PORT OF SEATTLE 
MEMORANDUM 

COMMISSION AGENDA  STAFF BRIEFING 
Item No.       6b 
Date of Meeting  December 15, 2009 
DATE:    December 10, 2009 
TO:      Tay Yoshitani, Chief Executive Officer 
FROM:    Keith Gillin, Aviation Architectural Manager 
Colleen McPoland, Aviation Art Program Manager 
SUBJECT:  Annual Briefing on Art Projects and Art Program Policy and Guidelines 
BACKGROUND: 
This briefing is being done to update the Port Commission on the status of the ongoing art
projects for 2009. 
SEAPORT  SMITH COVE CRUISE TERMINAL ART: 
The Smith Cove Cruise Terminal (SCCT) is the new passenger terminal located at Pier 91. The
terminal building is the regional gateway to the Alaskan cruise market. In September 2009 we
advertised for an art planner to develop a plan with the focus of creating a compelling connection
between Alaska and Seattle that celebrates the historically rich traditions and indigenous
environments of the two regions.
From a very competitive pool of candidates, we are excited to announce that Mr. Roger
Fernandes was selected to create the art plan for the SCCT. Roger is a Native American artist,
storyteller, and educator who has worked in similar capacities for the Duwamish Longhouse and
Cultural Center, the Potlatch Trail project and Puget Sound Environmental Learning Center. 
AIRPORT  NORTH ENTRY ART: 
The Airport is the main entry and exit portal to the Pacific Northwest region, serving
approximately 30 million passengers in 2008. Many visitors develop their initial impressions of
the region upon arrival at Sea-Tac Airport. 
The North Airport Expressway has undergone a major modification and relocation through a
series of projects to relieve traffic congestion, accommodate Sound Transit's Light Rail track
alignment to the Airport, and address the Airport's Comprehensive Development Plan.
In early 2005, a team comprised of Port of Seattle employees and external art experts used a
competitive process to select the artist team of Haddad|Drugan to be the lead artists to create art

COMMISSION AGENDA 
T. Yoshitani, Chief Executive Officer 
December 10, 2009 
Page 2 of 3 

that integrated expressway landscaping and art with specific Northwest imagery to give the
North Airport Entry a distinct identity.  The artist team will present the plan. 
AIRPORT  RENTAL CAR FACILITY: 
HELICES 
The Rental Car Facility (RCF) is being built in partnership with the Port of Seattle and the
privately-owned rental car companies. The RCF will have a significant visual presence within
its immediate surroundings, acting as a gateway to the Airport and the City of SeaTac.
The two helices located on the outermost corners of the building allow the vehicles to move
between the floors. The helices will be very prominent structures facing the public streets;
therefore, both the City of Sea Tac and the Port felt that the helices were the best locations for
the application of art features. The artist, Buster Simpson, proposed they be covered with a
stainless steel mesh fabric, installed in layers to give it a subtle moir look, and LED lighting to 
provide an aesthetically interesting and pleasing covering for that portion of the concrete
structure. 
When this concept was presented to the Commission on September 22, 2009, the Commission
asked that we look into the issue of driver distraction caused by any perceived motion that may
result from the moving LED lights on the stainless steel fabric draping the helices. Enlisting the
help of Ralph Wessels, Port Project Manager on the North End Roadway project, we first
contacted the Washington State Department of Transportation for any similar case studies
available in the Department of Transportation research library. Ralph also contacted Mark
Hallenbeck, Director of the Washington State Transportation Center (TRAC) office located at
the University of Washington, and Linda Boyle, Director of Human Factors and Statistical
Modeling Lab at the University of Washington. 
The only similar case cited by both departments was provided by the Department of
Transportation, entitled "The Possible Effects of Commercial Electronic Variable Message Signs
(CEVMS) on Driving Safety," which did not directly address the Commission's question. What
is at issue, in our case, will be the rate and frequency of the lighting changes on the mesh fabric.
Since there are no definitive studies of a similar nature that have been done ,we discussed the
best course of action and determined that the University of Washington's Human Factors Lab
should be contracted to do an onsite analysis. The lab has a very sophisticated vehicle
instrumented to measure driver actions and vehicular effects. A technical evaluation of the effect
or non-effect upon drivers could be completed before the Rental Car Facility is opened but could
not be done until the mesh and lighting are installed. 
It is the consensus that the worst case scenario would be that the lights are programmed to
change very slowly (i.e., once a day as an extreme case) at a time when impacts would be
negligible. On other end of the spectrum, the effect upon drivers may be found to be
insignificant even with more rapid transitions of the light color.

COMMISSION AGENDA 
T. Yoshitani, Chief Executive Officer 
December 10, 2009 
Page 3 of 3 

EMPLOYEE PARKING SCREEN 
A large exterior departure plaza serves as waiting area for customers returning to the terminal via
shuttle buses. This is the one place in the RCF where customers may have a moment to linger
while waiting for an arriving shuttle to take them back to the terminal. The wait will not be long
approximately 4 minutes  but it will provide time and opportunity to focus on a work of art.
Customers will logically be facing toward the bus lanes in order to see their approaching bus.
Looking across the bus lanes from the departure plaza is an employee parking area that will be
screened so that the parked cars on this floor are not confused with rental cars. The screening
will make the waiting area more attractive for customers. The long expanse (over 700 feet long
by 5 feet high) provides a significant opportunity for artwork. Artist Linda Beaumont was
selected to design this work of art. The slides I am showing you are at a conceptual stage.
ATTACHMENTS: 
Document:   Smith Cove Cruise terminal Art Opportunity Artist/Art Planner; Statement of
Interest by Roger Fernandes 
PowerPoint:  Emerald City;, Haddad/Drugan, Artists 
Rental Car Facility, SeaTac International Airport, Artwork: Helix Scrim 
Concept  Spinning Wheels

i
Item No.2       6b Attach 1
.

Date of Meeting: December 15, 2009

Smith Cove Cruise Terminal Art Opportunity Artist/Art Planner

Statement of Interest by Roger Fernandes


This letter is written in response to the Port of Seattle's Call for Artists for the Smith Cove Cruise
V
'
Terminal Art 'O'pportunity.

I am a Native American artist from the towerElwha S'Klallam Tribe whose work focuses onthe local
Puget Salish cultures and have worked on a variety of collaborative projects that give me experience as
being a member of a design team or making recommendations for artwork at a particular site.

i bring a range of skills to a project like this. i am first an artist who has been creating traditional Coast
' Salish designs for
over 20 years. l am also familiar with the diverse cultures and art styles of the Pacific
Northwest Coast. I am a Native storyteller who sees the mythic stories of the Puget Salish tribes as an
inspiration for artistic statements, both traditional'and modern. I am also an educator who takes every
opportunity to share information about the cultures of the Northwest Coast through storytelling and -a rt. -
I also have experience creating traditional Native American and Coast Salish art for arts and culture
organizations, schools, tribes, and private coilections. Lastly i know and have worked with several
Northwest Coast artists in various tribal styles as a Collaborator and/or-designer.

As an artist and educator my interest in a project like this is that it is both a way of sharing the power of
coastal cultures in a meaningful artistic way as well as a teaching opportunity to impart cultural and
historical information through the presentation of the art in a thematic scheme. As a storyteller it allows
.
stories to be shared through the art and appreciated for the cultural wisdoms they contain. And as a

Native artist it would allow me to bring in talented artists from other coastal tribes to create a powerful
unified cultural statement. -

I have learned inconsultation with tribal elders that-in a project like this, where diverse tribal cultures

are to be represented, it is important to give cultural meaning by'reflectinga very important element of
Native'culture; protocol in recognizing the land and its people upon which the works are sited. Since we
are on the land of the Duwamish and Puget Salish tribes, it seems appropriate that a significant section
of the welcoming area refer to these tribal groups. The trick of course is not to diminish the presence of
other tribai creations from other regions of the coast and to accurately reflect their cultures and art.

The Northwest Coast is not one large homogeneous region, but a very complex zone of smalier
environments, shaped by the ocean, islands, mountains, and rivers. And since cultures are shaped by the
environment they live in 'it is also meaningful to share with the viewer the diversity of environments of
the'coastl. There are saltwater tribes, river tribes, lake tribes, mountain tribes, and island tribes. The
richness of the nature of the coast is equaiiy important to present as it helps the viewer understand the
diversity of the region.

.
In the past few years I have worked on several projects as an arts planner and developer. In the 1990's I

worked as a project artist for King County METRO on a project called Rainier Bus Shelter Improvement

Project, the charge being to suggest artistic elements to bus stops and shelters that would increase
visibility and reflect neighborhood cultures. In the 1990's I also worked with Wahelute Tribal School in
Frank's Landing, Washington to create an overall arts plan for tribal art
to be placedIn and around the.
.
school with an educational purpose.                                           '

In the past 10
years I have continued this type of work In 2002 I worked with the then Puget Sound
' Environmental
Learning Center, since renamed Islandwood, to develop a Native arts element to the
Great HallIn that facility This included the creation of
a Welcome figure actually carved into the main
support columnIn the hall as well as sitting benches around the room adorned with basketry designs.
Also
In 2002 I was selected to be the design team artist on the Potlatch Trail Project for the then Seattle
Arts Commission. I worked'In developing a character development proposal for the walking trail, which

ran from South Lake Union to Elliot Bay and running part of its
length along the Seattle Center grounds.
In developing the proposal I worked with various city departments including Seattle Center staff,
design
engineers, architects, and a range of Native American artists. Besides completing this task i also worked
to bring together local tribal cultural leaders for one day to speak to project staff
about the meaning of
I
such a project to Native people and address cultural integrity.

In 200.8 I developed an arts plan for Duwamish Tribal Services
as they were building their Duwamish
Longhouse and Cultural Center in West Seattle. This proposal recommended types of art and displays
that might best share their culture and history. I worked
' with tribal staff, the board of directors, and
local historians to develop the plan.

I believe these experiences as an artist and arts planner give
me the background necessary to meet the
requirements of the position you haVe advertised                                  '

PORT OF SEATTLE 
MEMORANDUM 

COMMISSION AGENDA               Item No.      6b_2 
Date of Meeting    December 15, 2009 
DATE:    December 10, 2009 
TO:      Tay Yoshitani, Chief Executive Officer 
FROM:    Keith Gillin, Aviation Architecture Manager 
Colleen McPoland, Aviation Art Program Manager 
SUBJECT:  Commission Approval of revised Port of Seattle Art Program Policy and Guidelines 
REQUESTED ACTION: 
Request Commission approval of a revision of the Port of Seattle Art Program Policy and Guidelines. 
SYNOPSIS: 
Seattle-Tacoma International Airport (Airport) began investing in artwork in 1969, and the Port
became the first public agency in the region to establish a civic collection. Over the years, artwork at
the Airport and other Port properties has grown in diversity, but also sharpened its focus, reinforcing
the evolving identities of these facilities and customer service goals. Commitment to artistic excellence
has been at the core of the Port's public art collection for almost 40 years.
In 2000, the Port approved its original Art Guidelines. Since they were established, the Guidelines
have been used to effectively integrate artwork into many building projects, mostly at the Airport. 
During 2008, as one if its responses to the findings of the State Auditor's Office 2007 audit, Port staff
undertook an in-depth evaluation and revision of the Art Program Policy and Guidelines. From this
extensive review, best practices were identified, evaluated and then incorporated as appropriate into the
Port's revised Art Program Policies and Guidelines. On August 26, 2008, the Commission approved
the revised Art Program Policy and Guidelines. One of the major changes in 2008 was that the Port
reduced the percent for the art allocation from one percent to one-half percent. 
The purpose of these recommended changes is to provide language to clarify the Guidelines regarding
the Art Pools, the procurement of art and the management of the Art Program; to distinguish art
procurement from other types of procurement, for the purpose of helping to determine what procedural
requirements may apply; and to add one member to the Art Oversight Committee.

COMMISSION AGENDA 
T. Yoshitani, Chief Executive Officer 
December 10, 2009 
Page 2 of 4 

PROPOSED CHANGES TO THE GUIDELINES: 
Art Pool 
Current guidelines:
The current Guidelines for the Port's Art Program allow the collection of unused percent-for-art
allocation monies in an Art Pool for future use in projects unrelated to the project that originally
generated the art fund. 
Recommended change:
The intent behind the establishment of the Art Pools is to use the pooled funds from multiple projects
to help fulfill the Port's aesthetic vision for Airport and Seaport facilities and support the Port's
business interest in enhancing the experience of travelers and customers. The following change is
being added to clarify how the Art Pool funds may be used.
A project may be eligible for Art Pool funds if it can benefit from one or more of the following
elements of the Port's vision: 
Mitigating potential adverse impacts of construction; 
Way-finding; 
Unifying treatments; 
Gateways and portals; 
Focal points. 
Procurement Policy for Artwork 
Current situation: 
When the new CPO-1 procurement policy was adopted in January 2009, it became apparent that CPO-
1 did not adequately address procurement of art. An important question was, "When procuring
artwork, does the Port have a legal obligation to follow the procedures required for procurements of
personal services, purchased services or goods?" 
Recommended change: 
The attached Art Policy at Section 5.5 articulates the legal justification for not applying CPO-1
(procedures for personal and professional services, effective January 31, 2009). 
The work involved in incorporating an artistic vision or aesthetic considerations into a construction
project, the development of a proposal for artwork and the actual fabrication or creation of art all
should be distinguished from personal or professional services, purchased services or goods. 
Neither the communication of artistic vision nor the development and creation of artwork fit within the
definition of "personal service" in RCW 53.19.010(6) or the definition of a "professional service" in
RCW 39.80.020(5). Personal services are generally performed by consultants who provide the Port

COMMISSION AGENDA 
T. Yoshitani, Chief Executive Officer 
December 10, 2009 
Page 3 of 4 

with a study or work statement or accomplish a project or a task within a project whose scope of work
is dictated by the Port. Professional services are engineering and architectural services. The creation of
artwork, on the other hand, has less involvement by the Port in the scope of work and more creativity
on the part of the artist and therefore does not fit within the definition of "personal service" or the
definition of a "professional service." 
Likewise, the communication of artistic vision and the development and creation of artwork do not fit
within the definition of "purchased service" in RCW 53.19.010(8). While purchased services are those
provided by a vendor to accomplish routine, continuing and necessary functions, the creation of
artwork is usually anything but routine. 
Neither artistic vision nor artwork itself should be considered a good; the typical good is standard or
interchangeable while artistic vision and artwork tend to be unique. Rather than price being the
primary consideration in the procurement of art, the experience, reputation, skills, ability, and vision of
the artist are the main considerations. To properly take such considerations into account, it makes
sense to have a selection panel that includes members with the ability to evaluate artwork and artists.
For the Port's Art Program, that has meant inclusion of persons who are active in the arts communities. 
The AOC recommends that the Port Commission direct the CEO to prepare a separate policy for the 
types of art-related procurement needs listed below and described further in subsections 5.4.1 through
5.4.4 of the attached Art Policy. 
Artist to consult as Art Planner,
Artist to work with Design Team,
Artist to develop artwork proposal,
Artist to fabricate artwork. 
Artist Selection Processes 
Current guidelines:
The Art Oversight Committee (AOC) will require that artist and artwork selection processes and
procedures be conducted through open and accessible standards that meet and exceed all State of
Washington Arts Commission standards and requirements. 
Recommended change:
The AOC will require that artist and artwork selection processes and procedures be conducted through
open and accessible standards that meet the requirements of state law and take into consideration State
of Washington Arts Commission standards.
Except under certain circumstances as described below, artists will be selected in a manner that fosters
the greatest competition, advertises the opportunity the most widely, and facilitates the selection of the
artist most likely to meet the Port's needs.

COMMISSION AGENDA 
T. Yoshitani, Chief Executive Officer 
December 10, 2009 
Page 4 of 4 

Open selection is the preferred artist selection method. The open selection method will involve
the AOC conducting an art call soliciting artists' slides, resumes and letters of interest through
public advertisement. 
Invitational or limited competition most frequently occurs when there is either (a) a short time
frame for the project that would prohibit an open selection process; (b) the Port is seeking
artists to create functional works, such as artist-designed railings, light fixtures, and seating
elements, or (c) when the project budget is so small that it would not justify an open selection. 
Roster selection may be used when a project requires specialized skills, experience, or technical
abilities. Since the artists in the registry are "pre-qualified" according to past experience, the
art selection panel will be asked to review the roster, considering the project's particular needs, 
and select three artists to be considered for the project.
Direct selection  no changes to present Art Policy. This is to be used only in rare and unusual
circumstances, possibly when time is of the essence or when it is the only way to secure an art
project for a specific site. 
Art Oversight Committee Membership 
Current guidelines:
The Art Oversight Committee (AOC) is to be comprised of up to eight members, five appointed by the
Port Commission and three appointed by the Chief Executive Officer. 
Recommended change:
The AOC is to be comprised of up to nine members, six appointed by the Port Commission and three
appointed by the Chief Executive Officer. This change adds a position on the AOC for a member of
the community at large. 
PREVIOUS COMMISSION ACTION/REVIEW: 
November 14, 2000  Commission approved the Port of Seattle Art Program Guidelines, which
established the process for including art in projects, the Art Oversight Committee, and the processes
for selecting and approving artists and artwork.
August 26, 2008 - In response to the audit findings of 2007, Port staff led an in-depth evaluation of the
Art Program Policy and Guidelines. From this extensive review, best practices were identified,
evaluated and then incorporated as appropriate into the Port's revised Art Program Policies and
Guidelines and approved by the Port Commission in August of 2008.
ATTACHMENT: 
PORT OF SEATTLE, ART PROGRAM POLICY AND GUIDELINES, Revised Version, November,
2009

Item No.: 6b_Attach_2 
Date of Meeting: December 15, 2009 


PORT OF SEATTLE 
ART PROGRAM POLICY AND GUIDELINES 
Revised Version, November, 2009 

1.  INTRODUCTION 
1.1. The Port of Seattle (POS) has been an active proponent of public art since the late
1960s. It became the first public agency in the region to establish a civic collection.
The Port has acquired and incorporated into its projects, highquality, contemporary art, 
for the improvement of the cultural, historic, aesthetic and environmental aspects of the
transportation instructure and working waterfront as well as for the enjoyment of its
customers, visitors, and local citizens. Over the past four decades, the Port's art
program has flourished, and it continues to achieve critical acclaim with its diverse and
innovative art pieces. 

2.  STATEMENT OF ART POLICY 
2.1. The art policy of the Port of Seattle is to provide a strong presence of visual artworks
that are integrated into the architecture, interior and grounds of Port facilities. Artwork
selected will be reflective of the high standards and artistic excellence of the existing
collection. An emphasis for all artworks should be for contemporary work that engages
and reflects the Northwest culture and environment as experienced by diverse cultures.
Artwork should generally be displayed in public areas. The Port of Seattle has a
commitment to artistic excellence. It is the intent of the Port to continue contributing to
the cultural and artistic legacy of the region. 
2.2. Art acquisition is to be accomplished by commissioning original work, purchasing
existing pieces, or through donation. Selected artwork for any Port facilities will be
appropriate for each project.
2.3. In providing the opportunity for people to encounter art in Port venues, the Port aspires
to enrich the lives of citizens who live in the surrounding communities and the
experience of travelers to the greater Seattle area, to give voice to talented artists, and
to support public art. 
2.4. This policy and guidelines document will be reviewed by the Port legal department, the
Art Oversight Committee and approved by the POS Commission every five years. 



1

3.   ART FUNDING 
3.1. SOURCE OF FUNDING: Funding for the POS art program will be derived from capital
projects approved by the Port Commission. One-half of one percent for art (0.005) of
the design and construction cost for capital projects will be allocated for art. All capital
improvement projects, or portions thereof, which are publicly accessible and visible, or
for which there is a need for mitigation from the adverse effects of construction, will
contribute to the Port of Seattle's art program. This calculation does not include the soft
project costs. The total cost of the capital project must exceed $200,000 to be eligible
for the art allocation.

3.2. EXCLUSIONS: Aviation division projects excluded from the one-half of one percent art
program allocations are airfield paving and associated airfield components, fuel hydrant
systems, baggage systems in the bagwell (but not in public bag claim areas),
infrastructure systems in non-public areas, and underground utilities. 
3.2.1. Exclusions to the art funding in the Seaport and Real Estate divisions are under
review and will be presented to the Commission for approval as amendments to
the policy and guidelines when they have been determined.
3.3. USE OF FUNDS: The project art budgets will be approved as separate line item
calculations when the capital project budget for design and construction is approved by
the Commission. All art projects will be tracked on a budget-versus-actual-costs basis. 
3.3.1. The funds for art should be used on the capital project which generated those
funds whenever possible. Savings resulting from an art component within the
larger art budget on a capital project should fund additional art within that project.
If there are art project funds remaining from the one-half of one percent allocation
after completion of the capital project, those funds will be transferred to the Art
Pool under the circumstances and conditions described in this policy in Section 
3.4.
3.3.2. On occasion, unforeseen circumstances such as, but not limited to, hazardous
materials, structural or electrical conditions that require an immediate response
will arise within existing projects. When this occurs, the Art Program Manager
may recommend to the Art Oversight Committee (AOC) that additional funds be
appropriated from the Art Pool to supplement the existing art project budget.
3.3.3. Acquisitions separate from capital projects will be presented to the POS
Commission for budget approval on a case-by-case basis as long as legal
authority exists and as provided by the AOC review procedure. 
3.3.4. The Commission will be informed when a transfer of funds to or from an Art Pool
capital improvements project (CIP) is made. 
3.3.5. Each of the Port's operating divisions (Airport, Seaport and Real Estate) will keep
separate Art Pools. There will not be transfers and/or exchanges between the
Division Art Pool CIPs unless approved by the Commission. 
3.4. ART POOL: Some capital projects that otherwise qualify for art allocations are not
good candidates to have art incorporated in that project, or the project does not have
sufficient funds to acquire and install a viable art element. In either case, the one -halfof-one-percent
art allocation will be calculated as previously described and then

2

transferred to the respective Aviation or Seaport Art Pool capital improvement project
(CIP).
3.4.1. The Aviation Division Art Pool serves the Port's interest in incorporating art into
future capital projects so as to enhance the Airport experience through the use of
art to improve the cultural, historic, aesthetic, and environmental aspects of the
transportation infrastructure. The Seaport Division Art Pool serves the Port
interests in enhancing the maritime and trade component of its working
waterfront and highlighting the historic, diverse culture, and trade commitment it
represents and supports. The intent behind the establishment of the Art Pools is
to use the pooled funds from multiple projects to help fulfill the Port's aesthetic
vision for Airport and Seaport facilities and support the Port's business interest in
enhancing the experience of travelers and customers. The Port's vision includes
the following elements listed below. A project may be eligible for Art Pool funds if
it can benefit from one or more of the following elements of the Port's vision: 
3.4.2. MITIGATION OF POTENTIAL IMPACTS OF CONSTRUCTION: The
involvement of artists in the planning and design of a capital project and/or the
incorporation of artwork in a project can mitigate the potential adverse impacts of
construction. This ensures the maximum value for citizens of our region by
creating an infrastructure that protects our natural environment and becomes a
community asset. 
3.4.3. UNIFYING TREATMENTS: Unifying treatments are defined as "continuous
applications of decor or consistently designed elements intended to knit together
the overall fabric of the place." These elements either through repetition or
continuous application contribute to a coherent design character within individual
spaces and the airport as a whole. Art may be effectively used to achieve a
unifying treatment in a variety of ways. Using integrated and functional art to
create a unifying treatment helps both enrich the airport environment and assist
the traveling public in way-finding.
3.4.4. WAY-FINDING: It is imperative that artwork contribute to rather than compete
with the function of any facility at the Port of Seattle. Artwork can add
significantly to enhancing way-finding for travelers' in providing landmarks that
give a specific sense of place as well as eye-catching elements that provide
visible guide for travelers.
3.4.5. GATEWAYS AND PORTALS: Gateways and portals are defined here as
"sensory experiences using visual, aural or other elements to heighten the
visitor's awareness of important transition points and entryway." Places where art
might be used for gateways and portals include the sky bridges between the
garage and the terminal or the subterranean lobbies of the STS system.
Gateways and portals often take the form of site-specific works. 
3.4.6. FOCAL POINTS: Focal points are defined as "unique features that create
interior or exterior landmarks that: 
3.4.6.1.  Frame a view. 
3.4.6.2.  Draw special attention to a particular location. 
3.4.6.3.  Provide orientation and identifiable meeting places. 
3.4.6.4.  Art may be used as focal points at informal meeting places, locations at
the end of concourses or at particularly important sites (e.g., the arrivals
hall). These are often large-scale independent works. 

3

4.  ORGANIZATIONAL STRUCTURE 
4.1. PORT OF SEATTLE COMMISSION 
4.1.1. The Port of Seattle Commission sets art policy and provides overall guidance for
the Port's art program. 
4.1.2. In addition, the POS Commission will: 
4.1.3. Approve the Art Program Policy and Guidelines and any revisions or
amendments. 
4.1.4. Select a Commissioner to sit on the Art Oversight Committee. 
4.1.5. Ratify the external appointments to the Art Oversight Committee. 
4.1.6. Approve the art budget as a separate line item calculation when the project
budgets for design and construction are approved by the Commission. 
4.1.7. Receive art briefings during project architectural updates or separately as
needed, based on guidance from the Commission member who sits on the Art
Oversight Committee and provides feedback from the committee to the other
Commissioners. 
4.1.8. Receive information about the art program in the annual budget review with the
Commission, which will include the Art Pool and any additional information
available for upcoming projects. 
4.1.9. Be informed when a transfer of funds is made to or from the Art Pool. 
4.2. ART OVERSIGHT COMMITTEE (AOC): The purpose of the AOC is to provide
guidance, leadership, and support to the POS in its policy to obtain and incorporate into
Port projects high-quality, contemporary art that engages and reflects the Northwest
culture and environment as experienced by diverse cultures. The AOC will provide
consistent oversight and policy guidance to the art program at all Port-owned facilities, 
while individual project specific art panels will make recommendations for selecting
artists for commissioned work and/or purchasing art. 
4.2.1. AOC MEMBERSHIP: The AOC is to be comprised of up to nine members, six 
appointed by the Port Commission and three appointed by the Chief Executive
Officer. 
4.2.1.1.  Appointments to AOC by the Port Commission: 
4.2.1.1.1.  Port Commission President (or a commissioner appointed
by the Commission President). 
4.2.1.1.2.  Representative of the regional visual arts community. 
4.2.1.1.3.  Visual artist. 
4.2.1.1.4.  Visual art curator. 
4.2.1.1.5. Architect familiar with the Port's design vision and
standards. 
4.2.1.1.6.  A member of the community at large. 
4.2.1.2.  Appointments to AOC by the Chief Executive Officer: 
4.2.1.2.1.  Seaport Managing Director or designee. 
4.2.1.2.2.  Real Estate Managing Director or designee. 
4.2.1.2.3.  Airport Managing Director or designee.

4

4.2.2. AOC TERM: External members on the AOC will serve one 3-year term. They
are eligible for re-appointment for a second 3-year term. Only two members can
be rotated off the committee in any one year. The AOC will offer the Port
Commission recommendations for membership on the committee. Names of
individuals who meet the identified criteria will be sent to the AOC for review
before being submitted to the POS Commission for appointment.
4.2.3. EXTERNAL AOC MEMBERSHIP PROCEDURES: Persons wishing to be
considered for AOC membership: 
4.2.3.1.  May submit a letter of interest and resume to the Port; 
4.2.3.2.  May be nominated by citizens of the region; or 
4.2.3.3.  May be nominated by current and past members of the AOC. 
4.2.3.4.  The Port will, as needed, post notices of open AOC positions with
submission requirements in local media, appropriate electronic outlets,
and on the Port's webpage. 
4.2.3.5.  Current AOC members will review applications, conduct interviews with
applicants as necessary and forward recommendations to the POS 
Commission. 
4.2.4. AOC MEETINGS: AOC members will meet quarterly or as needed in support of
the Port art program. The members of the AOC will appoint one member to be
the Chair, on a yearly basis, and that person will chair all meetings of the AOC.
Art Oversight Committee administration will be provided by the Aviation Art
Program Manager. 
4.2.5.  AOC RESPONSIBILITIES: The Art Oversight Committee will: 
4.2.5.1.  Review policies and procedures related to the Port's art program and
art collection, including re-siting, accessioning, and de-accessioning. 
4.2.5.2.  Review and confirm the method for hiring artists for Port art projects
that may include open competitions, limited competitions, direct
selection, pre-approved rosters, or design team artists. 
4.2.5.3.  Suggest and confirm panelists to serve on artist selection panels. 
4.2.5.4.  Review and confirm the recommendations of various project-specific
artist selection panels for selected artists. 
4.2.5.5.  Review and confirm the aesthetic elements of all art project concepts
and designs. The AOC C hair will inform the Commission in writing of
this confirmation. 
4.2.5.6.  Resolve aesthetic disputes involving project artists and consultants. 
4.2.5.7.  Attend Port Commission meetings to discuss AOC policy and
recommendations as necessary. 
4.2.5.8.  Review and confirm the acceptance or refusal of any and all gifts of art. 
4.2.5.9.  Review and confirm the acquisition or deaccession of art. 
4.2.5.10. Document that specific projects comply with all the provisions of these
guidelines. 
4.2.6. AOC COMPENSATION: AOC members will be paid an honorarium for their
services and travel expenses. Compensation will be $150.00 per meeting, plus
reasonable travel expenses. Port employees, commissioners, and paid
consultants/project personnel will not be paid an honorarium. 

5

5.  ART-RELATED PROCUREMENTS/SELECTION GUIDELINES 
5.1. Artwork commissioned or purchased for the Port is overseen by the AOC. Decisions
will be made formally through an established review procedure. All artwork selected will
be reflective of the high standards and artistic excellence of the existing collection.
5.2. The AOC will require that artist and artwork selection processes and procedures be
conducted through open and accessible standards that meet the requirements of state
law and take into consideration, State of Washington Arts Commission standards. The
budget for artist selection is included in the art budget allocated for each project. The
entire art budget for the project is shown as a separate line item in the overall project
budget when a project is submitted to the Commission for authorization of both design
and construction. 
5.3. CONFLICT OF INTEREST: The following individuals may not apply for artwork
commissions: Employees of the Port of Seattle, the project architect and/or other
project personnel, Port of Seattle commissioners, members of the art selection panel,
members of the AOC, and the immediate family members and business partners of all
of the above. 
5.4. ART-RELATED PROCUREMENT NEEDS IDENTIFIED: It is the intent of the Art
Oversight Committee to involve artists at the earliest appropriate project stage. The
AOC will establish the artist selection process and, in collaboration with the client
department, define the scope of work on a case-by-case basis. Artists shall be given
maximum freedom to reach creative solutions to the aesthetic problems they have been
engaged to address. The AOC, with the approval of the Port Commission, has identified
the following art-related procurement needs: 
5.4.1. ARTIST TO CONSULT AS ART PLANNER: The AOC may recommend that
artists or art planners be selected to define the art plan or to assist in the
evaluation of options, strategies, limitations and opportunities for art and
aesthetic design in capital projects. The art planner will be instrumental in
defining the scope, location, schedule and budget for the art within the capital
project. As discussed below in Section 5.5.1, this type of work would not be
considered personal or purchased service. The procurement method will be
prescribed by separate policy along the guidelines set forth in this Artist Policy. 
5.4.2. ARTIST TO CONSULT ON DESIGN TEAM: The AOC may recommend that an
artist be selected as a consultant on a major construction project to provide
artistic expertise in meeting the goal of improving the aesthetics of the entire
project. The artist would work collaboratively with the Port's project managers
and staff, other members of the design team, and the community to incorporate
aesthetics into the plans for design of the construction project. As discussed
below in Section 5.5.1, this type of work would not be considered personal or
purchased service. The procurement method will be prescribed by separate
policy along the guidelines set forth in this Artist Policy. 
5.4.3. ARTIST TO WORK ON DEVELOPMENT OF PROPOSAL FOR ARTWORK: 
The AOC may recommend that an artist be selected to work on the development
of a proposal for specific artwork to be incorporated into the design of a
construction project. The artist would present the artist's preliminary concept to
the AOC, develop the final concept based on feedback from the AOC, and
present the final proposal. Contracts for such work shall be referred to as Artist
Proposal Development Contracts. As discussed below in Section 5.5.1, this type
6

of work would not be considered personal or purchased service. The
procurement method will be prescribed by separate policy along the guidelines
set forth in this Artist Policy. 
5.4.4. ARTIST TO FABRICATE ARTWORK: The AOC may recommend that an artist
acting as consultant to a design team, or artist selected to develop a proposal be
commissioned to fabricate the artwork, coordinate with engineers and project
managers on information necessary for inclusion in bid documents, and
coordinate the installation of artwork with construction. Contracts for such work
shall be referred to as Artist Commissioning Contracts and will either authorize
services for a construction project with a specific associated Scope of Work or
will commission artwork to be used for other purposes authorized by this Art
Policy. As discussed below in Section 5.5.1, this type of work would not be
considered personal or purchased service. The procurement method will be
prescribed by separate policy along the guidelines set forth in this Artist Policy. 
5.4.5. CONSERVATOR TO MAINTAIN OR CONSERVE ARTWORK: The AOC may
recommend that conservators or other experts be selected to appraise art, as
well as restore or maintain existing artwork. Such services should be considered
"personal services" and thus procured in a manner consistent with CPO-1. 
5.4.6. CONSULTANT TO PROVIDE PROJECT MANAGEMENT SERVICES:  The
AOC may recommend that a consultant be selected to manage art-related
procurement and provide project management services related to delivery and
installation of the artwork. Such services should be considered "personal
services" and thus procured in a manner consistent with CPO-1. 
5.5. ART-RELATED PROCUREMENT PROCESSES 
5.5.1. The different types of art-related procurement needs call for different
procurement processes. The work involved in incorporating an artistic vision or
aesthetic considerations into a construction project, the development of a
proposal for artwork and the actual fabrication nor creation of art all should be
distinguished from personal or professional services, purchased services or
goods. 
5.5.1.1.  Neither artistic vision nor artwork itself should be considered a good; the
typical good is fungible while artistic vision and artwork tend to be
unique. Rather than lowest price being the primary consideration in the
procurement of art, the experience, reputation, skills, ability, and vision
of the artist should be the considerations. To properly take such
considerations into account, it makes sense to have a selection panel
that includes members with the ability to evaluate artwork and artists.
For the Port's art program, that has meant inclusion of persons who are
active in the arts communities. 
5.5.1.2.  Neither the communication of artistic vision, nor the development and
creation of artwork, fit within the definition of "personal service" in RCW
53.19.010(6) or the definition of a "professional service" in RCW
39.80.020(5). Personal services are generally performed by consultants
who provide the Port with a study or work statement or accomplish a
project or a task within a project whose scope of work is dictated by the
Port. Professional services are engineering and architectural services.
The creation of artwork, on the other hand, has less involvement by the
7

Port in the scope of work and more creativity on the part of the artist
and therefore does not fit within the definition of "personal service" or
the definition of a "professional service." 
5.5.1.3.  Likewise, neither the communication of artistic vision, nor the
development and creation of artwork fit within the definition of
"purchased service" in RCW 53.19.010(8). While purchased services
are those provided by a vendor to accomplish routine, continuing and
necessary functions, the creation of artwork is usually anything but
routine. 
5.5.1.4.  The AOC recommends that the Port Commission direct the CEO to
prepare a separate policy for the types of art-related procurement
needs described in subsections 5.4.1 through 5.4.4 This Art Policy at
Section 5.5 articulates the legal justification for not applying CPO-1
(procedures for personal and professional services, effective January
31, 2009) and for not applying the Port's existing purchasing policies to 
four of the six above-referenced procurement needs described in
subsections 5.4.1.through 5.4.4 of this policy. 
5.6. METHODS FOR ARTIST SELECTION 
5.6.1. Except under certain circumstances as described below, artists will be selected
in a manner that fosters the greatest competition, advertises the opportunity the
most widely, and facilitates the selection of the artist most likely to meet the
Port's needs. 
5.6.2. The AOC recommends that the Port Commission issue the following guidelines
for a policy on selection methods to be used in art-related procurements: 
5.6.3. OPEN SELECTION IS THE PREFERRED ARTIST SELECTION PROCESS:
The Port will usually use the open selection method. This is the preferred method
for selecting artists. The open selection method will involve the AOC conducting
an art call soliciting artists' slides, resumes and letters of interest through public
advertisement. 
5.6.4. INVITATIONAL SELECTION METHOD WILL BE USED IN THE FOLLOWING
CIRCUMSTANCES: Invitational or limited competitions most frequently occur
when there is either (a) a short time frame for the project that would prohibit an
open selection process; (b) the Port is seeking artists to create functional works, 
such as artist-designed railings, light fixtures, and seating elements, or (c) when
the project budget is so small that it would not justify an open selection. 
5.6.4.1. The AOC may invite a list of artists qualified to do such a project to
submit applications or prepare proposals. Based on the proposals or
applications received, the art selection panel would recommend an artist
based upon criteria relevant and unique to each project that was
determined in advance of issuing the invitations. From this limited pool,
the art selection panel may recommend an artist based upon this
established criteria. 
5.6.5. ROSTER SELECTION METHOD WILL BE USED IN THE FOLLOWING
CIRCUMSTANCES: Some projects require specialized skills, experience, or
technical abilities; therefore, the AOC may recommend that an artist be chosen
from established, juried rosters maintained by the King County Public Art
8

Program, Seattle Arts Commission, Washington State Arts Commission, or from
a roster developed by the Port of Seattle.
5.6.5.1. Since the artists in the registry are "pre-qualified" according to past
experience, the art selection panel will be asked to review the registry,
considering the project's particular needs, and select three artists to be
considered for the project. The panel will rank the artists in order of
preference. The ranking may be determined on the basis of the slide
documentation of the artist's past projects, a letter of interest submitted
by the artist, and/or interviews. 
5.6.6.  DIRECT SELECTION WILL BE USED IN THE FOLLOWING
CIRCUMSTANCES: The direct selection process should be used only under
rare and unusual circumstances. It should be used with caution to avoid
favoritism or the appearance of favoritism or lack of transparency and
accountability. It may be used when time is of the essence or when it is the only
way to secure an art project for a specific site. Direct selections will be made
through the use of artist rosters which are identified in section 5.6.5. 
5.6.6.1.  Since the artists in the registry are "pre-qualified," the art selection panel
does not necessarily have to include other artists or design
professionals. The recommended artist would be invited to submit a
proposal for review. 
5.6.6.2.  The recommendation of the art selection panel will be submitted to the
AOC for review and confirmation. 
5.7. ART SELECTION PANELS: The Art Program Manager will recommend candidates for
the art selection panels. These candidates will then be confirmed by the AOC. Art
selection panels are a group of individuals, including artists, art and design
professionals, port representatives, and non-artist citizen representatives, convened to
select artists, art works and art-related services for specific capital projects. These
panels base their selections on POS-established Art Policy and Guidelines and in
accordance with the POS policy to acquire high-quality, contemporary art that engages
and reflects the Northwest culture and environment as experienced by diverse cultures. 
5.7.1.  RESPONSIBILITIES: Art selection panel will: 
5.7.1.1.  Review and examine applications, portfolios, and/or proposals
submitted by artist applicants. 
5.7.1.2.  Recommend artists to be commissioned to create artwork or select an
existing work to be purchased, based on the established criteria, subject
to confirmation by the AOC. 
5.7.1.3.  Provide a report to the AOC documenting the reasons for its selections. 
5.7.2. COMPOSITION: The art selection panel will be composed of five voting
members. Two of the panelists will be art and/or design professionals. Two of
the panelists will be Port representatives, and one of the panelists may be a
member of the community neighboring the capital project. Port representatives
may include staff from various departments. Due to the potential for a conflict of
interest, commercial gallery owners and employees, art consultants, and artists'
agents may not serve as panelists.
5.7.2.1.  ADVISORS TO THE PANEL: The panel will be assisted by the project
team who serve as non-voting advisors. Project team members include
9

the Project Architect, the Project Manager, and Art Program Manager.
The Chair of the AOC (or a designated AOC member) may participate
as a non-voting member in each art selection panel. 
5.7.2.2.  OBSERVERS: The Port may ask at its discretion that community
members be invited to attend artist selection panel meetings as nonvoting
members of the art selection panel. 
5.7.2.3.  VOTING: Each voting member on the panel will have one vote.
Advisors and observers to the panel may participate freely in the
discussion and debate, but are not allowed to vote.
5.7.2.4.  MEETINGS: During the evaluation of application materials, the art
selection panel will meet as often as necessary. The art selection panel
meetings will be chaired by the Art Program Manager and may be
facilitated by a public art consultant. 
5.7.2.5.  COMPENSATION: Voting panelists will be paid an honorarium for their
services and travel expenses. Compensation will be $300 per selection
panel meeting plus reasonable food, travel, and lodging expenses. Port
employees, commissioners, AOC members, and paid
consultants/project personnel will not be paid an honorarium. 
5.7.2.6.  PANEL RECOMMENDATIONS: The recommendation of the art
selection panel will be presented to the AOC for final approval. A
report, documenting the selection panel deliberations, will accompany
the recommendation. All panel recommendations will be presented to
the AOC for confirmation prior to any and all public information
releases. 

6.  STEWARDSHIP AND MAINTENANCE 
6.1. The POS art program has an obligation to assure the safety and preservation of its
artworks. The Port will reasonably ensure that the artwork is properly maintained and
protected, taking into account the recommendations of the Artist as stated in the
maintenance criteria provided by the Artist and through regular condition surveys and
conservation activity. The POS does not loan artwork from its collection. 
6.2. The Port is responsible for the integrity of artwork in terms of record keeping,
provenance, including display and/or loan of artworks and images, visual
documentation and use of said documentation to represent the original artwork and the
POS public art collection. 
6.3. Appraisals will be completed, as needed, to maintain current insurance valuations for
the individual artworks. 
6.4. Maintenance of the Port's artwork is an expense item and is not funded from capital
projects or the Art Pool. 
6.5. The Port art staff is responsible for the management of the POS art collection. This
management includes following the established procedures for maintenance, repairs,
restoration, and collection files. These procedures are found in the Standard Operating
Procedures for Art, which are maintained by the POS art staff. 

10

7.  RESITING ARTWORKS
7.1. The Port reserves the right to relocate works of art which are not created for a specific
site, are not integral to the design or construction of a building, or are portable works of
art, without the written permission of the artist.
7.1.1.  SITE-SPECIFIC ART: In the case of artworks which are specifically created for a
site or which are integral to the design or construction of a building, the Port will
not alter, modify, or change the artwork without reaching agreement with the
Artist regarding the proposed change, alteration, or modification. In the event
that the Artist and the Port are unable to reach agreement regarding relocation,
alteration, or modification of the artwork, the following terms and conditions will 
apply: 
7.1.1.1.  The request for removal or alteration will first be submitted to and
considered by the AOC for a written opinion regarding the proposal 
7.1.1.2.  In the event the Artist or the Port disagrees with the decision of the
AOC, they may appeal it to the Port Commission in writing. 
7.1.1.3.  The Port Commission may review the decision made by the AOC. The
decision of the Port Commission will be final. 
7.1.1.4.  Where an artwork must be relocated to accommodate construction or
other Port projects or needs, the Port reserves the right to re-site or
remove the artwork. 
7.1.1.5.  In the event the POS decides to re-site or remove a work of art, the
Artist will have the first right of refusal to purchase his/her artwork (at
current market value), providing it stands alone and is not integrated
into a larger piece.
7.1.1.6.  If an alteration, modification, or relocation should occur without the
Artist's written permission, the work will no longer be represented as the
work of the Artist, if the artist should make such a request in writing. 

8.  REMOVAL OF ARTWORK FROM THE COLLECTION 
8.1. DEACCESSIONING: Deaccessioning is the process by which artwork is withdrawn
from public exhibition through sale, storage, loan, or disposal. Deaccessioning
standards will be applied after careful evaluation, and not solely because of changes in
fashion and taste. Deaccessioning is a formal process. T he artwork disposition,
including the terms of the deaccession, will be recorded in the archival file and
database. The AOC Chair will notify the POS Commission and outline the reasons for
deaccessioning any piece of artwork. 
8.1.1. The POS Commission must approve any requests for deaccessioning before
they are final.
8.1.2. The Port Commission must approve the sale of any Port-owned artwork.
Proceeds from the sale of any piece of art from the Port's collection will remain in
the art program. 
8.2. PROCEDURE FOR DEACESSIONING ARTWORK: The AOC will review the
recommendations for deaccessioning artwork and determine the action to be taken.
The process will be conducted in the following manner: 
11

8.2.1. Artists whose work is being considered for deaccession will be notified using the
current address provided by the artist. 
8.2.2. The artist may attend the AOC meeting(s) where the deaccessioning and/or
disposition recommendations will be considered and acted upon. 
8.2.3. All artworks under consideration for deaccession will be accompanied by a report
prepared by the Art Program Manager that includes: 
8.2.4. Reasons for the suggested deaccession. 
8.2.5. Acquisition method, cost, and current market value. 
8.2.6. Documentation of correspondence or negotiation with the artist. 
8.2.7. Photo documentation of the artwork or site conditions (if applicable). 
8.2.8. Contract restrictions, if any. 
8.2.9. Options for storage or disposition of the work. 
8.2.10. Recommended action. 
8.2.11. The AOC may also request additional information from art conservators,
curators, or other arts professional or include these professionals in its
deliberations and consideration of a deaccession recommendation. 
8.3. CRITERIA FOR DEACCESSIONING: An artwork may be considered for deaccession
due to one or more of the following conditions: 
8.3.1.  The artwork has been damaged to the extent that repair is impractical or
unfeasible, or the cost of repair or renovation is excessive in relation to the
current appraised value of the work. 
8.3.2.  The artwork must be relocated to accommodate construction or other Port
projects or needs and the value of removing and relocating the artwork greatly
exceeds the current appraised value of the artwork. 
8.3.3.  The artwork is no longer appropriate for the site because of changes in the use,
character, or design of the site. 
8.3.4.  The artwork endangers public safety. 
8.3.5.  The artwork requires excessive maintenance or has faults of design or
workmanship. 
8.3.6.  The artwork is of inferior quality relative to the quality of other works in the
collection, or is incompatible with the rest of the collection. 
8.3.7.  The security and condition of the artwork cannot be reasonably guaranteed in
the present site. 
8.3.8.  There is not a suitable site for the artwork. 
8.3.9.  The artwork has been stolen. 
8.3.10. The Port wishes to replace the artwork with a work of more significance or
appropriateness by the same artist. 
8.3.11. The artwork was purchased as a semi-permanent acquisition and the Port's
predetermined period of obligation is terminated. 

12

9.  AVIATION ROTATING EXHIBIT PROGRAM 
9.1. The Airport provides locations for the exhibit of artwork and artifacts for the public in
public places. The exhibits will promote art, other cultural appreciation, or local tourism
and trade. In general the exhibits will be curated by a gallery, museum, or by individual
or a group of artists or collectors. All exhibit proposals will be submitted to the Art
Program Manager for approval and coordination with the Exhibit Review Committee. 
9.2. CRITERIA FOR ROTATING EXHIBITS:
9.2.1.  The exhibit must be suitable for viewing in a public space. 
9.2.2.  The exhibit should be reflective of the history, culture, or trade of the Northwest
region. Exhibits may also reflect the mission of the Port as an international or
domestic gateway to trade, travel and tourism.
9.2.3.  Exhibitor must be willing to curate and install the exhibit, usually at its own cost. 
9.2.4. Exhibitor must be willing to sign the exhibitor's agreement and provide
insurance as required. 
9.2.5.  In general, no commercial activity will be associated with the exhibit.
Appropriately displayed sponsorship may be added to the exhibit upon
approval of the Exhibit Review Committee. 











13