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From YouTube: Arts & History Commission Meeting January 4, 2023
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C
A
It's
good.
Thank
you,
one,
two,
three,
four.
Yes,
we
do
and
there's
something
and
there's
Tiana:
okay,
okay
with
one
of
the
Commissioners,
please
say
just
hello
so
to
check
the
audio.
Please
hello,
fantastic.
C
Okay,
we're
ready
to
roll
and
thank
you
Jennifer,
so
I
am
John
hand
and
I'm
the
chair
of
the
Arts
Ministry
commission.
Before
we
get
started,
I
would
like
to
acknowledge
the
ancestral
cultural,
traditional
and
unseated
territory
of
the
Shoshone
Banning
I
use
people
on
which
we
are
leaving
today.
C
Wanna
welcome.
Everyone,
I
hope
your
New
Years
off
to
a
good
start,
and
we
have
some
some
new
faces.
We'll
we'll
do
some
introductions
here
momentarily
I
do
want
to
ask
for
a
motion
to
approve
minutes
from
our
last
meeting
in
December.
C
Thank
you
Chris
and
welcome
Gabby
we're
just
passing
a
motion
to
for
approving
minutes
from
last
meeting.
C
B
C
Opposed
so
moved
here,
all
right,
so
Jennifer
Stevens
is
not
able
to
join
us
today
and-
and
we
wish
or
send
her
our
best
and
I
know
she's
on
the
agenda
excited
to
talk
about
some
new
staff,
Chris
and
I
assume
that
there's
a
there's,
a
good
reason
why
you're
sitting
in
proximity
here
so
I
thought?
Maybe
would
you
like
to
do
a
little
introduction,
I.
B
Would
love
to
that
would
be
great,
so
we
are
super
excited
to
have
a
new
program
for
the
Irma
Hayden
house,
Tanisha
easterner
Nelson,
the
first
commission
meeting.
E
B
But
Treasure
Valley
has
been
my
home
for
the
past
three
years
and
I'm
just
super
excited
to
be
a
part
of
this
department
and
to
be
an
advocate
for
this
space.
I'm
really
really
excited
and
I
hope
I
get
to
work
more
with
each
and
every
one
of
you.
D
C
Welcome
and
like
have
you
been
doing
anything
in
the
last
three
years
to
prepare
you
for
this
role?
Is
there
any
what
what
I'm
just
curious?
What
brought
you
to
this
role,
and
so.
B
I
was
previously
in
education
and
I
had
my
bachelor's
in
psychology
and
Opera
studies
so
that
she
wanted
to-
and
this
was
a
perfect
way
to
do
that
and
yeah.
It
was
time
for
a
change.
It's
a
perfect
spot
to
do
that.
So,
oh.
C
C
C
Well,
we
have
I
know
we
have
some
some
important
things
to
review
today,
so
Jennifer
from
from
our
agenda
from
a
department
update
perspective
Jennifer.
Just
let
me
know
that
if
there's
any,
because
Jennifer
is
not
here
today,
if
there's
any
questions,
anyone
has
that
they
want
to
ask,
then
please,
you
know,
feel
free
to
reach
out
and
and
make
those
inquiries.
Is
there
anything
that
anyone
wanted
to
touch
on
today
that
we
could
at
least
log
for
an
action
item.
A
And
this
is
for
the
director
update,
which
is
the
number
the
number
one
following
the
agenda
minutes.
The
first
report
in
the
commission
packet,
so
Jennifer
Stevens
and
is
unfortunately,
has
a
family
emergency
and
she
said
to
you
know:
if
you've
read
the
director
update,
if
you
had
any
particular
questions
to
share
them
here
or
to
email,
her
directly
and
she'd
be
happy
to
to
address
those.
She
was
not
going
to
deviate
from
that
report,
so
everything
he
read
in
the
report
is
what
she
had
planned
to
share.
C
Seeing
anything
from
anyone
I
do
appreciate
the
the
effort
and
the
commitment
to
that,
because
I
think
it's
important
with
all
of
our
new
ER
members
of
the
commission,
as
well
as
the
Departments
I,
think
it's
great
really
good
appreciate
it
again.
Okay,
then
we
are
going
to
gee
I.
Think,
there's
a
little.
You
know:
I
drove
out
to
the
airport
the
other
day
and
I
was
like
completely
macro.
I
was
just
here
like
three
weeks
ago
and
how
much
instruction
can
they
do
at
one
time
so
you've
got
this
evolving
airport
infrastructure.
C
E
You
please
thank
you
I'm
silly
Bub
I'm,
the
cultural
planner
for
the
city
of
Boise
I,
have
with
me
on
my
senior
colleague,
Amy
Westover,
who
is
my
partner
in
crime
on
this
plan
and
a
public
artist
in
her
own
right.
Okay
and
Amy
and
I
are
going
to
be
a
team
presenting
this
plan
to
you
today
and
then
we'd
like
to
provide
an
overview
of
the
plan.
You
received
a
digital
copy
of
the
plan.
E
I
will
give
you
an
overview
and
then
answer
any
questions
that
you
have
and
then
we
would
like
to
discuss
the
next
steps
for
this
plan.
If
the
commission
approves
it
and
I'm
going
to
we'll
be
requesting
your
approval
of
the
plan
at
the
end
of
this
presentation,
so
I
think
can
I
minimize
the
folks
so
that
it
doesn't
there.
We
go
okay,
okay,.
B
E
This
plan
is
a
collaboration
between
the
onesie
airport
and
arts
and
history
I
wanted
to
just
pass
around
for
those
of
you
who
might
not
have
seen
this
before.
This
is
a
a
very
similar
structure
of
plan
that
we
did,
that
I
did
with
Dwayne
Carver
for
the
public
works
department.
E
So
when
you
look
at
the
physical
copy
of
this
plan
and
give
you
a
very
good
idea
of
what
the
physical
copy
of
this
plan
will
look
like
and
just
as
in
the
in
the
case
of
Boise
of
Public
Works,
where
we
worked
to
create
a
plan
that
was
really
focused
on
how
public
art
can
Orient
to
their
goals
and
procedures
like
climate
change
and
recycling,
the
airport
is
very
focused
on
the
goals
of
the
airport.
So
this
is
not
Art
For
Art's
Sake.
This
is
Art.
E
That's
really
intertwined
in
the
mission
of
the
airport
and
you'll,
see
that
as
we
go
through
the
plan,
foreign
So,
the
plan
is
intended
for
City
and
staff
elected
leaders.
So
it's
really
a
legacy
document
that
when
we
get
new
city,
council
members
or
new
staff,
we
can
handle
this
plan
and
they
can
have
a
sense
of
of
our
work.
It's
for
those
who
manage
Boise
airport
services
or
our
communication
personnel.
E
It's
for
our
public
art
division.
Stephanie
Johnson
is
our
project
manager
for
this
project
and
it's
for
herself
a
new
staff
that
I'm
going
to
come
in
to
Public
Works.
It's
for
artists
who
might
be
interested
in
doing
public
art
projects
at
the
airport
to
get
a
more
holistic
sense
of
the
art
of
the
airport.
E
It's
for
community
members
and
citizens
it'll
be
available
on
our
website
like
the
Public
Works
plan,
so
that
people
can
who
are
just
interested
and
get
a
sense
of
the
program,
and
then
we
also
see
it
as
a
aimed
at
national
public
art,
colleagues
and
other
City
administrators.
We
really
took
this
on
as
a
high
level
professional
task
that
will
that
we
think
is
one
of
the
best
in
the
country
and
then
it's
for
our
yet
to
be
hired
leaders
So
the
plan
is
separated
to
two
major
parts.
E
Looking
back
is
really
an
evaluation,
it's
an
overview
of
our
regional
environment.
We
include
a
diversity,
equity
and
inclusion
lens.
We
look
at
the
airport
environment,
the
master
planning
process.
Overall,
we
review
our
collection
and
inventory,
and
then
we
talk
about.
We
did
a
full-scale
assessment
of
all
the
public
art
at
the
airport
and
we
have
a
60-page
document
that
goes
into
detail
about
the
condition
of
those
pieces.
Elagio
and
Stephanie
were
both
a
great
help
in
that
process
and
then
in
the
looking
forward
document.
E
The
second
part
of
the
document
we
introduced
vision,
mission
goals
and
objectives
which
we'll
talk
a
little
bit
more
about.
We
introduced
a
concept
of
curatorial
strategies.
This
is
the
first
time
a
public
art
plan
has
ever
been
done
for
the
airport,
and
so
in
the
past,
we've
been
more
responsive
to
individual
opportunities.
In
this
plan.
We
take
this
opportunity
to
really
set
a
more
larger
strategic
vision
for
what
this
will
be
so
curatorial
strategies
as
we'll
discuss
will
be
part
of
that.
E
We
briefly
discuss
implementation,
although
most
of
that
is
left
for
internal
documents,
so
that
this
plan
can
have
a
longer
shelf
life,
and
then
we
go
into
specifically
discussing
opportunities
both
for
public
art
and
then
for
some
potential
program
opportunities
that
will
introduce
to
you
as
well,
and
then
we
end
with
focusing
on
new
construction
opportunities
and
and
those
new
programs,
so
that's
kind
of
the
overall
structure
of
the
plan.
E
So
here
in
the
looking
back,
we
really
wanted
to
root
this
plan
in
place
and
we
really
see
the
airport
as
when
you
arrive
at
the
airport.
We
want
you
to
feel
like
you've
arrived
at
a
specific
place,
so
we
really
spent
some
time
talking
about
those
demographics
and
the
environment.
We
also
talk
a
little
bit
about
the
history
of
the
airport.
E
Again
we
see
this
as
a
legacy
document
that'll
be
a
five
to
ten
year
document,
but
it'll
be
a
historical
archivable
object
that
tells
about
this
history
that
might
not
be
somewhere
else.
These
are
historical
photographs
that
we
borrowed
from
the
airport
that
will
be
eventually
put
into
our
city
archive.
E
Maybe
if
you
want
to
talk
about
reception,
sure
so
like
here,
first
I
just
wanted
to
say:
I'm
just
really
honored
to
be
here
today
and
I'm.
So
happy
we're
at
this
point.
With
the
plan,
it's
been
a
really
amazing
project
to
work
on
and
yeah
such
an
honor
to
really
dive
into
something
like
the
airport
and
put
together
like
what
Tilly
mentioned
a
legacy
document.
So
it's
been
a
super
honor
for
me.
E
So
anyway,
having
said
that,
like
Julie
said,
we,
the
creatorial
kind
of
strategy
of
the
plan
was
really
important
for
us
to
kind
of
lay
a
foundation
for
how
to
really
Envision
the
airport
going
forward,
like
you
mentioned,
there's
so
much
growth
and
new
construction.
So
a
lot
of
the
terms
that
we
came
up
came
up
against.
While
we
were
doing
a
lot
of
research
for
the
plan.
Is
this
concept
of
landslide
and
airside?
So
it's
sort
of
airport
terminology?
That's
used
just.
E
Really
just
to
designate
where,
in
the
airport,
things
are
happening
and
we
we
took
that
as
a
guiding
kind
of
principle
through
the
document.
So
it's
broken
up
into
two
sections
alongside
an
airside
and
we
so
we
assess
the
the.
D
E
Its
way
through
weaves
its
way
through
the
rest
of
the
document
as
well,
so
we
to
kind
of
begin
this
process.
We
really
wanted
to
see
you
know.
Where
are
we
right
now?
The
airport
has
had
a
significant
number
of
commissions
already
that
have
been
completed
and
we
wanted
to
look
at
those
and
take
a
really
well
really
close.
Look
at
the
condition
they're
in
where
have
we
been?
What
have
we
done
and
how
do
we
kind
of
take
those
types
of
ideas
and
move
forward,
so
we
have
some
permanent
public
artworks
listed.
E
Also,
the
temporary
and
portable
public
artworks
how.
E
I
think
we
somehow
like
got
it:
okay,
I
think
we
got
big
somehow,
on
that
there
we
go
there,
we
go
and
then
on
the
air
side,
then
the
permanent
public
artworks
on
the
air
side,
as
well
as
the
temporary
and
portable
public
artworks.
So
this
is
an
inventory
yeah.
C
I'm
sorry
I
just
asked
a
question
when
you
talk
about
temporary
and
permanent,
like
how
temporary
is
temporary.
E
So,
for
instance,
there's
a
vinyl,
mural
and
and
I
think
that
that
is
the
second
iteration
of
that
space.
Being
a
like.
A
shorter
life
in
terms
of
a
public
art
project
is
the
way
of
kind
of
like
wanting
to
keep
that
space
fresh.
So
every
five
years,
ten
years
it
changes
out.
So
in
that
case,
it's
a
temporary
piece.
E
G
E
For
the
collection
and
some
quick
fixes
so
part
of
our
journey
with
looking
at
the
current
inventory,
there
was:
how
can
it
be
approved?
Is
the
artwork
reached
its
lifespan?
Does
it
need
maintenance?
Does
it
need
lighting
signage
other
things?
So
we
make
those
recommendations
through
through
this
section,
and
then
we
have
a
looking
forward
section
which
really
is
getting
into
the
meat
of
the
before
leading
into
the
opportunities
section,
and
we
wanted
to
list
out
a
vision,
mission
and
goals
and
outcomes
for
this
plan.
E
We
took
this
list
of
goals
and
all
every
opportunity
from
here
on
out
lists
what
goals
are
met
by
implementing
that
opportunity.
So
the
guest
experience
number
one
like
Tilly
said
is
the
the
partnership
between
arts
and
history,
and
this
plan
and
the
airport
was
super
important
that
it's
very
airport
specific,
so
the
guest
experience
is
really
goal.
Number
one
regionally
reflective
Boise
Airport
is
obviously
a
our
is
more
Regional
than
just
this
city
as
it's
the
largest
airport
in
a
quite
a
large
radius.
E
So
we
wanted
to
really
have
that
Regional
reflection
about
our
area,
cultural
Partnerships
that
will
you'll
see
different
references
to
that
throughout
the
plan
and
opportunities,
and
especially
new
program
sections
high
quality.
E
E
So
the
curator
curatorial
strategies,
like
we
said
the
plan-
has
really
broken
into
the
land
side.
Air
side
like
we
mentioned,
but
within
that
there's
also
kind
of
a
sub
curatorial
strategy
which
is
really
talking
about
these
kind
of
navigational
themes
throughout
the
plan.
So
we've
broken
the
the
landslide
and
the
airside
into
corridors.
E
We
have
a
little
yes,
okay,
that's
next,
so
the
landslide
corridors.
We
have
a
traffic
Corridor,
nature,
Corridor
and
River
Corridor,
and
really
how
we've
been
thinking
about
these
corridors
is
the
idea
that
we're
really
thinking
about
people
moving
through
the
space
and
how
they
interact
with
those
different
spaces,
landsite
and
then
airside,
and
how
we
can
best
commission
art
that
reflects
those
spaces,
because
the
airport
experience
is
so
transitional
from
you
know
the
landslide.
D
E
D
D
E
People
are
doing
so.
We
really
wanted
to
kind
of
emphasize
that
through
this
idea
of
the
corridors
and
on
the
land
side,
it's
very
rooted
in
place.
It's
you.
E
The
nature
Corridor
is
really
thinking
about
how
we
want
to
reflect
the
the
natural
aspect
of
this
region
and
the
voice
me
and
how
that
important,
that
is
to
us
and
then
the
river
Corridor
is
really
this
flowing
stream
trap.
You
know
the
the
traffic
and
how
people
are
moving
through
the
space
and
traffic
and
then
traffic
yeah,
like
literal
literal
traffic
Corridor,
so.
E
Jet
stream,
Corridor
yeah,
sorry
I
think
it
might
be
helpful.
Could
we
go
back
to
the
previous
page?
I
just
want
to
make
sure
that
people.
B
Actually,
on.
E
The
far
left
of
the
image
is
one
that's
currently
in
the
process
of
being
built
and
then
the
other
two
on
the
far
right
and
then
the
other
Concourse
a
are
future
construction.
So
we
included
them
in
this
diagram
so
that
you
can
see
what
was
included
in
them
in
these
different
quarter.
Sections
I
also
wanted
to
Define
curatorial
for
those
of
the
commission,
who
may
not
be
familiar
with
that
term,
because
it
is
such
a
technical
term.
E
Curatorial
is
really
thinking
about
from
for
Stephanie's
going
to
be
the
the
person
who
identifies
in
cooperation
of
the
airport
which
of
these
opportunities
they
might
select
and
then
what
type
of
art
project
they're
looking
for,
and
rather
than
thinking
about
it
in
terms
of
a
curatorial
like
making
short,
specific
choices.
E
That
then
hang
together
as
a
larger
collection
and
that's
what
we
mean
by
by
putting
them
in
these
different
corridors
so
that
in
the
the
traffic
quarter,
for
instance,
you
might
have
work
that
is
really
about
this
kind
of
connection
between
the
built
environment
and
nature
and
then
you'll
As.
You
move
in
you'll
have
a
pieces
that
are
more
nature.
Based
and
then
that
might
be
about
exterior
land
nature
and
then,
as
you
go
in,
it
might
be
more
about
the
river
Corridor,
the
river
environment.
E
E
And
then
the
airside
corridors,
we
focus
on
the
security
Corridor,
which
is
really
kind
of
that
in
between
space
that
we've
all
experienced
of
moving
from
landslide
to
airside
and
what
that
security
Corridor?
How
can
our?
How
can
art
kind
of
bring
some
meaning
and
maybe
a
much
needed
distraction
in
that
area
as
we
move
through
the
space
and
even
some
humor.
E
And
then
the
jet
stream
Corridor
is
kind
of
a
play
on
terms
there
for
the
air
side
really
thinking
about
themes
that
are
more
literally
like
light
and
area
ephemeral
that
evoke
the
idea
of
being
hunted
into
the
air.
What
you're
about
to
do
I
was
boarding
a
plane.
I
I
Yeah
now
is,
is
that
the
curatorial
selection
and
the
sort
of
differentiation
between
different
corridors
is
that
communicated
to
a
visitor
in
any
other
way
other
than
just
the
selection
of
the
art
like?
Is
it
anywhere
made
explicit,
or
is
it
something
that
just
kind
of
exists
in
the
eye
of
the
visitor.
E
Really
more
of
a
planning
and
a
project
selection,
it's.
D
E
You
sure
that's
a
good
question
the
implementation
process.
Do
you
want
to
touch
on
this?
Okay,
sure
in
the
implementation
process?
We
we
just
talked
briefly
about
the
percent
for
our
program
selection
processes,
and
then
we
really
point
to
some
internal
guides.
Stephanie
and
lyanna
are
in
the
process
of
remaking
the
public
art
guidelines
that
really
guide
the
the
internal
processes.
So
we
didn't
want
to
tie
them
down
too
much
by
over
articulating
them.
In
this
particular
area.
E
Then
we
get
into
this
section
about
opportunities.
What
we've
done
that
is
really
different
from
the
public
art.
The
Public
Works
public
art
plan
was
very
focused
on
more
general
typologies
of
opportunities.
This
plan,
because
it's
really
for
a
facility.
We
looked
at
the
existing
campus,
as
was
requested
by
the
leadership
of
the
airport
and
identified
specific,
identical
identifiable
places
where
we
thought
there
were
opportunities
for
art,
and
then
we
provide
opportunities
within
those
examples
of
what
those
opportunities
are.
You
can
see
it's
broken
into
the
different
corridors
on
the
land
side.
E
We
also
addressed
the
floors,
the
administration
floor
and
areas
that
are
not
necessarily
travel
related,
so
each
opportunity
we
just
have
one
from
each
example
to
share
with
you.
We
have
an
image
of
the
site,
so
you
can
visualize
that
we
have
a
description
of
what
we
think
the
opportunity
is.
We
identify
what
type
of
project
it
might
be,
what
goals
it
might
meet.
E
Rfq
stands
for
request
for
qualifications.
We
put
in
some
notes,
if
there's
some
things,
that
we
think
we
want
to
just
kind
of
remind
Stephanie
to
think
about
when
she
creates
that
request
for
qualifications
and
then
on
the
right.
We
have
two
precedent:
examples
that
are
visually
meant
to
stimulate
the
person
to
think
wow.
You
know
what
could
be
this
is
these
would
be
really
cool
in
that
spot.
E
I
can
think
of
other
things
that
might
be
cool
there,
so
that
you
can
immediately
make
the
connection
of
the
type
of
work
that
we're
thinking
about
those
locations
and
then
there's
more
information.
If
you
wanted
to
dive
into
looking
at
these
precedent
projects
more
and
then
you'll
also
note
on
the
Melissa
Osgood,
is
our
designer
I'd
like
to
acknowledge
Melissa?
Did
a
fantastic
job.
I
also
want
to
thank
Jennifer
who
helped
us
through
this
process
as
well.
Jennifer
weibar,
there's
a
little
suitcase
at
the
bottom.
E
That's
another
kind
of
way-finding
item
for
the
plan
as
well
as
landsite
on
the
top
to
let
you
know
where
you
are
and
then
on
the
air
side.
The
same
themes
now
there's
a
little
airplane
for
the
air
side,
it's
broken
into
the
different
Corridor
areas
and
then
the
same
kind
of
section
on
the
upper
left.
It
identifies
which
side
you're
on
what
Corridor
you're
in
and
then
there's
the
airplane.
E
The
precedent
examples
that
are
very
similar
to
the
opportunity
we're
looking
at
and
then
we
have
a
few
opportunities
that
exist
on
both
sides.
Similar
types
of
environments
such
as
the
arcade
designed
and
we
list
those
out
as
being
relevant
for
both
sites,
sure
so
the
new
construction
section.
We
really
wanted
to
focus
on
how
to
I
guess
bring
in
artists
ahead
of
time.
E
You
know
we
we
list
opportunities
for
artists,
on
design
team,
architecturally,
integrated
projects,
responding
to
the
spaces,
Open
Spaces
reserved
wall,
space,
construction
infrastructure,
boundaries,
specific
stakeholders
and
staff
and
resources
through
this
new
construction
process,
to
really
to
try
and
stimulate
the
sort
of
forward.
Thinking
that
we
would
like
to
get
artists
involved
early
on
these
projects,
and
so
we
talk
a
lot
about
that
process,
and
then
we
list
out
different
opportunities
that
are
coming
online
soon.
E
E
So
we
list,
you
know
what
we
think
would
be
really
neat
of
opportunities
there,
we're
connecting
the
airport
say
to
the
rental
car
facility,
with
this
kind
of
covered,
walkway
and
different,
of
course,
opportunities
and
different
types
of
art
that
are
really
sort
of
special
if
they
can
get
and
if
artists
can
get
involved
early
on
in
the
process,
we
have
new
program
Concepts,
you
know
when
Tillie
and
I
were
doing
a
lot
of
research
for
this
plan.
E
It
became
clear
as
we
researched
other
airports
and
what
they're
doing
in
other
airports
and
other
airport
plans
that
a
lot
a
lot
of
the
well
and
a
lot
of
airports
have
like
a
designated
art
Department
within
the
airport.
We're
not
quite
there
yet,
but
there
are
opportunities
to
look
forward
to
in
the
future
with
the
airport,
including
a
personal
arts
program.
F
E
Do
you?
Okay,
so
we
do
yeah.
We
go
through
each
of
these
kind
of
new
program
opportunities
and
really
describe
them
in
detail
and
show
precedented
examples
of
what
these
types
of
programs
what
the
other
airports
were
that
are
implementing
these
type
of
programs
so
performing
arts
program,
music
and
dance
and
theater
an
Idaho
filmmaker
showcase.
E
We
would
love
to
see
about
media
be
offered
within
the
airport,
so
we
we
show
a
potential
location
for
that
and
then
also
point
to
precedent,
examples
elsewhere
in
the
United
States
and
Artisan
residence
program
that
they
approach.
This
is
definitely
something
that
is
picking
up
more
sort
of
speed
throughout
airports
and
I.
Think
there's
a
lot
of
opportunity
there
and
just
something
different
and
unique
yeah,
and
this
could
be
it
could
be
a
visual
artist.
We
identified
the
a
an
information
center
downstairs.
That's
never
used.
G
E
Yeah,
but
that
that
could
be
a
place
where
a
visual
artist
could
work
and
make
work,
that's
inspired
by
that
airport
environment.
It
could
also
be
a
poet
or
a
writer.
You
know
someone
that
can
that
could
make
work
about
that
experience,
so
those
are
lots
of
different
possibilities,
and
then
we
we
want
if
we
did
specifically
an
artist
and
residence
program,
we'd
want
to
tie
it
in
with
the
other
artists
and
residence
programs
that
we
have
so
that
would
be
developed
in
tandem
with
some
cultural
sites.
E
E
B
E
Know
we,
although
that
would
be
awesome.
We
see
this
as
an
opportunity
for
local
artists.
Chris
Flagg
has
her
handle.
E
Like
to
make
them
a
part-time
artist
in
Residence
as
well
or
have
them
involved
in
performance,
art
or
you
know
who,
whoever
it
is
at
the
time,
but
have
them
be
involved
with
it
too.
E
We
saw
a
lot
of
partner
programs
that
were
changing.
Exhibitions
were
present,
costume,
exhibits,
historical
exhibits,
visual
art,
exhibits
instruments,
bicycles,
it's
just
you
name,
it
yeah.
E
It's
just
a
really
neat
opportunity
to
bring
something
different
into
the
airport,
and
we
also
saw
this
as
an
opportunity
for
the
airport
to
really
partner
more
with
local
nonprofits
and
to
make
it
more
of
a
Civic
Center
and
showcasing
what
we
have
in
the
Treasure
Valley
so
that,
as
you
come
out
of
the
airport,
you'll
have
more
familiarity
with
other
institutions
or
things
that
we
have
here.
We
list
different
types
of
partners
that
we
would
suggest
working
with
foreign.
E
We
also
saw
a
lot
of
temporary
exhibits
of
individual
artists,
so
that
could
be
could
be
kids.
It
could
be
University
students,
it
could
be
works
that
are
commissioned
that
are,
but
that
we
don't
take
ownership
of.
So
we
have
not
had
anything
like
that.
It
really
is
something
that
requires
staff
to
manage,
but
there's
lots
of
examples
of
that
in
other
cities
that
we'd
like
to
consider
and
then
history
installations
we
really
love.
E
The
sister
exhibit
that
we
have
at
the
city
of
Boise,
but
we
feel
it
has
a
very
limited
audience
here.
We
think
at
the
airport
it
would
have
an
incredible
audience
that
would
be
really
interested
in
it.
E
We
saw
other
airports
that
had
a
robust
historical
exhibits,
so
we'd
like
to
capitalize
on
this
existing
installation,
but
also
on
Travis
and
the
work
that
he
and
Danielle
do
to
identify
exhibitions
that
could
capitalize
on
our
programs
that
we
do.
The
exhibitions
that
you're
already
creating
or
the
archive
that
we
have.
E
So
I
did
want
to
say
one
thing:
yes,
ma'am
in
terms
of
like
the
rotating
art
opportunities
or
exhibition
spaces.
When
say
a
significant
public
art
piece
is
as
planning
to
be
commissioned
at
the
airport.
E
I
think
that
would
be
a
fabulous
opportunity
to
have
an
exhibit
of
that
artist's
work
or
have
them
in
Residence
as
kind
of
a
new
commissioned
artist.
I
think
that
would
bring
a
a
wonderful
sort
of
like
you
know,
merging
of
Education
about
what's
happening
and
and
also
an
opportunity
really
for
the
public
to
get
to
know
that
artist
I
like
it.
E
E
E
E
E
After
that,
we
see
quick
fixes
as
the
initial
projects
that
could
be
done
and
then
prioritizing
opportunities
based
on
new
construction
or
other
priorities
at
the
airport
may
have
and
then
moving
forward.
E
D
E
You
know
what
my
request
that
I
that
I
have
Tilly
is
that
you
know
towards
the
beginning
of
your
presentation,
where
you
lined
out
the
different
categories
and
towards
the
beginning
was
I,
guess
it
was
looking
back
and
you
listed
Pei,
as
is
often
the
case
when
it
comes
with
that
Progressive
effort
of
trying
to
be.
E
You
know
to
ensure
that
we
are
including
everyone,
the
terminology
and
the
approach
changes
as
an
18
year
old
at
Boise
State.
When
I
first
started
on
this
type
of
work,
it
was
called
pluralism,
and
then
pluralism
became
multiculturalism
and
I'm.
What
I'm
reading
now
is
Dei
is
starting
to
Fall
by
the
wayside,
and
it's
becoming
anti-racism.
It's
becoming
a
bit
more
pointed
and.
E
B
C
C
D
You
know
how
we
here
at
meetings
we
talk
about
the
native
and
our
workings.
Are
you
working
with
any
of
the
tribes
to
do
any
of
that
art?
Are
you
looking
at
different
artists,
yep.
E
At
this
point,
we
are
not
identifying
any
artists,
that's
that
will
be
Stephanie's
role.
What
we
have
done
is
that
we've
put
into
the
plan,
specifically
we've
actually
requested,
specifically
to
have
a
permanent
case
that
talked
about
the
the
history
and
the
Contemporary
relationship
with
the
tribes,
because
they're
not
present
at
all
in
the
airport,
so
it
is
something
to
be
put
into
the
plan
in
the
in
the
in
the
diversity
Equity
inclusion
section.
E
What
we
do
is
we
talk
about
the
language
that
is
in
the
in
the
request
for
qualifications,
where
we
identify
our
our
statement
regarding
this,
that
is
in
line
with
the
city's
statements
and
the
Americans
for
the
Arts
statements
regarding
Dei,
and
then
we
part
of
the
program,
the
program
and
additional
programs
where
we're
talking
about
Partnerships.
E
We
also
identify
in
that
section
the
cultural
partnership,
the
cultural
Partnerships,
that
working
with
with
different
groups,
different
ethnic
groups,
different
cultural
groups,
is
something
that
is
desirable
to
show
a
more
grounded
perspective
of
what
Boise
is.
E
But
the
I
think
it's
in
that
section
where
we
identify
what's
in
the
RFQ
is
as
close
as
we
get
to
specifically
saying
that
we
want
to
work
with
people
of
all
Races
and
then
that's
really
Stephanie's
role
in
putting
together
those
opportunities.
E
Actually
I
was
approached
and
I.
Believe
mayor
McLean
was
approached
by
I.
Believe
he's
still
a
commissioner
Yvonne
Castile
I'm,
not
sure,
if
he's
still
with
the
Hispanic
commission
in
reference
to
the
tree
of
life.
That
was
donated
by
a
state
in
in
Mexico
a
couple
of
years
ago,
and
you
know
he
he
noticed
that,
and
he
said
you
know,
I
wish.
That
could
be
a
part
of
a
bigger
celebration
of
that
of
the
Mexican
people
in
Idaho,
especially
since
we've
gotten
this
beautiful
gift
from
folks
in
Mexico.
E
And
so
is
there
plans
to
make
sure
that
you
know
art
that
we
already
have
at
the
airport
is
highlighted
and
expanded
upon
as
commissioner
Castile
queried?
Yes,
one
of
our
thank
you
for
that
comment
on
the
in
our
quick
fixes
list
that
project
we
actually
call
out
and
say
that
it
needs
to
have
a
new
case
and
it
needs
to
have
signage
and
lighting.
So
we
specifically
call
it
a
piece
and
say
it's
not
presented
as
well
as
it
could
be,
and
it
doesn't
tell
the
story
of
it.
E
Wonderful,
so
thank
you.
We
did
identify
that
as
one
of
the
quick
fixes
to
be
done,
but
I
do
see
that
that
particular
project
could
be
sort
of
a
springboard
to
one
of
the
exhibition
cases.
You
know
where
that
could
be
featured
in
a
larger
exhibition
of
of
like
a
cultural
partnership.
Type
of
exhibition
could
be
specifically
built
around
that
yeah,
and
we
saw
that
as
a
problem
actually
with
a
lot
of
the
pieces
like
the
World
War
II
Aviator.
That
was
done
in
great
partnership
with
them.
E
The
an
aviation
museum
in
Nampa
we're
very
we're
very
involved
in
that,
but
the
a
lot
of
people
don't
know
that
theater
was
a
a
bomber
training
site
before
it
was
our
airport
so
having
a
historical
site
that
really
tells
the
history
of
our
relationship
to
the
National,
Air,
Guard
and
and
and
why
we
have
that
statue
out
front
would
make
that
artwork,
make
more
sense
for
the
wildland
firefighter
a
lot
of
people.
E
C
So
my
comments
just
I
mean
I
applaud
the
word.
It's
it's
terrific
and
it's
you
know,
I
think
it
just
sets
the
stage
for
so
some
really
cool
stuff
to
happen.
My
my
only
fear
and
I'm.
C
That
well
meaning
that
there's
a
lot
of
focus
on
our
our
heart
and
and
right,
Michelle
I,
love
art
at
the
same
time,
I
just
wanna
and
I
know.
You've
captured
some
of
it.
I
just
would
make
sure
that
we
have
that
we
are
focusing
on
I
mean
there's
the
visual
representations,
which
are
great
but
I've.
C
Also
I
mean
I've,
been
to
a
lot
of
airports
in
my
time
and
stuff
on
the
timing
lines,
and
some
of
the
most
memorable
ones
are
the
places
that
literally
tell
the
story
when
you're
in
those
places
like
the
security
line,
you
talked
about
or
the
reporting
items
or
whatever
yeah
there's
great
ways
to
compel
those
stories
about
the
people
place.
The
history,
all
of
it
together
and
I
I,
just
want
to
I
think.
Sometimes
we
we
get
a
little
bit
of
token
history
at
the
Boise
Airport.
C
C
I
I
And
then
I'd
love
to
hear
Jillian,
said
and
Amy's
comments,
so
I
know
so.
I
haven't
spoken
too
much
with
Tilly
regarding
the
the
particulars
of
the
plan
itself
and
how
history
could
collaborate,
but
that
is
something
that
we're
interested
in
doing,
and
there
are
a
couple
of
germs
of
a
couple
of
ideas
that
I
think.
Are
that
really
stand
out?
The
history
timeline?
That's
right
behind
us
right
here
to.
D
G
G
I
Really,
looking
for
so
replication
of
something
like
this
at
the
airport,
that
I
think
was
really
well
done.
That's
pretty
recent!
That's
very
inclusive.
We
recently
presented
the
timeline
to
library
or
colleagues
at
library,
and
they
one
of
them,
commented
on
they
plotted
the
work
for,
and
it's
really
you
know
it's
not
anything
that
I
did
it's
Brandy.
I
My
predecessors
were,
but
they
applauded
that
exhibition
for
how
inclusive
it
was
and
representative
of
women
in
particular
just
given
the
fact
that
it
sits
right
next
to
the
Boise
mayor's
installation
in
particular,
where
there's
a
lot
of
white
men
highlighted
right,
but
I
think
that
there's
a
lot
of
opportunity
to
take
some
of
the
exhibitions
that
we
did
in
the
past
and
that
we're
planning
going
forward
and
even
other
projects
like
world
history
projects
and
then
make
visual
components
to
them
and
then
have
them
on
this
rotation,
which
is
something
that
we
talked
about
with
the
director
with
other
colleagues
in
a
h,
is
to
have
things
that
we've
done
in
the
past
and
ongoing
exhibition.
I
Product
rotate
around
the
city
through
different
departments
and
Airport
would
be
a
great
way
to
do
that.
We've
had
some
conversations
about
doing
that.
Library
I
think
the
airport
would
be
a
great
next
step
in
my
book
to
talk
that
through.
If
you
want
to
tell
you
so
let's
do
that.
Let's
have
some
coffee
at
some
point.
E
Thank
you
can
I
speak
a
little
bit
to
that
in
the
existing.
E
As
if
you're
you
know
waiting
for
someone
to
come
out
from
the
air
side,
we
actually
proposed
to
do
a
replica
of
the
the
history
wall
timeline
in
that
space
and
try.
G
E
Kind
of
get
it
implemented
as
we
were
working
on
this
plan,
because
it
is
so
recent
and
fresh,
and
it
would
just
be
kind
of
the
ideal
location
for
that,
but
the
airport
is
completely
remodeling.
That
area
well,.
E
I
So
are
we
at
the
stage
yet
and
not
to
interrupt
I,
want
you
to
shoot
that,
but
I
had
a
question
during
this
proposal
is
there's
some
display
cases
that
you
showed
in
I,
don't
know
if
it
was
Boise
or
or
if
it
was
other
airports?
Are
there
display
cases
available?
Is
that
part
of
the
plan,
or
is
that
come
at
a
later
stage?
There's.
E
Two
display
cases
right
now
on
the
is
it
second
level
the
administration.
Before
you
go
into
the
conference
rooms
and
administration
side,
one
is
currently
exhibiting
model
airplanes
which
are
fabulous,
they're
really
fun
to
look
at
and
then
the
other
exhibition
case
is
actually
covered.
E
They
put
like
you,
know,
kind
of
a
a
wood
paneling
over
it.
I,
don't
I'm,
not
sure
why
or
if
it
was
just
a
temporary
in
until
they
had
something
they
wanted
to
put
in
the
case
they
they
covered
it
with
this
Vineyard.
E
A
D
E
On
the
second
floor,
there
are
some
questions.
We
have
one,
for
example,
that
where
we
are
featuring
VCT
right
now
as
our
cultural
Ambassador,
but
they're
primarily
for
sale,
and
we
only
have
that
one
because
they
couldn't
sell
it.
So
they
let
us
put
something
in
it,
but
there's
nothing
set
up
right
now
that
where
we
have
a
space
that
we
know
that
we
can
curate
and
do
exhibitions
right.
E
Have
the
Air
Force
airport
expansion
plans
been
finalized?
Are
there
blueprints
done?
I
know
there
was
reference
to
that
in
the
plan.
E
There
are
some
designs
completed
that
others
not
for
the
for
the
parking
garage
was
the
year.
The
plans
are
completed
for
The
Concourse.
A
plan
is
not
completed,
so
it's
kind
of
an
different
stages
and
then
we
have
I
read
it
right,
seven
hundred
thousand
in
a
bucket.
That's.
E
But
my
I
want
to
respond
to
John's
points,
which
is
we
agree
with
you.
We
we
do
think
there
should
be
more
history
in
the
airport.
This
plan
is
a
percent
for
art
documents.
E
The
funding
that
we
have
right
now
is
for
public
art,
and
the
programs
that
we've
made
recommendations
to
add
are
outside
of
the
funding
mechanism
that
we
currently
have
so
we're.
We
are
working
with
our
trusted
lawyer
friend,
here
Tyler
to
work
on
a
revision
of
a
public
art
plan
of
the
public
art
percentage
ordinance.
E
Thank
you
to
revision
it
as
a
cultural
asset
ordinance,
so
that
we
could
include
history
and
archive
in
in
that
ordinance,
and
then
that
would
allow
us
of
the
funding
ability
to
use
those
funds
for
those
right
now.
We
cannot
use
them
for
that.
E
So
if
we
were
to
do
anything
having
to
do
with
history,
the
airport
would
have
to
identify
funds
outside
the
percent
records,
or
we
would
have
to
find
funds
in
another
source
to
do
those
projects
right
now,
they're,
not
included
as
something
that
is
fundable
in
the
percent
of
our
ordinance.
C
D
E
G
E
They
wanted
to
give
Stephanie
an
opportunity
to
say
anything
because,
since
this
is
we're
working
under
her
leadership,
if
you
have
any
comments
on
the
plan,
I.
E
Can
make
recommendations,
but
what
actually
happens
and
what
actually
gets
produced
is
where
the,
where
the
evolution
of
things
as
it
goes
happens
and.
J
So,
as
was
mentioned,
I
think
one
of
the
I
don't
want
to
say
concerns
yet,
but
it's
if
we
do
not
have
the
ordinance
well
written.
Do
we
get
ahead
of
ourselves?
Well,
we
are
either
making
these
things
or
promising
these
things
without
a
plan
for
maintaining
them,
because
the
maintenance
falls
under
the
percent
part
of
the
0.4,
as
opposed
to
the
one
percent
and
so
I'm
unclear
whether
we
are
hoping
that
history
will
be
incorporated
into
that
one
percent
or
where
their
history
is
going
to
be
taken
from
the.
E
Actually
we're
revisioning
it
entirely
so
so
we
we
have
not
come
to
a
conclusion
yet
right
now
we're
actually
looking
to
move
to
the
the
point
for
the
maintenance
to
be
funded
out
of
our
operations
budget,
which
is
where
we're
currently
actually
funding
it
rather
than
having
it
be
part
of
the
the
ordinance.
We
would
actually
point
to
a.
G
E
For
identifying
those
funds
for
maintenance
and
conservation
rather
than
having
it
and
then
keeping
the
one
percent
or
the
one
point,
whatever
percent
would
be
for
Capital
costs,
and
that
would
include
history
as
a
cultural
asset.
If
we
were
to
go
in
that
direction,
but
but
we're
still
working
on
that
language,
so
I
don't
want
to
prematurely
speak
to
that.
E
All
I
can
say,
though,
is
that
it
will
be
provided
for
we
will
conservation
is
essential
to
the
the
care
of
what
we've
already
purchased
and
the
exhibition
of
what
we've
already
purchased
system
is
the
most
primary
thing,
and
so
it
will
not
be
forgotten
in
this
process.
J
And
then
the
other
question
that
just
kind
of
came
to
mind
is
one
thing
that
I'm
always
an
advocate
of
is
public
access
to
our
work
that
the
public
can
get
to
the
work
that
their
tax
dollars
are
going
for.
Therefore,
the
error
side
is
a
barrier
for
those
who
cannot
travel
or
cannot
pass
security.
Is
that
something
that
we've
seen
ever
brought
up
in
other
airports
in
terms
of
how
much
is
invested
on
that
side
versus
the
other
side
and
how
the
public
can
get
access
to
those
pieces?
J
Yeah?
No,
that's
a.
E
Good
question
the
because
the
functionality
of
the
airport
as
a
port
is
that's
what
its
purpose
is.
We
in
all
the
plans
that
we've
looked
at
and
in
the
plan
we
identify
about
10
different
plans
that
we
reviewed.
No
one
specifically
talks
about
a
percentage
of
of
art
on
one
side
or
the
other.
They
just
speak
to
the
the
need
for
it
on
both
sides.
They
really
it's
really
looked
at
as
a
holistic
facility.
E
Even
though
the
people
who
come
to
the
airport
are
either
they
are
traveling
or
they're.
Picking
up
someone
whose
travels
so
they're
seeing
art
we
have
put
art
on
both
sides
and
art
is
identified
for
both
sides.
But
if
there
isn't
like
a
percentage
breakdown,
okay,
I
guess,
I
I
want
to
bring
something
up.
E
You
know
something
that
I
really
enjoy
over
the
years
being
associated
with
the
city
of
Boise.
Is,
is
the
history
part
and
how
much
I've
learned
about
how
Boise
came
to
be
Boise
and
whether
it's
the
Irma
Hammond
House
and
the
significance
of
somebody
like
Miss,
Irma
learning
about
the
racist
language
in
the
Deeds
of
homes
in
certain
parts
of
Boise?
E
And
I
feel
like
this
department
of
more
than
any
has
done
such
a
great
job
of
beating
the
tip
of
the
spear
about
moving
our
organization
and
our
community
forward.
When
it
comes
to
those
issues.
I
guess
I
would
ask
that,
as
we
move
forward
with
this
plan,
that
we
that
we
think
in
terms
of
dismantling
white
supremacy
that
we
prepare
for
a
city
that
will
not
be
upwards
of
90
white,
that
we
will
change
that.
E
We
will
be
a
city
that
folks
will
want
to
come
to
to
to
make
a
home
because
those
data
restrictions
don't
exist
anymore.
E
Well,
they
do
on
paper,
but
but
that
folks
know
that
that
this
is
not
a
place
just
for
white
people
and
I
think
this
is
a
wonderful
opportunity
for
us
to
dismantle
white
supremacy
to
be
anti-racist
in
this
work,
because
it
is
the
welcome
to
folks
whether
it's
folks
coming
home
newcomers
coming
here
to
do
business
or
to
recreate
or
people
coming
to
check
it
out
and
see
if
this
is
where
they
want
to
make
their
new
home.
E
But
I
think
this
is
a
an
amazing
opportunity
for
us
to
do
that
to
really
undo
the
harm
of
the
last
hundred
or
so
years
where
it
was
put
into
policy
that
only
white
people
could
buy
homes
in
certain
parts
of
Boise
Idaho,
and
this
is
the
real
work.
It's
it's,
not
a
500
000
investigation
of
a
white
supremacist
who
was
working
with
the
Boise
Police
Department.
It's
this.
This
is
the
white
supremacy
that
we
have
to
deal
with
and
we
get
to
be
the
Warriors
to
undo
that
harm.
E
So
thank
you
for
being
for
being
the
ones
that
are
leading
that
charge.
Thank.
H
H
I
know
I
lowered
my
hand
and
didn't
turn
on
my
mic.
I
want
to
offer
just
like
a
slight
Counterpoint
to
this
and
I
appreciate
that
we're
going
to
try
to
incorporate
historical
elements,
I'm
thinking
about
all
the
things
that
I
like
in
airports
and
what
attracts
me
and
specifically
as
a
company
that
markets
in
the
Boise
Airport,
it's
all
about
selling
Boise
right
and
why
people
should
want
to
leave
the
airport
and
go
out
into
that
Community.
H
Maybe
you
get
to
the
airport
and
we
want
to
make
you
excited
about
coming
out
into
our
community.
So
from
my
perspective,
I
actually
would
go
to
the
other
side
and
say
I
want
to
see
things
that
are
modern
and
fresh
and
representative
of
the
present
Community,
which
I
think
that
means
you
know
representing
all,
but
I
I
don't
want
us
to
get
to
focus
on
making
sure
that
we
include
historical
Elements,
which
are
definitely
interesting
and
interesting
to
a
lot
of
people.
H
But
you
know,
airports
I
feel
like
should
be
forward-thinking
and
a
little
bit
more
futuristic
and
representative
of
the
community
that
you're
about
to
step
out
into
so
I.
Don't
really,
you
know,
I,
don't
disagree.
I
just
want
to
say
that
I'm
looking
for
something
different
in
an
airport
than
a
huge
historical
Focus.
F
Gabby
yeah
I,
mostly
you
said
that
really
well
I
feel
like
that.
Like
was
a
great
segue
into
what
I
was
thinking
of
as
well.
I
really
appreciate
in
well
all
the
research
you
guys
have
done
of
as
like
what
other
airports
are
doing
and
then
also
in
the
plan
under
the
Dei
section.
F
You
know
you
specifically
list
the
populations
we
have
based
on
people
who
have
come
here
under
Refugee
status
and
made
homes
and
communities,
and
one
thing
that
keeps
coming
to
mind
so
I
keep
thinking
about
the
Vancouver
BC
airport,
I
I,
don't
know
if
any.
If
you,
if
you've
ever
traveled
there,
you
will
be
you'll.
F
You
know
it'll
come
to
mind
how
spectacular
it
is
in
representing
the
native
peoples
and
then
also
some
of
the
like
colonialism
and
shifts
that
have
changed
over
time
and
in
their
art,
and
it's
modern
artists
representing
whether
it's
oh
I'm,
sorry
I,
have
holiday,
Brain
still
and
I'm
blanking
on
a
word
whether
it's
like
a
modern
retake
on
something
or
a
I,
can't
think
of
the
actual
word,
but
a
copy
of
something
historical.
F
You
know,
and
they
work
with
a
lot
of
the
historical
museums
in
the
area
as
well.
For
that
art,
it's
just
really
spectacular
and
so
I
love
that
concept
of
as
you
get
you
know,
you've
targeted
the
areas
and,
as
you
get
further
in
it
would
be
really
cool
to
see
you're
targeting
artists
from
specific
communities
and
when
I
think
about
Refugee
populations
in
particular.
F
You
know,
instead
of
presenting
it
as
like
I
think
I
think
what
often
happens
is
our
populations
get
presented
together
as
like
the
refugee
Community
as
one
in
Boise,
but
it'd
be
really
cool
to
highlight
art
and
artists,
and
culture
of
you
know
lots
of
the
various
different
different
communities
and
backgrounds
that
make
up
this
really
vibrant,
oh
I'm,
sorry,
the
holiday
brand,
that's
what
I
keep
blaming
it
on,
but
vibrant
communities
that
we
have
here.
So
thank
you.
E
Yes,
stepping
into
artists
as
a
planner
working
with
Tilly
on
this
plan
has
been
one
aspect
of
you
know
what
I
bring,
but,
of
course,
I
am
a
public
artist
first
or
have
been
in
the
past,
and
so
I
think
it's
important
to
remember
in
all
of
these.
You
know
beautiful
and
amazing
dialogues
that
we're
having,
by
the
way,
it's
incredible
that
we
can't
underestimate
the
magic
that
the
artist
will
bring
and
when
these
opportunities
actually
get
out
there
into
the
community
or
if
it's
a
nationwide,
call
and
see
who
applies
and
I.
E
E
One
aspect
of
of
trying
to
bring
all
these
things
to
the
Forefront,
but
we
gotta
we
gotta
get
the
artist
there
and
and
then
that's
all
I
want
to
say
you.
F
Yep
go
ahead.
Gabby!
Oh
sorry,
I
just
had
another
question
when
it
comes
to
large-scale
projects
like
this
and
you
put
out
a
call
to
artists,
do
you
guys
have
you
ever
done?
Information
sessions
for
groups
of
people
and
I
I
think
I
see
heads
nodding
so
I'm
taking
that
as
a
validation,
I
think
you
know
just
appreciating
what
Lisa
Sanchez
shared
earlier
of
really
practicing
on
anti-racism
I.
Think
such
a
big
part
of
that
and
I
I
know
and
deeply
appreciate,
especially
this
last
year
with
the
grant
cycle.
F
The
great
work
you
guys
have
done
to
connect
with
a
lot
of
communities
that
weren't
aware
of
these
opportunities
previously,
but
I
would
love
to
work
with
you
guys
on
setting
up
some
of
those
info
sessions
for
projects
such
as
this,
so
that
we're
making
sure
not
just
small
handfuls
of
people
from
different
communities
are
getting
the
information,
but
rather
larger
groups
of
people
who
might
not
otherwise
engage
with
this
stuff
through
through
regular
mediums,
yeah
I,
just
want
to
verbalize
I
would
I
would
love
to
be
part
of
maybe
organizing
those
when
it
gets
closer.
F
E
The
one
thing
I
wanted
to
note
what
Amy
said
is
this
plan
is
just
that.
It's
a
it's
a
plan.
That's
really
a
tool,
make
sure
that
our
that
our
commission
and
the
airport,
commission
and
our
city
council
members
are
on
the
same
page
in
terms
of
the
of
the
bigger
picture
of
what
we're
trying
to
achieve
with
art
at
the
airport,
and
it's
really
trying
to
set
the
stage
of
what's
possible
and
where
we'd
like
to
go
with
it.
E
But
this
plan
is
very
large.
We
don't
expect
that
all
36
of
these
projects
that
we
identify
will
be
implemented.
We
know
we
understand
that
what
we're
trying
to
do
is
set
the
stage
and
set
the
table,
and
then
it's
really
up
to
Stephanie
and
her
staff
to
identify
and
prioritize
those
opportunities
and
then
figure
out
who
the
who
the
artist
is
so
important
to
the
airport.
E
What
the
airport
will
work
with
us
on
in
terms
of
giving
us
space
for
cases
and
Partnerships
that
historical,
the
airport,
sells
all
of
those
cases,
so
they
have
been
reluctant
to
partner
with
us
to
do
exhibitions
or
Community
groups,
because
they
see
those
as
potential
opportunities
to
sell
them
to
have
them
purchase
that
space.
So
all
of
this
is
actually
in
some
ways.
E
This
is
our
sales
tool
to
say
this
is
our
vision
that
we'd
like
to
see,
but
for
for
any
of
this
to
come
to
fruition,
it
will
take
the
work
of
Stephanie
and
her
team
and
then
the
partnership
of
the
airport,
to
bring
to
bring
in
any
of
it
forward,
and
the
council
and
the
leadership
that
we
see
at
our
elected
official
level
and
and
what
they
press
for
as
well.
I
So,
in
other
words,
the
airport
commission
could
approve
the
plan
right
and
they
could
adopt
a
plan
and
it's
been
approved.
It's
you
know,
say
it's
been
approved
by
a
H's
commission
that
doesn't
necessarily
bind
them
into
providing
space
for
it
for
anything,
really
correct.
Okay,
it's
just
kind
of
a
good
phase.
E
People
that
worked
on
in
that
yeah
on
that
Avenue,
you
know
that
Tilly
and
I
have
done.
We've
really
wanted
to
try
and
get
the
most
solid
foundation
under
this,
as
we
can
with
the
airport
and
so
a
lot
of
advocate
for
spaces
that
are
currently
being
used
for
advertising
to
try
to
try
and
kind
of
help
ship.
That
mindset
like
this
could
be
more
valuable
in
the
guest
experience
which
we
find,
which
we
want
to
put
as
a
goal
number
one
right.
E
So
you
know
trying
to
kind
of
get
a
lot
of
that
sort
of
you
know
kindling
in
the
fire
but
yeah.
Now
it's
up
to
the
plan
to
move
forward,
and-
and
hopefully
you
know,
get
some
of
these
things,
but
and
it's
for
stuff.
You
need
to
have
to
be
able
to
refer
to
the
plan
and
say
you
know
you,
as
an
airport,
commission
or
arts,
and
history
commission
approved
this
we'd
like
to
implement
this
Stephanie,
and
her
leadership
feels
that
this
a
b
and
c
is
the
most
important.
I
Yeah
I
just
wonder
about
it
and
sure.
Thank
you.
That's
so
helpful
for
that
context,
because
I
just
I
wasn't
really
aware
of
how
that
worked
right,
just
being
still
someone
new
and
all
that,
but
it.
I
E
What
the
experience
of
the
airport
is:
that's
what
we're
trying
to
communicate
to
the
airport
leadership
and-
and
they
don't
disagree
theoretically
right
because
they
go
to
other
airports
and
they
have
that
experience
in
other
places.
I
think
it's
just
hard
to
give
up
that
Revenue
stream
yeah.
Is
there
a
possibility
of
having
you
know
those
folks
sponsor
an
exhibit?
E
That's
possible
dips,
that's
definitely
possible
and
also
you
know
trying
to
make
the
case
right
in
the
in
the
new
construction
opportunities
to
specifically
work
with
arts
and
history
and
say:
okay,
you
know
we
want
to
continue
this
amount
of
wall
space,
new
exhibition
cases
that
are
just
for
art
or
just
for
rotating
art
exhibitions
or
history
exhibits
so
trying
to
really
advocate
for
that
in
any
kind
of
new
construction.
E
To
think
about
the
plan
and
some
of
the
opportunities
that
we've
laid
out
there
I
could
see.
You
know
if
we,
if
there's
an
exhibits,
but
you
know
like
we
have
Hispanic
Heritage,
Month
or
indigenous
people's
mind
like
I,
could
see
somebody
really
wanting
to
have
that.
E
Yeah
they've
seen
we've
done
a
presentation
about
a
year
ago
when
we
were
just
in
the
middle
of
the
project
and
we'll
go
to
them
in
February.
C
D
C
My
request
is
that
you
know,
as
as
we
do
other
projects
as
we
do
other
things,
it
would
be
helpful
to
to.
C
Have
updates
delivered
more
hearing
more
frequently
so
that
we're
not
trying
to
digest
the
whale
at
the
end
and
then
you
know
being
asked
to
you
know
we
should
have
had
this
dialogue
and
then
you
know
vote
it
at
a
different
meeting,
because
it's
a
lot
and
so
that's
my
slot.
I
just
want
to
waste
that
that's
the
frustration
I
have
because
we've
been
asking
for
Content
or
commission
values
and
it's
been
frequently
thin,
and
this
is
something
in
this
dialogue
that
we.
C
For
me
just
being
being
able
to
just
review
it
at
a
deeper
level
and
but
you
know
and
I'm
not
saying
that
I
I,
that
is
so
for
me,
that's
the
that's
the
thing
it's
like
this
is
we're
having
this
dialogue
and
it's
great
dialogue
and
it's
which
dialogue
I
appreciate
it.
But
you
know
we
have
an
action
item
to
consider
and
thank
you
Tyler
for
your
comment.
So
that's
those
are
my
frustrations.
Not
anyone
else's.
H
Oh
I'm,
fine
with
that
John
I.
Think
if
you
know,
if
the
recommendation
is,
we
all
take
the
next
month
to
get
a
copy
of
the
document
and
kind
of
review
it
more
thoroughly.
I've
been
looking
at
it
but
like
line
by
line.
If
that
makes
us
more
comfortable
and
then
we
can
vote
on
it
next
time,
I
think
that's
reasonable
unless
Tilly
that
totally
screws
with
your
schedule.
E
Well,
it
shouldn't
we're
going
to
the
Commission
in
February.
I,
don't
have
an
exact
date
yet
so
it
should
line
up
since
we're
at
the
beginning
of
the
month.
A
Day
unless
our
commission
meeting
pays
changes,
it.
E
We
do
have
yeah
I
apologize
for
not
getting
that
to
you
earlier.
We
we
just
got
the
proofs
back
from
the
designer.
In
fact,
I
have
another
proof
that
we
got
back
from
her
yesterday.
That's
a
little
bit
more
up-to-date.
So
what
I'd
like
to
do,
if
you're
going
to
hold
on
to
this
to
review
for
the
next
month,
is
to
send
you
the
proof
I
got
from
her
yesterday
to
review
and,
and
that
would
work
just
fine
yeah
I
realize
that's
a
media
document.
We've
been.
E
We
have
been
working
on
this
for
two
years
and
it
is
there's
a
lot
of
meat
in
that
class.
C
Back
from
other
commissioners,
if
we
had
more
time
to
digest
and
then
take
a
boat
on
February
1st
at
our
next
meeting.
E
F
G
The
decision
of
formal
actions
needed
is
to
sign
the
table
for
this
point
and
we'll
take
the
vote.
The
next
time,
we'll
get
it
on
the
agenda
and,
if
there's
more
further
discussion,
we're
ready.
C
J
Right
just
so,
there
was
no
surprises
because
it
has
been
kind
of
a
a
heated
issue
in
the
past.
In
the
plan
there
is
a
recommendation
for
Ada
session,
and
it's
mentioned
in
there
just
to
contextualize
it
just
a
little
bit.
Amy
Westover
is
the
artist
and
she
is
on
board,
and
so
it
comes
with
kind
of
yeah.
J
J
And
so,
as
I
understand,
approving
the
plan
is
not
approving
the
session.
That
would
be
a
subsequent
issue
in
terms
of
discussing
what
the
next
steps
and
methods
of
disposal
would
be.
That's.
H
Helpful.
Thank
you.
That's
a
reminder
for
me
too,
like
the
opportunity
to
help
engage
with
when
we
call
to
artists
to
create
the
new
art
or
the
new
whatever
we
want
to
do
for
the
like.
For
the
library,
I
have
Christmas
brain
too,
the
airport
will
come
at
a
later
time,
so
there's
I
mean
this
is
just
the
first
opportunity
to
engage
with
this
really
in
my
mind,
oh.
C
Totally
yeah
I
agree
with
that.
Okay,
so
we're
gonna
go
ahead
and
then
table
that
I
want
to
be
cognizant
of
time.
Jennifer.
A
A
G
A
Opportunities
and
reflect
our
communities
experiences
past
and
present
through
our
City's
story
and
built
environment.
As
always,
this
work
is
framed
by
the
city's
commitment
to
fostering
and
valuing
diversity.
Equity
inclusion
in
our
mayor's
vision
of
creating
a
city
for
everyone
I'd
also
like
to
frame
this
work
or
this
presentation
by
saying
that
we
literally
wouldn't
be
able
to
do
any
of
this
without
our
leadership,
support
and
I.
Think
so.
Council
member
Sanchez
support
as
our
liaison
our
steam
Commissioners
my
counterparts
in
the
office
of
community
engagement
and
across
the
organization.
A
My
colleague
Mackenzie
Dunstan
who's,
not
here,
but
supports
these
efforts
and
a
great
deal
and
our
director
and
our
team,
with
whom
I
have
the
great
privilege
of
working
so
before
I
go
into
2023
I
wanted
to
take
a
quick
look
back
at
2022.
We
did
an
overview
at
our
December
meeting,
but
I
just
wanted
to
look
at
2022
through
the
lens
of
communications
and
Community
engagement.
B
A
Past
year,
team
provided
coordinated,
effective
and
accessible
Communications
and
Community
engagement
opportunities
around
several
initiatives,
but
primarily
around
the
opening
of
Boise's
newest
cultural
site.
The
urban
Haven
house,
Community
engagement
efforts
focused
on
working
alongside
the
Irma
Hayman
house
task
force
to
build
awareness
around
Boise's
newest
cultural
site
as
an
identifiable
cultural
destination,
and
we
did
that
through
stakeholder
meetings
and
a
very
robust
series
of
site
preview
tours
which
I
think
everyone
here,
with
the
exception
of
a
few
participated
in,
and
my
thanks
to
you
for
doing
that
from
there.
A
Our
communication
efforts
focused
on
developing
a
brand
printed
materials
and
a
digital
presence
website
social
media
newsletter,
along
with
a
robust
advertising
and
media
campaign
in
support
of
the
opening
of
the
Irma
Hammond
house,
and
with
these
campaign
tactics
in
hand,
we
built
excitement
and
brought
together
city
of
Boise
leadership,
leadership,
staff,
Irma,
Hammond's
family
from
far
and
near
members
of
the
task
force
and
members
of
our
community
and
that
total
of
approximately
400
people
shoulder
to
shoulder
on
opening
day.
So
thank
you
for
that.
A
In
addition
to
the
opening
of
the
Irma
Hammond
house,
we
experienced
a
lot
of
change
with
the
retirement
of
the
Department's
first
director
Terry
Schwartzman
in
January
of
2022,
and
as
a
result,
efforts
focused
on
communicating
change
effectively
and
ensuring
that
we
continue
providing
service
access
to
service
to
our
community
and
I
will
have
more
to
say
about
that.
In
a
few
minutes.
Throughout
the
year,
our
entire
staff
continued
to
reimagine
ways
to
reach
and
engage
community
members
locally
and
regionally
with
access
to
resources,
funding
opportunities
and
cultural
programming.
A
A
This
work
actually
dovetails
and
to
director
Stevens
strategic
planning
efforts
and
may
build
or
may
build
the
foundations
for
a
stronger
brand
marketing
strategy
in
the
future.
So
more
on
that
very
soon,
but
I
think
this
is
an
opportunity
to
really
dig
deep
and
make
sure
that
our
mission,
vision
and
values
are
aligned
with
the
cities
with
change
in
growth
also
comes
the
necessity
to
familiarize,
in
some
cases,
re-familiarize
colleagues,
residents
and
visitors
with
the
Department's
people.
A
So
please
be
on
the
lookout
for
say,
hello
campaign
to
introduce
and
sometimes
reintroduce,
long-term
and
newer
staff
members
as
stewards
of
two
cultural
sites.
Now
we
will
also
be
working
on
developing
a
clear
and
robust
marketing
strategy
to
promote
both
the
James
castle
house
and
the
Irma
Haven
house
as
cultural
destinations,
both
locally
and
Regional,
and
as
always,
we
will
continue
to
promote
access
to
our
growing
collection
of
art
and
artifacts
and
archives.
Did
I
say
that
art
archives
and
artifacts
here
we
go.
A
As
available
funding
opportunities
to
support
cultural
workers
through
calls
to
artists,
grant
funding
opportunities,
residencies
and
cultural
contact
contracts,
among
others
and
as
you've
just
heard,
one
of
the
focus
areas
will
be
on
the
rollout
of
the
public
art.
A
The
public
art
Master
plans
excuse
me
focused
on
public
works
and
the
airport
pending,
obviously
Penn,
commission
and
Leadership
approvals,
so
that
will
mean
working
inter-departmentally
with
our
Public
Works
and
Airport
staff
in
our
public
art
team
activities
will
include
educating
the
community
about
the
plans
and
their
contents,
identifying
prioritizing
and
Publishing
opportunities
and
determining
communication
and
community
community
engagement
strategies
as
they
relate
to
each
stage
everyone's
projects.
A
So
those
are
kind
of
the
main
party
areas.
I
have
a
non-exhaustive
list
of
dates
and
events
for
2023
I
just
wanted
to
share
again.
This
is
not
exhaustive,
but
the
kickoff.
The
year
the
James
castle
house
will
open
a
new
exhibition.
Titled
Hearth
and
Home
showcasing
Jane
Castle's
soup
drawings,
part
of
a
generous
gift
to
the
city
of
Boise
by
the
James
Castle
collection
archive.
A
A
This
spring,
we
are
looking
to
dedicate
the
Eighth
Street
tunnel,
mural
by
Addie
Boswell,
in
partnership
with
the
wasma
center
for
human
rights,
home
of
the
Idaho
and
Frank
human
rights
Memorial.
That
work
is
titled
out
of
menu
and
we
are
also
in
the
process
of
reimagining
how
we
engage
our
community
locally
and
visitors
in
our
public
art
collection
through
Tours,
to
cater
to
multiple
audiences
and
increase
visibility
and
access
to
existing
collections
or
items
in
the
public
art
correction.
A
Looking
ahead,
we
will
be
hosting
the
mayor's
awards
for
excellence
in
arts
and
history
in
September
and
appointing
a
new
cultural
Ambassador.
Boise
contemporary
theater
is
in
its
second
term
as
the
city
of
Boise's,
cultural,
Ambassador
and
their
term
ends
at
the
end
of
this
fiscal
year.
So
September
30th
2023.
So
the
mayor
will
be
appointing
a
new
investor
for
the
fy24
fytv
funds
terms
and
that
same
month
September
we
will
be
hosting
up
to
a
thousand
members
of
the
American
Association
for
state
and
local
history,
also
known
as
a
aslh.
A
So,
as
I
did
last
year,
I
will
share
with
you
the
details
of
this
plan,
along
with
the
calendar
of
programs
and
activities
planned
for
the
year
per
commissioner
Amanda
Ashley's
request
in
December
I
will
also
start
sending
members
of
the
commission
Outlook
appointments
for
key
events
and
engagement
opportunities.
So,
look
for
those
as
well
so
360,
10,
000,
foot
level,
overview
of
2023
I
appreciate
your
time
and
I'm
open
to
any
questions
or
suggestions.
A
You
may
have.
Thank
you
very
much.
C
Thank
you
Jennifer.
As
you
know,
I
I,
you
almost
you
know
you
get
as
high
as
you
can
possibly
get
in
my
mind
and
then
you
just
do
that
kind
of
stuff.
C
A
E
Honor
to
say,
the
the
the
dedication
of
the
Irma
Hayman
house
was
amazing.
It
was
such
a
powerful
event
and
it
was
wonderful
to
have
Flesh
and
Blood.
You
know
to
have
so
many
family
members
of
Miss
Irma's
there
and
you
know
all
of
these
things
are
Concepts
and
they're
they're,
flat
images
and
then
and
then
you
meet
the
people
and
it
was
just
a
wonderful
event,
and
so
I
just
wanted
to
thank
everybody
with
arts
and
history
who
did
such
a
wonderful
job
of
putting
on
that
dedication.
D
I
I
Ambassador,
so
you
mentioned
that
that's
a
mayoral
appointment,
those
arts
and
history
is
any
feedback
or
recommendation
solicited.
I
A
A
Administration
has
also
looked
up
the
entire
pool
of
applicants
and
made
their
decision
based
on
on
the
swap
of
applicants.
So
it
just
depends
on
the
administration.
A
E
A
Covid
and
wanting
to
promote
a
economic
recovery
through
the
mayor's
awards
for
excellence
in
arts
and
history,
and
so
that
turned
into
the
mayor's
Appreciation
Day
for
arts,
history
and
culture,
with
a
a
cultural
investment
in
in
that
sector
and
performances
and
activation
of
City
Health
projects.
So
a
little
bit
of
a
a
different
approach
to
that
event.
But
it
was
is
a
reflection
of
the
times
and
circumstances.
C
Okay
was
with
that
I
want
to
thank
everyone,
especially
Jennifer
and
Tilly
and
Amy
for
all
the
work,
and
it's
super
helpful
and
and
just
thank
everyone
and
here's
to
good
2023
for
for.