ART FOR THE NEW HEADQUARTERS BUILDING

• Document Type: CREST
• Collection: General CIA Records
• Document Number (FOIA) /ESDN (CREST): CIA-RDP90M01364R000700120004-4
• Release Decision: RIPPUB
• Original Classification: U
• Document Page Count: 23
• Document Creation Date: December 27, 2016
• Document Release Date: January 28, 2013
• Sequence Number: 4
• Publication Date: September 20, 1988
• Content Type: MEMO

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STAT
STAT
DDA 88-1964
20 September 1988
MEMORANDUM FOR: Director of Central Intelligence
VIA: Deputy Director of Central Intelligence
Executive Director
FROM: R. M. Huffstutler
Deputy Director for Administration
SUBJECT: Art for the New Headquarters Building
REFERENCE: Your Request for Facts Regarding Art for the
New Headquarters Building
The attached information is in response to your request for facts
regarding expenditures for art in our New Headquarters Building. I have also
included a copy of the letter to Congressman McDade, who inquired about such
expenditures, which was prepared by the Office of Congressional Affairs. We
have other background documents and memoranda which we can provide you if you
so desire.
Attachments:
As stated
ORIG: EXA/DDA
Distribution:
Orig - Adse
1 - D/OCA
1 - OL/FMD
1 - OL/FMD
1 - OL Files
(11 - DSubJTh
1 - DDA Chron
1 - ER
1 - EXA/DDA Chron
1 - Px0/oL
R. M. Huffstutler
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BRIEF HISTORY AND DESCRIPTION
OF FINE ARTS PROGRAM FOR FEDERAL BUILDINGS
In purchasing art for our New Headquarters Building, we are continuing a
longstanding U.S. Government tradition of supporting living American artists
through the use of their paintings and sculptures in newly constructed federal
buildings as outlined in the Guiding Principles for Federal Architecture, the
genesis of which can be traced to a 1962 report by the President's Ad Hoc
Committee on Federal Office Space. A direct policy order was implemented in
January 1963 establishing an allowance for fine arts of one-half of one
percent of the estimated cost of construction for new federal buildings.
Accordingly, funding of our New Headquarters Building included an allocation
of up to $895,000 for this purpose.
The Agency elected to take a more conservative approach to our needs and
voluntarily reduced the amount set aside to a total of $401,000. We have
worked closely with the panel of experts associated with the General Services
Administration's (GSA) Art-In-Architecture Program for the expenditure of
these funds. This particular program allows us to apply all of the resources
to the art, whereas other options would create substantial consultant or
overhead costs.
We feel that we are completely in line with the tradition of incorporating
fine art into federal building designs and, concomitantly, in supporting
living American' artists through the effort associated with our new building.
To date, we have commissioned, through GSA, Mr. James Sanborn for a work of
sculptural art in the amount of $250,000. Selection of the artist for a
second piece is in process.
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OrntrallMdOncrAgng
Vtbshingtcm D C 20505
OCA 88-3013
1 -6 SEP 198,9
Tne Honorable Joseph M. McDade
House of Representatives
Washington, D.C. 20515
Dear Mr. McDade:
The Director has asked me to respond to your letter of
22 August 1986 on behalf of a constituent who is concerned
about art commissioned by the Central Intelligence Agency
(CIA) for our new Headquarters Building.
LOGE
The fine art for the new Headquarters Building is being
acquired by the Art in Architecture program .of the General
Services Administration (GSA). Artwork in public. buildings
has its histOrical antecedents in the Work Project ,
Administration (WPA) as a part of President Roosevelt's New
Deal program. This tradition of art for public buildings was
more recently reinforced by both the Kennedy and Ford
Administrations. History often judges a society by its
achievements in the arts and for much of this century, the
federal government has peen an important patron of the arts
GSA's Art in Architecture program follows in this proud
tradition.
The objective of an art-in-architecture program is to
provide federal facilities with works of art as an integral
part of the total architectural design concept as deemed
appropriate by the project architect. In tnis case, the
,works are created by American artists of local, regional ,or
national reputation to enhance the working environment for
the building's occupants.
We too, snare your concern for the prudent expenditure of
federal funds. In this regard, GSA commissions artwork only
on the recommendation of the architect when it will enhance
the design of a new building. According to GSA guidelines.
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STAT
.for all federal offices, the expenditure for fine art can be
no more than one-half of 1 percent of tne overall
construction costs. The cost of fine art for tne CIA
building is well within the GSA guidelines.
Thank you for writing on behalf of your constituent and
allowing me the opportunity to discuss our proposed artwork.
-P" John L. Heigerson
Diredkor of Congressional Affairs
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STAT
STAT
STAT
ROUTIN5_ AND TRANSMITTAL SLIP
Date
7 September 1988
TO: (Name, ?Mee skt4bol, room number,
building, Agency/Post)
1. Director of Logistics
Initials
Date
2.
3.
4. .
5.
?
Action
File
Note and Return
Approval
For Clearance
Per Conversation
As Requested
For Correction
Prepare Reply
Circulate
For Your Information
See Me
Comment
Investigate
Signature
Coordination
Justify
MARKS
Please provide the DCI, via the DDA, the facts
surrounding these- newspaper articles about the
purchase of $450,000 in art for the NHB. I spoke
with about this last week.
SUSPENSE: 13 September 1988
CC:
?
DO NOT use this form as a RECORD of approvals, concurrences, disposals,
clearances, and similar actions
FRO" I"
oat)
r.,X.A/DDA
Room No.?Bldg.
Phone No.
5041-IVZ,
* ti.g: Government Printing Office: .1987-181-246/60000
OPTIONAL FORM 41 (Rev. 7-76)
Proscribed by GSA
FP/AR (41 CFR) 101-11.20$
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? TO:
Remarks
1
2
3
4
DCI
DDCI
EXDIR
D/ICS
5 DDI
7
8
9
10
11
12
13
14
15
16
17
18
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Chm/NIC
GC ,
IG
Cortipt
D/OCA
D/PAO
D/PERS
D/Ex Staff
ACTION.'
X
19
20
21
22
SUSPENSE
Date
ER 883357/1
3637 (10-8"
txecutwe secretary
6 SEP 88
Date
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STAT
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Next 1 Page(s) In Document Denied
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TO: (Name, office symbol, room number,
building gency/Post)
...' SEP 1989
1.et
? ; ,.
(nitiais
0'
Date
2. ("LA? 3-34--.0-0,_,?, 2 SEP .198?1
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0 6 SEP 1988
I
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)
5.
Action
File
Note and Return
Approval
For Clearance
Per Conversation
As Requested
For Correction -
Prepare Reply
Circulate
For Your Inforrhation
See Me
Comment
Investigate
Signature
Coordination
'Justify
REMARKS
LLJ 7LLAZirib
7/4? X/7/6 6711) //1_
7LLst .j /r 1A 6t_
STAT
DO NOT use this form as a RECORD of approvals, concurrences, disposals,
clearances, and similar actions
FROM: (Name, org. symbol, Agency/Post)
Rooth No.?Bldg.
Phone No.
5011-102 OPTIONAL FORM 41 (Rev. 7.76)
. _. 41-10, 4 0. n .fie? oi,esnese. Prescribed by GSA
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TRANSMITTAL SLIP
DATE
30 Aug 1988
TO:
ROOM NO.
BUILDING
REMARKS: w)
EXA 0 ,Pr 31 oes
AUG 1988
1
0 0
ADDA ,
DDA
.12-v---r--
,
REGISTRY (FILE)
D/OCA has action
FROM:
ROOM NO.
BUILDING
EXTENSION
FORM NO. _ . . REPLACES FORM 36-8
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TO:
EXECUTIVE SECRETARIAT
ROUTING SLIP
ACTION
INFO
DATE
INITIAL
1
DCI
X
2
DDCI
X
3
EXDIR
4
D/ICS
5
DDI
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X
7
DDO
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10
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13
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D/PAO
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D/PERS
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D/Ex Staff
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22
STAT
ER 88-3357X
26 AUG 88
Date
3637 ('"')
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?3ICTS1'I M. McD4DE
1001j6ISTRICT, PENNSYLVANIA
COMMITTEES:
APPROPRIATIONS
SMALL BUSINESS
Congrecit of Me Itiniteb li'tateo
bum of Representatfloos
Waasbington, MC 20515
August 22, 1988
The Honorable William H. Webster
Director
Central Intelligence Agency
Washington, D.C. 20505
Dear Mr. Webster:
REPLY TO:
WASMINGTON OFFICE:
El 2370 RATSURN OFFICE BUILDING
WASHINGTON, DC 20515
AREA CODE [phone]
DISTRICT OFFICE:
El 514 SCRANTON LIFE BUILDING
SCRANTON, PA 18503
(7171346-3834
I am enclosing for your review a news article which was brought to
my attention by one of my constituents from northeastern Pennsylvania.
The article is, as you will note, very brief, but it does raise
some serious questions about the expenditure of $450,000 by the CIA to
commission two works of art. In these times of tight federal budgets
and high deficits, it does appear that $4503000 is a rather excessive
price for two works of art.
I would appreciate your verification of the news account and a
justification for this type of expenditure so that I can informatively
respond to my constituent and any others who raise similar questions.
Your prompt attention to this matter will be greatly appreciated.
I look forward to your response.
With every good wish, I am
Sincerely,
JMM:je
Enclosure
41
JOSE M. MCDADE
Member of Congress
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Art,
Money A
and the
By Dick Polman
Inquirer Stat/ Writer
NEW YORK ? Matt
Mullican recently spent a
week fighting his
conscience. He lost. Worse
than that, he lost big. His
conscience took him to the
cleaners. His conscience cost him nearly a
quarter of a million bucks.
But hey, it's only money. He's an artist,
after alL He has principles. He did his bit as
a struggling bohemian, drawing posters
for a bookseller, doing some part-time
trucking. And now he has an airy loft in
Little Italy. He has made a living off his art
since 1980. At 36, he has art critics
crowing about his flags and banners and
murals ? on his terms.
So his wallet wasn't fat, but his soul was
,
clean. Then one spring
day, the phone rang. The
spooks were looking for a
few good men.
Marilyn Farley was
calling. She worked for the
General Services
Administration, the federal
agency that acts as
landlord forsovernment
buildings. More'ter the
point, she worked for the
GSA's art-in-architecture
?__61
department_Th?e?GSA was J
[Woli?tir -ig on knew_federal
project,t a big On-e-,--a?n-d-Wo
tarwere-gztiped3
Orprovide some:aesthetic
pohsh._The-artists,weiCld I
be splitting $450,000.
c,'Congratulations,'L.she---')
told Mullican. "You've been awarded one
of the commissions. We can't wait for you
to work with us. ... "
He was astounded. He did some fast
math, and realized that this commission
would be worth around $225,000 ? nearly
10 times his personal best of $25,000. Five
months earlier, members of a GSA search
committee had asked his agent to send
some work samples, and he hadn't paid
much attention. But now he was psyched.
Artists killed for GSA projects. Maybe it
was a post office. He always wanted to do a
post office. ...
The Washington Post
The New York Times
The Washington Times
The Wall Street Journal
The Christian Science Monitor
New York Daily News
USA Today
The Chicago Tribune
-Pi-HL ? ritIquIPEP - CI
Date 30 ULM.) E 638
site is the new headquarters for the Central
Intelligence Agency."
His first reaction was not very articulate.
He wanted to be courteous. He wanted to be
nice. So what he said was,
"Uhhhhhhhhhh."
"How do you feel?" Farley said.
"Well, it doesn't look good. I may not be
able to participate." ,
Farley urged him to talk it over with his
peers, so he did. He held back for a week.
He spent a week wrestling with' the big
questions about art and influence, art and
power, comtherce and conscience, It
would be an Odd niatClitip, for sure 7:;-,:.
Cold War bureaucrats joining forces
with a guy who, is? a performance
artist once Slapped a cadaver's face
. and found "a sort of purity in the fact,I
of, deadiestr.":.::
----
.1---- The, details: are still secret,: titt.t.'
what's:known: is that, the CIA is ex
....ptinding. it : head,cluarteri in north:,
ern Virginia; with tzew Offices cover"ing one million, Siiiiiiii. feet. Tiii.C1X--
agreedio-COMinisSimi.art for the new
digs ? one artistto: adorn .the new
lobby, one to beiiiitifY the: grounds :
outside. This., was an aesthetic leap-1,
for the CIA. In the past, its idea, of art..
. was to. deck the *Atli With painted
renderings of its fearless leaders. Not
this time. The agency turned to the
GSA, Which formed a search commit;
tee With, help from the National En
-
? doW*elit.'for the Arts:
' Ttie'CrAtt0/4: Its niiirehing orders :
to the jurors:lhis art should reflect
life in:. or its. positive aspects (e.g. .
. truth,, justice; courage, liberty; etc:).
7 it.tiliitlid engender feelings Of-well-
being,'. hope, promise and such. It
should not prodace or .reflect nega-
tive attitudes, political expressions
I or feelings of futility.... It should be
fordeftil in' style and manner." .
CONTINUED
Panel
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?
?
Needless to say, this project
seemed worrisome from the start, a
combustible blend of art and politics.
(Although spies have long been
known as aesthetes; James Angleton,
who ran the CIA's counterintelli-
gence division for years, spent his
leisure hours writing poetry and
:raising orchids.) "We knew it might
be difficult to find artists," says juror
Jack Cowan; a ceator at the Na-
tional Gallery of Art. "But this is an
opportunity to treat the people who
work there as citizens. We thought it
could open up horizons on both
sideii;"
"I even thought twice about join-
ing the panel," says juror Ned Rifkin,
chief curator of the Hirshhorn Mu-
seum. "I wouldn't have been sur-
prised if every artist turned this
down. But the hope is that good art
can sensitize people. These people
have a rig& to good art. And good
artists are strong enough to hold
their ground, in terms of integrity."
Rifkin tried some of these argu-
ments on Matt Mullican. Mullican
was not in good shape at. the time.
More than 200,000 greenbacks were
threatening.to grow wings and take
flight, and he seemed powerless to
stop them. Rifkin told him that some-
body would be filling the lobby with
art, that it taight-as well be him, that
maybe the artist could do something
to "influence the context" somehow.
Mullican's wife, Valerie Smith,
made similar points. Remember, too,
that he had been chosen from among
hundreds; 300 had volunteered them-
selves in autumn last year when a
notice ran in the Washington Post. A
huge, bare lobby was awaiting his
special touch, perhaps some bold
flag-and-banner number. "You have
an opportunity to influence people,
and you should do it!" his wife said.
"Jump in that fire!"
But he approached the issue just as
an artist would ? which is to say,
impressionistically. "It's like, when I
think CIA, I think guns," he says. "I
hate guns. Whenever I see a gun, I
freak out. I saw a robbery take place
once, in Chinatown..I was walking
down the street, and these two guys
ran out of a jewelry store, and I saw
the gun close up. On TV, a gun is
atmospheric and ethereal. But in re-
ality they're huge, they're heavy,
they're iron, they're black. And it
was like, wow. When I think CIA, I
think international trauma. ...
"So I had to start thinking about
how powerful art really is, in a con-
text like that. And I had to conclude
that the art isn't that powerful. I
think art is generally decorative,
even though I attempt to go beyond
that. I think participating at the CIA
would somehow imply my support
for it. Context creates meaning.
When you put art into a context like
the CIA, it's intended to make the
CIA more human, more cultural.
They just wanted me to brighten up
their day as they go to and from
meetings. I'm no radical lefty. I don't
go out and protest. But I don't want to
be a part of the CIA. I read. I hear. It's
frightening. I don't want to go near
the place."
So he called Marilyn Farley back
and kissed his bankroll goodbye. The
CIA took a direct hit; the GSA panel
hadn't even bothered to line up a
second 'choice.
By contrast, the committee had no
trouble finding an artist willing to
handle the outdoor work. Jim San-
born, a Washington sculptor, signed
on immediately. He had no qualms
about the sponsof. A few months ago,
the Village Voice asked 24 artists
whether they would do work for the
CIA, and most of them stopped just
short of gagging. Sanborn scoffs at
that. "Well," he says, "they weren't
offered something othis scale. It
transforms you finanaially."
But it's not just the money, of
course. "It's the [work] space itself
that's important, not what the
space means," says Sanborn, who
toured the space on June 21. "A
giant cube of space at the CIA is the.
same as a cube of space at Green-
peace. The CIA thinks it's doing
good work, and that counts for
something. Those people there,
they ride the tide, like in any com-
plex bureaucracy. Not everybody's
bad. I was surprised by Matt's deci-
sion, as a fellow artist. But if you're
confronted with this opportunity,
you can stay on your high horse for
only a few minutes before you've
got to think about it another way."
"Look," says Mullican, "I know
the place is going to look like a
college. I know it's not going to be a
place where everyone walks
around dressed in black and wear-
ing shades. But when you think
CIA, you think about authority. .
And an artist is generally someone
who fights authority, who doesn't
enjoy bureaucracy. So this will be a
problem for them. Even with this
kind of money, they're going to
have problems getting someone to
do what I was picked for."
As for the GSA's appointed jurors,
they have yet to convene for a post-
Mullican meeting, to seek out an
artist schooled in the art of realpo-
litik. Juror Jack Cowart insists,
"The CIA is reality, just like the
communist bloc is reality, and we
already engage in diplomacy with
communists. This CIA project
should be viewed by artists as just
another diplomatic exercise. There
are a lot more facets to, this than
just 'liberals versus spotks.' "
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Congreos' of tbe *totes'
jt)ouot of itepressentatibes'
Washington, 313C 20515
OFFICIAL BUSINESS
thitiee)
_
11111.1117 I I 1 lint I 1 1111
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Artist turns down $225,000
forwork at CIA headquarters
KNIGHT-RIDDER NEWSPAPERS
Matt MuRican recently spent a week fighting his conscience. He lost.
The CIA is expanding its headquarters and agreed to commission two
works of art. The artists would split $450,000. The commission would be
nearly 10 times MuRican's personal best of $25,000. He thought it over.
"It's like, when I think CIA, I think guns," he says. "I hate :guns. ... I'm
no radical lefty. I don't go out and protest. But I don't want to be a part of
the CIA. I read. I hear. It's frightening. I don't want to go near the place."
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/),L1d7
ADMINISTRATIVE?INTERNAL USE ONLY
3 1 MAR 1987
MEMORANDUM FOR: Executive Director
VIA: General Counsel
Comptroller
FROM: William F. Donnelly
Deputy Director for Administration
SUBJECT: Art for the New Building
,
IPC 040-87
97- oi3- I
1. Action. Please approve the attached new building art plan and sign the
attached letter to the Administrator of General Services Administration (GSA),
commiting us to their Art-in-Architecture program.
2. Background. Having quality art in the new building is a must. The
paintings an sculpture that have graced the existing building almost since
its construction have added immeasurably to the Agency's "quality of life."
We have been fortunate in having the loan of many fine pieces from Mr. Vincent
Melzac's collection. We may in the future continue to have access to some of
his works or loans from other sources, but these are not likely to be adequate
to furnish the new building. Therefore, we are persuaded that the Agency
should take advantage of the GSA guidelines and available finances to acquire
a permanent art collection.
3. The Fine Arts Commission and the New Building Project_Office have
jointly investigated several approaches to the acquisition of art, including:
Hiring a consultant to work with the Office of Logistics and the CIA
Fine Arts Commission;
-- Letting the new building architect procure it; and
Using the auspices of the GSA Art-in-Architecture program.
4. Federal construction policy allows the expenditure of a small
percentage of funds allocated for construction for the procureicient of art work
for the building. Herewith for your approval is our plan (attachment A) for
using this policy to acquire art for the new headquarters building. Also
attached for your signature is a letter to the Administrator, GSA, attachment
B, to initiate the art selection process that we recommend.
ADMINISTRATIVE--INTERNAL USE ONLY
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DISTBI
ADMINISTRATIVE--INTERNAL USE ONLY
STAT
3TAT
>TAT
TAT
i/eIPC 040-87
SUBJECT: Art for the New Building
5. The GSA Art-in-Architecture program is presented in detail in
Attachment C. Basically--and at no administrative cost to CIA--they will
arrange for an expert panel (National Endowment for the Arts) to work in
conjunction with our representatives to develop recommendations for and
procurement of original art works using Agency funds. The Agency will have
the opportunity to express goals, interests, and theme ideas, and have final
approval for suggestions. GSA will also assume responsibility for the long-
term conservation measures. All of the funds will go directly into the art.
?6. Staff Position: The General Counsel and the Comptroller have concurred
in this matter, and their signatures are on page 2 of this memorandum.
7. Recommendation: We recommend using the GSA Art-in-Architecture
program. This program allows us to apply all our available resources to the
art, whereas the other options create substantial consultant and/or overhead
costs. In addition, there are greater esthetic risks inherent in the non-GSA
options. The Agency needs to engage GSA in this process soon. It is helpful
if the expert panel gets involved early, and we also need to commit the
available funds soon.
William F. Donnelly
Attachments:
A. Plan
B. Letter to GSA
C. GSA program
esAVI,11124.
entabtroller
General Counsel
APPROVED:
-1Mutive DirectO?
6 APR 1987
Date
7 APR 19at
Date
14 APR 1987
Date
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ADMINISTRATIVE--INTERNAL USE ONLY .
IPC 040-87
SUBJECT: Art for the New Building
STAT
DDI/IPCStaff
Distribution:
Orig - Addressee
1 - EMIR,
1 - ER,
1 - DDA,
(23 Mar 87)
w/atts
w/atts
w/atts
1
- DDA Registry, w/atts
1
- General Council, w/atts
1
- Comptroller, w/atts
1
- Carla, w/atts
1
- New Building Projects Office, w/atts
1
-Director,
Office of Logistics,
w/atts
STAT
1
- IPC
Staff ,
w/atts
1
- IPC
Staff (Chrono), w/atts
4
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ADMINISTRATIVE?INTERNA1 USE ONLY
IPC 040-87
ATTACHMENT A
Preliminary Program Plan for
NEW BUILDING ART ACQUISITION
1. ESTHETIC CRITERIA: The Chairman, Fine Arts Commission, will be
responsible for the esthetic elements of the acquisition of art (such as
paintings, sculpture, object de art, etc.). In doing this, the
Commission will form an Agency-wide panel to establish a statement of
interests, goals, theme(s), and such, and to work with the General
Services Administration Art-in-Architecture program manager and the
National Endowment for the Arts panel. The Chairman will keep the
Director of Logistics and Che head of the new building project fully
apprised of the effort.
2. PROGRAM MANAGEMENT: Contractual relati
preparation) with the GSA will be _through the Office of
TSe New Building Project Office will initiate a Reimbur
Authorization to the Assistant Director/Liaison, Office
Logistics (OL).
le Work .0_,
of Finance.
3. SECURITY: The Director of Security will be apprised of all requests for
onsite visits by artistic panels and artists and will, where appropriate,
review their proposals for security considerations.
IS (5
4. FUNDING: $400,000-a-re available for the acquisition of art, and axe
included in the new building construction budget. Additional funds may
be made available in the future, not to exceed limits established in GSA
policy guidelines.
5. APPROVALS: The purpose of the process is to develop recommendations for
and to procure art, and the Agency will have the right to review and
approve (or not) proposals before GSA awards any contracts to artists.
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Cential Intelligence Agency
Washington D. C. 20505
14 APR 1987
The Honorable Terrance Golden
Administrator
General Services Administration
Washington, DC 20405
Dear Mr. Golden:
With great pleasure, I accept the Art-in-Architecture
proposal to assist the Central Intelligence Agency in acquiring
art for our new building at Langley. We believe that a carefUlly
chosen selection of art will greatly enhance the atmosphere of the
new building and add to the already highly favorable working
climate in CIA.
We have studied several possible approaches to acquiring art
and have been persuaded that the program presented by Ms. Marilyn
Farley of GSA to our Fine Arts Commission will result in a far
superior collection.
Thank you for your assistance in this endeavor and for your
very significant help in the many other phases of constructing our
new annex.
? -"James R. Taylor
Executive Director
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General Services Administration
? Factsheet
ART-IN-ARCHITECTURE FOR FEDERAL BUILDINGS
gistory
In 1855, when Congress decided to decorate the interior of the
Capitol with artwork, it commissioned Constantino Brumidi to
paint frescoes for the House of Representatives committee rooms
for $8.00 a day. During the Depression era, the New Deal art
programs commissioned paintings and sculpture for the
embellishment of newly constructed Federal buildings, post
offices, and courthouses nationwide producing the first body of
truly public American art.
The U.S. General Services Administration's (GSA) Art-in-
Architecture Program continues this longstanding tradition of
government support for the arts.
The genesis of GSA's present Art-in-Architecture Program can be
traced to a report issued in 1962 by the President's Ad Hoc
Committee on Federal Office Space titled Guiding Principles for
Federal Architecture. The committee recommended that "where
appropriate, fine art should be intorporated in the designs (of
new Federal buildings) with emphasis on the work of living
American artists."
As the head of the Government agency responsible for the design
and construction of Federal buildings, GSA's Administrator
implemented the recommendations of the Guiding Principles in
January 1963 with a direct policy order establishing an allowance
for fine arts of one-half of one percent of the estimated cost of
construction for new Federal buildints and buildings undergoing
repair and alteration. Such works are intended to be an integral
part of the total architectural design and enhance the building's
environment for the occupants and the general public.
Due to rising inflation in the construction industry, the program
(which is funded through the construction budget) was temporarily
halted in 1966. It was revitalized in 1972 when GSA renewed its
commitment to commission exceptionally talented American artists.
The Commissioning Process
1. The project architect, aware that one half of one percent of
the. estimated construction cost is the amount set aside
specifically for art-in-architecture projects, develops an art-
in-architecture proposal-as part of his overall architectural
design services. The art-in-architecture proposal must include
the location and nature of the artwork(s) to be commissioned.
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2. GSA then requests the National Endowment for the Arts (NEA)
to appoint art professionals, primarily from the region of the
project, to meet with the design architect for the purpose of
nominating three to five artists for each proposed artwork.
3. This artist-nominating panel meets at the project site and
reviews visual materials of artists proposed by GSA, the NEA-
appointed panelists, and the architect. Artists wishing to
receive GSA consideration are requested to send a resume and 35mm
slides of their work to the following address:
Art-in-Architecture Program(P)
General Services Administration
Washington, DC 20405
[phone]
4. The artist nominations are transmitted to GSA by the NEA.
The Administrator of GSA makes the final selection.
5. After the artist has been selected, a fixed price contract
is negotiated. Contract award amounts negotiated for art-in-
architecture projects include all costs associated with the
design, execution, and installation of the artwork.
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