, and bolts. This will be done in a manner that does not compromise the sculpture’s secure connection to the plinth. a. Add a corrosion mitigating anti-seize lubricant to the hardware that comes in direct contact with mild steel. 4. As needed, spot clean areas of significant soiling and mineral deposits with organic solvents. 5. Gently remove areas of loose paint material on the sculpture using hand tools and gently spot abrade areas of paint loss down to sound material. 6. Degrease metal and prepare for repainting. 7. Spot prime areas of bare steel with a zinc rich primer via brush. a. Allow to cure per manufacturer’s instructions. b. Sand to an appropriate texture. 8. Prime areas of loss with an industrial-grade primer via brush. a. Sand to an appropriate texture. b. If needed, apply additional coats to build up thickness to blend with adjacent surfaces. 9. As needed, fill areas of dimensional loss to the steel substrate. a. Sand to an appropriate texture. 10. If fills are needed, apply an additional coat of primer to prevent swelling of the fill material Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150 323.377.8425 • 305.573.7011 http://rlaconservation.com 9 and sand to an appropriate texture. 11. In-paint areas of loss with a conservation grade paint suitable for metal surfaces via airbrush to blend with the surrounding color. a. Given the flat smooth nature of the sculpture and the red pigmented topcoat, color matching and blending of repairs is incredibly difficult. The client should expect the area of repair to be visible under close inspection (less than 5’). Due to fading of the sculpture, the inpainting color for specific areas may need to be adjusted based on their exposure to UV. This is a time-consuming process and requires on site testing by a Conservator. i. Please note, even though the area of repair will blend with adjacent surfaces, the in-painting material will age and weather differently than the original coating system as they are different ages and made of different binders and pigments. As such, the in-painted areas may become more pronounced over time and require the in-painting to be renewed in the future. 12. Apply appropriate varnish to blend with the finish of adjacent surfaces and provide mitigation from damaging UV light. 13. Repaint concrete plinth with appropriate matte black mineral paint intended for masonry substrates. Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150 323.377.8425 • 305.573.7011 http://rlaconservation.com 10 ESTIMATED TIMELINE: This project is estimated to take place over five (5) days onsite. Note that RLA typically has a lead time of approximately 2-3 months for treatments of this nature. Based on the materials used, it is preferrable that treatment take place outside of the high humidity summer months (May-September) to ensure optimal performance. ESTIMATED COSTS: Costs are inclusive of labor, documentation, materials, and travel to/from the site, when deemed necessary. City of Dania Beach is to provide parking for one (1) RLA vehicle in close proximity to the sculpture. Costs assume water and electricity are within 100’ feet of the artwork. Costs for a temporary construction fence are not included in this proposal but can be added upon request at an estimated cost of $3,000.00. RLA requires access to nearby restrooms and dumpster facilities to dispose of nontoxic trash each day. This proposal includes inpainting of steel that was originally powder coated. Although this methodology will reduce the appearance of the inconsistencies in the surface of the artwork, only complete recoating in the original system can guarantee a uniform finish that is not apparent under close inspection. RLA reserves the right to amend this proposal should there be any unexpected conditions or expanded scope. RLA will immediately notify the client of any proposed change of scope and any associated costs. Any scope not expressly outlined above is excluded. Total Estimated Cost: $14,650.00 Please Note: Pre-payment of 50% or Purchase Order due upon submission of signed proposal. Balance due upon completion. Thank you for the opportunity to care for your collection. Please contact us with any questions. Prepared by: _______________________________ Caroline Dickensheets, Miami Managing Conservator Approved by: _______________________________ Christina Varvi, President and Co-Chief Conservator Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150 323.377.8425 • 305.573.7011 http://rlaconservation.com 11 Accepted by: (sign name) (print name) (title & agency) (date) Client: City of Dania Beach Project: Let Love Guide Your Way Conservation Treatment EXCLUSIONS AND CAVEATS • This price is valid for a period of 90 days from the date of the proposal. • No work will be performed until a mutually acceptable schedule for work and payment is agreed upon. • Costs are NOT based on Davis Bacon, Service Contract Act or any other legally mandated prevailing wage rates beyond minimum wage. If prevailing wage compliance is required, we reserve the right to modify our proposal accordingly. • We require clear access to the worksite in an uninterrupted schedule during daytime work hours, Monday through Friday, unless other arrangements are made. • We will require access to water and electricity within 100 feet of the work site. • We will require access to free parking for at least one vehicle in close proximity to the worksite. • We will require access to bathrooms at the worksite. • Non-toxic trash will be deposited into dumpsters provided by client unless otherwise arranged. • This price does not include any special insurance, permits, licenses, or bonds. • Notwithstanding anything in the proposal/agreement to the contrary, any material or equipment prices provided herein are only applicable to work performed in the next 90 days. After this period, material and equipment prices will be subject to further increases due to any shortages, unavailability or increases in market pricing from any cause whatsoever except to the extent caused by RLA. If, during the performance of the proposal/agreement, any material or equipment price increases, the price shall be increased by an amount necessary to cover such price increases. Where the delivery of material or equipment is delayed, through no fault of RLA, RLA shall not be responsible for any additional costs or damages associated with such delays. • RLA shall not be considered in default because of any failure to perform the above scope of work under its terms if the failure arises from causes beyond the control and without the fault or negligence of RLA. Examples of these causes are (1) acts of God or of the public enemy, (2) acts of the Government in either its sovereign or contractual capacity, (3) fires, (4) floods, (5) epidemics, (6) quarantine restrictions, (7) strikes, (8) freight embargoes, (9) earthquakes, and (10) unusually severe weather. In each instance, if RLA determines that any failure to perform would result from one or more of the causes above, the delivery schedule shall be revised. Let Love Guide Your Way by Lloyd Goradesky Proposal for Art Conservation Services January 2, 2025 Prepared for Prepared by The City of Dania Beach Chad Shores Community Development Principal Conservator ℅ Cultural Planning Group Shores Art Conservation 954.804.3044 321.541.5500 linda@culturalplanning.com chad@shoresconservation.com Proposal for Art Conservation Services Shores Art Conservation www.shoresartconservation.com 321.541.5500 To Whom It May Concern: Thank you for the opportunity to provide a proposal to conserve the Let Love Guide Your Way sculpture by Lloyd Goradesky sited in Art Park in Dania Beach, Florida. We’ve reviewed the condition assessment report performed and authored by RLA Conservation and performed our own cursory condition assessment of the piece on-site. Based on our observations and those documented by RLA, we are pleased to present the following proposed scopes of work and associated cost estimates. ABOUT OUR PRACTICE Shores Art Conservation is a trusted partner for art collectors, designers, and museums navigating the challenges of Florida’s coastal climate. Salt air, high humidity, and extreme weather events pose constant risks to outdoor art, requiring specialized expertise. Founded by Whitney and Chad Shores, our practice delivers tailored conservation solutions that protect both the beauty and long-term value of significant art collections. Chad brings over a decade of experience in sculpture conservation, with a focus on outdoor works sited in coastal environments. Our work adheres to the highest professional standards, as outlined by the American Institute for the Conservation of Historic and Artistic Works (AIC). ARTWORKS TO BE TREATED • Let Love Guide Your Way by Lloyd Goradesky sited at Arts Park in Dania Beach, Florida OBSERVATIONS AND RECOMMENDATIONS After reviewing RLA’s condition assessment and treatment proposal of the piece, Chad Shores, Principal Conservator for Shores Art Conservation, visited the site on December 12, 2025 to review the artwork in person. We found conditions consistent with those found by RLA during their assessment in October 2025. Considering the scale and condition of the sculpture, we would recommend that the city consider carrying out a full-scale restoration of the piece in the controlled conditions of an off- site studio. Temporary stabilization treatment of the piece, as outlined in the condition assessment provided by RLA, would only serve as a temporary stop gap measure and not address the wholesale deterioration of the sculpture. We agree with RLA’s opinion that there would also be considerable time spent hiding spot treatments in-situ that could not be guaranteed to weather consistently as the untreated areas of the sculpture. We believe it would be a better use of the city’s resources to uninstall the piece, transport it to an off-site facility for treatment and restoration, and perform a final reinstallation of the restored Proposal for Art Conservation Services Shores Art Conservation www.shoresartconservation.com 321.541.5500 sculpture. With that being stated, we would offer the following options for the city’s consideration. OPTION A – TREATMENT AS PRESCRIBED BY RLA Our firm would prefer to perform this work from an articulating boom lift so we can address all of the issues with better access. We are including protection of adjacent surfaces including sidewalks, grass, and plantings in our proposal. PROPOSED TREATMENT: RLA proposes to access upper areas of the sculpture via a 2-story mobile baker scaffolding tower with outriggers. RLA will bring plywood to provide a stable surface to work off of. Note that this may damage adjacent plantings, most notably the flowers in the bed behind the sculpture. It is recommended that any plantings be temporarily removed prior to treatment and replanted once the scaffold is dismantled. RLA is able to set up temporary barriers while work takes place (i.e., caution tape and stanchions). Costs for a temporary construction fence are not included in this proposal but can be added upon request, generally at an estimated cost of $3,000.00. 1. Document the treatment with a written report and high-resolution digital photographs. Provide a Dropbox link to all treatment images as well as recommendations for ongoing routine maintenance. 2. Rinse the sculpture with filtered tap water. Follow this with a cleaning of a conservation grade detergent and filtered tap water. Rinse with filtered water followed by a distilled water rinse. 3. Carefully remove, source, and replace corroded hardware with appropriate 316N grade stainless steel washers, nuts, and bolts. This will be done in a manner that does not compromise the sculpture’s secure connection to the plinth. a. Add a corrosion mitigating anti-seize lubricant to the hardware that comes in direct contact with mild steel. 4. As needed, spot clean areas of significant soiling and mineral deposits with organic solvents. 5. Gently remove areas of loose paint material on the sculpture using hand tools and gently spot abrade areas of paint loss down to sound material. 6. Degrease metal and prepare for repainting. 7. Spot prime areas of bare steel with a zinc rich primer via brush. a. Allow to cure per manufacturer’s instructions. b. Sand to an appropriate texture. 8. Prime areas of loss with an industrial-grade primer via brush. a. Sand to an appropriate texture. b. If needed, apply additional coats to build up thickness to blend with adjacent surfaces. 9. As needed, fill areas of dimensional loss to the steel substrate. a. Sand to an appropriate texture. 10. If fills are needed, apply an additional coat of primer to prevent swelling of the fill material sand to an appropriate texture. Proposal for Art Conservation Services Shores Art Conservation www.shoresartconservation.com 321.541.5500 11. In-paint areas of loss with a conservation grade paint suitable for metal surfaces via airbrush to blend with the surrounding color. a. Given the flat smooth nature of the sculpture and the red pigmented topcoat, color matching and blending of repairs is incredibly difficult. The client should expect the area of repair to be visible under close inspection (less than 5’). Due to fading of the sculpture, the inpainting color for specific areas may need to be adjusted based on their exposure to UV. This is a time-consuming process and requires on site testing by a Conservator. i. Please note, even though the area of repair will blend with adjacent surfaces, the in-painting material will age and weather differently than the original coating system as they are different ages and made of different binders and pigments. As such, the in-painted areas may become more pronounced over time and require the in-painting to be renewed in the future. 12. Apply appropriate varnish to blend with the finish of adjacent surfaces and provide mitigation from damaging UV light. 13. Repaint concrete plinth with appropriate matte black mineral paint intended for masonry substrates. OPTION B – FULL RESTORATION • Consult with the artist prior to work activity to ensure proposed restoration treatment means and methods protect their artistic intention. • Mobilize to the site. • Adjacent surfaces including sidewalks, grass, and adjacent plantings will be temporarily protected during site work • A pre-treatment condition assessment of the sculpture will be performed from an articulating boom lift to determine and confirm the condition of the artwork prior to disassembly. Found conditions will be documented with photographic and written means. • The sculpture will be carefully rigged, systematically disassembled, and lifted during deinstallation activity. The sculpture components will be carefully packed and strapped onto a transport vehicle for delivery to our off-site facility for treatment. • Transport the sculpture components to our facility for media blasting and refinishing. Media blast the sculpture components to remove the existing coatings and fully reveal underlying corrosion. • Perform a condition assessment of the sculpture after coatings are removed to assess the full extent of any underlying corrosion or other potentially compromised conditions that are unforeseen. • Treat and fill corroded portions of the sculpture components with appropriate corrosion inhibitor and fill materials. Restore original profiles, shapes, and dimensions to areas that have been lost due to corrosion. Proposal for Art Conservation Services Shores Art Conservation www.shoresartconservation.com 321.541.5500 • Inspect and lubricate mechanical components of the sculpture to ensure proper movement and performance. • Replace any steel hardware components in the sculpture assembly with appropriate 316N stainless steel hardware. • Repair and/or replace compromised welds with appropriate in-kind material. • Prepare the surface of the sculpture components to receive the new coatings system in accordance with manufacturer’s surface preparation recommendations. • Apply a high performance three-coat industrial coatings system that includes the following: a zinc rich primer, an epoxy intermediate coat, and followed by a top coat with outstanding resistance to ultra-violet light degradation. The top coat will be color matched to the artist’s original choice of color. All coatings will be applied according to manufacturer recommendations. • Once the coatings system has appropriately cured according to manufacturer recommendations, the sculpture components will be carefully packed for transportation back to the site. • The existing concrete column will be painted with an appropriate matte black mineral paint intended for masonry substrates. A waterproofing membrane will be installed to avoid moisture contact between the painted sculpture and the concrete column. • Transport the sculpture components and re-mobilize to the site. • Adjacent surfaces including sidewalks, grass, and adjacent plantings will be temporarily protected during site work • Sculpture components will be carefully rigged, systematically lifted and reassembled during reinstallation activity. • Installation hardware will be replaced with appropriate 316N grade stainless steel washers, nuts, and bolts. • At the completion of site work, all materials, debris, and equipment will be removed, and the site will be returned to its pre-existing condition. • All work will be performed and documented to American Institute for Conservation of Historic and Artistic Works (AIC) standards. A brief treatment report will be provided after the completion of work to include a summary of treatment processes, photo- documentation (before, during, and after photos), and all product data. Unless otherwise specified, the report will be delivered electronically in PDF form. Proposal for Art Conservation Services Shores Art Conservation www.shoresartconservation.com 321.541.5500 COST Our cost to perform each option is outlined in the table below. Option Treatment Scope of Work Cost A Conservation treatment as outlined by RLA’s Condition Assessment Report with amended access $21,480 B Complete conservation treatment and restoration of the sculpture as outlined above. $27,210 INCLUSIONS - Labor - Materials - Equipment - Insurance beyond those required by the City of Dania Beach - Standard working hours - Per diem and travel costs EXCLUSIONS - Tax (if applicable) - Additional or specialized insurance beyond what is required by the City of Dania Beach Procurement Services - Multiple mobilizations - Water & power at the site - Sanitary facilities - Laydown area and storage for equipment and supplies during installation/reinstallation activities We are grateful for the opportunity to potentially serve the City of Dania Beach and their public artwork. Thank you, Chad Shores Whitney Shores Principal Conservator Managing Director Proposal for Art Conservation Services Shores Art Conservation www.shoresartconservation.com 321.541.5500 PLEASE NOTE • This proposal contains proprietary information from Shores Art Conservation. This proprietary information is submitted solely for the purpose of evaluating the proposal and it is understood and agreed that this information shall be kept confidential where allowed by law. Such proprietary information is also submitted with the understanding that it will not be disclosed to others or used in a manner detrimental to the interests of Shores Art Conservation. • If applicable to your project, a signed Capital Improvement Certificate or tax- exempt certificate must be submitted. If we do not receive a completed certificate indicating that this work falls under the capital improvement or tax-exempt programs, appropriate sales and/or use tax will be added to the price upon invoicing. • If applicable, pricing assumes regular working hours days. Overtime, additional shifts, or additional workers to accommodate a compressed schedule are not included in our pricing. • Shores Art Conservation preferably will accept payment by electronic bank transfers, details of which will be provided upon contract. Work shall occur on a mutually agreeable schedule to be determined between the Client and Shores Art Conservation after our receipt of a purchase order or signed contract. Let Love Guide Your Way by Lloyd Goradesky Proposal for Art Conservation Services January 2, 2025 Prepared for Prepared by The City of Dania Beach Chad Shores Community Development Principal Conservator ℅ Cultural Planning Group Shores Art Conservation 954.804.3044 321.541.5500 linda@culturalplanning.com chad@shoresconservation.com Proposal for Art Conservation Services Shores Art Conservation www.shoresartconservation.com 321.541.5500 To Whom It May Concern: Thank you for the opportunity to provide a proposal to conserve the Let Love Guide Your Way sculpture by Lloyd Goradesky sited in Art Park in Dania Beach, Florida. We’ve reviewed the condition assessment report performed and authored by RLA Conservation and performed our own cursory condition assessment of the piece on-site. Based on our observations and those documented by RLA, we are pleased to present the following proposed scopes of work and associated cost estimates. ABOUT OUR PRACTICE Shores Art Conservation is a trusted partner for art collectors, designers, and museums navigating the challenges of Florida’s coastal climate. Salt air, high humidity, and extreme weather events pose constant risks to outdoor art, requiring specialized expertise. Founded by Whitney and Chad Shores, our practice delivers tailored conservation solutions that protect both the beauty and long-term value of significant art collections. Chad brings over a decade of experience in sculpture conservation, with a focus on outdoor works sited in coastal environments. Our work adheres to the highest professional standards, as outlined by the American Institute for the Conservation of Historic and Artistic Works (AIC). ARTWORKS TO BE TREATED • Let Love Guide Your Way by Lloyd Goradesky sited at Arts Park in Dania Beach, Florida OBSERVATIONS AND RECOMMENDATIONS After reviewing RLA’s condition assessment and treatment proposal of the piece, Chad Shores, Principal Conservator for Shores Art Conservation, visited the site on December 12, 2025 to review the artwork in person. We found conditions consistent with those found by RLA during their assessment in October 2025. Considering the scale and condition of the sculpture, we would recommend that the city consider carrying out a full-scale restoration of the piece in the controlled conditions of an off- site studio. Temporary stabilization treatment of the piece, as outlined in the condition assessment provided by RLA, would only serve as a temporary stop gap measure and not address the wholesale deterioration of the sculpture. We agree with RLA’s opinion that there would also be considerable time spent hiding spot treatments in-situ that could not be guaranteed to weather consistently as the untreated areas of the sculpture. We believe it would be a better use of the city’s resources to uninstall the piece, transport it to an off-site facility for treatment and restoration, and perform a final reinstallation of the restored Proposal for Art Conservation Services Shores Art Conservation www.shoresartconservation.com 321.541.5500 sculpture. With that being stated, we would offer the following options for the city’s consideration. OPTION A – TREATMENT AS PRESCRIBED BY RLA Our firm would prefer to perform this work from an articulating boom lift so we can address all of the issues with better access. We are including protection of adjacent surfaces including sidewalks, grass, and plantings in our proposal. PROPOSED TREATMENT: RLA proposes to access upper areas of the sculpture via a 2-story mobile baker scaffolding tower with outriggers. RLA will bring plywood to provide a stable surface to work off of. Note that this may damage adjacent plantings, most notably the flowers in the bed behind the sculpture. It is recommended that any plantings be temporarily removed prior to treatment and replanted once the scaffold is dismantled. RLA is able to set up temporary barriers while work takes place (i.e., caution tape and stanchions). Costs for a temporary construction fence are not included in this proposal but can be added upon request, generally at an estimated cost of $3,000.00. 1. Document the treatment with a written report and high-resolution digital photographs. Provide a Dropbox link to all treatment images as well as recommendations for ongoing routine maintenance. 2. Rinse the sculpture with filtered tap water. Follow this with a cleaning of a conservation grade detergent and filtered tap water. Rinse with filtered water followed by a distilled water rinse. 3. Carefully remove, source, and replace corroded hardware with appropriate 316N grade stainless steel washers, nuts, and bolts. This will be done in a manner that does not compromise the sculpture’s secure connection to the plinth. a. Add a corrosion mitigating anti-seize lubricant to the hardware that comes in direct contact with mild steel. 4. As needed, spot clean areas of significant soiling and mineral deposits with organic solvents. 5. Gently remove areas of loose paint material on the sculpture using hand tools and gently spot abrade areas of paint loss down to sound material. 6. Degrease metal and prepare for repainting. 7. Spot prime areas of bare steel with a zinc rich primer via brush. a. Allow to cure per manufacturer’s instructions. b. Sand to an appropriate texture. 8. Prime areas of loss with an industrial-grade primer via brush. a. Sand to an appropriate texture. b. If needed, apply additional coats to build up thickness to blend with adjacent surfaces. 9. As needed, fill areas of dimensional loss to the steel substrate. a. Sand to an appropriate texture. 10. If fills are needed, apply an additional coat of primer to prevent swelling of the fill material sand to an appropriate texture. Proposal for Art Conservation Services Shores Art Conservation www.shoresartconservation.com 321.541.5500 11. In-paint areas of loss with a conservation grade paint suitable for metal surfaces via airbrush to blend with the surrounding color. a. Given the flat smooth nature of the sculpture and the red pigmented topcoat, color matching and blending of repairs is incredibly difficult. The client should expect the area of repair to be visible under close inspection (less than 5’). Due to fading of the sculpture, the inpainting color for specific areas may need to be adjusted based on their exposure to UV. This is a time-consuming process and requires on site testing by a Conservator. i. Please note, even though the area of repair will blend with adjacent surfaces, the in-painting material will age and weather differently than the original coating system as they are different ages and made of different binders and pigments. As such, the in-painted areas may become more pronounced over time and require the in-painting to be renewed in the future. 12. Apply appropriate varnish to blend with the finish of adjacent surfaces and provide mitigation from damaging UV light. 13. Repaint concrete plinth with appropriate matte black mineral paint intended for masonry substrates. OPTION B – FULL RESTORATION • Consult with the artist prior to work activity to ensure proposed restoration treatment means and methods protect their artistic intention. • Mobilize to the site. • Adjacent surfaces including sidewalks, grass, and adjacent plantings will be temporarily protected during site work • A pre-treatment condition assessment of the sculpture will be performed from an articulating boom lift to determine and confirm the condition of the artwork prior to disassembly. Found conditions will be documented with photographic and written means. • The sculpture will be carefully rigged, systematically disassembled, and lifted during deinstallation activity. The sculpture components will be carefully packed and strapped onto a transport vehicle for delivery to our off-site facility for treatment. • Transport the sculpture components to our facility for media blasting and refinishing. Media blast the sculpture components to remove the existing coatings and fully reveal underlying corrosion. • Perform a condition assessment of the sculpture after coatings are removed to assess the full extent of any underlying corrosion or other potentially compromised conditions that are unforeseen. • Treat and fill corroded portions of the sculpture components with appropriate corrosion inhibitor and fill materials. Restore original profiles, shapes, and dimensions to areas that have been lost due to corrosion. Proposal for Art Conservation Services Shores Art Conservation www.shoresartconservation.com 321.541.5500 • Inspect and lubricate mechanical components of the sculpture to ensure proper movement and performance. • Replace any steel hardware components in the sculpture assembly with appropriate 316N stainless steel hardware. • Repair and/or replace compromised welds with appropriate in-kind material. • Prepare the surface of the sculpture components to receive the new coatings system in accordance with manufacturer’s surface preparation recommendations. • Apply a high performance three-coat industrial coatings system that includes the following: a zinc rich primer, an epoxy intermediate coat, and followed by a top coat with outstanding resistance to ultra-violet light degradation. The top coat will be color matched to the artist’s original choice of color. All coatings will be applied according to manufacturer recommendations. • Once the coatings system has appropriately cured according to manufacturer recommendations, the sculpture components will be carefully packed for transportation back to the site. • The existing concrete column will be painted with an appropriate matte black mineral paint intended for masonry substrates. A waterproofing membrane will be installed to avoid moisture contact between the painted sculpture and the concrete column. • Transport the sculpture components and re-mobilize to the site. • Adjacent surfaces including sidewalks, grass, and adjacent plantings will be temporarily protected during site work • Sculpture components will be carefully rigged, systematically lifted and reassembled during reinstallation activity. • Installation hardware will be replaced with appropriate 316N grade stainless steel washers, nuts, and bolts. • At the completion of site work, all materials, debris, and equipment will be removed, and the site will be returned to its pre-existing condition. • All work will be performed and documented to American Institute for Conservation of Historic and Artistic Works (AIC) standards. A brief treatment report will be provided after the completion of work to include a summary of treatment processes, photo- documentation (before, during, and after photos), and all product data. Unless otherwise specified, the report will be delivered electronically in PDF form. Proposal for Art Conservation Services Shores Art Conservation www.shoresartconservation.com 321.541.5500 COST Our cost to perform each option is outlined in the table below. Option Treatment Scope of Work Cost A Conservation treatment as outlined by RLA’s Condition Assessment Report with amended access $21,480 B Complete conservation treatment and restoration of the sculpture as outlined above. $27,210 INCLUSIONS - Labor - Materials - Equipment - Insurance beyond those required by the City of Dania Beach - Standard working hours - Per diem and travel costs EXCLUSIONS - Tax (if applicable) - Additional or specialized insurance beyond what is required by the City of Dania Beach Procurement Services - Multiple mobilizations - Water & power at the site - Sanitary facilities - Laydown area and storage for equipment and supplies during installation/reinstallation activities We are grateful for the opportunity to potentially serve the City of Dania Beach and their public artwork. Thank you, Chad Shores Whitney Shores Principal Conservator Managing Director Proposal for Art Conservation Services Shores Art Conservation www.shoresartconservation.com 321.541.5500 PLEASE NOTE • This proposal contains proprietary information from Shores Art Conservation. This proprietary information is submitted solely for the purpose of evaluating the proposal and it is understood and agreed that this information shall be kept confidential where allowed by law. Such proprietary information is also submitted with the understanding that it will not be disclosed to others or used in a manner detrimental to the interests of Shores Art Conservation. • If applicable to your project, a signed Capital Improvement Certificate or tax- exempt certificate must be submitted. If we do not receive a completed certificate indicating that this work falls under the capital improvement or tax-exempt programs, appropriate sales and/or use tax will be added to the price upon invoicing. • If applicable, pricing assumes regular working hours days. Overtime, additional shifts, or additional workers to accommodate a compressed schedule are not included in our pricing. • Shores Art Conservation preferably will accept payment by electronic bank transfers, details of which will be provided upon contract. Work shall occur on a mutually agreeable schedule to be determined between the Client and Shores Art Conservation after our receipt of a purchase order or signed contract.