►
Description
No description was provided for this meeting.
If this is YOUR meeting, an easy way to fix this is to add a description to your video, wherever mtngs.io found it (probably YouTube).
A
B
No
matter
where
you
are
in
the
city
of
Pittsburgh,
you
are
steps
away
from
experiencing
a
work
of
art.
Public
art
is
a
distinguishing
part
of
our
home.
It
is
freely
accessible
and
enables
people
to
experience
art
in
their
daily
life
outside
of
museums
or
other
cultural
institutions.
It
reflects
our
history
and
our
evolving
culture.
B
B
Most
of
all
public
art
helps
create
a
sense
of
civic
vitality
in
our
city,
public
art
matters
and
public
art
matters
to
the
city
of
Pittsburgh,
I'm,
Liz
Phair
in
time
with
the
city
Channel,
and
today
we
are
going
to
be
talking
about
public
art.
Maureen
browne
is
the
parlor
part
manager
of
the
City
Planning
Division.
Let's
go
talk
with
him
to
learn
more
about
how
the
government
and
artists
work
together
here.
Thank
you
very
much
for
joining
us
today.
We're
really
excited
to
learn
more
about
public
art
here
in
Pittsburgh.
A
Ahead
of
the
public
art
division
in
city
planning,
three
of
my
major
duties
include
staffing,
the
city's
Art
Commission,
who
reviews
and
approves
facilities,
artwork,
etc
on
city
property,
I
also
conserve
and
maintain
the
city's
our
collection
and
monuments
memorials
and
our
plan
and
implement
new
commissions
of
art
for
the
city.
Awesome.
A
Long
time
ago,
1911
it
was
established
at
the
same
time
that
a
purpose
city
planning
and
the
Planning
Commission
were
established
and
it
was
established
at
a
time
when
major
cities
were
into
the
city
beautiful
movement,
where
they
want
to
ensure
high-quality
design
of
everything
in
the
public
realm
in
the
city.
So
that's
really
been
its
mandate.
All
these
years,
it's
made
up
of
architects,
artists
and
laypersons
to
ensure
high-quality
design
in
the
public
room
and
the
city
of
Pittsburgh
and.
A
It
is
largely
a
regulatory
commission,
so
it
itself
does
not
Commission
new
artwork,
nor
does
it
Commission
new
design,
but
it
rather
reviews
and
approves
proposals
either
coming
from
the
city
or
third
parties.
It
had
a
large
role
in
our
sister
bridges
in
downtown,
even
sort
of
to
the
point
of
revamping
the
design
competition
for
the
bridges,
which
I
think
is
pretty
phenomenal.
A
Many
projects
over
the
years
too
many
to
even
name
but
schenley
plaza
was
one
of
them
that
it
had
a
large
role
in
and
most
currently,
our
new
Frick
environmental
center
that
will
be
built
over
the
next
couple
of
years
was
a
major
development
in
Pittsburgh
that
the
Art
Commission
had
a
large
role
in
approving
a
design
asking
for
revisions
to
design
to
get
it
right
to
the
quality
that
we
expect
here
in
the
city.
While.
B
A
This
is
something
we're
really
proud
of:
it's
the
first
fully
artist
design
bridge
in
the
city.
It's
only
one
of
two
that
we
really
know
of
this
was
designed
by
artist
Sheila
Klein
who's
out
of
Bo
Washington.
She
was
selected
by
national
call
invitational
for
proposals
for
a
bridge
and
it's
interesting
in
and
of
itself,
but
it's
also
an
interesting
model
for
the
city,
whereby
we
place
an
artist
on
a
design
team
with
bridge
engineers
in
architects.
So
you
know
we
would
have
to
look
long
and
hard.
A
We
would
never
find
an
artist
who
actually
knew
how
to
build
a
bridge
herself,
so
the
model
is
getting
an
artist
selected
to
be
on
that
team
from
the
ground
up
starting
from
scratch
where,
by
his
or
her
visions,
can
be
realized
through
the
engineers
expertise.
But
likewise
the
engineers
who
are
very
nuts
and
bolts,
oriented
and
so
forth
might
not
have
the
creative
impulse
that
an
artist
would
have
so.
This
bridge
was
probably
about
seven
years
in
the
making
from
the
design
development
through
engineering
funding.
A
It
was
largely
funded
by
PennDOT
on
one
of
local
foundations
like
Heinz
endowments
whole
foods,
which
is
next
door
to
us,
also
contributed
money
towards
it.
Councilman
Peduto
at
that
time
also
contributed
money
towards
it.
The
glass
sequins
that
you
see
on
the
cyclone
fence
were
created
by
the
Pittsburgh
glass
inner
just
down
the
street
Public
Works
and
another
local
artists,
Andy
Kessler
Kaminski
helped
us
do
the
floorboard
section
here
the
painted
section
here,
so
it
had
a
lot
of
community
and
local
involvement,
as
well
as
the
artists
and
we're
pretty
proud
of
it.
A
B
A
Can
attend
the
Art
Commission
actually
and
I
wish
that
they
would.
The
hearings
are
monthly.
At
200,
Wall
Street
in
downtown
first
floor
hearing
room
same
place,
Planning
Commission
historic
review
commissioned
me.
It's
open
and
free
to
the
public.
We
allow
and
encourage
public
testimony,
either
on
behalf
or
neutral
or
against
a
project.
A
So
in
doing
that,
we
consider
it
somewhat
of
an
educational
experience
or
an
experience
for
dialogue,
and
what
we
would
love
to
see
is
more
people
attending
becoming
our
design
ambassadors
for
the
neighborhood
so
that
they
can
help
us
demand
high
quality
design.
So
that's
only
our
Commission
side,
but
people
can
call
me
they
can
find
me
on
the
website.
They
can
set
up
a
meeting.
We
don't
have
an
ongoing
program
of
new
commissions
of
art,
but
we
do
from
time
to
time,
especially
with
our
percent
for
art,
ordinance
and
projects
that
are
coming
online.
A
We
do
we're
trying
to
expand
a
lot
of
our
temporary
art
programs,
all
of
which
are
distributed
through
greater
pittsburgh,
Arts
Council,
the
city's
website,
etc.
But
if
artists
just
have
an
idea,
I
want
to
just
pitch
a
proposal,
even
if
it's
mildly
crazy.
Will
this
it's
interesting
to
me.
It's
something
I'm,
passionate
about
and
I,
would
love
to
talk
to
more
artists
and
help
them
either
on
city
property
or
private
property.
B
A
B
B
Tim
con
is
recognized
as
a
significant
artist
here
in
the
city,
and
his
body
of
work
has
greatly
impacted.
The
region
I
have
seen
some
of
your
artwork
in
the
north
side
near
the
children's
museum
at
the
carry
for
furnace
in
Rankin
and
at
the
Pittsburgh
Center
for
the
Arts.
Your
artwork
has
been
a
great
inspiration
to
me,
and
so
many
other
people
and
it's
an
honor
to
be
speaking
with
you
here
today.
Could
you
tell
us
a
bit
more
about
your
artwork
in
the
city
and
where
some
of
your
inspirations
come
from
and.
C
Early
I
think
it
was
just
the
geography
and
the
landscape
and
the
changing
topography
of
Pittsburgh.
That
really
challenged
me
as
an
artist
to
make
things
that
competed
somewhat
on
the
landscape,
and
certainly
the
urban
landscape
and
the
history
that
we
have
in
our
city
and
especially
the
ties
to
industry,
has
been
a
very
super,
strong
motivator
for
me
and
my
work
and
other
than
that.
I
think
it's
it's
just
the
people
that
are
here
and
you
know
the
underlying
work
ethic
that
I
feel
makes
Pittsburgh
unique
to
be
a
contributor
and
a
participant
where.
C
Story
behind
the
workers
is,
it
originated
as
a
city
of
Pittsburgh
Commission,
where
the
city
of
Pittsburgh,
and
especially
Mayor
Tom
Murphy,
put
out
a
call
for
artists
proposals
to
commemorate
industry
and
specifically
the
steel
industry.
So
myself
and
a
few
other
artists
put
together
proposal
and
we
were
already
in
the
formation
of
banding
together
to
do
art
projects.
It
was
perfect
timing
for
us
to
be
considered
for
such
a
important
task
of
making
a
memorial
to
industry
seems.
C
The
time
of
receiving
the
award
to
build
the
sculpture
myself
and
a
few
other
colleagues
were
forming.
An
arts
group
called
the
Industrial
Arts
Collective,
and
we
essentially
came
together
to
share
resources
and
share
ideas,
and
we
were
really
fortunate
to
land
such
a
significant
project
such
as
this
to
commemorate
the
steel
industry
in
Pittsburgh.
So
the
group
sort
of
rallied
around
the
idea
of
producing
design
and
producing
this
important
piece.
The
process
of
doing
that,
however,
took
many
years
and
many
more
collaborations
other
than
just
the
artist
team.
C
We
raised
a
significant
amount
of
funds
from
the
foundation
community
and
some
of
the
local
businesses
and
then,
ultimately,
the
installation
of
the
sculptures,
which
was
one
of
the
most
dynamic
things
that
I've
ever
participated
with,
was
also
really
incredible,
and
the
number
of
people
and
companies
that
came
together
that
allowed
the
piece
to
be
fully
embraced
and
recognized
for
what
it
is
and
to
to
name
a
few
of
those
supporters
on
the
install
it.
We
couldn't
have
made
this
as
well.
C
Without
a
company
called
pj
DIC
corporation,
who
are
a
very
large
builder
in
the
region
and
the
ironworkers
apprentices
did
the
final
install.
So
not
only
did
we
receive
certified
laborers
to
complete
the
task.
At
the
end
of
the
day,
we
were
able
to
transfer
sort
of
our
artistic
ownership
to
the
men
and
women
who
really
make
things
in
the
world
and
to
see
their
acceptance
of
our
piece
really
allowed
it
to
be
complete,
not
just
physically
and
structurally,
but
also
theme,
attica,
Lee
and
poetically.
C
Essentially,
set
up
shop
in
a
former
steel
mill
building
in
Hazelwood
and
were
allowed
to
work
there
for
about
ten
years
to
fabricate
the
pieces.
The
I-beams
that
make
up
the
figurative
elements
of
the
workers
came
from
the
hot
metal
bridge
when
they
renovated
that
structure
about
15
years
ago
so
and
a
lot
of
the
other
materials
in
the
in
the
workers
themselves,
in
which
we
called
their
safety
gear
or
their
armor,
came
from
one
of
the
last
buildings
that
the
the
Jones
and
lachlan
electric
furnaces.
C
So
it
was
really
great
to
take
some
of
the
bones
of
industry
that
were
probably
being
recycled
to
make
appliances
or
car
car
bodies
or
sheet
metal
good.
So
what
you
see
are
the
figures
which
are
in
some
ways
exaggerated
to
show
the
importance
of
work
ethic
in
industry
rather
than
if
you've
ever
been
in
a
working
mill.
You
know
that
the
the
properties
of
the
mill
are
so
gigantic
and
just
completely
overwhelming
compared
to
the
scale
of
people.
C
C
I
feel
the
arts
community
is
not
solely
responsible
for
that,
but
the
arts
community
has
really
paid
its
dues
in
allowing
Pittsburgh
to
be
an
exciting
place,
so
I
that
city
government
doesn't
necessarily
oh
those
parties
or
individuals,
but
I
think
in
terms
of
looking
at
ways
of
supporting
individual
artists
and
artists
practices.
I
think
it's
just
now
perfect
timings.
Thank.