►
From YouTube: June 23, 2021 Minneapolis Arts Commission
Description
Additional information at
https://lims.minneapolismn.gov
B
A
Thank
you
so
much
good
evening.
My
name
is
joan
vordebergen
and
I
am
the
chair
of
the
minneapolis
arts
committee
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
may
verify
the
presence
of
a
quorum.
C
A
A
E
A
F
A
Hi,
okay,
with
that
that
motion
passes
so
on
to
our
meeting.
Thank
you,
everyone
so
much
for
making
the
time
to
get
together
this
evening.
I
really,
I
know
I
speak
on
behalf
of
everyone.
We
really
appreciate
the
extra
time
and
consideration
that
everyone
is
taking,
and
I
I
hope
that
through
our
conversation
this
evening,
we're
able
to
have
some
really
rich
and
valuable
learning,
and
I
also
just
want
to
say
that
I
recognize
that
there
are
some
opportunities
for
our
process
to
include.
A
You
know
just
a
little
bit
more
time
to
breathe,
with
some
of
the
work
that
we're
doing
and
and
and
that
there
may
be
some
areas
that
we
could
provide
for
information
sharing.
That's
a
little
bit
more
robust
for
the
mini
episodes.
Commission,
it's
a
separate
conversation
and
I
don't
want
to
sidetrack
us,
but
I
just
want
everyone
to
know
that
these
processes
and
consent
agenda,
for
example,
and
just
some
of
the
ways
that
we
advance
projects.
A
I
think,
there's
just
always
room
for
improvements
and
it's
really
helpful
when
we
have
new
commissioners
and
when
we
have
commissioners
that
come
to
the
table
that
have
you
know
just
ideas
about
how
we
do
things
and
and
that
bring
to
light
that
there
could
be
some
opportunity
for
growth
and
inclusivity
is
really
important
to
all
of
us.
And
I
think
everyone
here
shares
a
through
line
that
we
wish
for
the
artists
that
we
work
with
to
be
as
successful
as
possible.
A
And
that
is
a
very
important
and
valuable
thing
that
we
all
hold
very
near
and
dear
to
us.
None
of
us
would
be
volunteering
on
a
wednesday
evening
if
we
didn't
care
deeply
about
the
art
and
the
artists
that
we
work
with
in
the
city.
A
So
with
that,
I
would
love
to
move
into
introductions
and
how
we
like
to
do
introductions
is
to
introduce
yourself
and
if
you
could
just
speak
to
the
neighborhood,
you
live
in,
or
something
very,
very
brief
that
you
wish
to
share
we're
kind
of
really
focused
this
evening
and
then
tag
the
next
person.
That
would
be
fantastic,
so
I'm
joan
vorderbergen
I
work
for
hennepin,
theater
trust.
I
represent
wards
three
and
seven.
She
her
hers
and
I
will
tag
commissioner
bedberry.
F
Hello,
I'm
mandy
bedbury.
I
live
in
ward
10..
She
her
hers
and
yeah,
I'm
on
my
front
porch,
enjoying
ward
10
right
now
and
I
tag
commissioner
mansfield.
G
Hi
mari
mansfield:
she
her
hers,
I'm
a
visual
artist
in
minneapolis,
as
well
as
an
american
indian
education,
tutor
for
the
elk
river
school
district
and
I'm
an
angela
jenkins
board
I'll
pass
it
to
lana.
C
H
Thank
you
hi
lucy
thompson.
She
her
hers,
ward,
10
and
I'm
brand
new
to
the
commission.
My
history
is
in
city
planning
and
public
art
policy.
I
will
take
commissioner
swinton.
E
Hello,
my
name
is
jeff
swinton,
I'm
in
ward
7
and
he
him
his
and
I'm
a
layperson
on
the
commission,
and
I
will
tag
commissioner
smith.
D
F
A
I
think
we
can,
I
think
we
can
take
staff.
B
I
Altman,
I'm
mary
altman.
She
her
hers,
public
art
supervisor,
for
the
city
and
should
I
take
anne
godfrey.
K
Thank
you
so
much
to
the
minneapolis
art
commission
for
opening
this
space
as
a
learning
platform.
We
live
in
powderhome
park
for
several
years.
I
am
a
photographer
filmmaker
and
every
now
and
then
public
artist
and
I
currently
teach
at
carlton
college
for
the
backs.
Past
six
years
I've
been
teaching
at
the
university
of
minnesota
and
I
will
tag
tina
that
is
around
there.
For
some
reason
she
cannot
operate
her
camera,
but
she's
here
here.
L
A
Thank
you
thanks
everybody
did.
We
miss
anyone?
Okay,
I
think
we're
all
we've
all
here
thanks
so
much
and
thanks
again
everyone
for
your
time
this
evening.
I
guess
the
next
item
on
our
agenda
is
just
a
discussion
of
the
green
crescent,
and
I
know
mary
was
going
to
kind
of
start
by
just
giving
us
a
really
brief
overview
of
the
criteria
that
was
included
in
the
rf
for
this
project.
So
mary,
do
you
want
to
go
ahead
and
start.
I
Thank
you,
oh
hey.
Before
I
start
I
just
want
to
mention
and
your
volume
super
low
and,
however,
your
volume
is
kind
of
low
too.
So
these
are
the
adaptive
design,
review
criteria
for
public
artworks
for
the
city
and
we
have
some
new
commissioners,
so
I
thought
I
would
go
over
them
there.
There
are
really
basically
three
types
of
criteria.
I
This
is
all
about
the
quality
of
the
artwork
and
the
design,
including
you
know
whether
the
design
itself
is
high
quality
in
concept
and
in
construction
and
fabrication
and
materials,
whether
it's
comparable
to
other
works,
we
own,
if
it's
a
one,
a
cut
one
of
a
kind
idea
and
whether
or
not
the
presentation
materials
are
high
quality.
I
The
second
criteria,
which
is
also
in
our
statistic
criteria,
is
value,
artists
and
artistic
processes,
and
this
is
includes:
does
the
design
present
a
unique
or
appropriate
cultural,
geographic
or
artistic
perspective?
I
I
Does
it
include
the
artist
and
the
artistic
process
at
the
at
the
heart
of
the
project
and
does
the
budget
support
you're
not
reviewing
the
budget
tonight,
but
does
it
demonstrate
appropriate
support
for
the
artist
in
the
artistic
process
and
then
the
community-based
criteria
are
next
enhanced
community
identity
in
place
is
all
about
the
connection
of
the
design
to
the
place
and
to
the
community's
identity,
and
so
this
is,
does
the
design
reflect
the
community
or
setting
and
the
I
think
the
above
characteristics
refers
to?
These
are
out
of
order.
I
Geography,
history,
culture,
so
is
the
artwork
design
integrated
into
the
site,
design
and
function.
This
is
a
site
along
a
trail
in
terms
of
involve
a
broad
range
of
people
in
communities.
Will
the
design
involve?
Does
the
design
or
the
process
involve
community
members
in
the
creation
of
the
artwork
or
have
they
been
involved
in
the
process?
I
Will
the
completed
worker
propose
process,
encourage
civic
dialogue
about
important
city
issues
and
is
the
proposed
project
safe
and
then
the
final
criteria,
the
most
pragmatic
of
all
the
criteria
use
resources
wisely?
Is
the
design,
sustainable,
secure
and
technically
feasible,
and
does
it
work
within
the
timeline
and
the
budget?
A
A
However,
this
will
be
a
topic
of
future
discussion
that
I
think
we
can
re
look
at
this
as
we
embark
on
the
public
art
policy
process
that
we're
going
to
be
doing,
but
for
tonight's
purposes
to
just
know
that
this
is
the
criteria
that
exists
today,
and
so
this
is
the
these
are
the
kind
of
the
words
and
the
values
and
the
the
things
that
we
had
asked
for
as
of
now
so
just
a
point
of
interest.
A
Okay,
so
I'm
not
sure
I
apologize,
I
should
have
probably
touched
base
to
understand,
but
it's
my
understanding
then
that
javier
and
tina
were
you
going
to
present
the
okay
perfect
if
you,
if
no
one
else,
has
anything
else
that
they'd
like
to
bring
forward
at
the
moment.
I
think
we
should
move
forward
with.
I
That,
madam
chair,
I
believe
ann
is
going
to
introduce
them
and
talk
about
the
the
rationale
that
the
panel
had
for
selecting
them.
As
the
artists
awesome.
Thank.
J
Okay,
I
will
shout
then,
so
I
just
wanted
to
give
a
little
more
formal
introduction
or
more
complete
introduction
of
javier
tavera
and
maria
christina
ortina
tavera.
J
J
J
He
recently
has
accepted
a
position
as
an
assistant
professor
at
carleton
college,
and
will
start
there
in
september
and
now
just
a
little
bit
more
about
tina,
minneapolis-based
artist,
maria
christina
tavera
tina
is
a
dual
citizen,
mexico
and
the
u.s.
She
examines
cultural
signifiers
regarding
constructions
of
race
as
ethnicity,
gender
and
cultural
identities.
J
So
I
wanted
to
give
you
a
sense
of
who
was
on
the
green
crescent
artist
selection
panel
back
in
2020.
J
So
here
you
have
it
on
the
screen
and
then
I
also
wanted
to
give
you
some
insights
as
to
why
the
panel
chose
tina
and
javier
they.
You
know
mary
just
read
the
criteria.
I
think
they
they
got
the
highest
remarks
or-
and
you
know,
from
multiple
panelists
about
stimulating
excellence
in
urban
design.
They
felt
that
their
artwork
was
engaging
in
high
quality
and
that
they
had
an
appropriate
cultural
perspective,
but
probably
the
area
where
they
got.
The
most
comments
were
the
areas
the
criteria
about
community.
J
They
were
familiar
with
the
community
and
the
setting,
because
they've
been
involved
in
several
different
artworks
along
lake
street,
including
plaza
centenario,
with
a
sappada
structure
or
zapata
statue,
rather
that
tina,
while
neither
of
them
created
the
artwork.
It
was
a
gift
from
mexico
that
they
that
tina
was
involved
in
the
planning
and
implementation
of
that
project.
J
So
they
thought
that
their
previous
artwork
was
appropriate
to
these
communities
and
settings
and
that
they
had
experience
with
a
lot
of
different
communities
and
diverse
groups.
They
felt
that
their
work
was
meaningful
and
involved
civic
dialogue
and
that
they
had
the
capacity
to
work
with
a
lot
of
different
stakeholders.
J
Together
so
at
this
point,
I'm
going
to
turn
it
over
to
tina
and
javier
to
do
the
rest
of
the
presentation.
K
And
just
to
give
it
a
keep
up
a
little
bit
of
context.
I
mean
in
our
presentation
we're
gonna
talk
about
location
and
all
that
I
think
that's
one
of
the
first
or
second
slides.
Can
we
go
to
the
next
one?
Then
please
so
for
those
of
you
who
don't
know
where
this
is
you're,
seeing
in
front
of
you,
the
location
of
it
to
the
left,
meaning
to
the
north,
you
have
the
greenway
in
black
and
to
the
right.
K
This
is
essentially
something
very
similar
and
but
more
specific,
where
the
green
crescent
is
going
to
have
a
pedestrian
and
and
bike
path,
seen
here
in
beige
and
gray
and
is
going
to
have
a
hopefully
a
for
an
amount
of
green
space
where
you
see
the
red
dots,
that
is
where
the
the
the
lenticular
piece
is
going
to
be
next,
please,
this
is
a
mock-up
of
what
the
installation
is
going
to
be
is
going
to
be
a
lenticular
piece.
L
And
I
just
want
to
emphasize
that
the
lenticular
design
was
inspired
by
the
request
to
make
a
piece
of
work
that
encouraged
movement.
You
know,
for
instance,
not
to
have
benches
or
something
that
people
would
hang
out
there,
but
actually
something
that
pedestrians
and
bikers
and
trans
people
going
to
transportation
would
be
passing
by.
K
K
Yesterday
we
met
with
dr
eric
buffalo
head
he's
a
man,
a
member
of
the
ponca
tribe
of
white
eagle
in
oklahoma.
He
is
as
an
associate
professor
and
chair
of
the
american
england
institute's
department
of
osborne
university,
and
we
specifically
met
him
about
the
symbology
of
the
images
that
we
were
using
in
the
lenticular.
K
This
is
the
other
meeting
that
we
that
I
was
talking
about.
The
phillips
indian
educators
goes
by
pie
and
it's
an
adult
group
of
native
educators
under
the
guidance
of
joe
rice,
and
it
consists
of
a
small
but
growing
group
of
native
educators
and
administrators
and
allies
who
work
works
in
the
phillips
neighborhood,
and
you
can
see
a
list
there
of
the
people
that
are
part
of
pi
next,
please.
K
K
We
have
about
a
little
over
100
participants
and
where
the
majority
agreed
77
percent,
that
this
design
was
engaging
and
had
potential
to
attract
visitors.
Next,
please.
K
K
We
have
an
enormous
amount
of
people
strolling
by
and
we
were
able
to
talk
about
the
design
and
hear
perspectives
of
people
who
go
up
and
down
the
greenway
next
one,
please,
let's
dive
in
right
away
to
the
cultural
significance
of
the
horse.
This
is
a
quote:
shakopee
dakota
quote
the
has
long
held
a
special
place
in
native
american
culture,
often
referred
to
as
the
horse
nation
horses
like
the
drum,
have
a
way
of
comforting
healing
and
bringing
native
people
together.
K
Spending
time
around
them
is
good
for
the
heart
and
good
for
the
spirit,
and
we
have
a
website
there.
If
you
want
to
consult
that
next,
please
well,
we
wanted
to
focus
not
only
nationally
but
also
locally
about
what
the
activities
in
contemporary
indian
life
means.
K
This
is
a
photo
of
indian
horse
relay
that
has
been
held
since
2013..
It's
an
annual
collaboration
between
the
opposite
local
crowd,
nation
mystic
lake
casino,
hotel
partnered
with
the
canterbury
park
during
indian
horse
relays,
writers
embrace
their
culture
through
the
horse,
paints
designs,
bareback,
writing
and
we're
in
traditional
native
american
regalia
down.
Here
you
can
see
also
the
website
where
we
extracted
that
next
one
please.
K
Next
one
please:
this
is
what
we're
talking
about
about
the
equine.
K
Therapy-
and
this
is
for
behavioral,
health
of
native
youth
camps,
sisterton
oyate,
tri
shakopee
me,
the
wakatonshu
community
and
la
court,
or
aurelius
bandung
ojibwe,
and
these
four
directions
states
that
they
have
incorporated
a
gala
model
on
our
cultural
beliefs
and
traditions.
To
develop
a
unique
experience
for
native
youth
tribes
throughout
the
area
have
started
to
heal
historical
trauma
through
the
horse
nation
ceremonies.
We
incorporate
the
native
values
in
our
work
to
empower
the
strength
of
our
youth.
K
This
is
a
very
important
one,
a
very
good
friend,
of
tina,
garcia
horn.
That
is
collaborating
in
several
projects
that
we
consulted
with
her
she's,
a
nebulous
curator
and
multi-disciplinary
arts
born
and
raised
in
minnesota
minnesota.
She
is
cecilton
wakapeda
and
dakota
people
and
unapologetic
and
dakota
people.
K
L
K
We
also
researched
about
some
of
our
friends
native
american
artists
that
have
used
the
horse
in
in
their
art.
Next
one
please.
K
This
is
marlena
smiles
art
that
celebrates
her
indigenous
culture
and
language
as
his
spirit,
lake,
dakota,
mohigan,
creek
and
there's
conversations
around
race
and
racist
justice,
justice
change
makers,
marlon
miles
educating
through
art
and
innovation,
and
you
can
see
the
website
underneath
if
you
want
to
do
further
research
next
one
please,
jim
danomy,
is
a
very
good
friend
of
us.
He's
an
ojibwe
painter,
a
member
of
the
la
court.
Orioles
band
of
lake
superior,
cheaper
white
indians
deny
me
lived
on
on
a
reservation
until
the
age
of
four.
K
K
The
enemy's
signature
casts
a
characters
that
includes
wabuzz
and
indian
riding
a
horse,
and
actually
I
have
one
waboos
right
here
in
our
living
room.
I
traded
that
painting
with
him
for
another
for
a
photo
of
a
horse
of
mine,
so
that
was
a
a
very
interesting
and
very
dear
exchange
that
we
did
some
some
years
ago.
Next,
one!
Please
two
dark
courses
featuring
lindsay:
raynier,
laureen,
roach,
andrew
marsol
and
tinan
care.
K
Lauren
rodge
southern
partner:
this
is
a
minneapolis
artist.
First,
one
person
exhibition
silent
partner,
will
feature
five
of
world
shells
of
roaches,
elaborated
conceived
and
vividly
cued
drawings,
where
figures
and
animals
mysteriously
merge
through
abstract
form
pattern
and
color.
Her
uncommon
protagonist
asked
out
an
oblique
narratives
in
an
intermediate
universe
of
shifting
spatial
relationship
february
10
through
march
19
in
2000
2016..
K
Next
one,
please,
francis,
yellow,
that's
a
lakota
artist.
She
exhibited
at
lakota
a
buckley
gallery
and
buckley
garliss
police.
Two
percent
works
on
paper
canvas
and
selected
3d
world
back
francis
yellow
wannabe
yukaki
colorful
warriors
horses,
bison
and
pickett
signs
over
right,
stock
certificates,
checks
from
the
us
government
maps
and
other
documents.
K
We
can
see
that
she
that
francis
uses
also
the
horse
motif
that
was
in
2012.
next
one
please.
This
one
is
very
important,
because
this
one
was
an
exhibition
was
called
horse
nation
of
the
ochetti
sakowin,
and
this
is
an
exhibition
that
traveled.
This
is
a
collective
exhibition.
A
group
exhibition
that
traveled
to
many
places
where
horse
was
the
the
main
character.
K
How
horses
shaped
the
history,
spirituality
and
culture
of
the
dakota
nakora
and
lakota
people,
collectively
known
as
the
oceti
sakuwin?
Seven
council
fires
horses
serve
as
allies
in
hunting
and
in
battle,
but
are
revered
for
more
than
their
utility
horses
wear
and
still
are
recognized
as
relatives
and
are
vital
members
of
the
community.
K
K
The
exhibition
is
part
of
a
larger
look
at
horse
nation,
including
exhibition
at
all
my
relations
gallery
right
here
in
the
phillips
neighborhood
and
to
reverse
gallery
that
was
retrieved,
may
21
2019
and
there's
the
the
place
that
we
extracted
this
from
next
one.
Please
we're
gonna
talk
about
scholarship
next
one.
Please
there's
some
scholars
that
have
those
done.
Some
research
about
the
horses
in
the
americas,
there's
an
affirmation
that
that
the
horses
were
in
native
culture
before
the
settlers
came.
K
We
were
talking
to
buffalo
head
and
he
stated
that
there's
also
talks
about
the
horse
coming
from
asia
before
the
spaniards.
Here's
we
have
a
event
running
horse.
K
next
one,
please,
and
now,
let's
focus
in
other
ethnicities
other
than
the
native
next
one,
please
lesser
known,
history
of
african-american
cowboys,
one
in
four
cowboys
was
black
black
cowboys
were
a
staple
of
american
west
historian
estimates
that
25
percent
of
cowboys
on
the
american
frontier
of
the
late
19th
century
were
black.
K
Many
were
former
slaves
who
had
learned
horsemanship
skills
on
ranches
across
texas
and
other
parts
of
the
west.
This
is
a
very
a
lesser
known
history,
but
is
it
is
very
important
to
point
next
one
please,
and
now
we
are
doing
a
mix
between
popular
culture
and
urban
cowboys.
Recently
there
was
a
movie
called
concrete
cowboy
and
is
based
on.
K
And
there's
a
group
of
in
one
of
the
toughest
neighbors
in
l.a
in
in
compton
that
they're
called
the
compton
cowboys
composed
of
10
people
who
have
known
one
another
since
childhood,
but
officially
came
together
as
a
group
in
2017
are
on
a
mission
to
combat
negative
stereotypes
about
african
americans
and
the
city
of
compound
throughout
horseback
riding,
and
you
can
see
them
there.
Parading
recently.
K
Yeah,
absolutely
this
is
in
philadelphia,
yeah
next
one,
please
yeah.
We
also
came
in
right
talking
about
popular
culture.
This
is
a
a
commercial
for
the
super
bowl
with
little
nas
and
reimagining.
K
What
the
cowboy
and
the
use
of
the
horse
is,
you
can
see
him
here
still
from
the
commercial
with
boom
boxes
in
the
back.
It's
quite
quite
interesting.
If
you
get
a
chance
to
see
it
next,
one
please.
K
We
also
consulted
with
the
somali
population
in
in
south
minneapolis,
and
the
horse
is
actually
very
important
for
them.
There
is
the
battle
of
the
war
horse,
they
have
horses,
they
have
somali
for
horses
and
they
are
very
familiar
with
them.
The
somali
pony
orgy
originated
in
the
east
african
country
of
somalia,
it
actually,
then
the
horse
originated
there.
K
K
This
is
in
2013,
where
they
have
a
pony
rights
at
the
somali
independence
day.
This
is
in
2013.
next
one,
please,
the
horse
in
the
monk
communi
in
the
for
the
hmong
community
is
very,
very
important.
K
The
horse
is
sacred
and
is
the
entity
that
guides
the
death
to
wherever
their
end
place
is
going
to
be.
We
can
see
here
an
exhibition
by
cng
lee
and
about
those
wooden
horses,
and
it
consists
in
a
wooden
bench
that
acts
as
a
of
transportation
to
the
other
world.
K
Next,
one
please
for
latinos
and
for
mexicans,
as
in
the
la
paz,
is
a
501c3
charitable
organization.
K
The
couple
that
runs
and
they're
very
good
friends
of
mine
and
their
base
is
teaching
leadership
skills
to
children
of
the
adults,
using
horses
focus
on
people
who
live
in
city
for
peace
talks.
They
do
a
lot
of.
K
K
This
is
a
I
I
I
documented
chatteria
whole
day.
This
was
last
last
saturday,
there's
a
chapter
of
charosa
minnesota,
charlotte
minnesota
has
four
groups,
and
people
from
charles
from
minnesota
from
chicago
and
charles
from
arkansas
came
here
to
participate.
In
this
day,
there
were
hundreds
and
hundreds
of
charos
celebrating
cherella
in
on
saturday.
They
have
a
numerous
events
throughout
the
summer
and
it
is
the
horse.
K
It
is
revered
as
as
as
a
sacred
entity
for
the
charo,
and
this
has
a
history,
a
long
history
after
the
spaniard
scheme
of
using
and
appropriating
that
horse
being
an
emblem
of
mexicans
next
one
please.
K
These
are
other
examples
that
we
find
you
know
about.
The
renaissance
festival
jesse
james
in
moorefield,
the
state
fair,
there's
a
horse
exploring
the
stage
for
annually
and
minnesota
a
question
center.
K
I
think
that
concludes
our
presentation
and
I
I
believe
that
we
can
open
this
for
four
questions.
Do
I
have
it
right?
Mary?
I'm
sorry
and.
A
Yeah,
so
I'm
glad
I
want
to
be
mindful
of
time.
Thank
you
so
much
for
taking
the
time
to
deliver
the
presentation
to
the
commission.
We
really
appreciate
it
I'd
love
to
open
up
and
give
the
opportunity
for
anyone
to
ask
questions
or
comments
I'll
volunteer.
A
First,
that
I
just
I
want
to
say
that
I
really
appreciated
how
much
education
was
in
this
presentation,
and
I
I
appreciate
the
representation
of
contemporary
native
life
about
around
the
symbology
that
you
are
proposing,
but
I'd
like
to
be
able
to
have
a
robust
discussion
so
who
would
like
to
begin.
G
Hi,
I
have
a
question
so
in
your
initial
write-up,
you
described
that
a
horse
symbolism
is
representing
native
americans
and
then
in
your
secondary
write-ups,
as
well
as
this
presentation,
we're
hearing
that
horses
represent
are
representative
of
many
different
cultures,
including
somali
black
hmong
and
other
asian
countries
in
the
final
iteration
of
this
design,
for
instance,
if
hypothetically
there
were
to
be,
let's
say
a
plaque
that
would
have
a
description
of
the
artwork,
how
would
you
want
that
artwork
to
be
described
and
the
imagery
to
be
attributed.
L
We
actually
were
told
that
it's
very
limited
what
we
can
put
on
the
plaque.
It
typically
only
has
the
basic
information
about
the
artwork,
but
so
we'd
have
to
be
really
strategic.
So
that's
a
really
good
point
about
the
language
and
be
really
efficient
with
our
words
to
if
there
is
even
any
possibility.
But
we
understand
that
there's
a
limitation
of
what
we
can
even
put
just
because
of
the
current
policies
with
plaques
for
the
artwork
in
the
city.
K
I
So
I
could
just
elaborate
on
how
the
artwork
descriptions
are
used,
so
we
have
several
places
where
we
include
information
about
the
artworks.
In
fact,
we
have
eight
interactive
touring
maps
online
that
you
you
can
tour
the
different
artworks
in
the
city,
and
so
the
descriptions
are
there.
We
also
placed
qr
codes
at
sites
not
on
the
bronze
black,
because
obviously
a
qr
code
is
not
not
probably
a
25
year
symbol,
but
you
know
we
have
a.
We
have
a
as
you
know.
I
We
have
a
problematic
website
right
now,
but
generally
have
we
have
a
a
pretty
strong
website
and
any
promotional
materials
about
the
artwork.
This
text
will
or
javier
tina's
text
will
be
used
and
artists
continue
to
tweak
their
written
descriptions
and
through
the
completion
of
the
artwork,
and
they
submit
their
final
written
description
after
the
fabrication
is
done
because
they
keep
learning
about
the
piece
as
it's
getting.
A
Made
any
other
comments
considerations.
One
thing
is
that
that,
because
that
is
an
interesting
point,
we
could
provide
approval
of
this
design
with
a
contingency
that
we
are
allowed
to
see
the
copy.
That
is
the
final
copy
that
is
used
for
the
signage.
If
that's
something
that
would
be
helpful
to
the
group-
and
you
know,
commissioner
manfield-
I
want
to
be
sensitive
that
the
attribution
of
the
work
and
how
it's
presented
to
the
community
is,
you
know,
kind
of
something
that
you're
really
thinking
about
about.
A
How
does
that
show
up
and
what
are
the
words
that
are
used
about
what
community
it
represents
and
how
that
so,
that's
an
option
for
us.
I
think,
am
I
correct
mary
that
we
could
do
a
motion
to
approve
with
the
recommendation
that
the
arts
commission
be
allowed
to
see
the
final
copy
of
the
final
copy
of
the
printed
materials
or
the
placard.
I
I
I
would
say
that
if
we
are
going
to
ask
tina
and
javier
to
go
through
additional
approvals,
that
we
don't
typically
make
artists
go
through
and
then
go
beyond
the
approval
processes
that
are
like
in
their
contract
that
we
that
that
we'd
be
thoughtful
about
that.
Also
keep
in
mind.
A
A
I
think
it
just
as
a
courtesy
to
be
you
know
just
to
be
inclusive
and
and
and
be
able
to
see
like
what
that
final
copy
looks
like
not
to
stop
the
process
or
delay
the
process
or
belabor
the
issue,
but
as
a
courtesy,
I
guess
that's
kind
of
the
way
I
see
it,
I'm
not
sure
commissioner
mansfield
you
can.
Let
me
know
my.
I
don't
want
to
speak
for
you
also
like
how
you
what
you
would
think
about
that.
G
Yeah,
I
guess
my
concern
was
especially
my
concern.
When
I
saw
the
initial
proof
was
that
perhaps
a
statement
very
general
statement
was
going
to
be
used
to
describe
this
artwork,
like
native
parents
used
courses
for
transportation
hunting,
which
is
a
huge
generalization
of
a
continent,
and
a
country
that
has
574
federally
recognized
indigenous
tribes
and
each
one
of
those
tribes
has
unique
and
separate
cultures
each
with
different
animals
that
are
sacred
to
them.
G
So
my
concern
is
that
the
language,
in
the
end,
maybe
bordering
on
being
a
generalized
stereotype
that
could
be
damaging.
L
G
L
L
We
saw
the
course
maybe
more
important
or
more
easily
recognizable
as
being
tied
to
the
native
community,
even
to
the
other
communities
like
we
didn't
know
about
the
somali
war
horse,
and
we
didn't
know
necessarily
as
much
about
I
mean
we
were
familiar,
that
the
horse
was
important
to
the
hmong,
but
the
actual
symbolism
of
it
being
the
transportation
to
the
next
life.
So
I
think
we
could
even
put
something
really
just
general
about
the
horse
and
birds
being
important,
iconography
and
specifically
to
minnesotans.
L
And
I
think
that
it's
hard
with
iconography
that
it
people
are
going
to
all
have
the
same
reaction.
But
I
think
that
in
we
really
wanted
to
pick
something
that
was
important
to
the
majority
of
the
people
in
this
intersection,
especially
because
of
the
fact
that
it's
probably
the
most
diverse
area
in
all
of
minnesota
and
that's
pretty
challenging
in
iconography.
L
And
so
we
really
like
the
idea
of
the
horse,
and
I
think
that
we
use
the
generalization
of
native
people
because
we
see
it
as
more
commonly
associated
with
the
native
americans
in
comparison
to
the
other
groups.
L
G
Yeah-
and
I
I
think
that's
the
important
thing
to
remember
too,
is
that
you
know
native
americans,
of
course,
are
not
a
monolith
they're
an
entire
continent
of
people,
and
you
know
it.
I
think
it's
great,
that
it
would
symbolize
people
of
minnesota,
including
native
americans,
but
I
worry
about
using
language.
E
This
this
is
commissioner
swinton.
I
I
think
the
conversation
is
very
interesting
and-
and
I
get
what
you're
saying
mary
in
terms
of
you
know
the
limited
of
the
placard,
but
you
know-
and
this
is
not
for
the
commission
to
decide,
but
I
think
since
we're
having
this
conversation
about,
how
do
you
talk
about?
You
know
how?
How
can
you
use
it
to
talk
about
the
horse
and
its?
You
know
importance
to
many
cultures
right,
so
is
it
at
the
unveiling?
Is
you
know
like
I
said?
E
I
know
this
is
not
mac,
you
know
area,
but
I
I
think
it's
a
interesting
conversation
that
you
know
I
learned
and
I'm
sure
other
folks
would
learn.
So
just
it's
just
something
to
think
about.
A
A
Okay,
we
are
at
six
o'clock.
I
would
love
to
have
a
motion
to
approve
the
green
crescent.
D
F
G
H
A
Aye
that
motion
passes.
Thank
you
everyone
for
the
time
this
evening.
I
also
want
to
just
mention
that
javier
and
tina,
thank
you
so
much
for
all
of
your
hard
work
and
and
to
the
staff.
We
want
to
be
as
helpful
as
we
can
be
so
pleased
through
this
process
as
you're
moving
forward.
A
I
Meeting
chair,
I
just
put
in
the
chat
a
document
that
summarizes
the
indigenous
works
that
we
own
the
indigenous
projects
we
have
in
progress
and
the
consultants
we've
been
working
with
in
the
dakota
and
anishinaabe
community
over
the
past
few
years
for
people's
information.
A
Thank
you
that
would
be
great
to
distribute
to
all
of
the
commission
too.
I
think
that'd
be
really
important.
So
thank
you
for
that.
Okay,
without
objection,
I
will
declare
this
meeting
adjourned
thanks.
Everyone
enjoy
the
rest
of
your
evening.
Thank
you.
Thank
you.
Thank.