Greene v. United States

207 F. Supp. 2d 1113, 2002 U.S. Dist. LEXIS 11345, 2002 WL 1307309
CourtDistrict Court, E.D. California
DecidedMay 16, 2002
DocketCIV-S-01-0877GGH
StatusPublished
Cited by3 cases

This text of 207 F. Supp. 2d 1113 (Greene v. United States) is published on Counsel Stack Legal Research, covering District Court, E.D. California primary law. Counsel Stack provides free access to over 12 million legal documents including statutes, case law, regulations, and constitutions.

Bluebook
Greene v. United States, 207 F. Supp. 2d 1113, 2002 U.S. Dist. LEXIS 11345, 2002 WL 1307309 (E.D. Cal. 2002).

Opinion

ORDER

HOLLOWS, United States Magistrate Judge.

Introduction and Summary

Whimsical bronze figures, some approximately one and one-half feet high, some smaller, were placed in the courtyard of the' newly constructed Sacramento federal courthouse building, the “public egress,” as part of the artwork commissioned by the Government Services Administration (GSA). In a scene parallel to the theme of Back to the Future III, one of these figures depicts a Native American snapping a photograph of other figures on a public bench, a tourist-like pioneer immigrant and a friendly Native American. The photographing figure was placed in the courtyard itself, some distance from the wall and bench where the pioneer immigrant et al. statuettes were placed. The floor area of the courtyard where the figure was placed contained pavers upon which the public ingress and egress. Nothing else is raised on the pavers except for this figure (and others). In what can only be termed profound irony, a visitor to the federal building (who had worked on the terrazzo floors in the courthouse) was taking a photograph of his wife in the courtyard, when upon backing up for a better shot, he tripped over the figure, itself simulating taking a picture, and injured himself. The unfortunate real-life photographer has sued the United States under the Federal Tort Claims Act for negligent placement of art; the bropze figure apparently remains silent and unhurt.

. The United States has brought a motion to be excused from this case based on the discretionary function exception to the FTCA. Upon close analysis, the court denies this motion. Moreover, the government’s attempt to claim complete immunity from suit pursuant to 40 U.S.C. § 619(e) is rejected. *1116 Facts Pertinent to the Discretionary Function and § 619(e) Immunity Defenses

The facts regarding this defense are in all significant ways free from dispute. Under the ArNin-Architecture program, a small portion of GSA’s budget is set aside for the purchase of art for federal buildings. Procedures have been set forth for the selection of art and artists. Those procedures were attached as Exhibit A to the United States’ motion. The final decision on art selection is made by officials within thé GSA. However, much community input is sought before any decision is made. In this case a Community Arts Panel (CAP) was appointed to make recommendations to the GSA for selection of artists and art. 1 The CAP initially met to develop general criteria for the desired art, e.g., type, location, quality, price and the like. The initial recommendation was then approved, modified, or disapproved by the GSA Source Selection Evaluation Board, and all the details of such approval in this case are not pertinent. After the “concept” approval, CAP went about soliciting artists to present their particular artistic concepts for evaluation for further presentation to the SSEB. To make a long story short, artists for the various projects were finally chosen.

The artist chosen for the sculptures in question, Tom Ottnerness, was given a sum of money for an initial design concept to be presented to the CAP. GSA also authorized a commission option ($225,000) to be exercised in the event that GSA finally selected the work for inclusion at the Federal Building. CAP reviewed the initial sculpture proposals by Mr. Ottnerness but was displeased with his concept (a sculpture chessboard depicting moneyed “valuable” chess pieces opposed by a bunch of pawns). During a subsequent meeting involving the artist’s revision of the concept, Judge Coyle (see fn. 1, supra.) expressed some concern that the placement of the chess pieces on the courtyard/egress might obstruct the smooth flow of pedestrian traffic. Despite the fact that a majority of the CAP did not oppose the revised concept, Otterness went back to square 1 (not on the chessboard), and presented CAP an entirely new concept using whimsical figures scattered about the courtyard. The court reprints here admitted fact 7 concerning comments on the revised sculptures:

The climactic CAP meeting, insofar as Otterness’ work was concerned, occurred on November 19, 1996. Otterness presented “a model of the entire plaza with the scale and location of his *1117 proposed work.” 151, lines 1 through 3. The model depicted various figures along the waterfall. “In addition to these works, Mr. Otterness has proposed additional elements for the plaza, including a wagon with two oxen, an individual with a burro, and an Indian with a bow and arrow.” 151 lines 12 through 14. The trip hazard of placing figures in the plaza itself (as opposed to on the waterfall or the bench adjacent to it) arose as an issue. “In response to questions from Richard Raiser, Mr. Ot-terness remarked that his work would be fabricated in bronze and that the work on the plaza would be of a size sufficient that someone would not [sic] 2 see it and trip over it.” 151, First sentence, first full paragraph. Ms. Collette Johnson-Shulke (representing Congressman Matsui’s office) “added that she thought Mr. Otterness should be the judge of where his elements should be placed on the plaza...” 151, last sentence. Elmo Novaresi (by this time the GSA Regional Arts Officer 150), “added that having additional elements on the plaza would give visitors the opportunity to touch them without getting in the water.” 152, Fourth Full Paragraph, lines 10-11. Mr. Dramhoff made certain observations, including having “asked that the placement of the art be a collaborative effort between the architect and artist, not just the decision of the artist.” 152, Third Full Paragraph, second sentence. Mr. Kojima [GSA regional representative] “remarked that he had a hard time understanding Mr. Dramhoffs point of view and thought that Mr. Ot-terness’s elements would not obstruct people using or moving through the plaza.” 152, Fourth Full Paragraph, last sentence. The Summary of the meeting states that “[w]ith the exception of Mr. Carter [representing the architect], the panel unanimously recommended that the General Services Administration approve the proposal presented by Mr. Otterness.” 150, Summary.

Ultimately, on November 19, 1996, CAP approved the artist’s concept, and Kenn Kojima recommended approval of the concept to his superior. Based on the favorable recommendation, Robert A. Peck, Commissioner of the Public Building Service, approved the Otterness artwork on February 3, 1997. The final display of artwork differs from the concept approved somewhat in that some of the whimsical figures changed in substance and location. However, the final likeness of the figures and the placement of those figures appear to have been the idea of the artist, and the concept itself remained consistent with that presented to, and recommended by, the CAP. The parties do not relate precisely when the figures were placed in the courtyard, but it appears that placement took place sometime in 1998 or very early 1999.

CAP/GSA did not work in a regulatory vacuum. Several layers of statutes/regulations are pertinent to the analysis here: (a) Building codes

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Bluebook (online)
207 F. Supp. 2d 1113, 2002 U.S. Dist. LEXIS 11345, 2002 WL 1307309, Counsel Stack Legal Research, https://law.counselstack.com/opinion/greene-v-united-states-caed-2002.