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From YouTube: Public Art Advisory Committee 11/21/2022
Description
Public Art Advisory Committee 11/21/2022 video
A
Okay,
this
is
the
public
art
advisory
committee,
Monday
November
21st
at
4
30
PM.
This
meeting
is
compliant
with
the
Ralph
m
brown
act
as
submitted
by
California
Assembly
bill
number
361,
effective,
September,
16
2021,
providing
for
a
public
health
emergency
exception
to
the
standard
teleconference
rules
required
by
the
brown
Act.
A
A
The
meeting
will
be
exclusively
exclusively
virtual
meeting.
The
gender
materials
may
be
viewed
online
at
www.brisbaneca.org
at
least
72
hours.
Prior
to
the
meeting,
participants
are
encouraged
to
submit
public
comments
in
writing
in
advance
of
the
meeting
aside
from
commenting
while
on
the
zoom
meeting,
the
following
email
and
text
line
will
be
monitored
during
the
meeting
and
public
comments
received
will
be
noted
for
the
record
during
public
comment
or
during
an
item:
May
email,
a
Iberia,
brisbaneca.org
or
text
415-407-2675.
B
C
C
B
C
D
G
D
Yes,
so
we
have
received
two
proposals
to
work
with
the
committee
on
finding
an
artist
to
place
a
piece
of
artwork
at
the
community
park.
We
provide
you
both
of
those
proposals.
The
idea
for
today
is
to
have
the
committee
review
the
proposals
and
see
if
they
would
like
to
invite
one
or
both
back
for
interviews
to
see
if
you
would
like
one
or
either
of
them
to
be
your
consultant.
G
Thanks
I
I
mean
they
both
look
like
they
have
an
extensive
background.
My
suggestion,
when
we
could
paint
painstakingly
go
through
their
resumes
and
their
body
of
work,
but
I
think
what
makes
the
most
sense
to
me
is
to
invite
them
both
for
an
interview.
I
think
it's
it's
not
like
we're
having
to
go
through
10
different
people,
I
think
we
invite
them
both
for
our
interview.
We
kind
of
talk
with
them
about
their
body
of
work
and
what
they
can
bring
to
the
project
and
go
from
there.
G
B
I'm,
just
just
gonna
add
an
aside.
I
I
agree
with
what
Madison
said
you
know
talking
to
people
in
person
is
going
to
give
us
a
much
better
idea
of
who
they
are.
Do
we
like
them
at
a
personal
level
enough
to
want
to
work
with
them?
Aside
from
resumes,
I
think
we've
seen
in
the
past
that
people
can
write
an
incredible
resume
and
then
you
get
to
interview
that
person
and
you
go
no
way
in
hell.
B
Do
I
want
to
inflict
that
human
being
on
the
committee
city,
council
or
staff
and
I
I
just
remember
something
not
so
long
ago
where
there
was
a
resume
that
blew
me
out
of
the
water
and
I'm
like
ready
to
hire
this
person
and
then,
when
we
interviewed
them
I'm
like
Over,
My,
Dead
Body,
so
yep,
that's.
My
only
comment
is
that
you
know
we've
all
got
to
work
with
whoever
we
we
choose
and
you
know
One
resume
over.
The
other
definitely
looks
much
more
glossy
and
shiny
and
and
sparkly.
B
H
Yeah
well,
I,
guess
I'll
start
by
saying:
I
was
hoping
we
would
get
more
to
choose
from
I'm
kind
of
not
surprised
because,
first
of
all,
I'm
not
sure
where
it
all
went
out
to
and
second
of
all,
I
didn't
personally
feel
that
the
call
was
very
clear
about.
We
want
what
we
wanted,
because
I
don't
think
we're
clear
about
what
we
wanted.
So
I
just
want
to
preference
it
with
that,
preface
that
with
that
I
have
not
excited
about
either
of
them,
particularly
the
one
I.
H
Don't
even
I,
don't
know
where,
where
they
were
from,
that
did
all
the
medical
stuff,
I've
artist
healing
and
all
that
and
I
was
kind
of
like
okay
great.
But
there
wasn't,
it
was
all
all
of
her
clients
or
their
clients
as
a
business
were
all
medical
or
you
know,
retirement
home
retirement,
Assisted
Living,
those
kinds
of
places,
so
it
just
didn't
feel
like
it
was
a
fit
at
all
for
trying
to
do
a
park
and
the
other
one.
H
H
That
was
local,
but
I
really
think
that
we
still
don't
really
know
what
we
want,
and
you
know
I've
had
time
away.
Spending
I
spent
four
months
in
Canada
which-
and
they
are
just
have
amazing
public
art
and
amazing
parks,
and
things
like
that
and
I
just
I
saw
so
much
possibility
and
got
excited
about
things
and
then
I
was
just
sort
of
thinking
like
well.
We
could
do
that
here
too.
There's
something
you
know
we
could,
but
I
just
feel
like.
H
We
haven't,
as
a
committee,
come
to
any
kind
of
vision
about
what
we
want
to
even
begin
to
communicate
to
a
consultant,
so
that,
therefore,
what
I
saw
particularly
I
think
it
was
in
the
one
that
that
did
the
medical
they
had
the
medical
background.
It
was
just
like
she,
basically
just
copied
and
pasted
in
her
proposal.
A
F
E
E
I
like
the
idea
of
interviewing
people,
but
I
don't
want
it
to
be
a
big
long.
Interview
like
it
would
be
nice
to
limit
it
to
a
zoom
interview.
That
was
a
certain
amount
of
time
just
so
that
we're
not
again
wasting
people's
time
with
a
with
big
long
interviews
other
than
that
I,
don't
know
how
you
get
local
people.
This
is.
Where
are
we
going
to
get
a
consultant
to
tell
us
how
to
do
this?
E
F
Well,
I,
as
always,
I
agree
with
everybody
in
the
room.
Two
seems
like
too
few
I.
Don't
like
yeah,
you
know
I'm
a
Giants
fan,
so
La
I,
don't
know
it
would
be.
One
it'd
be
great
to
interview
everybody
in
person
for
a
short
period
of
time,
and
then
it
would
be
great
to
get
more
people
that
are
at
least
from
Northern
California,
at
least
from
you
know
the
Bay
Area.
F
C
C
C
C
The
part
that
actually
struck
me
in
the
in
the
resume
or
and
what
that
was
commented
was
that
they're
actually
familiar
with
Brisbane,
so
that
was
the
plus
that
they
had
a
sister
or
relative
on
Inyo
and
they're
very
familiar
with
the
park.
So
that
was
the
part
that
got
me
excited
because
they
talked
about
the
how
the
park
was
used
and
the
farmer's
market
and
so
of
the
two
applicants.
C
C
There
was
a
little
confusion.
I
had
on
page
13
on
the
fee
structure.
I
was
a
little
confused
from
5025
to
35
to
40
and
then
35
30
I
was
a
little
bit
confused
on
their
projection
of
what
their
fee
was,
but
I
thought
it
was
interesting
also
that
they
had
like
a
projected
date
like
it
was
this
amount
of
time.
So
I
did
appreciate
the
thought
that
that
went
into
that
and
how
much
time
they
thought
it
would
take
to
to
do
various
benchmarks.
C
I
did
like
that.
There
was
one
paragraph
that
I
that
I
thought
was
interesting.
I
think
it
was
on
page
nine.
They
talked
about
the
public
engagement,
the
division,
development
process
and
the
art
art
concept
selection
process.
I
talked
about
that
I
think
that
was
the
second
paragraph,
but
the
part
that
did
concern
me
was
that
it
was
more
of
a
public
private
art
and
it
seemed
to
be
all
in
the
medical
field.
So
that
was
so.
You
know
but
I
mean
I,
don't
know
at
this
point.
C
C
Don't
really
I
just
feel
like
there's,
really
not
a
Clear
Vision
and
that
I
feel
like
we
still
have
made
a
bigger
plan.
So
that's
my
two
cents
on
that
so
I
know.
A
question
was
right:
Stewart
about
where
we
advertise,
so
maybe
you
would
like
to
I
know.
I
know,
you've
put
the
word
out
a
lot
to
the
typical
places
and
I'm
just
not
sure.
C
D
D
D
Aren't
there
aren't
a
lot
of
them
out
there
I
think
you
know
if
you
were
to
say
that
here's
this
type
of
art
that
we
would
like
to
place
there
as
a
committee-
and
you
said
you
know,
we'd,
like
a
statue
we'd
like
something
we
would
like
topiri
we
would
like
whatever
it
is.
You
would
probably
find
you
would
get
you
know
through
those
kinds
of
you
know
through
the
California
Art
Council
through
the
you
know,
the
art
Network
in
Northern
California
you'd,
probably
get
a
lot
more
people
responding.
D
This
is,
you
know,
I.
Think
a
lot
of
the
people
who
do
this
kind
of
work
are
connected
with
other
groups
already
and
aren't
really
out
there
on
their
own.
It's
the
sense
I
got
and
then
you
know
sending
it
out
to
the
people
who
have
done
the
master
plans.
We
didn't
get
any
responses
from
them,
send
it
to
the
group
in
Minnesota
that
Beth
talked
about
and
didn't
get
a
response
from
them.
So
I
I,
just
don't
know
you
know.
D
You
know,
if
you,
you
know,
I,
think
if
you
look
at
what
we
did
for
the
process
for
the
mural
at
the
skateboard
park,
given
that
you
know
we
didn't
actually
ultimately
do
it,
but
the
artist
went
out
and
did
Community
got
community
input
as
to
what
was
going
to
go
on
to
go
there.
So
I
mean
the
artists
themselves
can
go
out
and
do
community
input
and
work
with
the
community
to
find
out
what
you
know
what
you
want.
D
The
challenge
with
that
is
is
if
you
go
out
and
just
say
you
know
we're
looking
for
a
piece
of
art
in
this
area,
you're
going
to
get
a
lot
of
different
variety
and
then
the
committee
is
going
to
be.
You
know,
make
a
decision
based
on
a
type
of
art
to
begin
with,
that
might
might
be
there
as
opposed
to
you
know,
working
with
a
consultant
to
help
you
determine
what
type
of
art
that
you
would
want.
So
I
mean
it's
I.
Think
it's
a
challenge
either
I
think
it's
a
challenge
either
way.
D
You
know
and
I
I
would
agree
that
if
you
want
to
interview
for
both
people,
you
know
what
staff
would
recommend
is.
You
know
maybe
a
20-minute
period
of
time
where
they
present
their
qualifications
and
what
they're
thinking
about
it
and
then
a
20-minute
period
for
questions
from
the
committee,
and
you
know
it's
a
40-minute
45
minute
process
for
each
of
them.
You
can
do
both
of
them
in
the
same
day
you
know,
and
then
you
can
make
a
decision.
D
You
can
focus
on
the
master
plan
and
say
you
know
as
part
of
the
master
plan.
Obviously
this
would
be
one
of
those
areas
that
would
be
part
of
the
master
plan,
but
I
think
you'd
end
up
with
the
same
challenge
that
the
person
who's
doing
your
master
plan
is
still
not
going
to
tell
you.
This
is
the
type
of
art
you
want
there.
D
They'll
say
yes,
this
is
a
good
place
for
art,
but
they're
not
going
to
say,
and
in
this
place
you're
going
to
want
X
because
they
don't.
They
won't
know
what
you're
going
to
want
in
any
of
the
locations.
It's
just
you
know,
I
think
the
master
plan
is
really
talks
about
the
themes
that
you're
looking
for.
C
D
I
mean
I
think
you
have
enough
funds
to
do
both.
If
you
would
like
to
I
mean
you
have
well
over
a
million
dollars
available,
there's
more
building
going
on.
It's
I
this
at
the
moment.
This
isn't
a
matter
of
not
having
enough
money
to
do
what
you
want.
I
think
it
is
a
question
of
you
know
what
type
of
art
would
you
like
to
have
there
and
that
would
help
us
be
able
to
tell
her
an
RFP
for
our
a
call
for
artists
and
within
the
call
for
artists
we
can
see.
D
You
know
what
other
cities
have
done
with
that
type
of
work
in
that
type
of
you
know,
in
an
area
of
that
size,
to
put
a
different
type
of
a
budget
together,
you
know,
and
staff
can
work,
you
know,
can
work
with
you
to
determine
what
type
of
art
I
mean.
We
went
through
that
process
for
the
library
we
went
through
that
process
for
the
for
what
happened.
You
know
what
was
available
for
the
skateboard
park
and
you
got
lots
of
creative
ideas
for
the
skateboard
park.
D
So
when
you
call
for
artists,
you
know
you're
letting
them
do
what
they
do
best,
which
is
reimagine
an
area
you
know,
and
that
you
know,
and,
as
you
know,
those
I
you
know,
staff
has
done
that
staff
is
you
know,
we've
we've
attracted
20
to
30
different
artists
in
each
of
those
two
cases
with
a
whole
variety
of
you
know,
opportunities
and
I
would
say
that
you
know
we
have
a
number
of
artists
who
we
are.
You
know
we've
received
proposals
for
who
do
statues.
D
D
You
know
to
come
up
with
something
I
think
that's
what
the
group
was
thinking.
It
was
that
this
person
can
help
you
define
what
that
is
and
then
go
out
and
do
the
proposals
and,
as
I
said,
I'm
not
sure
how
many
people
are
out.
There
are
looking
at
like
that
type
of
work.
When
they're,
you
know,
when
they're
doing
this
kind
of
stuff,
I
think
it'll.
Let
you
get
a
lot
of
artists
who
want
to
participate,
and,
unfortunately,
artists
are
not.
D
The
consultants
and
I
did
receive
a
couple
of
calls
from
artists
who
were
very
interested
in
doing
something.
But
you
know
when
I
said
what
we're
looking
for
as
a
consultant
and
they
didn't
and
here's
the
RFP.
They
never
responded
to
me
or
one
responded
to
me
and
basically
responded
with
their
art
portfolio,
not
with
a
response
to
the
RFP.
C
G
G
I
think
it
doesn't
hurt
us
to
interview
I
think,
especially
because
there's
only
two
people,
it
would
be
great
if
they
maybe
we
could
interview
on
site
I,
think
that
could
be
interesting
and
that
way
they
could
get
a
scope
of
like
what
that
space
looks
like
and
I.
Don't
know
if
you
know
if
the
person
from
La
would
be
willing
to
to
come,
and
maybe
she
has
family
connection
here
in
town,
so
she
might
be
able
to
figure
out
how
to
come
up
here
for
that.
G
But
if
not
I
I
think
we
should
definitely
at
least
move
forward
with
interviewing
both
and
seeing
what
we
gain
from
that
process.
And
if
we
need
to
Circle
back
and
say,
hey
like
none
of
these
people
are
a
fit.
I.
Think
that
that's
some
that's
a
lesson
that
we
learned
the
first
time
I.
Think
it's
hard
to
say
right
now.
G
We
know
that
neither
of
them
are
a
fit
without
talking
to
them,
so
we
should
just
interview
them
and
if
we
feel
like
we
can't
move
forward,
then
maybe
we
table
this
project
and
we
move
forward
with
another
site
or
we
move
forward
with
just
working
on
the
public,
art
master
plan
and
not
work
on
any
projects.
But
I
say
we
interview.
G
B
I
would
interview,
but
at
this
point
sort
of
Fairly
unimpressed
with
both
for
a
lot
of
different
reasons,
but
I
don't
want
to
say
that
publicly,
because
that's
sort
of
I'm
showing
a
bias
that
I
don't
want
to
show.
So,
if
we're
going
to
interview
them,
let's
just
interview
them
put
preconceptions
aside.
If
we
cannot
get
any
more
people
to
apply
to
be
a
consultant
and
I
do
believe,
it
needs
to
be
an
external
to
the
city,
otherwise
we're
going
to
have
different
kind
of
biases
involved.
B
So
I
don't
know,
I,
don't
know
how
this
is
going
to
move
forward,
we're
going
through
a
process,
that's
laborious
and
a
pain
in
the
butt
for
everybody.
But
we've
got
two
applicants
on
the
table:
let's
interview
them
and
if
the
end
of
that
application,
we
we
all
go.
You
know
this
is
really
not
going
to
work.
We
have
to
find
another
way
to
move
forward.
G
It
could
also
be
it
could
also
be
too
like.
Maybe
our
our
RFP
is
not
refined
enough
about
what
we're
looking
for,
but
it
could
be
that
the
budget
is
just
simply
not
high
enough
like
this
could
be
giving
us
an
indication
that,
in
for
a
200
000
budget,
which
is
not
going
PRI,
it's
not
going
all
to
the
up
to
the
consultant
right.
Only
a
small
portion
of
that
is
going
to
the
consultant.
G
Then
it's
not
bringing
that
amount
of
money
is
not
bringing
Consultants
to
the
table
or
Consultants
that
we
like
to
the
table.
So
it
could
be
a
problem
of
being
more
refined,
but
it
could
also
be
like
simply
our
budget's,
not
big
enough,
and
maybe,
if
we
had
a
3
000,
a
300
000
or
a
four
hundred
thousand
dollar
budget,
we
could
get
totally
different
feedback
or
you
know
a
lot
more
interest
that
could
also
be
what's
going
on
here.
G
So
I
mean
I.
Think
we
did
talk
about.
We
don't
we're
hoping
that
a
consultant
could
help
us
Envision
what
happens
in
that
space
and
I
think
we've
intentionally
left
it
a
little
undefined
because
we're
looking
for
that
guidance
from
a
consultant
who's.
That's
their
expertise,
is
finding
the
right
art
for
the
right
space.
H
Okay,
well
I've
been
sort
of
saying
this.
All
along
that
I
didn't
I,
know.
I
told
I
want
to
start
by
saying
I
totally
appreciate,
especially
people
been
on
this
committee
for
a
lot
longer
than
I
have
wanting
to
move
forward
and
do
something.
But
I
have
been
saying
all
along
that
we
just
kind
of
like
pulled
this
figure
of
two
two
hundred
thousand
dollars
out
of
thin
air.
We
pulled
the
amount
that
we
wanted
to
put
to
the
12
for
the
the
consultant
out
of
thin
air.
H
We
haven't
really
thought
about
what
we
want.
It's
a
relatively
small
job.
The
question
you
know
is
you
don't
have
a
theme?
We
don't
have
an
idea.
We
I
don't
feel
like.
We've
really
done
the
thinking
that
we
need
to
do
and
when
I
read
the
RFP
and
I
said
this
back
in
one
of
the
future.
It's
like
I
wouldn't
apply
for
that.
It
was
like
I,
don't
know
what
it
is.
H
That's
gonna
be
able
to
be
used
as
a
foundation
for
all
the
different
projects
that
we're
going
to
do
because,
like,
for
example,
at
the
very
end
she
said,
I
took
notes
because
I
just
I
was
just
like
yeah
and
she
was
sort
of
an
afterthought.
She
said
you
know,
one
of
my
big
things
of
advice
was
to
really
think
about.
You
know
once
you
have
a
piece
once
you've
commissioned
some
work,
you
have
to
think
about
who
owns
it?
H
H
Let's
not
make
a
big
deal
out
of
it,
but
I
also
feel
like
this
is
our
chance
to
really
do
it
right
and
think
about
the
these
kinds
of
really
longer
term
planning
issues,
and
then
the
other
part
too,
as
I
was
looking
at
all
the
different
public
art
projects
and
parks
and
things
that
I
I
experienced
not
only
in
Canada
but
also
even
in
places
like
North,
Dakota
and
Idaho.
You
know,
like
you
came
to
a
park
and
you
knew
where
you
were.
H
You
know
like
a
park
was
this
is
a
friendship
Garden
or
you
know,
this
is
a
meditation
Garden
or
this
is
a
place
where
people
come
and
play
chess
or
you
know
it's
just
like
it
had
a
sense
of
place
and
I
I
think
that
we
don't
really
have
any
idea
of
what
that
might
be
and
I
think
also
part
of
that
is.
We
have
to
start
out
by
asking
the
people
in
our
town.
What
do
you
want
there?
H
You
know,
because
otherwise,
you
know
they're
just
gonna
feel
like
we
have
we're
paying
some
high
paid
another
one
of
those
high-paid
Consultants
to
come
in
and
tell
us
what
we
need
and,
like
we
haven't,
even
asked
people.
You
know
it's
a
really
nice
space,
it's
beautiful
and
it
in
those
those
trees.
You
know
the
Willows
and
all
of
that
I
just
feel
like
we
can
incorporate
what
we
have
and
you
know
maybe
do
something
super
simple:
to
really
transform
the
space.
H
E
Well,
I
I
agree
with
everything
that
everyone
said,
but
here's.
My
idea
tell
me
what
you
think
is
that
I
don't
think
that
we're
quite
ready
for
a
consultant,
as
Beth
said,
if
we
don't
have
an
idea
of
what
we
actually
want
and
I
think,
instead
of
possibly
a
consultant
I
might
throw
the
idea
out
there
to
get
a
facilitator.
E
Somebody
who
knows
how
this
process
works
and
can
facilitate
us
into
coming
to
some
I
coming
to
some
idea
of
what
we
want,
because
that's
what
we're
missing
like
what
Beth
said.
We're
missing
we're
we're
just
not
honed
enough
for
a
consultant
to
come
in
and
make
it
happen,
because
we
haven't
decided
what
we
want
to
make
happen
yet
and
I
think
having
some
kind
of
design
charette.
That's
a
word
design,
charette,
where
we
have
a
facilitator.
Who
can
help
us
figure
out
what
we
want,
because
I
think
we
we
are
open
to
ideas.
E
You
know
and
I
think
that
we
can
do
this
in
a
couple
of
sessions,
but
it's
gonna
we're
gonna
need
some
help
to
do
that,
and
I
would
rather
possibly
go
that
direction
than
than
hiring
a
consultant
on
art
that
we
don't
even
know
what
we
want.
Yet,
because
we're
too
vague
like
like
best
said,
and
it
is,
it
is
a
park
you
know,
and
we
need
to
really
think
about
it
in
an
art
and
a
Park
Way
and
anyways
I,
just
I'm
groping
here,
but
I'm.
E
F
You
know
basically
getting
excited
about
what
the
artists
want
to
do
there
and
then
reaching
out
to
the
community,
and
all
that
to
me.
That's
that's
what
this
is
all
about
right
and
if
the
money
is
good,
if
the
money
is
enough
for
an
artist
to
get
excited
about
it,
then
maybe
that's
maybe
that's
what
the
call
is.
F
I
I
think
we
should
interview
these
people,
but
also
it
would
be
great
to
actually
hear
what
artists
would
think
about
that
space
and
if
they
do
their
homework,
they
interview
the
public
they
get
involved
and
they
get
the
contract
I'm,
not
afraid
of
moving
forward.
Without
you
know,
a
big
master
plan,
I
think
this
is
a
it
may
be
a
medium-sized
project.
Maybe
we
should
step
into
a
smaller
one,
but
I
would
really
like
to
just
keep
the
ball
rolling
and
I'm
interested
in
what
the
artists,
the
artists
that
came
through
Stuart.
D
D
I
mean
what
the
what
we
were
looking
for
and
what
we
said
in
the
RFP
was
we're
looking
for
somebody
to
work
with
the
committee
and
work
with
the
community
community
to
determine
what
type
of
art
would
be
best
placed
there.
So
I
mean
I.
Think
I
agree
with
you,
Lisa
you're,
looking
for
somebody
to
facilitate
those
kinds
of
conversations.
D
That
was
what
we
were,
but
what
we
were
also
looking
for
was
somebody
who
can
then
take
that
facilitated
conversation
and
then
move
forward
with
that
facilitated
conversation
and
work
through
the
RFP
process
for
an
artist,
and
maybe
what
you're
suggesting
today
is.
It
may
have
been
better
to
break
it
apart
between
a
you
know,
somebody
to
work
with
the
with
the
city
to
facilitate
a
conversation,
and
then,
after
that
conversation
was
facilitated,
go
back
out.
D
D
There
I
mean
we
got.
We
got
skull,
people
who
were
sculpture
sculptests,
we
got
people
who
were
muralists,
we
got
people
who
were
glass,
you
know
who
did
glass,
we
got
people
who
would
talk
about.
You
know
doing
something
on
the
floor,
so
you
got
a
whole
variety
of
what
you
were
looking
for
in
the
committee
pick.
What
they
thought
was,
you
know,
would
be
the
most
interesting
out
of
all
that
group.
F
C
All
right,
thank
you,
Tom,
okay,
so,
at
this
point,
I
do
hear
sort
of
two
different
sides:
there's
some
that
want
to
go
ahead
and
go
forward
with
an
interview
and
others
that
would
like
to
take
another
Direction,
so
staff.
What
do
you
think
is
this
a
time
do
we
have
a
call
for
somebody
to
put
a
motion
on
the
table?
Karen,
you
got
a
question.
Go
ahead,
go
ahead,
Karen.
B
B
So
maybe
you're
just
going
to
hear
my
opinion,
so
maybe
that
whole
consultant
thing
with
us
saying
this
is
a
teeny.
Tiny
project
is
kind
of
a
grand
scheme
for
something
too
small
a
facilitator.
Lisa
sounds
great.
We've
had
a
lot
of
artists
interests.
That
sounds
fantastic
because
we
have
interviewed
some
really
amazing
artists.
B
So
do
we
my
question
to
us
all?
Do
we
need
to
refine
ourselves
what
we
see
as
being
the
vision,
because
we
were
trying
to
stay
away
from
that,
because
every
time
we
do
that
we
end
up
in
trouble
or
do
we
do
the
right
thing
and
interview
the
two
people
who
have
spent
the
time
responding
to
our
RFB
I?
Think
that
would
be
the
gracious
and
correct
thing
to
do
and
I'm
sort
of
hearing
that
there's
not
a
lot
of
excitement
about
either
of
these
people.
B
But
you
never
know
if
we
can
just
keep
an
open
mind,
give
them
a
quick
interview
and
then
have
in
our
minds
that
we
are
going
to
go
down
that
road
of
maybe
we
find
who
could
facilitate
artist
proposals.
So
if
we
put
it
out
in
a
different
way-
and
we
get
all
of
these
artists
that
maybe
we've
had
before-
maybe
some
new
ones-
people
with
great
ideas,
there's
a
lot
of
artists
in
town
and
close
by
and
then
a
point
of
facilitator
to
help
us
navigate.
That.
E
Of
getting
our
heads
around
what
we
wanted
to
do
with
the
space
because,
like
Beth,
was
saying,
I
want
us
to
be
able
to
walk
into
this
space
and
say
Here's,
here's
the
space.
What
do
we
want
to
make
it
you
know?
Do
we
want
to
make
it
a
meditation
space?
Do
we
I
mean
just
the
whole?
The
whole
idea
of
the
setting
of
The
Art
I
think
is
very
important.
That
speaks
to
the
art.
You
can't
say:
okay,
here's
the
space.
E
E
E
Just
not,
you
know,
I'm,
not
the
person
to
facilitate
that
so
I'm
wondering
if
there
is
somebody
to
who
could
facilitate
that.
Okay,
let
me
just
let
me
just
back
up
a
little
bit
a
bit
I
went
to
a
park
and
rec
meeting
of
the
entire
San
Mateo
County
Park
and
Rec
convention.
I.
Guess
it
was.
It
was
small,
but
they
had
some
speakers
there
that
were
really
motivational
about
talking
about
Parks
and
Rec
spaces.
E
For
you
know
25
30
years,
and
they
really
know
what
they're
doing,
and
maybe
we
just
get
somebody
with
that
kind
of
experience
who
knows
how
to
take
a
park
space
and
get
some
really
cool
art
in
it
and
they
can
meet
with
us
like
one
Saturday
afternoon
and
help
us
hone
down
what
we
want
in
this
space,
because
I
think
until
you
start
from
there
we're
not
going
to
attract
artists
who
just
don't
know
what
their?
What
the,
what
the
concept
is.
E
That's
just
I
mean
we
might
but-
and
we
might
say-
oh
that's
a
cool
idea,
but
that's
really
putting
the
horse
before
the
cart
and
anyways.
That's
what
I
mean
by
a
facilitator.
Somebody
who's
done
this
before.
Who
knows
how
to
get
us
to
that
place
of
of
honing
down
the
concept
before
we
go
fishing
for
artists.
Thank.
C
You
Thank
you
Lisa,
so
I'll
be
I'll.
Call
you
in
just
a
minute,
I
want
to
make
a
comment,
and
then
I'll
you'll
be
next
Madison.
So
my
question
is
before
we
hone
in
on
the
space
what
it
is,
if
it's
a
meditation
or
whatever,
at
what
point?
Are
we
Consulting
with
the
public
to
get
that
idea
of
what
that
space
is?
That's
my
concern,
because
I
don't
think
it
should
be
up
to
this
committee
to
say
that's
going
to
be
a
Rose
Garden
or
a
meditation
or
a
birthday
party
place.
C
So
absolutely
that's!
My
concern
is
since
I
don't
really
feel
like
we
do
have
a
Clear
Vision,
wouldn't
maybe
we
should
be
reaching
out
to
the
community
on
that
space
or
some
kind
of
facilitator.
First
I
kind
of
do
agree
with
Karen
that
the
right
thing
is
probably
to
interview
these
people
just
to
kind
of.
C
If
anything,
we
can
go
through
the
practice,
but
I
really
kind
of
feel
like
we
need
to
involve
the
community
because
I
don't
think
this
body
should
be
deciding
what
this
space
is
and
then
hire
the
consultant
or
somehow
I
just
feel
like.
We
need
to
involve
the
community
sooner
rather
than
later,
go
ahead.
Madison.
G
I
mean
I
also
think
these
people
might,
if
we
want
to
call
it
a
facilitator,
I
mean
are:
are
there
public
art
facilitators,
I,
just
don't
know
how
they're
Consultants
they're
Consulting
us.
So
maybe
we
need
to
change
the
scope
of
work
in
the
meantime,
they
might
be
able
to
help
us
do
that
scope
of
work
instead,
and
you
know
we
can
adjust
it
if
we
if
we
can
adjust
the
scope
of
work.
D
G
E
I'm
I'm
thinking
these
people
could
possibly
do
this
I.
Just
think
that
we
need
to
hone
this
down
our
idea
before
we
put
it
out
to
honing
down
the
art.
You
know
before
they
say:
okay,
here's,
my
positive
artist
to
do
this.
We
need
we
need
them
to
come
in
and
and
help
us
talk
to
the
community,
help
us
Define
the
space
and
go
from
there,
but
I
yeah.
It.
G
D
You
asked
for
it
that
was
what
we
put
in
the
RP
that
they
would
work
with
you
in
the
community
to
determine
what
type
of
Art
and
what
what
that
space
would
be.
So
that's
already
part
that
should
already
be
part
of
this
process.
If
you're
not
comfortable
with
these
two
people
doing
that
for
you,
then
you
shouldn't
pick
them,
because
that
was
exactly
what
we
were
asking
for
in
the
rpus
to
work
with
the
committee
work
with
the
community
hold
Community
meetings
to
talk
about
what
you
would
have
there
and
then
work
on
saying.
D
G
Says
the
committee
determined
hiring
a
curator
to
assist
the
committee
with
determining
the
type
of
Art
and
work
with
the
committee
to
select
an
artist
to
deliver.
Their
vision
would
be
to
live
in,
their
vision
would
be
appropriate.
This
elected
curator
will
also
work
with
the
artists
or
artists
to
ensure
the
artwork
was
appropriate
for
this
site.
G
D
F
What
if
we
reversed
it
and
had
the
artist
be
the
one
that
can
consult
as
well
and
give
them
more
money?
Foreign
I
know
that
sounds
insane,
but
I
think
we
could.
If
anyone
cared
about
the
project
I'm
just
trying
to
put
it
in
the
artist's
hands
to
win
the
contract.
You
know
they
have
to
do
the
public
Outreach.
They
have
to
do
all
that
work,
but
they
get
paid
more
to
be
the
consultant
and
we
get
excited
about
the
ideas.
D
So
I
mean
if
you
were
to
look
at
the
person's
from
Sam
Rose
Santa
Rosa,
but
they
put
in
was
you
know,
assist
the
committee
in
identifying
the
Community
Values.
The
artwork
should
showcase,
develop,
disseminate
and
Report
the
results
of
a
short
online
survey
into
solicit
public
input
on
the
vision
for
the
public
art.
So
I
mean
they.
F
H
Okay,
so
what
I
just
want
to
say
is
that,
if
we're
not
excited
about
these
people,
I
think
the
generous
thing
to
do
it's
in
that
waste
more
of
their
time
as
well
as
ours.
So
and
I
also
think
that
it's
also
okay
to
say
we
got
your
application.
Thank
you
for
applying
our
committee
is
pursuing
a
few
other
directions.
We'll
keep
you
on
file
we'll,
let
you
know
if
we,
you
know,
make
any
decisions,
because
to
me
I,
don't
really
want
to
waste.
H
H
I
also
see
us
being
in
the
middle
of
a
kind
of
a
like
typical
situation
of
being
a
new
Arts
commission
and
not
really
knowing
how
all
this
works
and
how
all
the
moving
pieces
fit
together
and
how
we,
how
and
when
we
reach
out
to
the
community
and
in
what
ways-
and
you
know
a
long
time
ago,
Stewart
I
sent
you
the
forecast
public
art
from
Minnesota,
and
they
have
training
people
that
train
to
Arts
commissions.
How
to
do
this
kind
of
stuff,
I.
H
Just
looked
it
up
again,
for
example,
one
of
their
there.
They
have
like
lots
of
different
people
that
will
work
that
are
trained
like
these
kinds
of
facilitators
to
work
with.
You
know
it's
kind
of
like
a
board
a
board
retreat.
You
know
you
have
to
know
how
to
work
together.
You
have
to
know
what
are
the
things
that
we're
trying
to
figure
out
to
do
together
and
and
also
there's
the
Optics
of
how
it
looks
to
the
larger
community
and
everything
but
like,
for
example,
our
talented
art
just
went
on
the
website.
H
This
is
called
this.
This
particular
one
is
called
Bridging
the
Gap
which
I
feel
like
is
where
we're
at
right.
Now.
We
need
to
find
a
way
to
bridge
this
Gap.
Our
talent
staff
is
available
to
train
you
to
facilitate
your
own
public
art
meetings
and
projects,
bring
us
to
your
community
and
learn
how
to
create
a
call
for
artists
and
the
RFQ
process.
H
What
it
is
we're
trying
to
do,
I
wouldn't
be
able
to
write
anything
and
I've
been
sitting
in
these
meetings
for
a
long
time,
so
so
that
just
you
know
that
just
kind
of
says,
if
I
can't
communicate
to
people
or
even
to
communicate
to
people
in
our
community.
What
we're
trying
to
do
that
I
think
that's
very
telling
so
I
like
the
idea
of
a
facilitator,
a
trainer
or,
however,
you
want
to
look
at
it
to
and
that
to
come
and
work
with
us.
H
You
know,
spend
the
money
to
like
make
that
build
that
foundation
so
that
we're
not
all
just
sort
of
wasting
our
time
and
the
people
that
do
apply
this
time
and
and
even
the
public
I
feel
like
that's
the
other
thing
too,
like
when
I
was
listening
to
the
talk
from
the
woman
from
Belmont,
and
she
said
you
know.
Well,
we
did
surveys.
H
Well,
it
was
covered,
so
they
didn't
have
a
lot
of
other
options,
but
I
thought
to
myself
so
many
times
when
I've
gotten
those
surveys
in
the
mail
from
the
city
and
they're
asking
what
I
think
about
this
or
that
housing
project
or
development
project
whatever
and
I'm.
Just
like
I'm,
not
wasting
my
time
again,
I
filled
out
so
many
of
those
surveys.
H
H
C
B
On
the
other
hand,
we've
had
some
applications
for
various
things
that
were
really
weak,
and
then
you
interview
the
person
and
they
just
wrote
Weak
applications,
but
were
fantastic
and
perfect
for
the
job
so
you're,
making
an
assumption
that
we
all
feel
the
same
way
that
you
do,
and
that
is
an
unconscious
bias.
That
I
can't
entertain
and
I
think
that
these
people
have
put
the
applications
in
and
spent
the
time
we
now
have
to
spend
hours
of
their
time
interviewing
them.
B
But
we
do
owe
them
the
courtesy
of
talking
to
them
and
I'm,
not
sure
I,
don't
think
they
might
be
the
right
person
because
of
all
the
interviews
we've
sat
through
that
had
shitty
resumes
but
fabulous
interviews.
So
I
I'm
sorry
I,
really
disagree
with
your
perspective
and
hope
that
our
committee
doesn't
turn
everybody
down
because
they
don't
on
first
blush
like
a
resume.
That
could
end
up
being
great.
So
sorry
totally
disagree
with
you.
There
can
I.
H
H
That's
why
I'm
saying
why
waste
their
time
any
further
I
did
personally
I
said
from
the
very
beginning,
I
didn't
think
we
were
ready
to
send
that
out
an
RFP,
but
you
know
the
rest
of
the
group
voted
on
it
and
there
it
went
I.
Here
we
are
in
this
situation.
We
got
a
couple
of
people
that
responded
sure
they
could
be
fine,
but
what
are
we
asking
them
to?
Do?
We
don't
know
what
we
want,
so
why
are
we
wasting
any
and
everyone's
time?
H
G
So
we
get
information
from
the
public
about
what
they
think
should
go
there,
and
maybe
that's
the
first
step
and
then
the
second
step
is,
you
know,
actually
moving
helping
them
curate
an
artist
for
us
and
at
that
point-
and
they
may
say:
okay,
that's
fine,
but
the
billable
hours
for
that
is
going
to
be
closer
to
thirty
thousand
dollars.
Or
what
have
you
so
they
they
may
be
able
to.
You
know.
Do
that
I.
Think
the
question
here
is:
it
sounds
like
there's
what
the
real
divide
is.
C
Yeah
I'd
like
to
comment
on
that
I
would
say
I'm
definitely
from
the
camp
of
I.
I
I
didn't
feel
like
this
when
I
started
on
this
committee,
but
over
time,
I've
come
to
really
feel
like.
We
need
a
master
plan
now.
That
being
said,
I
still
like
the
idea
of
having
art
in
that
area,
but
again
I
feel
like
there
needs
to
be
a
master
plan
for
that's
a
big
area
and
it
I
think
it
involves
like
a
lot
of
different
moving
Parts
on
the
use
on
Landscaping
on
Public
Works.
C
It
has
Hardscape
there's
a
lot
of
moving
things
and
I.
Don't
know
if
that's
the
art
I
don't
know
if
the
art
is
the
the
land
I'm
or
what
the
actual
use
of
that
so
I
feel
like
even
the
200
000
may
not
be
enough.
So
I
don't
really
have
a
good
vision
for
that
area,
like
I,
don't
feel
like
I
have
a
master
plan
for
that
area
before
we
can
move
on
to
Art.
C
F
C
I'm
itching
to
do
something
too,
but
I
still
don't
want.
I
want
to
be
prudent
with
the
funds
that
are
there
and
I.
Just
don't
want
to
spend
money
and
be
short
somewhere
else
out
the
line,
because
we
wanted
to
just
get
something
done
and
now
the
bigger
picture
we're
we're
not
able
to,
because
that
account
is
so
much
lower.
And,
yes,
we
keep
on
saying.
Oh
it's
going
to
be
replenished
because
the
bay
lands
we
don't
know
what's
going
on
with
the
Baylands.
F
C
Don't
know
what's
going
to
happen,
who
knows,
what's
going
to
be?
There
I
think
we
we
need
to
be
really
responsible
with
some
money.
That
is
in
that
account
it
it's.
We
have
to
be
good
stewards
of
that
money
and
not
just
spend
it
just
because
it's
there
and
it's
burning
a
hole
in
our
pockets.
So
that's
what
I
would
like
to
say
about
that.
F
Coming
in
to
this
group
kind
of
from
10
000
feet
and
I
I
think
we
need
to
get
excited
about
something.
You
know
we
get
excited
about
something
because
it's
it's!
You
know
money
structure
plans,
that's
not
very
creative
in
word
of
the
Arts
commission,
so
that
that
my
my
my
goal
is
to
try
to
get
excited
about
a
project
and
the
excitement
comes
from
the
creativity
from
the
artists
and
then
the
public
obviously
has
to
be
a
part
of
that.
So
I,
that's
what
I'm
excited
about
that's!
My
last
comment.
H
F
A
C
E
C
Let
you
know
about
20
minutes
left
in
this
meeting,
so
I
think
or
I.
Don't
know.
If
there's
a
motion
on
the
table
store
I'm
asking
for
some
or
committee
members,
but
I
think
we
need
to
move
on
to
item
C
I'm,
not
sure
how
much
time
we
need
for
that
which
is
discussing
the
master
plan.
So
do
you
have
any
insight.
D
I
mean
I
I'm
hearing
that
people
do
want
to
interview
the
two
and
we
can
schedule.
You
know
we
can
work
with
your
schedules
to
find
what
time
what
days
would
be.
You
know
what
day
would
be
good
as
I
suggested
in
the
staff
report.
It
may
be.
You
know,
45
minutes
for
each
of
the
two
and
then
maybe
half
an
hour
for
your
discussion.
So
as
Steph
said,
it'll
probably
be
a
two-hour
meeting
to
do
that,
and
we
can.
You
know,
move
forward
with
that
and.
D
E
A
question
yeah
it's
very
quick
yeah
and
maybe
maybe
when
we
interview
these
people
and
we
put
it
out
there
and
and
just
let
our
let
our
laundry
Fly
and
say
you
know
we're
really
having
a
hard
time
figuring
out
how
we
involve
the
community
and
how
we
get
excited
and
how
we
you
know.
Can
you
help
us?
Can
you
help
us
facilitate
how
we
come
to
a
to
a
decision
point
and
see
what
the
reaction
is.
I
think
that's
a
good
place
to
start.
C
D
I
think
the
real
question
is
going
to
be
is
setting
a
meeting
to
talk
about
what
you
want
out
of
out
of
the
from
the
Consultants.
So
that
way
we
can
work
with
the
Consultants,
so
they
can
give
you
the
best
presentation
possible
and
then
determine
what
when
would
be
a
good
time
for
the
presentations.
D
A
A
12-5
would
be
a
Monday.
We
could
discuss
what
we're
going
to
talk.
You
know,
ask
them,
and
then
we
can
offer
them
12
12.,
after
that
we
have
some
Jewish
holidays
and
things
like
that.
That
I
knew
no
doesn't
work
for
some
people
which
wasn't
brought
up
previously.
At
the
last
time,
I
tried
to
set
meetings,
so
those
are
pretty
much.
The
only
two
dates
that
kind
of
work
and
gives.
G
A
A
H
H
C
D
E
B
A
D
C
A
C
D
D
Think
we
did
but
I
think
you
know
after
talking
to
everybody
you
might
want
to
you.
Might
you
know,
be
a
little
bit.
You
looked
at
Master
plans,
you
didn't
look
at
the
rfps,
so
the
question
is
at
this
point
in
time.
You
know
the
sense
I
get
I
got
I
get
from
the
committee.
Is
you
want
to
move
forward
with
a
master
planning
process?
The
first
step
of
that
is
putting
out
an
RFP.
D
C
E
C
B
A
Well,
those
that
you
guys
directed
us
to
reach
out
to
those
are
the
only
two
that
responded
to
us
aside
from
also
Stuart
had
a
couple
phone
calls
with
a
couple
other
cities,
and
he
had
piped
up
and
sent
out
the
notes
to
you
guys.
So
if
you
want
more
reach
out
or
another
round
of
reach
out,
that
is
a
possibility.
If
you'd,
like
yeah
I,
just
go
into
pulling
rfps
and
start
looking
at
kind
of
helping
us
hone
down
into
that
yeah.
H
E
C
C
All
right,
thank
you
and
the
only
thing
I'd
like
to
say-
and
it's
maybe
I'm
not
sure
if
this
is
the
right
time.
But
I
was
intrigued
about
the
training
sessions
for
public
art
committees.
That
Beth
had
mentioned
the
organization.
I
don't
recall,
and
so
maybe
that's
something
that
could
be
put
on
another
agenda
to
discuss,
because
we
can't
really
talk
about
that
now.
But.
D
D
D
C
D
Well,
not
at
the
next
one,
because
you're
going
to
be
talking
about
okay
I
want
to
do
for
the
12th.
This
would
probably
be
something
that
you
would
do
in
January
and
Noreen
would
take
it
over
because,
as
angel
said,
I'm
retiring
from
the
city
and
moving
on
to
a
different
phase
of
my
life
and
Noreen
is
going
to
be
the
lead
staff,
along
with
Angel
and
working
with
this
committee.
Going
forward.