►
From YouTube: October 20, 2021 Arts Commission
Description
Additional information at
https://lims.minneapolismn.gov
A
B
Thank
you
good
evening.
My
name
is
joan
vorderbergen
and
I
am
the
chair
of
the
minneapolis
arts
commission
before
we
begin
I'd
like
to
note
that
this
meeting
includes
the
remote
participation
of
members
as
authorized
under
minnesota
statute,
section
13d
.021
due
to
the
declared
local
health
pandemic.
I
will
now
call
this
meeting
to
order
and
ask
the
clerk
to
call
the
role
so
that
we
can
verify
the
presence
of
a
quorum.
A
C
F
B
B
We're
glad
you're
here
I
might
be
able
to
there.
You
go
okay,
great,
thank
you
with
that.
We
will
proceed
to
our
agenda,
a
copy
of
which
was
posted
for
public
access
to
the
city's
legislative
information
management
system,
which
is
available
at
limbs.minneapolismn.gov
thanks,
okay,
I
we
will
need
an
adoption
of
the
agenda.
Can
I
get
a
motion
to
approve
this
evening's
agenda?
It
should
be
in
the
chat.
If
not,
maybe
you
know
you
can
drop
it
in.
B
All
in
favor,
I
guess
we
have
to
call
the
role
on
this
too.
I
think
we
could
do
this
couple
of
times,
hello,
angela,
we're
doing
our
the
the
robert's
rulesness
of
our
start
of
our
meeting.
Just
so
you're
aware,
thanks
for
joining
us,
okay,
so
we
have
a
second.
We
have
a
motion
and
a
second
and
then
call
the
royalty.
That's
it.
H
B
So
moved
next,
the
acceptance
of
the
september
22nd
2021
minneapolis
arts,
commission
minutes.
I
have
a
motion
to
approve
those
any
edits
or
any
comments
about
those,
otherwise
smashing
too
cool.
H
E
H
B
I
so
moved
thank
you.
Wouldn't
it
be
nice
to
combine
all
three
of
those
somehow
I
don't.
Maybe
you
don't
have
to
think
about
doing
that,
but
at
any
rate,
thank
you
for
helping
us
get
through
the
business
of
starting
the
meeting,
and
with
that
we
are
going
to
move
to
introductions
and
we
do
have
an
amazing
guest
with
us
this
evening,
who
is
item
number
five
after
we
kind
of
introduce
ourselves.
B
So
I
think
it
would
be
awesome
if
you
know
we
kind
of
do
the
typical
introductions,
but
if
there's
anything
that
you
wish
to
share
with
your
fellow
commissioners
briefly
or
anything
that
you
wish
to
share
with
the
guest
or
staff,
I
would
say
just
keep
it
brief.
But
let's
popcorn
around
like
we
do,
if
that's
cool
and
does
anyone
want
to
volunteer
to
start.
F
I'll
start,
I
don't
care,
you
have
to
go
anyway,
so
you
might
as
well
get
it
over
with
that's
what
I
said.
Sorry
thank
you.
It's
been
a
long
day.
I
don't
talk
to
people
very
much.
My
name
is
mandy
bedbury.
I
I
represent
ward
10
on
the
minneapolis
arts,
commission.
I
am
an
actor
in
the
city
and
I
teach
emotional
intelligence
using
improv
techniques
to
corporate
america
well
and
educators
as
well,
so
yeah
and
I
pass
it
to.
G
My
name
is
crystal
rinkman.
She
her
hers
thanks,
mandy
and
happy
to
be
here,
excited
for
what
we
have
in
store
and
I'm
passing
it
to
lucy.
J
Hey
everybody
lucy
thompson,
ward,
10
representative,
I'm
layperson,
non-artist,
lay
person,
my
background's
in
city
planning
and
urban
design,
and
angela
I'm
really
happy
to
have
you
here,
because
I
went
to
see
your
piece
last
week
and
was
just
just
it's
so
beautiful
and
so
amazing.
So
I
to
know
that
you
were
going
to
be
with
us
today.
I'm
really
excited
it's
great
to
see
you
and
I'm
really
excited
to
hear
what
you
have
to
tell
us.
So
thanks
for
being
here
I'll
pass
it
to
lana.
I
Thanks
lucy
hi,
commissioner
lana
eelsworth,
I
represent
ward
10.
No,
I
don't.
I
represent
word
11,
and
I
was
remembering
that
I
needed
to
say
she
her
hers
and
I
didn't
say
that
so
there
you
have
it.
I
serve
on
the
board
as
an
art
slate
person,
and
I
am
a
strong
arts
enthusiast
with
an
emphasis
on
theater.
I
H
K
Hi
everyone
I'm
jack
mabus,
I
represent
ward
12..
I
am
administrative
help
on
the
council
or
on
the
commission
rather,
and
I
work
at
the
university
of
minnesota
at
the
institute
on
the
environment
as
a
project
manager
and
executive
administrator,
and
let
me
see
if
I
can
can't
see
who's
participating.
C
Hello-
everyone
sorry
about
my
lighting,
I'm
I'm
working
on.
It
doesn't
look
like
I'm
in
like
halloween
mood,
but
I'm
jeff
swinton
and
I'm
from
ward
seven,
and
I
am
a
lay
participant
and
arts
enthusiast
and
I,
like
two
of
my
other
commissioners,
also
visited
walker
and
was
like
wow.
This
is
great,
so
I'm
super
excited
about
hearing
angela
today
and
I
will
pass
it
to
joan.
B
I
B
There's
a
lot
going
on
in
your
world,
so
just
so,
I'm
feeling
so
much
gratitude
for
everyone's
time
in
the
evening
time,
after
a
long
rainy
day.
I
I'm
excited
about
the
conversations
we're
gonna
have
the
stuff,
we're
gonna,
learn
and
where
we're
headed.
So
I
just
I'm
feeling
a
really
big
sense
of
gratitude
for
everyone
who's
here
and,
let's
see,
did
we
pass
it
to
david.
E
David
smith,
ward,
one
I'm
a
layperson
on
the
commission
as
well.
He,
his
speaking
of
the
walker
I
was
also
there.
I
didn't
get
out
to
the
sculpture
garden,
but
I
went
to
the
opening
of
the
julie
moreto
exhibit.
I
thought
it
was
very
pretty
extraordinary,
some
really
huge
scale
artworks.
B
D
Sorry,
I
muted
mary
upton,
I'm
a
muted.
She
her
hers,
I'm
so
glad
angela's.
Here
I
have
had
the
privilege
of
working
with
angela
a
couple
of
times.
I
have
not
been
to
the
walker,
yet
I'm
saving
it
for
a
special
day
and
an
outing
with
a
special
friend,
but
I'm
so
excited
angela
is
here
tonight.
A
Sure,
hello
good
evening,
tina
beach.
I
work
in
c-ped
with
mary
altman
and
I
haven't
been
to
the
walker
in
a
while,
so
I
should
probably
go
check.
It
out
sounds
like
it's.
A
wonderful
exhibit
so
looking
forward
to
the
conversation
tonight
welcome
angela.
B
All
right
did
we
get
everybody.
Did
we
miss
anybody?
Okay,
I
was
good.
I
have
called
on
commissioner
brinkman
to
give
you
a
little
bit
of
an
introduction,
angela,
although
it
seems
as
if
a
lot
of
people
are
quite
familiar
with
what
you're
doing.
But
if
you
don't
mind
crystal
to
just
say
a
few
words
before
we
give
angela
a
chance
to
introduce.
G
Yeah,
well,
I'm
really
excited
to
to
have
angela
two
stars
with
us
who
is
not
only
an
accomplished
artist
and
many
of
us.
I
too
made
it
to
the
sculpture
garden
a
couple
times
in
the
last
week
and
yeah
definitely
highly
recommend
spending
some
time
with
with
angela's
piece,
but
is
also
the
director
of
all
my
relations
gallery
located
on
franklin
avenue.
G
So
thank
you
so
much
for
being
here,
angela
and
just
kind
of
updating
us
on
what's
going
on
with
all
my
relations
and
then
anything
you
might
want
to
add,
just
as
a
working
artist
in
the
city
would
be
amazing.
Thank
you.
So
much
for
being
here.
L
Thank
you,
everybody
for
that.
Warm
welcome
goodness.
I
just
wanted
to
say
I
feel
like
I
should
be
in
like
a
cara,
romero
photograph.
Look
at
my
background,
I'm
just
all
feeling
super
formal
like
I
should
be
in
one
of
her
photographs.
So
I
could
see
why
robert
likes
this
backdrop
when
he
does
his
meetings
so
well,
it's
so
nice
to
hear
so
many
people
have
had
a
chance
to
go
see
my
sculpture
at
the
walker.
That
was,
you
know
a
nail
biter
as
installation
goes
with
public
art.
You
know
always.
L
You
know
servants
to
the
weather,
and
you
know
in
covet
time
that
as
well,
you
know
work
short
worker
shortages
and
things
like
that.
So
I'm
glad
it
all
came
to
fruition
and
it
was
a
really
great
opening
reception.
My
family
and
my
culture
were
very
much
on
display
and
I
think
that
was
quite
a
gift.
L
You
know
to
minneapolis,
I
think,
as
a
dakota
artist,
you
know
for
me,
you
know
I
came
to
minnesota
after
you
know,
being
you
know,
having
my
ancestors
being
in
exile
for
over
150
years
and
basically
coming
home,
and
it's
because
of
the
bidet
mccoska
public
art
project
is
how
I
returned
to
my
ancestral
homeland.
So
that's
really
exciting
and
I've
really
connected.
You
know
with
the
community
with
the
arts,
and
you
know
yeah
kind
of
planting
my
roots,
so
it's
good
to
be
home,
so
yeah,
I'm
the
director
of
all
my
relations
arts.
L
We
are
located
in
the
american
indian
cultural
corridor
on
franklin
avenue
we're
a
project
of
the
native
american
community
development
institute.
So
my
job
is
to
uplift
and
highlight
contemporary
native
american
artists,
and
our
gallery
is
a
cultural
destination,
and
it's
also
you
know.
For
me,
it's
just
been
this
place.
That
really
has
a
lot
of
opportunity
to
offer
support
an
advocation
for
native
artists.
L
Am
like
a
a
product
of
nakti.
You
know
I
exhibited
here.
This
is
my
very
first
gallery
space
that
I
exhibited
as
a
professional
artist.
You
know,
out
of
I
was
still
in
school
and
when
I
came
here
I
really
had
a
lot
of
support.
You
know
I
traveled
from
michigan
to
come
to
the
opening
reception
because
your
first
exhibition
you
ever
get
into
you're
like
oh,
my
god.
L
Oh
my
god,
you
know
so
I
was
I
drove
nine
hours
to
come
to
the
opening
reception,
yeah
and
I
showed
up
like
an
hour
early
and
then
actually
staff.
Just
let
me
hang
out
in
their
office.
You
know
and
shared
some
opportunities
that
they
knew
of
some
upcoming
like
residencies,
because
I
was
you
know
soon
to
be
graduated
and
they
invited
me
back
to
be
part
of
an
artist
panel.
So
I
was
on
this
panel
with
gordon
coons
and
trolling
taha
gianni
whitehawk
who's.
L
Just
you
know
been
such
a
inspiration
to
me
in
my
career.
You
know
she's
just
phenomenal
and
to
be
able
to
be
in
conversation
with
these.
You
know
pretty
established,
experienced
artists,
and
here
I
was
like
the
newbie
like
how
do
you
guys
do
it
so
that
then
translated
into
me
being
invited
to
curate
an
exhibition,
and
it's
so
incredible
that
you
know
they
had
a
national
list
of
artists
that
they
could
think
of
to
curate.
L
E
L
So
they
asked-
and
I
said
yes
and
then
they
said:
okay,
the
theme
is
missing
and
murdered
indigenous
women,
so
that
you
know,
is
a
big
bite
as
a
first-time
curator
to
take
such
a
heavy
topic,
and
you
know
for
me
having
personal
experience
with
that
shaped
the
way
that
curation
and
that
exhibition
looked
and
it
just
became
such
an
impactful
exhibition.
L
L
You
know
really
deeply
personal
stories
and
for
me,
as
a
curator,
because
I
know,
like
I
shared
my
story
with
the
artists,
you
know
my
grandmother
being
kidnapped
and
murdered
when
I
was
nine
and
how
that
impacted
me
and
how
my
family
experienced
that
whole
time
in
life,
and
so
I
shared
that
with
the
artist
because
for
indigenous
artists
we
all
have
a
story,
you
know
and
it's
an
experience
that
everybody
can
relate
to
or
has
their
own
and
so
for
me
to
share
my
story
with
these
artists
that
I
was
asking
to
share
such
deeply
personal
work.
L
L
I
made
it
a
point
to
connect
with
every
single
artist
and
talk
with
them
about
how
they
felt
about
the
topic
and
make
sure
they
were
feeling
supported,
because
it
was
very
re-triggering,
a
lot
of
trauma
and
a
lot
of
our
audience
that
came
into
that
exhibition
didn't
have
the
same
experience
as
I
did
where
I
had
time
to
process
the
work.
I
had
time
to
unpackage
the
work
and
you
know
kind
of
determine
where
it
was
going
to
go
in
the
gallery.
E
L
You
know,
and
it's
it
was
it's
a
very
emotional,
traumatic
topic
that
continues
to
impact
our
community
and
you
know,
native
country.
L
So
I
guess
like
for
me
like
those
types
of
themes,
and
I
think
even
my
first
exhibition
when
I
took
over
as
director
of
all
my
relations
arts
was
a
celebration
of
george
morrison's
work
and
his
experience
as
a
native
artist
and
how
he
wasn't
kind
of
respected
in
the
same
level
as
as
his
contemporaries
at
the
time
and
how
he
was
like
deemed
like
not
native
enough.
You
know
for
the
contemporary
art
world
and
also
not
native
enough
for
the
native
art
world.
L
You
know
he
wasn't
making
art
that
was
deemed
native
art
and
it
was
really
pushing
that
notion
of
like
what
the
audience,
what
the
audience's
stereotypical
view
of
native
art
looks
like
and
that's
an
ongoing
theme.
You
know
for
native
artists,
I
feel,
even
in
my
walker
sculpture,
I
had
many
people
telling
me
like.
You
should
put
the
medicine
wheels
colors
in
it
because
it
doesn't
look
native.
You
know,
and
I
was
like
well
it's
native
because
I
made
it.
L
You
know
and
there's
the
four
directions
in
it,
so
there's
a
slight
node
to
our
culture,
and
I
mean
jesus
got
language
all
over
it,
so
it's
pretty
native,
but
it's
always
pushing
you
know,
kind
of
what
that
consideration
of
native
art
is
supposed
to
look
like.
That's
not
the
only
thing
that
inspires
me
as
an
artist.
You
know
like
I,
I'm.
L
Know,
first
and
foremost,
and
so
all
my
work
has
some
part
of
my
identity
as
a
native
american.
You
know
in
it,
but
it's
not
all
feathers
and
teepees.
You
know
I
have
a
range
so
yeah
and
and
some
of
those
conversations
can
be
challenging
like
in
terms
of
the
artwork
that
you
know
the
artists
that
I
support
the
work
that
they
make
because
our
history
is
native.
Americans
is
hard.
It's
it's
a
hard
history.
It's
ugly!
L
L
L
That's
part
of
that
perpetuation
of
you
know
native
stereotypes
and
that
romanticized
notion
of
native
americans
and
teepees-
and
you
know
we're
just
really
seeing
a
lot
of
just
amplified.
Voices
like
in
the
native
american
community,
like
you
know,
in
tv
representation
and
those
things
are
so
important.
You
know,
like
reservation
dogs,
I
mean
that
show
is
awesome
and
the
humor
in
it
like
we
totally
get
you
know
and
like
I
think
I
don't
know
any
american
that
doesn't
like
that
show.
L
You
know
it's
so
so
much
to
what
we've
all
grown
up
with
and
experienced,
and
the
humor
you
know
is
like
that
is
there's
so
much
humor
in
our
community
and
in
our
our
people
and
our
culture,
and
it's
part
of
how
we
heal
from
so
much
of
the
atrocities
that
have
been
inflicted
on
us
not
on
us,
but
you
know
like
our
ancestors,
but
we
do
carry
that
trauma.
L
L
L
I,
I
literally
can't
hear
this
person
speaking
dakota,
like
I'm,
this
artist
incorporating
dakota
my
work
like
what
the
heck
and
it's
because
of
the
trauma
you
know
my
grandmother
was
both
of
my
grandmothers
were
victims
of
boarding
school,
you
know
abuse
and
that
trauma
does
live
in
me
and
and
I've
had
to
overcome
and
push
through
that
feeling
that
shame
of
not
knowing
how
to
speak
my
language,
it's
very
emotional,
it's
very
vulnerable
because
our
language
is
so
much
a
part
of
our
identity.
L
So
you
know
that
walker
piece
was
really
really.
It
was
just
huge.
You
know
to
to
go
to
elders
and
share
my
work
and
have
to
admit,
like
I'm
a
basic
speaker,
I
couldn't
hold
a
conversation
with
you.
I
know
how
to
count
to
ten.
I
know
some
animals
and
you
know
a
little
basic
phrases.
You
know
that
I
speak.
L
Speaker,
it
was
really
vulnerable
and
I
had
to
really
push
through.
You
know
just
the
awareness
and
where
I
was
at
with
my
language
so
and-
and
I
guess
you
know
even
that
process
of
sharing
that
content
within
my
applications.
You
know
that's
one
thing
like
when
we
talk
about
historical
trauma
or
intergenerational
trauma.
L
L
I
don't
have
a
good
relationship
with
my
dad
because
of
you
know,
addiction
and
that
exists
in
how
I
operate
in
in
my
life
as
an
artist,
and
it's
not
just
me
saying,
oh
intergenerational
trauma,
it's
like
this
is
what
it
looks
like,
and
this
is
how
it
feels
and
it's
real.
So
that's
one
thing
to
share
that
with
people
you
know,
rather
than
just
these
just
being
kind
of
like
these,
I
guess
like
trigger
words
or
something
to
speak
of
our
culture.
L
You
know
I
mean
it's
not
all
negative
and
we're
a
lot
more
vocal.
L
And
to
me,
I
I
kind
of
I
guess
in
my
experience
as
an
artist
and
advocating
for
the
artists
that
I
work
with
it's
trying
to
break
down
kind
of
the
the
expectations
trying
to
break
down
the
experience,
because
some
of
these
spaces
that
we
operate
in
are
not
safe
for
us.
I
don't
know
how
many
meetings
that
I've
left
and
cried
because
it
triggers
my
trauma
or
it's
it's
really
just
hard
to
have
to
continue.
Having
these
conversations
to
explain.
L
You
know
my
like
indian
101
or
listening
in
on
conversations
like
that,
like
after
a
while,
I
start
to
get
this
gross
feeling
in
my
stomach
and
it
kind
of
makes
my
heart
hurt.
You
know,
because
that's
that
trauma
how
it
lives
and
shows
up
in
me
today
so
and
it's
also
really
advocating
for
institutions
to
stand
by
our
side.
You
know
and
and
be
in
the
work
with
us
and
not
make
us,
do
the
work
for
them.
L
Like
that's
been
a
big
thing
of
like
don't
make
me,
have
to
teach
you
about
boarding
school
experience
or
have
to
like
write
your
land
acknowledgement
for
you
or
you
know,
do
these
things
or
have
things
be
done
just
at
face
value,
you
know
it's.
What
else
are
you
doing?
You
know?
Are
you
do
you
have
native
people
on
your
staff
on
your
board
on
you?
You
know
like
how
are
you
doing
more
than
just
a
front-facing
land
acknowledgement
work
or
something
like
that?
L
You
know
like
some
of
the
spaces,
yeah
they're,
it's
it's
just
real,
like
for
artists
of
color,
some
of
the
spaces
that
we
work
in,
aren't
safe
for
us
and
it's
something
that
we
have
to
navigate
oftentimes,
there's
not
support.
You
run
into
white
privilege
and
for
me
it's
trying
to
figure
out
like
okay.
What
do
you
do
when
you
do
hit
that
white
privilege?
Where
can
I
go
like
I'm
gonna
hit
it
and
then
what
do
I
do?
L
Where
do
I
go
after
I,
after
that
happens,
because
it
happens,
and
for
me
it's
kind
of
also
a
part
of
how
emotional
labor
is
a
real
thing.
You
know
like
emotional
labor,
it
is
an
actual
labor
that
artists
of
color
face
and
have
to
deal
with,
and
that
deserves
a
compensation
that
a
white
male
artist
doesn't
have
to
deal
with.
L
So
those
are
things
that
I'm
kind
of
pushing
into
like
my
spaces
and
how
I
operate,
and
I
find
it
so
much
easier
to
advocate
for
the
artists
that
I
work
for
than
I
do
for
myself,
I
mean
when
I
got
my
ammo
hat
on
I'm
just
like
a
bulldog
in
these
rooms.
You
know
for
my
artists
and
I
will
go
to
bat
for
them.
You
know
and
get
them
what
they
need
and
advocate
for
them.
But
then,
when
it's
me
I'm
just
kind
of
like
hey.
Do
you
think?
L
Maybe
could
you
you
know,
and
it's
just
I'm
trying
to
be
like
more
stronger
for
myself.
You
know
I
really
utilize
my
family
because
they're
the
ones-
and
I
should
say
they,
my
husband,
is
the
one
that's
that
have
to
that
have
to
cry
on
his
shoulder
so
many
times
and
he's
got
to
see
me
in
this
experience
like
he
might
be
one
to
talk
to
you.
What
does
andrew
go
through.
L
Because
I'm
so
close
to
it,
you
know
I'm
so
in
front
of
it,
and
so
it's
it's
so
important
to
me,
and
so
it's
just
my
heart
so
big
that
I
get
really
emotional
like
and
really
sensitive,
and
I
think
a
lot
of
artists
are
sensitive
anyway,
but
yeah
some
of
these
spaces.
You
know
like
working
in
public
art
I'll
just
say
like
not
picking
on
the
city
but
like
I'm,
not
a
city
employee
so
like
coming
in
as
an
artist
like
that's
a
little
bit
like.
L
L
You
know
there's
a
lot
of
work
that
takes
to
be
an
artist
and
you
know:
there's
an
administrative
side,
there's
a
business
side,
there's
financial
side,
you
know
just
permitting
and
technical
stuff
and
things
that
I
do
not
enjoy,
but
it's
just
part
of
the
business
of
an
artist
you
know,
rather
than
just
being
the
creative
and
trying
to
navigate
all
the
ins
and
outs
of
the
business
that
is
being
an
artist,
is
really
not
appreciated
enough
or
valued
by
the
general
public.
They
just
think.
L
Oh,
could
you
make
this
for
me,
it'll
be
good
exposure.
I
think
that's
the
difference
for
me
like
when
I
was
getting
speakers
coming
to
school
and
stuff,
like
that.
You
know
they
talk
about
their
network
and
places
they
exhibited
and
me
as
a
you
know,
I
had
family
and
three
kids
I'd
be
like
yeah,
but
how
do
you
pay
your
bills?
L
So
it's
a
business.
You
know,
and
I
I'm
trying
to
kind
of
break
some
barriers
and
advocate
for
change,
and
you
know
it's
systems
change.
We
gotta
start
somewhere.
So
I'm
not
sure
how
long
I'm
supposed
to
present.
I
didn't.
I
I'm
not
sure
if,
like
I
hope
for
what
I'm
saying
is
helpful,
but
I
kind
of
also
want
to
have
people
be
able
to
ask
questions,
because
I
feel
like
that
can
can
help
with
some
specific
learning
or
you
know,
might
help
guide
things
more
as
well.
B
Yes,
of
course,
thank
you
so
much
and
yes,
I
think
you
hit
on
a
lot
of
really
important
things
for
us
to
be
both
aware
of
and
learn
more
about
and
consider
like
just
becoming
more
culturally
sophisticated,
and
I
really
it
makes
me
think
I
want
to
just
kind
of
also
recognize
commissioner
mansfield,
who
I
think
has
brought
so
much
advocacy
for
not
just
native
american
artists
that
are
doing
work
in
the
city,
but,
like
you
know,
artists
from
communities
of
color
in
general
who
are
and
we're
looking
at
things
a
little
differently
and
trying
to
better
understand
how
do
we
vet
cultural
resources
and
thought
leadership,
and
you
know
how
to
how
is
that
proper?
B
What
is
the
proper
way
to
support
artists?
So
I
just
think
it's
a
really
important
conversation
as
well
as
like.
How
can
the
city
be
a
better
partner,
and
you
know
really
understand
the
issues
that
you
bring
up
like
emotional
labor,
and
I
mean
these
are
really
important
things
that
we
have
to
consider
and
as
a
commission,
this
is
very
valuable
information
that
we
should
think
about.
B
How
do
we
carry
that
and
advocate
for
that
and
find
the
systems
change
within
our
own
processes
to
be
to
be
an
inclusive,
welcoming
supportive
body
to
our
arts
community,
so
not
to
go
off
on
a
tangent
angel?
But
I
just
do
think
that
it's
a
very,
very
important
aspect
of
this
commission.
So
I'm
curious.
Does
anybody
have
any
questions
for
angela
or
any
comments.
J
Thank
you.
Let
me
get
that
hand
out
of
the
way
here
that
bugs
me
so
a
couple
questions.
One
is
kind
of
an
easy
one.
Is
the
gallery
reopened
yet
or
when
will
it
be
opened
and-
and
you
know
what
shows
can
we
look
forward
to
seeing
there?
I'm
also
wondering
about
where
your
name
comes
from?
Would
you
mind
explaining
where
the
two
stars
part
of
your
name,
comes,
I'm
really
interested
in
that.
L
Thank
you
yeah.
We
actually
are
open
all
my
relations
just
hosted
an
opening
reception
on
thursday
for
biscob
young,
which
is
ojibwe
for
returning
to
ourselves.
L
It's
part
of
the
curator
is
julian
enright,
who
is
the
emerging
curator
institute,
fellow,
and
so
they
selected
our
space
to
host
this
exhibition
about
indigenous
futurism,
we're
actually
featured
in
the
new
york
times
today
is
really
exciting,
so
yeah,
the
the
concept
of
the
show,
is
based
on
indigenous
futurisms
by
reconnecting
with,
like
you
know,
decolonizing
practices
and
reconnecting
with
language
and
culture,
and
you
know
things
that,
were
you
know,
so
much
was
done
to
try
to.
You
know
eliminate
that
from
our
you
know,
like
genocide,.
L
You
know
it
was
like
through
food,
you
know
eliminating
the
buffalo
through
education
of
boarding
school,
which
I
don't
even
call
it
a
boarding
school.
I
call
it
more
of
a
internment
camp
for
kids,
so
yeah
that
it's
interesting
that
all
of
these
ways
of
knowing
in
all
these
ways
that
native
people
existed
prior
to
colonization
is
what
we're
trying
to
get
back
to.
You
know,
and
it's
also
something
that
I
think
helps
us
as
we
go
into
a
healthy
future.
L
Sustainable
future
for
our
planet,
you
know,
is,
is
kind
of
adopting
that
mentality.
You
know
matako
yay
wassing,
which
is
all
my
relations,
and
that
is
not
just
us
as
people
and
like
here's,
my
cousin,
it's
the
water
is
a
relative.
You
know
the
land
is
a
relative
and
having
that
level
of
respect
and
treating
you
know,
the
elements
as
a
relative
would
really
change
how
we
operate
and
exist
in
our
world.
So
that's
going
on
until
december
11th,
and
I
my
last
name
two
stars
is
my
great
great
grandfather.
L
His
name
was
solomon,
two
stars
well
before
that
you
know
the
the
work
at
bedemicosca
was
honoring
cloud.
Man,
which
is
he
was
solomon,
two
stars
dad
and
when
that's
all
I
knew
I
was
like.
I
know
cloud
man,
that's
all
we
knew.
We
knew
that
solomon,
two
stars,
his
dad's
name
was
cloud
man,
and
that
was
it,
and
so
when
the
day
makoska
public
art
project
came
available
and
I
was
like
hey,
I
know
who
that
is,
and
I
applied
for
the
opportunity
and
it
was
really
like.
L
But
still
I
have
now
I
have
a
source
of
being
able
to
learn
more
about.
Where
am
I,
where
I
come
from?
How
cool
is
that,
and
so
solomon
2
stars
was
part
of
he
was
in
the
internment
camp
at
fort
snelling
and
then
after
they
were
exiled
from
minnesota,
he
was
moved
to
the
reservation,
the
lake
travis
reservation
and
as
they
were
getting
like
registered
on
the
reservation.
You
know,
there's
like
the
the
white
person.
Writing
everybody
down
and
all
these
natives
spoke
dakota.
You
know
they
didn't
speak
english.
E
L
The
white
person
registering
was
like
well,
I
don't
know
what
that
means.
Your
name
is
john
white,
and
so
they
turned
into
john
white
and
then
now
all
their
descendants
have
the
last
name
white
and
that's
why
you
see
a
lot
of
like
browns
whites,
then
there's
some
french
ones
too,
and
it
was
like
lafontaine.
You
know.
So,
when
my
great-great-grandfather
went
to
register,
you
know
they
asked
him
what
your
name
was
and
he
said,
and
they
were
about
to
make
up
a
name
for
him
and
he
said
wait.
L
I
speak
english
because
the
missionaries
had
taught
them
taught
him
english.
You
know,
and
so
he
said,
is
two
stars
and
then
they
said,
okay.
Well,
you
need
a
first
name.
You
need
a
christian
name,
and
so
he
picked
solomon
out
of
the
bible,
because
solomon
was
wise
and
so
that's
my
family
story
of
how
we
got
our
last
name,
two
stars.
L
C
Hello,
thank
you
so
much
for
for
joining
us.
If
you,
if
you
care
to
share,
can
you
tell
us
how
you
thought,
through
you
know,
working
with
the
walker
and
and
just
making
that
decision?
And
you
know,
as
you
kind
of
navigated,
through
the
walker
and
with
your
elders,
if,
given
the
walker's
history.
L
Yes,
sorry,
I
had
to
charge
my
computer
well.
The
very
first
step
was
the
fact
that
the
walker
invited
an
indigenous
art
selection
committee,
so
that
was
the
first
step
of
why
I
even
applied
is
because
I
knew
that
my
application
would
be
viewed
by
this
selection
committee.
That
would
understand
my
proposal.
L
L
While
I
was
designing
while
I
was
applying
while
I
was
you
know
when
I
went
from
the
initial
application
to
the
semi-finals
application,
it
was
only
after
I
was
selected
where
I
realized
my
work
is
going
to
be
connected
to
this
other
thing
that
I
didn't
want
to
be
a
part
of
like
it
had
not
no
bearing
on
my
design.
L
I
hadn't
thought
of
it
at
all,
but
it
was
just
this
recognition
and
an
acknowledgement,
and
I
remember
distinctly
thinking
like
I
have
a
responsibility
of
helping
to
heal
people
that
had
been
hurt
by
that
other
piece
and
so
for
me,
as
an
artist
like,
I
really
took
that
as
a
responsibility
like
well.
I'm
glad
it's
me,
because
you
know
that
that
is
my
people
that
were
hurt.
L
You
know
those
were
my
relatives
that
were
hurt
and
my
work
is
about
healing
it's
about
language
and
how
we
heal
through
our
language,
but
it
was
still
this
elephant
in
the
room
and
when
I
went
through
the
site,
I
asked
where
was
scaffold
because
I
don't
want
to
go
there.
L
I
want
to
stay
as
far
away
from
that,
as
you
know,
in
every
way,
shape
or
form,
and
so
I
picked
a
different
site,
but
once
we
started
developing
the
piece-
and
you
know
for
ada
compliance
and
all
these
things,
my
piece
grew
to
where
it
didn't
fit
in
that
site
anymore,
and
so
I
had
to
put
the
brakes
on
it
and
reevaluate
and
at
the
same
time
I
was
coming
to
a
resolution
about
being
connected
to
the
past
controversy,
and
I
decided
you
know
what
I'm
gonna
go
where
that
piece
was,
I'm
I'm
gonna
reclaim
the
land
and
reclaim
the
narrative,
because
I
don't
want
this
to
continue
to
be
a
conversation
about
scaffold
and
about
that
controversy.
L
This
is
an
opportunity
for
the
walker
and
me
to
show
what
healthy
resolution
can
look
like.
You
know
and-
and
I
think
that's
what
we
were
able
to
accomplish-
and
I
had
you
know
the
support
you
know
from
the
chief
curator
and
the
executive
director.
You
know
that
really
helped
the
piece
get
to
be
to
what
it
is
now
and
to
be
the
something
to
celebrate.
That's
you
know,
I
guess
I
I
guess
that'd
be
a
success.
B
Okay,
well
with
that,
I
think
I
speak
on
behalf
of
all
of
us
how
much
we
appreciate
the
time
you've
taken
this
evening
to
be
with
us
and
to
provide
a
lot
of
storytelling
about
your
work
and
the
work
you're
doing
all
my
relations
so
yeah.
I
see
everybody
waving
and
saying.
Thank
you
so
much
angela
and
I
hope
I
hope
that
we
will
see
you
again
soon.
E
L
B
Yay
that
was
delightful
thanks
everyone,
and
then
we
maybe
took
a
little
bit
more
time
than
we
normally
would
with
our
guest
speaker,
but
that
was
certainly
worth
every
minute.
So
I
hope
if
we
go
over
just
a
little
bit,
my
apologies
and
we'll
try
to
be
as
efficient
as
possible
with
the
rest
of
the
agenda.
That
sounds:
okay,
all
right,
okay.
So
the
next
item,
then,
is
our
poet
laureate
work
group,
commissioner,
alex,
if
you're
going
to
just
kind
of
give
us
a
little
summary.
B
I
know
that
we
included
the
work
plan.
That
was
in
the
attachments
that
you
were
sent
for
this
evening,
so
I
hope
everyone
had
a
chance
to
just
at
least
give
that
a
peek
but
yeah
take
it
away
and
give
us
if
you
want
to
give
us
a
quick
summary
and
then
we're
gonna
make
a
vote.
I
Sure
thing
thanks:
everyone,
that's
a
really
tough
act
to
follow.
It
was
very
inspirational
and
uplifting,
and
I
loved
hearing
from
angela-
and
you
know,
I'm
just
off
the
cusp
of
that.
I'm
excited
for
what
a
poet
laureate
and
youth
poet
laureate
position
could
look
like
that
level
of
inspiration
to
come
in
other
literary
arts
too.
So
thank
you
for
taking
the
time
to
check
out
the
document
that
we
shared.
We
have
a
few
other
overviews
as
well
that
we're
working
on.
I
I
just
want
to
say
first
of
all
that
these
are
all
in
draft
forms
and
that
they're
on
the
the
general
tab
on
our
teams
under
files-
and
I
created
a
new
folder
if
you
want
to
do
a
deeper
dive
at
any
time.
I
drop
that
in
the
chat
too.
Sometimes
when
you
click
on
it
in
the
chat,
it
does
not
link
teams,
but
if
you
do
copy
and
paste
it
in
another
browser,
I've
had
success
that
way
so
do
with
it.
I
What
you
will
but
a
big
kudos
and
thank
you
to
jack,
who
is
our
admin
for
this
project?
He's
really
done
a
tremendous
job.
I
can't
even
tell
you
how
we
have
conversations
we
sent
him
research
and
then
regurgitated
back.
Is
this
beautiful
documentation,
so
really
really
want
to
celebrate
that,
as
well
as
the
thought
leadership
of
mandy
and
ahava
on
this
project?
So
we've
been
working
on
this
now
since
the
inception
of
hey.
I
Should
we
do
a
poet
laureate
project
to
who
wants
to
work
on
it
through
a
little
bit
of
research
on
pure
cities,
with
emphasis
on
those
that
had
youth
poet,
laureate
initiatives
intact
as
well,
and
now
we're
kind
of
at
the
phase
where
we're
ready
to
open
it
up
to
community
leaders
and
some
of
their
thoughts
to
incorporate
as
we
polish
this
draft?
So
that's
the
next
step.
I
This
month
we
met
with
council,
member
fletcher
and
council
vice
president
jenkins,
one
more
time
just
to
start
forging
a
timeline
as
we
move
forward
tomorrow,
I'm
going
to
be
meeting
with
mary
and
city
leadership
on
the
communications
team
to
help
polish.
I
So
that's
where
our
work
currently
stands
with
the
dreaming
through
the
community,
so
that
we
can
help
get
a
polish
draft
to
bring
to
fruition
and
from
there
it's
going
to
be.
You
know
more
specifics
with
the
budgeting
process
and
getting
people
to
share
that
vision.
Statement
with
council
members,
probably
mid-november.
I
You
know
in
a
meeting
that
would
just
do
the
same
two-minute
overview
in
teams
of
why
our
city
needs
a
poet
laureate
beyond
the
obvious
of
every
other
major
city.
A
lot
of
them
even
have
youth
poet
laureates
at
this
point.
So
it's
it's
high
time
here
and
we're
excited
for
the
the
opportunity
to
push
it
forward.
It's
something
that's
been
in
the
mix
for
a
while
and
we're
really
hopeful.
We
can
soldier
it
through
to
fruition.
I
So
if
you
had
a
chance
to
review
that
draft
you'll
see
that
the
idea
would
be
that
we
would,
you
know,
have
announcement
for
the
new
year
in
january,
we
would
put
up
an
application
and
nomination
process
that
we
would
collect
responses
by
march.
That
would
give
about
a
month
for
a
selection
panel
to
review,
and
then
an
announcement
in
april
would
be
timed
with
national
poetry
month.
So
that's
our
dream.
I
If
we
can
make
it
happen,
that
quick,
we're
always
like
crossing
our
fingers
on
that,
but
I
I
would
love
to
welcome
any
comments
from
other
commissioners
to
if
you
have
feedback.
If
there's
something
that
you
don't
see
in
our
initial
draft,
it
is
a
draft.
It's
a
working
document
that
we
would
love
your
input
on.
So
you
know
feel
free.
You
can
email
me
or
I
guess
you
can
email
jack
too,
as
he's
working
on
admin,
so
whoever
you're
most
comfortable
reaching
out
to
we'd
love
and
welcome
feedback.
J
I
do
thank
you
just
wondering,
is
it
expected
or
desired
person
be
a
poet
themselves.
I
That's
a
great
question:
yeah
one
of
the
ideas
that
we're
going
to
be
workshopping
with
community
leaders
is
some
of
the
specific
job
duties
of
which
many
other
cities
have
emulated
things
like
you
know.
We
looked
closely
at
the
philadelphia
program
at
golgoon's
recommendation,
and
so
some
of
the
ideas
that
they
had
reflected
there
was
that
the
poet
laureate
would
publish
alongside
one
of
a
partner
organization,
would
help
publish
a
new
work
within
the
range
of
their
term.
I
I
Great,
so
I
mean
the
ideas
about
events
and
things
and
actually
gosh.
I
was
just
reading
an
article
recently
about
I
forget
which,
which
of
the
pure
cities
it
was
had
just
nominated
their
youth
poet
laureate
might
have
been
houston.
I
was
a
spoken
word
artist.
I
thought
that
was
a
really
great.
You
know
just
just
show
that
we
have
examples
of
other
cities
who
are
doing
that
sort
of
thought
leadership
and,
and
we
want
to
keep
it
as
open
as
possible.
Great
great,
thank
you
great
job.
I
H
No
problem,
I
don't
know
if
you've
thought
of
it
right
now,
but
do
you
know
what
the
alleged
eligibility
requirements
may
be
for
the
position.
I
Yeah,
so
some
of
our
research
has
shown
us
that
we
could
have
very
specific
limitations
on
that
and,
as
a
group,
we
discussed
keeping
it
as
open-ended
as
possible
until
we
bring
in
the
community
feedback.
So
at
the
beginning
of
this
month
we
met
with
council,
member
fletcher
and
council
vice
president
jenkins
one
more
time,
and
it
was
after
that
point
that
we
did
the
outreach.
I
So
it's
pretty
fresh,
it's
you
know,
probably
about
10
days,
so
we've
been
collecting
a
few
responses
and
we
really
wanted
to
you
leave
some
breathing
room
for
the
definitions
of
that
and
and
keep
eligibility
requirements
as
open
as
possible,
like
you
can
submit
a
work
and
you
can
fill
out
a
full
resume
here,
but
your
main
criteria
is
going
to
be.
You
know
that
you
live
in
the
city
of
minneapolis
and
then
we're
going
to
like
leave
it
to
the
selection
panel
to
review
what
you
put
in
to
the
project.
Does
that
make
sense.
H
Yeah
yeah,
that's
totally
cool,
also
just
follow
up.
Then.
When
would
the
youth
poet
laureate
age
requirement
end,
and
when
do
you
then
become
the
adult
poet
laureate?
That
makes
sense?
How
are
you.
I
Thank
you
yeah.
We,
we
kind
of
talked
around
that
a
little
bit
with
starting
in
april,
because
then
it
would
be
like
an
end
of
a
term
would
be
right
before.
If
someone
was
in
school
and
perhaps
moving
to
another
city
right,
it
could
sync
up
with
that.
If
someone
was,
you
know,
say
in
high
school
for
me,
there's
a
lot
of
youth
poet
laureates
that
are
out
there
right
now
that
are
between
18
and
20.
So
there's
no
specific
age
requirement
on
that.
I
We
could
certainly
discuss
putting
putting
a
stamp
on
it
in
the
future,
and
so
I
think
that's
a
continued
conversation.
One
other
item
to
mention
is
that
we
were
thinking
a
a
poet
laureate
would
be
serving
a
two-year
term.
The
second
year
of
that
would
be
the
guiding
mentorship
for
the
youth
poet
laureate.
So
for
the
first
year
since
it's
a
brand
new
project,
we
really
want
to
leave.
I
I
We
would
ask
that
you
add
in
that
mentorship
of
the
youth
poet,
laureate
and
then
also
another
third
component
would
be
that
you
could
be
consulted
for
the
next
year
after
so
that
the
new
incoming
poet
laureate
has
some
sort
of
like
relational
shepherding
process
of
how
it
had
worked
before
just
to
try
to
lay
some
firm
groundwork.
I
B
B
With
that
I
mean
I
just
is,
it
is
a
heart
is
a
more
difficult
way
to
work
sometimes,
and
it
takes
a
little
bit
longer,
but
it
is
so
critical
to
have
that
inclusive
decision
making
before
like
everything
is
buttoned
up
and
figured
out,
then
we
ask
the
community
participate
and
it's
like
okay,
I
didn't.
I
don't
even
know
what
this
is.
I
don't
really
care
about
it
like
it's
just
something
that
you're
doing
whatever
you
know.
It's
just
it's
such
a
richer
experience.
B
So
I
am
exceedingly
proud
of
this
group
to
have
moved
it
forward
in
these
very
uncertain
times,
so
just
great
great
job.
I
Thanks,
I
think
it's
been
a
you
know
a
really
satisfying
process
to
have
such
great
commissioners
on
board
and
be
able
to
have
these
conversations
so
cross
your
fingers,
please,
you
know
outreach
to
any
other
friends.
Let
more
community
members
know
because
we
we
need
more
voices
to
impact
these
drafts
too,
and
you
are
those
voices.
If
you
have
something
else.
You
know
we
had
some
great
questions
here,
just
to
start
off
the
conversation,
but
it
can
continue
beyond
this
meeting.
I
Please
feel
free
to
email
me
anytime,
our
next,
you
know
our
next
step
is
going
to
be
a
requested
action
just
to
approve
the
plan
for
the
poet
laureate
work
group.
Just
saying
I've
taken
a
look
at
these
documents
and
it
seems
like
we're
on
the
right
track.
I
You
know
we
really
want
to
just
have
some
formalization
of
mac
support
so
that,
when
we're
ready
to
move
forward
with
the
community,
we
can,
you
know
perhaps
even
use
that
in
our
public
outreach
to
come
to
say
you
know,
mac
formalized
this
work
plan
as
a-okay
to
move
forward
and
keep
going
strong.
So
that's
what
we're
looking
for
next
joan
you'll
have
to
guide
me
through
the
formal
actions
for
making.
B
Motions
and
whatnot
it
is
no
problem.
I
have
the
script
right
here
and
I'm
happy
to
do
it.
Jackie
have
your
hand
up.
K
I
just
wanted
to
mention
that
we
also
are
going
to
probably
be
putting
together
a
survey,
so
that
in
case
it
is
a
time
constraint
for
community
members
to
give
input
that
they
could
give
it
in
different
forms.
So
it's
about
different
ways
of
being
able
to
solicit
community
support
for
this
and
any
sort
of
comments
they
would
have
yeah.
D
B
B
B
Thank
you.
Okay.
We
have
a
proper
moment
before
us.
Is
there
any
discussion
before
the
clerk
calls
the
role.
E
H
H
B
Hi
so
much
congratulations,
friends,
good
job,
okay!
Moving
on
our
next
item
is
the
survey
results
summary,
and
I
admit
that
I
had
a
little
bit
busier
of
a
day
today
than
I
had
expected,
and
so
I
wasn't
able
to
aggregate
the
survey
answers
I
would
like
to
be
able
to
just
distribute
the
document.
B
I
have
dropped
it
all
in
without
your
names
and
just
would
love
for
everyone
to
just
skim
over
it,
but
if
anyone
feels
any
sensitivity
to
that,
it's
not
my
way
of
escaping
doing
a
little
bit
extra
work,
I'm
totally
happy
to
like
grab
key
points
out
of
what
you
provided
and
I'm
just
gonna
wait
to
do
that
until
tomorrow,
or
whatever
that's
gonna
manifest
as-
and
I
just
wanna
really
welcome
you
to.
B
Let
me
know
if
you
have
any
reservations
about
your
what
you
submitted
for
feedback
about
it
being
you
know
shared
with
the
rest
of
the
commission
just
anonymously.
So
I
think
that's
just
something
that
you
can,
let
me
know
and
so
that
I'm
not
putting
anyone
on
the
spot
right
at
this
moment.
B
I
apologize
that
I
wasn't
able
to
bring
more
information,
but
really
the
the
reason
why
we
and
the
executive
committee
wished
to
get
that
information
from
you
and
kind
of
in
a
hurry
is
because
of
the
next
item
on
our
agenda.
So
is
there
any
other
comments
or
questions
about
the
survey?
B
I
think
we
are
almost
at
100
participation,
so
I
think
I
can
there's
just
a
I
might
be
able
to
get
us
to
100.
I
think
I
will
so,
but
we're
very,
very
close.
So
thank
you.
Everybody
who
took
the
time
to
do
that.
It
is
of
great
value
to
understand
where
you're
at
right
now
and
the
opportunities
you
can
see
and
all
the
things
that
you
shared.
B
Okay.
The
next
item
is
drum
roll.
Please,
I'm
just
kidding
a
proposed
cadence
for
the
priorities
for
the
2022
work
plan
process.
Yeah
it's
that
time
of
year.
It's
quarter.
Four,
let's
make
a
plan,
let's
figure
out
what
we're
gonna
do
and
we've
got
some
great
meat
to
work
with.
B
That's
probably
not
the
best
way
to
equip
that,
but
I'm
just
gonna,
have
you
look
at
the
agenda
and
kind
of
see
I
kind
of
articulated
this,
maybe
a
little
bit
more
than
I
sort
of
needed
to,
but
because
it
is
going
to
be
moving
us
through
at
a
pretty
ambitious
pace.
I
just
want
to
make
sure
that
we
are
aligned.
B
I
think
that
looking
at
these
survey
results
is
an
important
next
step
before
we
move
forward
with
starting
to
imagine
what
our
work
plan
is
going
to
look
like
for
2022.
I
also
recommend
that
everybody
take
a
look
at
the
2021
work
plan
and
just
ask
yourself
what
worked?
What
didn't?
What
on
there
maybe
didn't
happen
for
whatever
reasons
and
and
maybe
could
happen
in
2022,
but
I
think
one
of
the
most
important
priorities
that
we
discussed.
B
I
think
kind
of
at
length,
honestly
both
in
the
policy
subcommittee
and
the
executive
committee,
was
that
we
really
wish
to
be
proactively
involved
in
the
development
of
the
new
department,
and
I
wanna
just
mention
that
we
did
receive
some
information
from
golgom.
She
is
on
leave
at
the
moment,
so
she
wasn't
able
to
join
us
this
evening
that
there
are
some
pretty
serious
implications
that
we
are
going
to
affect
us.
We
do
not
know
exactly
what
the
budget
is
going
to
be
for
the
new
department.
B
There
is
a
300
000
proposed
budget
line
today.
That
is
intended
to
pay
for
two
staff,
people
and
and
correct
me.
If
I'm
wrong,
you
guys
that
were
part
of
this
conversation,
there
is
going
to
be
negotiations
about
the
department's
budget,
but
basically,
at
the
moment
it's
a
bit
concerning
it's
a
bit
concerning
that.
If
there
isn't
a
budget
for
a
department,
then
there
isn't
a
department
and
correct
me
if
I'm
wrong,
but
that's
just
it's-
they
just
need
to
go
together.
B
So,
even
though
the
the
very
like
difficult
work
of
getting
the
ordinance
passed
happened,
and
I
really
appreciate
how
hard
everybody
pushed
on
that
we're
far
from
done
right
now,
we're
far
from
being
at
a
place
where
we
can
say
we
did
it,
it's
functional,
it's
funded,
it's
understood,
the
mac
is
understood
about
how
we
operate.
B
I
mean
there's
just
going
to
be
so
much
thinking
that
really
needs
to
go
into
this,
and
I
do
believe
that,
and
it
really
feels
to
us
on
the
executive
committee
and
I'm
I'm
really
happy
to
discuss
this
with
you
all,
but
it
feels
like
this
is
the
significant
lift
for
2022
is
providing
the
capacity,
the
thought,
leadership,
the
access
and
engagement
and
advocacy
to
realize
this
department
of
art
and
cultural
affairs
so
and
it's
it
just
makes
sense
with
what
we
are
appointed
and-
and
you
know
the
way
in
which
we
are
intended
to
serve
our
community
as
as
appointed
commissioners.
B
So
I
give
some
examples,
weaving
the
development
of
the
new
department
under
our
goals.
Some
examples
include
requesting
funding
for
a
strategic
planning
process
with
an
outside
facilitator,
so
that
work
is
not
developed
in
a
vacuum,
as
it
has
been
in
the
past
that
we
can
have
kind
of
a
fair
and
balanced
process.
That's
inclusive
that
we
potentially
commit
to
leading
some
community
engagement
and
actually
asking
the
public.
What
do
you
need?
What
do
you
want?
What
does
this
department
look
like?
What
do
we?
What
are
your
priorities?
B
What
do
you
think
we
need
to
care
about
the
most
you
know
based
on
what
we
know
and
then
also
to
considering
how
public
art
is
weaved
within
the
new
department.
Right
like
we
were
gonna
embark
on
some
policy
work
with
within
all
of
our
public
art
programming.
So
what
does
that
end
up?
B
B
So
any
questions
or
comments,
it's
not
to
say
that
we,
wouldn't
still
you
know,
have
the
access
group
sort
of
bringing
on
guest
speakers
and
doing
some
of
this
other
work
that
you've
already
built
a
lot
of
momentum
for,
for
example,
or
you
know
some
of
the
other
things
that
I
think
the
other
subcommittees
have
been
focused
on.
B
B
Okay,
I
don't
see
any
hands
okay,
so
november.
B
8Th
is
the
deadline
for
a
draft
of
your
2022
work
plan
for
your
subcommittee,
which
is
it's
really
moving
fast
and
I'm
not
sure
if
you
all
have
meetings
scheduled
to
discuss
this,
it
would
be
nice
if
it
could
be
the
subject
of
whatever
your
next
meeting
is
scheduled
for
and
if
you
don't
I'll
need
to
know
and
so
that
we
can
rejigger
our
timeline,
we
will
discuss
the
draft
and-
and
it's
important
that
it's
a
draft
so
just
understand
that,
like
this,
a
draft
means
a
draft.
B
It's
like
these
are
the
things
that
we're
thinking
of
proposing
for
2022,
and
it's
not
you
know
it's
it's
intended
to
be
discussed,
so
we
would
discuss
these
drafts
when
we
meet
as
an
executive
committee.
So
I
just
want
to
make
sure
that
people
have
an
opportunity
to
make
suggestions
or
come
together
in
whatever
way
is
easiest
for
you,
be
it
email
thread,
be
it.
You
know
an
extra
special
meeting
whatever
it
is
on
the
ninth,
we
will
discuss
an
executive.
B
These
were
plan,
drafts
and
sort
of
try
to
chip
away
and
get
them
a
little
bit
more
refined
because
we
will
have
members
from
each
of
those
groups
representing
those
drafts
and
then
on
the
10th.
We
are
going
to
send
an
email
and
say:
hey
everybody,
it's
time
to
make
another
meeting
with
your
elected
with
your
city,
council
member,
and
they
need
to
see
our
draft
2022
work
plan
and
we
need
to
get
their
feedback.
B
So
that
is
one
of
the
key
ways
that
we
can
socialize
our
role,
that
we
can
also
prioritize
our
elected's
agendas.
And,
yes,
I
realize
that
we
will
be
fresh
off
the
heels
of
an
election,
so
it
may
be
awkward
right
and
it
may-
and
maybe
you
know,
maybe
we
get
some
people's
feedback
and
maybe
we
don't
get
everyone's
feedback,
but
whatever
it
is,
we
need
to
try.
B
We
also
need
to
get
the
feedback
from
staff
and
from
the
interim
director
as
well
as
I
would
think
cped's
director
as
well,
like
I
think,
if
we
can
so
there'll,
be
some
assignments
going
around
and
I'll
probably
heavy
lift
on
some
of
this
myself.
So
and
then.
B
The
next
item
is
just
at
the
november
20th
general
mac
meeting
our
next
meeting,
going
to
look
at
the
work
plans
and
we're
going
to
discuss
it
as
group,
so
hopefully
by
then
we
will
have
given
enough
thoughts
that
we
feel
pretty
good
about
it.
We
might
be
able
to
share
some
of
the
feedback
we
have
received
and
then
by
december
6th,
then
I'm
sorry.
B
I
know
this
is
like
deadline
deadline
deadline,
but
by
december
6
we
would
like
to
see
the
final
draft,
so
we
would
like
really
everyone
to
feel
as
good
as
they
can
feel
about
what
it
is
that
we
are
going
to
propose
for
2022,
so
that
we
can
discuss
that
in
our
executive
december
executive
committee
meeting,
with
the
hope
that
all
of
this
comes
together,
which
probably
there
will
be
some
hiccups
and
we
are
able
to
adopt
our
2022
work
plan
at
our
december
meeting
and
start
fresh
in
january.
B
But
there
are
some
unknowns
that
could
throw
us
some
curve
balls,
and
with
that
I
will
ask
commissioner
thompson
to
go
ahead.
Sorry.
J
Just
a
point,
the
november
mac
meeting
is
is
november,
17th,
just
since
we're
being
clear
about
dates
here.
Thank.
J
Just
in
case,
people
are
really
focusing
on
these
dates,
and
then
executive
committee
on
december
7th
right
is
that
what
you
said:
yeah?
Okay,
all
right!
Thank
you.
B
B
I
think
that
this
is
actually
a
really
exciting
part
of
the
work
that
we
do
is
like
thinking
about
like
what
we
want
to
really
dig
our
heels
into,
and
I
love
that
we've
gotten
to
this
place,
where
our
subcommittees
are
doing
really
great
work
and
are
pretty
gelled
and
aligned,
even
though
we're
small
and
mighty
like
I
just
I'm,
I'm
appreciative
that
this
is
a
getting
be
feeling
to
be
a
little
bit
more
of
a
matured
process
now,
which
is
nice.
B
Any
other
questions
comments.
Okay,
moving
on
yay
alt
updates,
I
kind
of
just
gave
you
the
executive
committee's
update.
To
be
honest,
this
was
a
large
part
of
our
focus,
so
we
also
too,
we
haven't
really
gotten
to
the
bottom
of
like
what
our
retreat
and
when
our
retreat
will
be,
and
that's
still
a
little
bit
of
a
question
mark,
because
we
were
very
much
focusing
on
making
sure
that
we
had
this
process
sort
of
figured
out
and
time
and
dates
and
then
also
the
priorities.
B
So
there's
a
little
more
for
me
to
a
little
more
work
for
me
to
do.
Admittedly-
and
so
I
will
have
more
information
for
you,
but
I
will
say
that
it-
it
does
feel
as
if
this
retreat
will
likely
be
an
executive
committee
level
retreat,
bringing
in
any
considerations
that
the
alt
subcommittees
wish
for
us
to
focus
on,
of
course,
and
and
of
course
anyone
is
welcome
to
come
to
any
executive
meeting
for
that
matter
if
you're
interested.
B
I
Yeah,
I
think,
actually
a
lot
of
the
policy
advocacy
highlights
were
covered
in
your
presentation
too.
Joan
I'd
just
like
to
you
know,
call
out
that
some
of
those
items
under
the
proposed
cadence
things
like
potentially
bringing
in
an
outside
facilitator
to
do
some
strategic
planning
and
trying
to
advocate
for
financing.
For
that
are
you
know
we're
brainstorming
ways
that
we
can
help
with
the
fruition
of
the
new
department
in
the
best
ways
that
mac
is
able.
So
that
was
a
large
part
of
our
conversation.
I
I
I
think
it's
prudent
to
also
clarify
when
we
say
that
there's
you
know
right
now
in
the
budget:
it's
not
through
the
markup
process,
but
300
000
for
the
budget
for
two
staff
members,
I'd
like
to
clarify
that
that
does
not
include
a
director
position,
two
staff,
members
and
they're
working
on
a
job
description
right
now
for
what
a
director
would
be,
but
that's
not
currently
financed.
I
I
Thanks,
that's
a
really
helpful
clarification
too.
So
anything
else
that
you
want
to
note
mary
about
the
transition
plan.
As
it
stands
right
now,
did
you
have
any
other
insight
to
the
job
description?
If
we
know
it
will
be
financing
a
director
role.
D
I
think
you
know,
I
think
I
don't
know
if
all
the
commissioners
know
that
danielle
shelton
walsack,
who
was
the
person
really
managing
this
project,
has
left
the
city
for
another
position,
and
so
I
am
aware
that
city
leadership
is
meeting
about
this
project
and
it
will
probably
carry
on
without
her,
but
there's
also
that
kind
of
transition
going
on.
It's
not
uncommon
for
staff
to
start
leaving
around
the
time
of
an
election.
D
So-
and
I
I
think
the
other
thing
I
would
just
say
is-
I
know,
there's
some
deep
concerns
about
the
budget
and
but
I
I
and
I'm
not
against
advocating
for
more
of
a
budget,
but
knowing
the
way
city
bureaucracy
moves
it's
going
to
take
a
year
to
do
the
transition,
and
so
a
new
department
wouldn't
be
in
a
position
where
they
could
launch
an
enormous
amount
of
programming
and
transfer
staff,
create
a
whole
bunch
of
new
job
descriptions.
B
I
think
that's
good
feedback,
as
we
think
about
how
we
can
intersect
with
this
process.
I
feel
like
our
ability
to
provide
capacity,
hopefully
is
a
welcome.
You
know
situation
for
staff
and
council
members
alike.
B
That
feels
like
a
very
natural
use
of
our
gifts
and
abilities
and
our
roles.
So
I
just
you
know.
I
think
that
is
something
to
think
about,
though,
that
this
will
very
much
be
like
this,
a
development
year
a
year
of
gaining
an
understanding
for
what's
possible
and
really
making
sure
that
we're
at
the
table
and
that
the
voices
that
we
think
are
important
to
be
at
the
table
are
there
as
well.
B
So
thank
you
anything
else,
lana
that
you
want
to
share
about
policy
updates.
I
B
G
Yeah,
I'm
gonna,
I'm
gonna
give
those.
So
we
continue
to
work
on
our
guest
speakers
and
keeping
an
ear
out
for
when
we're
going
to
be
in
person
again
because
that'll
kind
of
change.
The
look
of
that
part
of
the
work
we
are,
I
think,
slated
to
have
the
capri
theater
come
join
us
for
november,
which
is
really
exciting,
and
I
do
want
to
just
touch
base.
G
G
So
we
are
taking
those
interests
and
we're
going
in
the
information
and
feedback
and
input
that
we
received
and
we're
going
to
create
an
artist
panel.
So
something
else
along
with
this
poet
laureate
project
that
has
been
talked
about
for
many
years,
so
we're
getting
closer,
which
is
really
exciting.
G
G
We
are
also
planning
for
the
december
meeting
to
have
about
45
minutes
of
our
meeting
be
celebratory,
and
so
we
are
working
on
some
kind
of
artistic
inclusion
and
you
make
some
fun
we're
working
on
fun,
we're
working
on
celebration,
we're
working
on
art
being
a
heavy
part
of
that
45
minutes
of
our
end
of
the
year
meeting.
So
we're
looking
to
celebrate
and
we're
looking
to
kind
of
bring
in
more
of
that
community
energy
into
the
december
meeting.
B
And
you
know
I
have
to
say
thank
you,
so
this
is
so
exciting.
So
the
one
thing
I
have
to
say
is
that
I
think
if
we,
if
we
get
our
work
done,
like
anything,
you
know
like
if
we
get
our
work
plans
together
and
we
can
have
that
on
the
agenda
and
improve
it,
then
we
can
like
celebrate
and
like
we
won't
need
to
use
all
this
time.
B
I
mean
I
maybe
things
will
arise
between
now
and
then,
and
so
I
can't
guarantee
that,
but
I'm
just,
I
think
I
think
it
would
be
really
cool
if
it
was
like
hey,
we
did
it.
We
then
2021
is
rap.
You
know
cheers
yeah.
I
would
love
to
feel
that
way
to
end
out
the
year
so
and
I'm
sure
you
all
would
too
so.
Thank
you
for
putting
so
much
thought
into
making
sure
that
we
celebrate
our
accomplishments
and
have
like
that.
We
get
arty.
C
Yeah,
I
just
want
to
add
thank
you
crystal.
I
I
just
want
to
add
that
we
will
be
reaching
out
to
mary
in
her
office
on
the
fun,
because
mary
is
synonymous
with
fun,
so
we're
going
to
be
tapping
into
mary
for
some
fun
ideas.
Yes,
fyi.
B
Very
nice,
very
nice,
great
any
other
comments,
questions
for
access
awesome-
that
is
so
that's
a
lot
of
happiness,
great
and
then
the
public
art
committee.
So
I
had
asked
mary
so,
first
of
all,
as
far
as
the
2022
work
plan
development
more
to
come,
you
guys.
I
think
that
mary
and
david
and
mari-
and
I
do
need
to
maybe
think
about
trying
to
figure
out
a
time
that
we
can
get
together
to
chat
about
this
a
little
bit
because
we,
our
meetings,
are
the
public
art
advisory
council.
B
So
but
there's
been
a
lot
of
decisions
that
have
been
made
very
recently,
and
I
asked
mary
to
prepare
a
short
presentation
for
us
about
public
art,
big
decisions
and
big
thanks
to
the
advisory
committee
and
to
the
commissioners
that
serve
in
that
capacity.
There
was
a
tremendously
heavy
lift
these
past
few
months.
So
thank
you.
Mary
go
ahead.
D
So
so
the
panel
basically
decided
how
we're
gonna
spend
the
percent
for
art
for
the
next
couple
of
years
in
the
last
couple
of
months
and
but
and
that
happens
by
choosing
locations
for
art,
and
so
the
focus
of
project
selection
is
integrating
the
art
into
what
the
city
is
already
building
so
city
infrastructure
and
also
focuses
on
sites
that
are
publicly
accessible.
D
So
we
generally
receive
proposals
from
departments
this
year.
As
we,
you
know,
we
brought
some
artists
on
board
to
collaborate
with
those
departments
and
submit
proposals
with
the
departments,
and
so
we
had
cowley
tao
working
with
the
property
services
department,
which
is
the
department
that
builds
buildings.
D
We
had
whitsi
and
soko
working
with
the
minneapolis
park
and
recreation
board
and
we
had
zoe
sanel
and
erin
marks
working
with
public
works.
They
had
two
artists
because
they
have
a
lot
of
projects,
and
then
I
submitted
some
projects
to
the
panel,
also
for
consideration
for
additional
funds.
Existing
projects,
oops.
D
The
two
existing
projects
were
the
john
baker's
seed
project
and
the
portable
collection,
which
were
trying
to
de-accession
and
conserve
and
reinstall,
and
hopefully
pick
some
new
pieces
as
well.
So
the
four
new
projects
they
picked
were
the
upper
harbor
terminal,
the
north
commons
park,
the
east
phillips
park
and
the
high
lake
interchange.
D
Also
east
phillips
park
is
served,
serves
the
indigenous
community
a
lot.
The
high
lake
interchange
is
adjacent
to
a
lot
of
the
buildings
that
burned
down
in
the
city
in
the
past
year.
North
carmen's
park
is
an
important
park
in
north
minneapolis.
That
needs
a
lot
of
attention
and
upper
harbor.
Is
this
huge
project
that
the
city
is
working
on
and
my
guess
is
that
the
panel
will
continue
to
fund
upper
part
and
give
upper
harbor
additional
funds
in
the
future.
D
So
just
this
is
my
last
slide,
but
I
just
wanted
to
show
you
some
images
and
tell
you
the
duck
dollars.
So
the
panel
funded
north
commons
park
in
east
phillips
park
at
the
level
of
two
hundred
thousand
dollars
and
they
funded
hiawatha
lake,
which
is
a
very
you,
can
see
from
these
images
of
a
desperate
site
a
desperately
ugly
and
needy
site
in
the
city.
They.
D
They
threw
a
big
chunk
of
money
at
that
because
they
really
care
about
it
and
want
to
really
transform
it,
and
I
hope
in
some
ways
we
could
integrate
lighting
into
it
to
get
some
light
in
that
under
bridge
environment.
So
they
gave
it
450
thousand
dollars
and
then
the
upper
harbor
railing,
which
is
actually
a
project
that
juxtaposition
has
been
conceiving
for
as
part
of
the
design
team
for
upper
harbor,
which
is
about
150
foot
railing
along
this
industrial
site.
D
They
that
and
it's
a
regular
railing,
that's
going
to
get
built.
But
they
funded
219
000
to
integrate
art
elements
into
that.
D
They
also
gave
us
or
provided
an
additional
400
000
for
us
to
wrap
up
the
john
baker
seed
project,
which
we've
been
doing
my
entire
adult
life
and
is
really
an
important
bridge
crossing
94
at
olson,
memorial,
highway
and
88
thousand
dollars
for
the
framing
and
conservation
and
new
commissions
for
the
portable
collection.
D
So
they
made
some
great
decisions.
In
my
opinion,
I'm
going
to
be
so
excited
to
be
working
on
all
of
these
projects
in
the
coming
years
and
I
think,
with
the
existing
projects
we
have
underway,
we
have
a
really
great
portfolio
of
commissions
happening
in
a
really
broad
range
of
communities
in
the
city.
B
Thank
you
for
putting
this
together.
It
is
a
tremendous.
These
are
tremendous
opportunities
like
they're.
These
are
some
real.
This
is
some
real
money
for
artists
in
our
community
to
really
do
some
big,
impressive,
bold
work,
and
so
thank
you,
mary
for
stewarding
this
process
and
again
to
the
commissioners
who
are
serving
to
review
all
of
these.
I
know
that
the
discussions
took
two
months
because
there
was
just
such
an
intense
level
of
engagement
with
the
artist
that
did
submit
and
there
was
really
good,
really
great
proposals.
B
So
I
mean
this
is
just
a
a
great
source
of
pride
as
well,
and
just
really
good
and
thoughtful
work,
and
I'm
I'm
really
glad
that
everybody
put
as
much
time
as
they
put
into
it
and
that
these
are
the
outcomes
we're
looking
at
it's
amazing.
J
D
Is
pretty
much
this
is
there
might
for
the
most
part?
This
would
be
almost
the
size
of
the
commission.
We
might
take
a
little
off
the
top
of
each
of
them
for
some
miscellaneous
or
not
miscellaneous,
like
for
east
phillips,
we
might
take
some
money
off
the
top
to
have
some
indigenous
advisors
on
the
project
or
something
like
that.
But
for
the
most
part,
this
is
nearly
the
size
of
the
commission.
B
How
can
we
be
helpful
in
ensuring
that
we
have
a
diverse
and
inclusionary
process
for
the
project
management,
as
well
as
the
artists,
as
well,
as
you
know,
making
sure
that
mary
isn't
surrounded
by?
Like
you
know,
project
managers
and
artists
who
do
not
have
experience
like
there
is
a
balance
to
that.
That
is
sensitive
so,
but
I
think
it
deserves
to
be
discussed
and
that
we
could
potentially
be
helpful
with
that.
B
And
that
could
be
cool,
so
that
might
be
something
that
the
public
art,
advisory
committee
or
alt
group
of
us
could
just
think
about
when
we
talk
to
each
other
about
what
our
goals
might
be
for
2022,
and
maybe
that
even
like
it's
something
where
we
partner
with
access
a
little
bit
or
whatever.
So
I'm
sorry
to
think
out
loud
about
that,
but
I
just
it's
just
a
lot
of
opportunity
and
it's
a
lot
of
jobs
and
that's
awesome
so
yeah
anything
else,
any
other
feedback,
any
other
contributions.
B
All
right
with
that
we
are
is
a
new
business.
I
apologize
is
there
anything
that
we
didn't
cover
that
anyone
wanted
to
bring
forward
all
right?
Yes,
okay,
with
that,
we
have
completed
all
the
items
on
the
agenda
for
this
meeting.
I
will
ask
members
and
staff
if
there
are
any
other
matters
to
come
before
this
meeting,
if
not
and
without
objection.
I
will
declare
this
meeting
adjourned
our
next
meeting,
and
I
apologize-
I
don't
have
that
date
written
down.
Hopefully
you
have
it
on
your
calendars.