►
Description
Additional information at:
https://lims.minneapolismn.gov
C
A
Good
evening,
everyone
welcome,
my
name
is
joan
vorderbergen.
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
statutes,
section
13d.021
due
to
the
declared
local
health
pandemic.
A
Present,
thank
you
with
that.
We
will
proceed.
A
copy
of
tonight's
event
was
posted
for
public
access
to
the
city's
legislative
information
management
system,
which
is
available
at
lens
lens.minneapolismn.gov.
A
Good
evening,
everyone,
it's
a
with
great
excitement
that
I
welcome
you
all
this
evening
to
our
artist
panel
discussion.
A
I
am
welcoming
you
all
alongside
my
colleagues
on
the
minneapolis
art
commission
and
we
want
to
give
a
special
thanks
to
the
access
and
engagement
action
learning
team
within
the
commission,
who
led
the
coordination
of
tonight's
event,
I'd
like
to
ask
everyone
to
turn
their
cameras
and
their
mics
off,
and-
and
we
may
do
that
for
you,
unless
it's
appropriate,
there's
a
time
to
speak.
A
We're
really
excited
to
hear
from
our
artist
today
and
most
excited
to
introduce
our
facilitator
tricia
hearing,
who
is
a
minneapolis-based
curator
consultant
and
an
arts
organizer
in
2012.
She
co-founded
public
functionary,
a
northeast
minneapolis-based
platform
that
supports
underrepresented
artists
in
building
a
community
of
practice.
A
As
an
independent
arts
consultant,
she
currently
balances
a
full
plate
of
exciting
and
diverse
projects.
For
example,
embedding
an
artist
cohort
in
the
design
process
for
three
saint
paul
public
library
renovations,
directing
a
new
mentorship
program
for
bypoc
students
at
mcad,
curating,
the
corporate
art
collection
of
rbc
wealth
management
and
leading
the
installation
of
10
new
murals
along
the
central
avenue
corridor
for
the
past
10
years,
she's
advocated
for
an
equitable
and
inclusive
msp
arts
sector
by
finding
the
seat
at
unlikely
tables
of
influence
and
opening
them
up
to
new
processes
and
ideas.
A
Tricia
was
born
in
bangkok,
thailand
raised
in
cairo,
egypt
and
currently
lives
in
northeast
minneapolis.
With
that,
I
would
love
to
to
welcome
trisha,
and
I
I
want
to
just
also
mention
that
the
minneapolis
arts
commission
would
love
for
people
to
become
more
involved.
We
do
have
some
vacancies.
If
you
are
interested,
there
will
be
a
link
in
the
chat.
If
you
want
to
find
out
more
about
that
with
that.
Welcome
trisha
and
thanks.
E
Everybody
thank
you
joan,
hi
everybody.
I'm
really
excited
to
be
here
tonight.
I
feel
like
it's
been
a
while,
since
we
had
you
know
artist
panels
and
discussions.
I
know
a
lot
of
them
have
been
happening
online,
but
it
still
feels
like
they're
not
as
robust
and
frequent
as
they
were
in
our
pre-pandemic
life.
So
it's
really
exciting
to
to
feel
this
energy
coming
back
and
discussion.
E
Starting
again,
I
am
just
going
to
go
through
a
quick
intro
of
each
of
the
artists
and
speak
their
names
into
the
space
so
that
we
can
welcome
them,
and
then
we
will
start
the
conversation
today.
So
let's
just
go
through
we're
going
to
show
a
sample
of
work.
We
have
ozzin
reyes
fernandez.
E
And
I'll
just
wait
for
you
to
switch.
Thank
you
christopher
harrison.
E
E
And
kalitao-
and
I
know
that
mary
will
be
putting
their
full
bios
in
the
chat
for
you.
We
can
also
include
information
links
to
their
websites
and
things
where
you
can
follow
up
with
the
artists,
but
I
will
invite
them
all
to
turn
on
their
cameras
and
for
the
screen
share
to
end.
So
we
can
start
the.
E
We
see
you
all,
okay,
let
me
just
see,
if
maybe
I
change
my
screen
share,
or
maybe
my
screen
format,
and
I
can
see
it
better.
Oh
there,
that's
better,
okay,
all
right,
so
the
goal
tonight
is
to
share
experiences.
E
I
know
that
all
of
you
have
collaborated
with
the
city:
you've
had
commissions,
you
are
working
practicing
artists
and
you
all
have
this
breadth
of
experience,
creating
art
engaging
with
communities
creating
art,
particularly
in
public
spaces,
and
so
I
think
it's
really
interesting
to
go
beyond
just
a
survey
and
really
follow
up
in
conversation
around
what
those
experiences
have
meant.
I
know
that
the
arts
commission
is
interested
in
how
the
city
can
grow
and
how
they
can
work
better
with
artists,
and
so
hopefully
we
can
uncover
some
of
those
gems
tonight.
E
I'm
really
excited
to
be
in
conversation
with
all
of
you.
So
considering
that
you
have
all
collaborated
with
the
city,
I
think
we
can
just
start
with
that
as
a
starting
place
and
really
kind
of
review
what
it
is
that
worked
well
for
you
in
collaborating
with
the
city
and
what
aspects
were
challenging
and
I
think
just
to
start.
E
I
want
you
to
reflect
on
your
experience
with
the
city
and
share
with
us
what
were
some
moments
of
the
collaborations
or
the
commissions
that
you
worked
on,
where
you
felt
joy,
where
you
felt
like
you
were
in
a
creative
flow
like
what
were
those
moments
of
creating
the
work
that
you
were
commissioned
to
create
that
were
super
fulfilling
for
you
and
we'll
start
there,
and
I'm
just
going
to
call
on
khali
to
start
us
off.
F
For
me,
I've
worked
with
many
different
cities,
but
working
with
the
city
of
minneapolis,
I
felt
that,
like
the
the
deadlines
were
realistic
versus,
like
other
cities,
that
I've
worked
with,
and
also
the
fact
that
we
were
like
meeting
almost
like
where
deadline
deliverables
were
so,
we
were
able
to
kind
of
share
our
project
with,
like
other
artists,
the
staff.
So
it
kind
of
felt
like
everybody,
was
moving
their
project
forward,
but
also
that
the
city
was
like
a
part
of
our
project.
E
G
I
appreciated
working
like
with
other
artists,
who
are
also
on
the
same
project
and
being
able
to
ask
questions
and
get
feedback
from
you
know
from
their
experiences.
So
I
think
artists
that
have
more
experience
kind
of
naturally
pass
that
on
to
artists
who
might
have
just
gotten
their
first
city,
commission
or
something-
and
I
just
enjoyed
that
sort
of
fluid
conversations
that
happen
between
artists,
that
I
wasn't
expecting.
E
So
that
would
be
sort
of
just
the
opportunity
to
collaborate
with
other
artists,
and
I
think
in
this
recent
project,
the
public
works
building.
All
of
you
were
working
sort
of
alongside
each
other
in
the
process,
so
I
think
that's
a
little
bit
unique
to
be
able
to
work
in
in
a
larger
cohort
of
artists,
but
I
think
that's
a
great
takeaway
to
think
about
how
often
artists
will
be
working
individually
on
commissions
versus
in
in
a
sort
of
cohort
model
at
scene.
What
about
you?
C
C
So
I
could
kind
of
like
hone
in
on
that
and
then
afterward
then
kind
of
what
others
were
saying
like
to
be
getting
together
with
the
artists,
who
are
also
like
contributing
to
utility
reps
for
for
me
and
to
yeah
to
like
get
to
see
other
people's
stuff
and
like
yeah,
and
get
to
actually
interact
with
other
artists
too.
B
Just
what
marlena
and
that
scene
that
had
to
say
I
haven't,
I
only
gotten
the
opportunity
to
work
with
kelly
and
marlena,
but
in
such
huge
admiration
of
these
two
and
the
others
involved
in
the
in
the
project,
there
was
just
so
many
talented
people
and
to
bounce
ideas
off
of
one
another
and
actually
feel
a
community
was
like
a
really
special
thing.
I
know
that
wasn't
like
a
direct
byproduct.
B
I
mean
it
wasn't
a
direct,
a
directive
of
of
the
commission,
but
we
made
it
happen
and
we
we
really,
I
think,
really
love
each
other
and
like
to
this
day
exchange
text
and
like
know
that
we
can
count
on
one
another
if
we
needed
some
real
talk,
and
that's
great
aside
from
that
at
the
staff,
like
the
openness
for
me
for
the
forum,
well,
the
311
staff
and
also
the
public
works
people.
They
gave
me
such
incredible
tours.
B
I
think
they
were
really
hungry
to
share
what
they've
been
you
know,
working
through
in
their
daily
lives,
and
it
was
just
so
great
to
take
tours
of
many
different
places
that
I
wouldn't
have
access
to.
Unless
I
knew
with
city
staff
member
so
yeah,
those
were
really
great
things.
E
What
do
you
in
terms
of
the
actual
artwork
that
you
all
created?
What
is
it
that
you're
proud
of
with
that
work,
or
what
did
that
work?
What
did
that
particular
work
contribute
to
your
overall
practice
or
your
overall
body
of
work
like
what?
What
did
you
learn
personally
from
that
piece
and
anyone
who's
ready
to
go,
can
jump
in.
B
I
learned
a
lot
of
technical
things.
I
mean
that's
a
pretty
big
print
and
the
print
services,
people
that
helped
that
were
subcontracting,
marlena
and
kelly.
I'm
not
sure
what
the
the
name
of
the
place
was.
I
forgot
I
was
wrecking
my
brain
for
that,
but
they
were
extremely
helpful
and
I
guess
I
I
responded
to
the
fact
that
it
was
vinyl
and
I
really
wanted
to
make
something
tactile
like
painting
wise
so
to
translate
that
and
thank
you
kelly
and
ash
they're,
two
artists
that
that
scanned
it
for
me
and
yeah.
B
It
was
great
to
have
something
tactile
blown
up
so
big
and
prominent
in
in
the
new
building.
G
I
can
go
next.
The
company
that
whit
was
thinking
of
is
vanilla.
So
just
for
that.
But
for
me
I
my
what,
like
my
pieces,
are
about
like
what's
important
to
native
people
like
what
is
well
to
us,
so
I
was
able
to
actually
meet
with
the
community,
do
different
a
few
different
events
and
gather
people's
feedback,
and
for
me
that
was
something
new
for
me,
because
usually
I
do
research
and
from
scholarly
sort
of
sources.
G
So
it
was
kind
of
good
to
hear
people's
life
stories
of
growing
up
in
minneapolis
and
then
taking
those
stories
and
their
ideas
or
their
wishes
for
the
future
and
including
that
in
my
pieces
too.
So
that's
something
I
really
enjoy
with
my
pieces.
I
feel
like
they
reflect
what
people
hope.
What
native
people
hope
for
living
in
minneapolis.
C
I
so
my
piece
that
I
did
was
a
pretty
like
hard
left
from
what
I
had
done
before,
just
because
I
had
worked
in
like
more
traditional
media,
just
like
coily
acrylics
things
like
that,
and
so
to
do.
C
Something
that
was
like
completely
digitally
based
was
something
that
I
hadn't
done
before,
and
and
and
also
even
just
the
content
that,
like
a
lot
of
my
stuff,
was
historically
like
body-based,
a
lot
of
portraits
things
like
that,
and
so
to
do
something
that
was
not
that
at
all
was
it
was
a
yeah.
It
was
a
lot
of
fun
to
put
together
and
to
have
that
kind
of
like
in
the
context
of
like
what
was
what
the
utility
rush
were
kind
of.
C
Like
looked
for
it
to
be
to
have
like
certain
details
or
like
components
was,
it
was
fun
to
get
to.
F
Okay,
for
me,
it
was
really
exciting
to
have
like
community
engagement,
and
my
pieces
speaks
about
like
immigration
coming
to
america.
So
when
I
held
my
community
engagement,
a
lot
of
them
shared
like
their
stories
about
how
they
came
to
america
and
like
the
importance
of
folk
tales,
and
you
know,
nature
and
animal
and
how
that
influences.
You
know
our
way
of
life,
so
I
definitely
wanted
to
put
that
into
the
final
piece,
but
also
the
fact
that
I
had
creative
freedom.
I
think
for
me.
F
I
struggled
because
of
you're
able
to
kind
of
have
that
creative
freedom.
So
for
me
it
was
you
know
that
was
challenging,
but
otherwise
you
know
everything
was
pretty
fun.
E
Yeah,
I
think
it's
always
important
to
reflect
on
just
you
know
what
you,
what
you
were
able
to
create,
because
the
opportunity
to
make
art
is
such
a
privilege
and
the
opportunity
to
be
paid
to
make
art
is
even
better.
So
I'm
curious
if
you
can
speak
to
some
of
the
challenges,
and
you
can
approach
this
in
terms
of
challenges
that
you
found
personally
just
in
terms
of
working
with
the
city.
E
You
know,
because
of
the
medium
you
were
working
in
or
the
context
or
the
time
or
if
there
were
particular
challenges
with
the
process
or
or
the
expectations
that
were
set
out
of
you
so
just
set
out
for
you.
So
just
thinking
about
challenges,
and
I
think
it's
an
interesting
thing
to
even
frame,
because
I
think
there
are
always
challenges
with
every
every
art
based
project.
So
yeah,
I'm
curious.
What
was
what
was
a
difficult
part
yeah?
Let's
start
with
marlena.
G
Sure
the
difficult
part
for
me
is
always
when
you're
selected
as
a
finalist
and
you're
presenting
to
the
panelist,
and
you
get
15
minutes
to
really
try
to
talk
about
your
piece,
and
I
feel
like
that's
not
enough
time
for
some
of
these
big
projects
and
then
to
like
the
panelists.
You
don't
know
how
to
respond
to
your
presentation,
so
you're
very
nervous.
I
remember
my
first
like
attempt
to
get
a
commission.
G
That
was
like
embarrassing
and
awkward
and
but
the
second
time,
the
third
time
you
know
it
was
a
lot
better
so,
but
I
still
find
it
really
hard
to
be
able
to
really
talk
about
like
things
that
mean
a
lot,
but
also
have
it
explained
so
the
panelists
understand
it
because
it's
hard
as
artists,
I
think
to
speak
because
normally
we
create
visuals.
You
know,
but
it's
kind
of
hard
to
talk
through
the
process
or
to
talk
through
the
project
and
have
people
understand
it
through
words.
E
B
Overall
is
a
great
experience,
I
mean,
there's
always
the
frustration
in
working
with
the
city
and
getting
paid
and
going
through
the
bureaucracy,
and
that's
that's
a
huge
learning
curve,
but
I've
done
it
before
and
you
just
gotta
expect
to
get
paid
a
lot
later
than
what
you
think,
but
the
biggest
part
for
me-
and
it
wasn't
frustrating-
is
just
more
in
the
back
of
my
mind-
is
that
you
know
it's
great,
that
they
hired
a
architect
or
a
artist
to
like
identify
spaces
in
the
building.
But
I
would
I
would
have.
B
It
is
a
great
opportunity
for
us,
but
I
think,
like
a
bigger
commitment
on
the
city's
part,
to
actually
embed
it
into
the
architecture
versus
like
an
ornamental
situation.
You
know
much
of
a
lot
of
these
are
vinyl
and
when
you
think
about
like
the
wpa
era,
in
comparison
to
what
we're
doing
in
our
public
spaces,
it's
like.
I
love
the
commitment
and
the
pay
and
it's
great
and
not
to
like
denigrate
the
experience.
B
But
it's
just
like
knowing
that
the
bar
is
like
the
wpa
era
and
like
actual
craftsmanship
and
like
working
with
artists,
hand
in
hand
and
incorporating
it
into
the
building
and
to
see
like
that,
the
identified
spaces,
where
glass
and
like
temporary,
somewhat
temporary
things.
So
I
would
just
push
the
arts
commission
and
the
you
know
the
staff
to
do
a
little
bit
more
and
like
work
a
little
bit
deeper
with
the
artist.
B
E
Well
before
you
leave
it
at
that,
actually
would
you
would
you
just
say
that
so
the
the
sort
of
vinyl
application
feels
to
you
like
a
bit
of
a
temporary
application,
and
it
would
perhaps
be
more
meaningful
to
have
works
that
are
more
permanent,
like
embedded
into
the
walls
painted.
You
know,
just
sort
of
like
like
you're
saying
the
works,
progress
era
where
it
was
like
things
were
carved
in
or
murals
were
painted
permanently.
That
now
can't
be
destroyed.
B
I
that
I,
I
think
that's
spot
on.
I
love
the
commitment
I
mean
the
city
is
doing
what
they
can
and
obviously
like
an
artist
like
marlena
practices
in
the
digital
realm,
and
it
is
a
total
valid
form
but
like
how
do
we
have
more
permanence
you
know
like?
Is
there?
Is
a
glass
etch?
So
it's
actually
materiality
is
actually
permanent.
You
know,
or
is
it
are
they
like
cnc
routed
metals?
You
know,
I
know
the
city
has
done
this
before,
so
it's
not
beyond
them.
B
To
do
that,
but,
like
the
the
disappointing
fact,
is
that
we
hired
an
artist
from
outside
of
the
state
to
identify
these
places
in
the
building,
and
it
really
was
dictated
by
the
architects
right.
It's
like
the
space
is
the
thing
the
space
is
the
art
I'm
like.
B
I
don't
want
to
ever
set
up
a
like
us
versus
them,
but
it
always
seems
like
architects,
an
artist
you
know,
and
architects
win
in
this
situation
and
it's
it's
very
much
more
complex
than
that.
B
Obviously,
but
like
it
it
just
in
this
case,
it
was
like
second
fiddle
to
to
the
architecture,
and
I
I
it's
horrible
to
to
like
have
an
experience
like
this
and
get
paid,
but
I
I
really
want
this
to
happen,
and
I
know
the
city
can
do
it
and
I've
worked
with
the
city
in
many
many
aspects
and
we
can
just
do
a
little
bit
more.
You
know
what
is
more
permanent
and
what
is
long-standing
and
what
is
like
a
spectacle
or
something
that
is
isn't
normally
presented.
B
I
think
christopher,
like
the
sculptors,
might
have
a
different
perspective
because
they
actually
created
something
very
physical
right,
whereas
the
the
windows
were
were
like
vinyl,
so
I'll
quit
taking
up
too
much
air
space
but
yeah.
I
have
a
lot
of
thoughts
on
that.
E
Thanks,
sweat
and-
and
I
would
you
know,
encourage
you
not
to
apologize
for
having
feedback
or
criticism
just
like,
because
you
got
paid,
you
know,
because
you
got
paid
for
your
work,
doesn't
mean
that
you
shouldn't
have
an
opinion
about
how
that
collaboration
went
and
that's
what
we're
here.
For
you
know-
and
I
do
I
want
artists
to
speak
up
more
about
their
experiences
autism.
Can
you
share
with
us
a
bit
about
your
challenges
or
difficulties
with
your
commission.
C
Sure
mine,
yeah,
is
maybe
very
different
in
that
mine
was
really
the
biggest
challenge.
That
kind
of
comes
to
mind,
for
me
was
a
really
technical
one.
C
Just
because,
as
I
mentioned,
I
was
like
really
new
to
working,
digitally
and
so
like
after
I
had
my
piece
accepted
the
following
deadline:
to
have
to
have
the
work
basically
formatted
to
like
the
right
specifications,
so
it
would
be
like
printed
and
like
actually
look
good,
and
so
just
on
that,
specifically
like
I
had,
I
had
to
basically
lean
on
my
brother,
who
is
an
animation
designer
who's
like
very
familiar
with
that
and
helped
me
out
a
lot,
but
that
yeah.
C
C
I'd
like
to
think
so,
my
brother's
still
out
there.
So
I
might,
I
might
just
call
him
up
again.
E
F
I'm
a
visual
and
public
artist,
so
I
create
traditional
work,
but
I
know
how
to
transfer
that
onto
like
glass
or
you
know,
different
surfaces,
so
the
challenge
was
basically
trying
to
figure
out.
Do
I
want
to
create
something
digital
using
a
you
know
like
a
three
a
software,
or
do
I
want
to
do
like
hand
painted
so
I
decided
to
do
the
hand
painting
and
the
beauty
about
it.
Is
that
it's
printed
on
vinyl,
but
it's
like
a
dual
side,
so
I
definitely
wanted
to
play
around
with
like.
F
F
If
I
did
it
traditionally-
and
I
do
want
to
say
something
about-
I
mean
I
know
whit
talked
about
it,
but
I
do
also
wish
that
artists
were
included
early
on
when
it
comes
to
public
art
when
they're
building,
you
know,
like
everybody,
invests
in
an
architecture
and
basically
they're
like
okay,
here's
the
build
but
it'd
be
nice
to
like
invite
artists
before
they
actually
build
the
the
the
site,
because
you
know
we
can
have
something
that
may
change.
F
You
know
structurally,
something
that
we
can
add
and
that
just
that,
because
everything
that
we
create
it's
always
like.
Okay,
it's
got
to
fit
this
spec.
You
know
this
size,
so
we're
like
okay.
How
can
I
think
creatively?
How
can
I
fit
this?
You
know
we
can
do
it,
but
it's
just
it
would
be
nice
to
be
like.
Oh,
I
would
love
to
do
something
like
this,
but
I
need
you
know
the
space
to
do
it.
E
Yeah
yeah,
I
know
I
absolutely
agree
with
that.
I
think
that
one
of
the
misconceptions
that
we
have
to
kind
of
break
through
with
our
artists
is
that
especially
public
artists
is
that
they
just
create
sort
of
the
the
object
at
the
end
the
building
is
created,
and
so
now
we
do
the
call
for
artists
and
we
p,
we
put
a
sculpture
or
a
mural
into
this
designated
spot
when
artists
are
so
tuned
into
the
way
we
move
through
spaces.
The
way
we
feel
in
spaces
the
way
that
spaces
offer.
E
You
know
different
opportunities
for
art
that
you
probably
wouldn't
think
about,
and
so
I'm
absolutely
an
advocate
for
working
with
artists
early
on
and
it's
something
that
I
think
could
change,
especially
in
in
the
city
because
there's
you
know
now
artist,
cohorts
and
different
ways
that
we
can
think
about
artists
as
advisors
or
you
know
just
consultants.
E
I
want
to
circle
back
to
something
marlena
said
about
the
panel
process
and
about
applying
and
kind
of
have
the
rest
of
you
weigh
in
on
on
that.
One
of
the
things
where
we're
at
now
is
that
you
already
got
this
commission.
E
You
already
did
this
work,
but
what
can
you
speak
to
in
terms
of
what
it
was
like
to
actually
apply
for
commission
and
ways
where
you
feel
that
there
would
be
more
access
or
the
process
could
be
different
in
terms
of
you
know,
just
sharing
your
work
for
a
commission
and
if
it's
limitations
with
the
city
process,
that's
one
thing,
but
just
limitations
in
general
that
you
find
as
public
artists
applying
for
rfqs
or
rfps,
and
I
know
marlena.
You
spoke
to
to
that
to
get
us
started
with
this.
E
So
kali
do
you
have
anything
to
add
and
marlena.
If
you
want
to
add
more
to
what
you
previously
said,
we
can
follow
with
that.
F
For
my
experience,
I
think
just
having,
because
I
have
different
social
networks
that
will
send
me
like
call
for
art,
so
that's
kind
of
nice
to
have,
but
not
everybody
has
that
you
know
not.
Everybody
has
the
opportunity
where
you
build
a
relationship
with
people
and
different
organizations
where
they
will
say
hey.
You
should
really
you
know.
Do
this
call
for
art.
I
wish
there
was
a
little
bit
more
where
you
have
a
liaison
that
goes
to
like
different
communities.
F
That
would
never
really
see
these
cover
arts
and
maybe
encourage
them
to
do
it.
But,
yes,
the
process
is
very
nerve-wracking.
I
mean
I
totally
understand
when
what
marlena
is
saying,
because,
regardless
of
how
many
interviews
and
everything
that
I've
done,
I
mean
it's
nerve-wracking
regardless.
So.
E
G
Maybe
they
could
hire.
I
don't
know
like
a
like
a
representative
that
works
with
people
who
have
an
idea
and
kind
of
presents
it
as
a
group
with
them
to
the
city
with
maybe
more
of
a
time
period
or
talking
like
the
new
artist
through
it.
So
it's
not
always
the
same
people
who
know
how
to
game
the
system
or
something
you
know
that
have
access
that
way.
The
artwork
better
represents
the
community.
People
will
find
it
too
intimidating
to
apply
to
like.
G
I
wish
I
could
do
that,
but
they
don't
have
any
confidence
in
themselves
and
it
is
really
hard
you
know.
So
I
can
understand,
I
think
yeah.
G
I
just
think
if
there
could
be
like
a
lawyer
or
representation,
someone
that
represents
a
new
artist
like
a
group
of
people
and
kind
of
does
the
presentation
with
them,
you
know,
tells
them
what
the
panelist
really
wants
to
know,
because
I've
worked
with
like
people
at
springboard
who
would
read
through
the
presentation
and
tell
us
like
the
person
I
was
working
with
like
this
part
needs
to
be
explained
more.
This
part
they're
gonna,
ask
you
about
this
like
that.
E
It's
like
in
a
city
process,
perhaps
there's
a
there's
a
call
or
an
rfq,
and
then
there's
maybe
coaching
provided
for
the
artists
that
are
that
are
in
the
next
round
of
applying
or
something
I
know,
wit
that
you
have
applied
for
a
lot
of
processes.
You've
also
advised
on
artist
calls
and
are
really
embedded
in
in
that
world.
E
I'm
curious
what
your
thoughts
are
and
just
the
fact
that
artist
calls
have
to
be
open
so
that
they
can
reach
as
many
people
as
possible
and
anyone
can
apply
supposedly
so,
given
that
the
the
impetus
behind
the
structure
for
these
calls
are
that
they're
open?
Do
you
actually
think
that
they
are
accessible
to
people
and
is
the
process
really
working
against
that
idea
that
an
open
call
or
an
rfq
is
open
to
anyone
to
apply.
B
That's
a
little
bit
request
yeah.
I
just
feel
like
beyond
the
sidewalk
that
you
know
do
call
me
and
I
think
we
we
need
to
expand
the
network
and
it
it's
our
duty
as
people
that
have
especially
bipoc.
You
know
people
artists
like
we
need
to
open.
You
know
open
more
pathways
and
that's
been
totally
my
life
work.
B
I
would
say
you
know
like
at
other
museums
and
other
places,
but
like
for
me,
that's
super
important,
but
when
I
mentioned
this
idea
to
the
panel
like,
I
was
like,
we
know
that
springboard,
emrak
walker
mia,
you
know,
forecast
city
of
st
paul
city
of
minneapolis
all
identify
this
as
an
area
of
deficit
right
like
I'm,
encouraging
them
to
all
come
together,
just
like
board
repair
like
june
lee.
B
Did
this
beautiful
thing
it's
like
identified
that
like
there's
a
lot
of
boards
that
need
people
of
color
and
there's
a
lot
of
people
of
color
that
want
to
be
involved
in
boards?
Pretty
simple
idea:
right,
like
she
filled
four
stories
of
like
organizations
that
needed
people
of
color
to
be
a
part
of
their
board,
and
she
had
just
as
many
like
people
turn
out
to
want
to
be
a
part
of
that.
B
It's
like
an
open
call,
but
people
got
to
see
it
as
a
as
a
landscape
and
like
really
open
up
the
doors
like
we're,
not
just
city
of
minneapolis,
we're
like
there's
a
lot
of
public
art
opportunities
and
like
how
do
we
present
it
to
a
large
field
that
is
willing
to
be
involved
and
hear
the
process,
so
I'm
just
advocating
for
that
more
more
marketing,
more
like
joint
partnership
to
to
reach
these
types
of
artists
that
aren't
hearing
about
these
opportunities.
B
H
E
H
Hi
yeah
yeah
I'll
just
introduce
myself,
I'm
christopher
e
harrison,
I'm
a
visual
artist
and
a
public
artist.
He
him
pronouns
and
I've.
H
I've
been
fortunate
enough
to
have
a
at
least
three
public
art
projects
through
the
city,
sculpture,
sculptural
pro
projects-
and
I
also
for
a
time,
was
on
the
minneapolis
arts
commission
for
about
three
years
for
no
four
years,
so
I
kind
of
see
both
sides
of
the
you
know
application
process
and,
from
my
perspective
I
think
I
think
artists,
especially
you
know,
artists
of
color
or
marginalized.
H
Artists
really
need
to
know
how
the
process
works,
and
I
I
know
I'm
you
know
whit,
had
kind
of
said
something
about
that
and
so
did
marlena
yeah.
It's
it's
really
about
knowledge.
You
know,
you
know
how
do
I
you
know
write
my
proposal
correctly.
You
know
what
are
the
parts
that
you
know
need
to
be
addressed,
how
to
write
a
budget.
You
know
yeah
those
things
you
know
if
you're
just
you
know
an
artist
who
has
an
idea.
You
know
how
do
you?
How
do
you
do
that?
H
You
know
how
do
you
respond
to
those
things
that
are
in
the
rfq?
So
if
it's,
you
know
possible,
if
there's
just
like
some
classes
or
some
or
you
know,
some
kind
of
you
know
set
program
where
people
can
actually
go
and
hear
professionals
talk
about,
you
know
well,
this
is
you
know
this.
How
I
approached
it.
This
is
how
you
know
I
thought
about
working
with
you
know,
fabricators
or
contractors,
or
how
to
talk
to
engineers
or
where
to
find
the
resources
to
get
those
things
done.
H
And
how-
and
you
know
how
can
I
work
that
into
the
budget
that
they've
you
know
provided
because
I
know
over
the
years
that
that
was
the
kind
of
things
that
I
needed
help
with.
Fortunately,
I
you
know
worked
with
some
fabricators
who
knew
how
to
do
that
so
that
so
I
kind
of
learned
from
them,
but
other
than
that
you
know.
H
If
I'm
just
you
know,
like
you
know
a
graphic
designer
or
you
know
a
visual
artist
or
or-
and
I
have
this
three-dimensional
idea
or
or
a
you
know,
performance
idea
or
something
like
that.
You
know
chances.
Are
you
probably
don't
have
a
way
to
articulate
that
in
a
way
that'll
fit
into
the
framework
that
the
city
puts
in
front
of
you?
H
So
I
would
say
you
know
are:
are
there
some
ways
you
know
other
than
like
springboard
or
something
like
that,
something
that's
really
specific
and
very
targeted
on
you
know.
This
is
the
way
you
write
up.
You
know
you
know
prospectus
of
your
work
or
of
your
idea
and
how
to
present.
I
think
that
would
really
help
yeah.
I
think
we
had
some
good
ideas
on
you
know
getting
marketing
out
there
to
those
more
marginalized.
H
You
know,
groups
who
you
know,
maybe
might
be
too
afraid
to
you
know
apply
for
something
they
might
have
an
idea,
but
you
know
they
just
don't
know
how
to
go
about
it.
Another
thing
that
I
would
add
is
also
time
of
the
rfqs,
because,
from
my
experience
it
seems
like
they
don't
give
you
enough
time
to
put
all
this
stuff
together.
You
know
they
say.
H
Oh,
this
will
be
due
in
two
weeks
or
something-
and
it's
like
really
I
you
know
I
just
get
with
the
idea-
and
now
I
only
have
two
weeks
to
get
all
my
stuff
together
and
write
it
up
and
have
this
idea
that
makes
sense
to
put
out
there.
So
I
think
you
know
maybe
more
time
for
rfqs.
I
know
that
they're
on
a
schedule
and
usually
it
depends
on
that
schedule
for
all
the
other
pieces
that
are
in
the
puzzle.
H
But
but
you
know
for
something
that's
going
to
be
as
important
and,
as
you
know,
visual,
as
you
know,
an
art
piece,
you
really
need
to
have
it
thought
out
in
the
artists
and
the
ideas
really
need
to
have
these
things.
You
know
together
to
present,
to
have
something
that
you
know:
works
works
for
the
space.
E
Thanks
chris
also
again,
apologies
that
I
didn't
see
that
you
were
here.
Teams
is
not
my
favorite
platform.
E
I
would
like
to
think
a
little
bit
further
about
just
you
know
applying
in
the
panel
process,
but
I'm
wondering
even
if
there
was
all
of
the
support
like
let's
say
that
it
was
a
different
system
and
you
had
workshops
or
you
had
support
in
putting
together
your
rfp
are
the
expectations
of
a
commission
or
a
collaboration
with
the
city
accessible
to
emerging
artists,
and
does
the
city
actually
have
an
obligation
to
make
their
public
art
commissions
accessible
to
emerging
artists
and
that's
kind
of
the
question,
because
you
know
these
public
art
there's
expectations
around
them,
and
should
they
be
more
where
you
know
we
do
design
sort
of
concepts
and
then
the
city
provides
a
fabricator.
E
You
know.
Is
that
something
that
you
would
want
to
see,
or
is
it
that
it
should
be
that
you
are
you
know
further
along
in
your
career
before
you
can
access
a
city
commission,
I'm
curious
just
like
your
thoughts
on
kind
of
what
we
expect
from
the
city
of
minneapolis
in
terms
of
providing
public
art
opportunities
to
particularly
emerging
artists,
and
I
guess
we'll
say
within
that-
a
lot
of
under-resourced
and
marginalized
artists,
who
haven't
always
had
the
opportunities
to
produce
at
the
scale
that
public
art
projects
require
and
I'll.
H
E
H
Because
you
don't
have
that
knowledge
or
experience
to
because
you
you,
you
want
to
make
sure
that
what
you
have
is
up
to
what
the
budget
demands.
You
know.
So
you
know
emerging
artists,
they
you
know
they
should
start
small
and
maybe
maybe
the
city
would
want
to
think
about.
You
know,
having
specific
you
know
smaller
budget
projects,
for
you
know
emerging
artists.
You
know
to
take
a
take
a
shot
at
I
mean
you
know.
H
You
know
fit
that
space
and
then
you
can
kind
of
learn
about
how
to
you
know
construct
your
idea
to
you
know
fit
that
price
point
so
and,
like
I
said,
and
then
that's
maybe
that's
the
part
where
you
get
into
more
learning
and
more
opportunities
to
to
you
know,
figure
things
out
or
or
have
mentors
or
whatever.
So
it
won't
be
so
overwhelming
because
you
know
oh
well,
they
want
me
to
design.
You
know
a
banister,
create
or
or
a
park
bench
or
something
like
that.
C
G
Well,
what
I've
noticed
with
between
minneapolis
and
st
paul
minneapolis
already
has
their
planned
contractors.
They
want
you
to
work
with.
They
already
have
their
fabricators
picked
out.
They
already
have
pretty
much
the
whole
process
sorted
out
and
you
just
are
submitting
art
chat.
It's
going
to
be
printed
on
these
vinyls,
whereas,
like
the
city
of
saint
paul,
I'm
working
with
them
on
the
project-
and
you
know
I'm
in
charge
of
hiring
different
people
to
do
different
parts
of
this
all
entirely
on
me.
G
So
you
really
aren't
looking
into
engineer
or
how
you
know
this
spits
as
like
a
safety
issues
like
like
when
you're
building
like
a
sculpture
like
the
artist
there
has
to
understand
like
the
how
the
public
will
be
able
to
interact
with
it
and
whether
it's
safe
enough
than
meets
the
city
rules.
That's
a
lot!
That's
a
lot
harder
project
than
having
your
art
printed
and
installed,
and
something
like
that.
So
I
think,
like
emerging
artists,
they
can
make
it
clear
like
what
level
of
art
experience
you
might
need
to
complete
this
project.
G
So
that's
and
like
I
think
what
was
saying
and
what
kelly
was
saying,
that
some
places
like
the
where
your
art
is
going
to
be
installed
is
already
sorted
out.
You
don't
get
a
choice
in
it,
so
if
they
want
more
experienced
artists,
they
should
be
able
to
apply
when
something
is
being
built
and
have
their
art
be
more
flexible,
where
it's
going
to
be
displayed
in
that
building
or
in
that
park
or
something.
So
I
do
think
the
city
could
do
a
better
like
a
better
job
of
just
explaining
levels
of
experience.
G
You
might
need
to
apply
for
this
that
way
too,
that
some
people
don't
get
over
their
heads.
You
know
and
apply
for
something
that
might
be
too
big
for
them
end
up
having
a
lot
of
issues
with
the
budget
or
having
issues
with
the
schedules
just
because
they're
kind
of
feeling
trapped
in
this
whole
process
too.
So
I
think
it
would
help
avoid
that
too.
E
Yeah,
I
really
I
like
that
idea
of
just
like,
if
you're
thinking
of
applying
to
this.
E
This
is
the
level
of
experience
that
you
need,
or
this
is
what
you
can
expect,
a
different
way
of
framing
that
I
also
was
thinking
about
something
whit
said
earlier
about
collaboration
across
all
of
these
different
entities
that
put
out
public
art
calls
and
that
perhaps
there
could
be
more
of
a
standard
or
there's
like
a
sort
of
recommendation
on
how
to
make
rfqs
as
equitable
and
inclusive
and
accessible
as
possible,
and
these
are
the
ways
that
they
are.
I
mean
I
know
as
someone
myself,
who
puts
out
a
lot
of
calls.
E
I've
started
stripping
it
down
to
like
really
what
is
necessary.
Do
I
need
a
resume
you
know
like?
Do
I
really
need
to
know
all
the
projects
that
you've
ever
done
and
the
budgets
that
are
attached
to
them?
You
know,
so
I
think
that
there's
ways
that
the
calls
could
probably
be
clearer
in
terms
of
just
like
how
to
access
them.
I
want
to
switch
gears
just
a
little
bit.
E
Time
goes
by
so
fast,
and
you
know
we're
kind
of
coming
to
the
last
section
of
this,
but,
as
you
know,
there's
going
to
be
a
new
city,
a
new
department
of
arts
and
cultural
affairs
in
the
city
it's
being
created,
and
I
know
that
there's
a
vision
with
this
department
to
really
think
about
how
to
grow
the
city's
capacity
to
support
public
art
and
to
support
creative
collaborations.
E
And
so
I'm
curious.
What
your
thoughts
are
in
terms
of
other
ways
that
artists
could
be
involved
and
other
ways
that
the
city
can
work
with
artists.
And
this
is
something
we
spoke
to
a
bit
about
just
artists
being
embedded
in
building
design
projects.
But
beyond
that,
if
you
were
just
dreaming,
what
are
ways
that
you
would
want
to
work
with
the
city
that
don't
require
you
potentially
even
to
like,
generate
artwork,
and
I
want
to
bring
adzine
back
into
the
conversation
and
see
if
they
have
anything
to
add.
C
I
yeah
I
mean
I
find
myself
kind
of
thinking
of
the
what
folks
were
saying
in
like
bringing
in
more,
I
mean
underrepresented,
marginalized
communities
like
in
general,
into
like
consideration
for
arts
and
public
work,
and
so
to,
and-
and
I
was
thinking
even
just
like
for
the
project
that
I
had
worked
on,
I
found
out
from
actually
a
friend
who's,
almost
called
hi
david
and
other
yeah,
but
like
if
I
hadn't
like
been
sent
that
I
don't
know
how
I
like
would
have
heard
of
it
and
so
like
to
have
a
form
of
more
actively
reaching
out
to
seek
out
input.
C
Instead
of
I
don't
like
have
the
details
worked
out
of
how
that
could
look,
but
the
idea
of
being
able
to
like
actively
like
request
and
pull
like
people
in
and
like
bring
folks
in
who
are
actively
missing.
Otherwise,
is
something
that
I
would
really
love
to
see
to
kind
of
yeah
to
really
like
fill
in.
E
Yeah,
I
mean-
maybe
that's
just
outreach
in
general
in
terms
of
bringing
more
communities
in
to
working
on
public
art
projects.
What
do
you
think?
How
are
ways
that
this
new
department
might
open
up
possibilities
or
what
are
ways
that
artists
should
be
working
with
the
city.
B
So
many
ideas
to
be
quick,
though
I
know
that
bulgan
and
mary
both
have
done
incredible
projects
and
I've
been
a
part
of
them.
I
think
they
just
need
to
be
ongoing
and,
like
a
lot
of
times,
I'm
working
with
cities
like
the
city
of
saint
paul
city
of
minneapolis
and
their
community
engaged
projects,
and
when
you
ask
somebody
about
the
streetscape,
they
tell
you
about
social
services.
They
tell
you
about
the
parks,
they
talk
talk
to
you
about
schools
and
they
see
the
city
as
a
big
hole.
B
But
if
we
had
these
ongoing
hubs
for
like
community
engagement
like
that,
people
knew
in
their
own
communities
that
they
can
go
there
and
interact
creatively
and
also
give
feedback
like
ongoing.
Not
just
like
you
know,
I
love
the
thing
that
happened
at
30th
and
chicago,
not
even
30th
in
chicago.
Obviously,
the
thing
the
thing
being:
george
lloyd
square,
but
more
so
down
the
down
the
way
that
is
what
was
it
is
chicago
and
oh
chicago
and
lake.
You
know
sam
arrows,
phillips,
haircuts
change.
B
I
know
that
was
a
creative
city
making
project
and
a
lot
of
other
artists
work
there.
As
well-
and
I
had
one
up
here-
six
blocks
away
from
my
house,
lowry
and
central.
You
know
there
are
many
of
these
hubs
and
they
don't
even
have
to
be
city
lots.
They
can
be
at
pillsbury
house
and
theater.
They
can
be
at
juxta,
they
can
be
at.
You
know,
tons
of
different
places.
So
I
just
think
that
it's,
we
do
a
good
job
of
community
engagement,
but
we
need
an
on
ongoing
places
and
have
them.
B
You
know
be
vibrant
by
by
just
rotating
artists.
There
would
be
a
great
use.
I
think
also.
We
need
to
work
across
agencies
like
a
lot
of
the
agencies.
Work
in
silos,
like
the
city
desert
thing,
hennepin
county,
like
does
their
thing
mprb
does
their
own
thing
met.
Council
does
their
own
thing
and
they
all
work
with
us.
Like
cow
lee,
marlena
christopher
they
we're
all.
We
all
work
with
all
of
them,
but
it's
like
why
can't
it
just
be
all
together.
E
More
connections,
more
more
just
artists,
like
arts,
community
building,
I
guess,
would
be
really
important
kali
do
you
have
any
thoughts
on
what
could
be
how
artists
might
also
work
with
the
city
and
how
this
new
department
might
facilitate?
Some
of
that.
F
F
You
know
call
for
art
and
if
we
are
able
to
give
our
experience,
maybe
that
will
encourage
more
people
to
apply
because
there's
it's
a
very
different
process
when
you're
working
with
a
city
versus
when
you're,
creating
something
in
the
gallery
or,
like
you
know,
just
in
even
like
murals,
so
it's
a
different
process
and
knowing
those
steps
and
the
process,
I
think,
would
help
you
know
other
people
kind
of
push
them
to
apply
because
honestly,
everybody's
got
to
start
somewhere.
F
E
I
think
that
it's
it's
interesting.
I
was
looking
back
at
some
of
the
things
I
wanted
to
address
in
in
this
conversation,
and
a
lot
have
been
touched
on.
You
know
things
that
you're
you're,
saying
to
potential
artists
that
want
to
collaborate
with
the
city
or
get
into
public
art,
just
thinking
about
things
that
the
city
can
do
better
thinking
about
possibilities
and
where
there
were
challenges,
I
guess
just
in
in
a
way
to
wrap
up
and
let
everyone
speak
again.
E
E
What
is
something
that
you
want
to
share
with
other
artists
who
might
be
thinking
about
getting
into
this
work?
And
you
don't
have
to
answer
all
these
questions?
This
is
just
these
are
just
prompts
like
what
what
comes
to
mind.
What
do
you
want
to
share?
We
don't
always
get
a
platform,
and
at
this
time,
with
this
recorded
conversation,
you
have
a
platform.
E
C
C
A
chance
at
like
being
chosen
in
a
call,
or
things
like
that,
like
should
like
shoot
your
shot
and
like
just
to
try
and
like
go
for
it
and
apply
it,
and
there
are
people
who
are
if
you
can
reach
out
to
them
like
who
will
support
you
in
that
process.
C
If
you
have
like
questions
about
like
yeah,
what
what's
needed
what's
required
like
how
to
do
it
right,
then
yeah
you,
you
can
maybe
do
stupider
than
you
think
and
like
have
a
better
opportunity
than
anything,
because
if
you
don't
apply
it
all,
then
you
don't
get
it.
E
H
Well,
yeah
yeah.
I
know
I
really
don't
want
to
be
preaching
to
the
choir,
but
but
no
I
well,
I
would
think
about
you
know,
working
on
location,
because
I
think
visibility
is
one
of
the
most
important
things
in
public
art
and
it-
and
you
know
from
from
my
observations,
it
seems
like
a
lot
of
the
public
art
is
kind
of
in
the
same
places.
You
know
it's
like
downtown
or
or
maybe
there's
some
places.
H
You
know
over,
you
know
over
south
or
or
maybe
northeast
or
or
something
like
that,
but
maybe
maybe
there
might
be
some
opportunity,
opportunities
and
places
that
normally
wouldn't
have
public
art.
You
know,
like
you
know,
maybe
in
you
know
riverside.
You
know,
maybe
there's
more
public
art
over
there
or
there's
some
public
art
north
minneapolis
in
some
spots,
but
it's
it's
still
kind
of
spotty.
You
know,
I
know
one
thing
that
was
cool
last
year
or
maybe
was
the
year
before
may
was
last
year.
H
Jordan
weber
did
an
art
project,
it
was
through
the
walker,
but
it
was
right
off
of
like
lindell
and,
and
you
know,
34th
or
something
like
that.
He
did
like
a
like
a
garden
art
piece
that
you
know
had
a
basketball
court
in
it
or
something
like
that.
No
no,
a
nice
amount
of
people
came
over
there.
People
who
normally
wouldn't
come
over
to
that
neighborhood
to
see
something.
H
So
you
know,
are
there
opportunities
like
that
in
other
places
that
you
know
really
don't
get
a
lot
of
exposure
to
public
art?
You
know
to
you
know
to
have
you
know
the
community
come
together,
you
know,
and
it
doesn't
have
to
be
an
actual
thing.
It
could
be
an
event.
You
know
it
could
be.
Some
kind
of
you
know
interactive.
You
know
opportunity
or
something
like
that.
You
know
you
know
it
could
be
a
reading.
H
H
You
know
how
come
there
isn't
a
a
mural.
You
know
festival.
You
know,
you
know
far
far
south
minneapolis.
You
know.
H
You
know
how
come
there
isn't
something
like
that.
You
know,
other
than
being
you
know
in
uptown
or
whatever
you
know,
you
know
or
something
you
know,
yeah
bring
it
to
different
parts
of
the
you
know,
city
and
and
real
really
get
communities
involved
that
normally
wouldn't
be
exposed.
That's
probably
one
thing
I
would
say:
would
you
know
really
be
cool
along
with
the
other
stuff
about?
You
know.
H
You
know
marginalized
or
emerging
artists
who
don't
you
know,
get
the
opportunities
because
they
just
don't
have
the
confidence
to
try
to
do
it,
but
you
know
providing
ways
for
them
to
be
educated.
You
know,
I
think,
would
definitely
build
on
them.
You
know
feeling
like
they
have
a
chance
to
get
something
and
adding
diversity
to
that
pool.
E
I
agree
with
all
of
those
things
particularly
more
art
in
places
that
don't
really
get
art
and
doesn't
have
to
be
permanent,
although
it
should
be,
you
know
just
not
pop-ups
in
the
places
that
don't
get
the
permanent
artwork,
but
I
just
think
that
there
is
a
rule
that
there
are.
It
will
never
be
enough
public
art,
you
know,
there's
an
infinite
amount
of
space
with.
What
would
you
like
to
close
with.
B
So
much
I
mean,
first
and
foremost,
I'm
super
proud
of
our
city,
not
in
all
the
things
that
we've
just
experienced,
but
that
the
fact
that
we
support
the
arts.
When
I
talk
to
people,
you
know
from
other
cities
about
what
I
do,
they're
just
perplexed
as
to
like
how
I
make
my
life,
because
there's
so
many
crazy
opportunities.
I
feel
like
if
you
dream
up
idea
now
that
we're
a
part
of
a
network.
B
We
just
got
to
get
the
network
a
little
bit
bigger
that
if
you
have
a
crazy
idea,
you
can
get
it
to
happen.
If
you
know
about
the
neighborhood
groups,
you
know
about
the
city,
you
know
about
all
the
avenues
for
funding.
You
can
get
it
done,
and
I
know
that's
the
case,
but
I
mean
for
the
most
part
minneapolis
and
the
twin
cities.
It's
quality
of
life.
Is
the
arts
right?
It's
like
it's
essential
to
who
we
are,
and
I
feel
like.
B
B
B
We
just
need
to
do
more
of
that,
and
it
can't
just
be
in
response.
It's
got
to
be
the
institution
and
knowing
that
these
opportunities
exist
every
year
and
we're
creating
new
infrastructures
like
physical
infrastructure,
for
artists
to
participate
in
is
like
what
I
want.
I
mean
just
by
christopher,
saying,
like
vacant
lots
right,
there's,
800,
plus
vacant
lots
in
the
city
and
we're
talking
about
four
projects.
B
E
I
hope
we
can
take
a
couple
extra
minutes
because
I
do
want
to
hear
from
marlena
and
kali
kali.
Do
you
want
to
just
wrap
up
with
a
few
thoughts
that
you
have
on
your
mind.
F
Yes,
if
you
want
to
get
into
public
art,
I
would
definitely
encourage
you
to
like
reach
out
to
the
city,
because
there
is
a
process
and
it
may
be
intimidating,
but
once
you
learn
that
it's
really
easy
to
kind
of
you
know
go
to
another
city
and
the
experience
may
be
a
little
bit
different,
but
there's
always
a
process
and
I've
learned
early
on.
F
I
have
my
to
go
structural
engineer.
Okay,
I
always
have
a
structural
engineer
because
a
lot
when
I
started
out
no
one
really.
I
never
really
thought
about
that.
I
didn't
know
you
had
to
have
a
structural
engineer
and
the
budgets
are
not
always
there
so
try
to
find
like
teams
and
fabricators
that
you
work
with
because
then
you're
on,
because
sometimes
the
deadlines
are
so
tight.
If
you're
working
with
the
same
people,
it's
like,
they
know
your
schedule,
they,
I
know
how
long
it's
going
to
take
them.
F
So
you
start
pumping
out
more
public
art
on
time
deadlines.
But
yes,
I
wish
it
was
bigger
budgets
and
you
know
deadlines
that
architectures
have
because
then
I
would
have
more
time
to
dream
of
something
different
versus
fit
the
size
fit
this
mold.
But
I
just
want
to
encourage
artists
that
if
they
really
want
to
get
into
public
art,
just
you
know,
take
a
chance
and
apply
absolutely.
G
And
I
was
thinking
like
community
artists
what
we
do,
I
think,
we're
kind
of
like
community
liaisons.
You
know
we
listen
to
what's
important,
we
listen
to
people's
stories
kind
of
like
what
they
have
as
hopes
and
dreams
for
their
communities,
and
when
I
was
creating
my
mural
like
I
sat
down
in
a
coffee
shop,
and
I
had
people
draw
me
stickers
of
like
what
their
current
life
situation
was,
what
their
dreams
were
like
to
be
inclusive
to
minneapolis
like
how
what
what
do
they
want
to
see
themselves?
How
does
the
city?
G
Why
is
it
important
to
them?
You
know
to
live
here
to
be
here
and
like.
Why
did
they
raise
their
kids
here
like,
and
I
gathered
a
lot
of
data
you
know
like
I
have
it
written
down
on
sheets
and
sheets
of
paper,
and
it's
like
I
felt
like
I
got
a
lot
more
information
sitting
down
having
coffee
and
drawing
with
people,
then
sending
out
like
a
link
on
the
survey
where
you're
just
there's
no
response
to
anything.
G
You're
saying
like
it's
kind
of
like
art
therapy,
with
some
of
the
people
that
you
know
that
tell
me
the
hard
lives
they
have,
but
they
still
have
such
hopes
and
like
a
good,
positive
outtake
in
the
future.
So
I
think
artists
could
be
used
as
community
liaisons
or
as
like
community
therapists,
even
if
they
have
that
sort
of
therapy
background,
even
not
just
a
technical
artist
of
fabricating
something
but
using
artists
ability
to
connect
with
people.
G
I
think
the
city
could
do
a
better
job
at
that,
rather
than
like
relying
on
the
police
to
do
stuff,
you
know
or
hiring
certain
specialists
to
do
things.
I
think
you
know.
I
think
artists
do
have
a
special
ability
to
connect
with
the
communities
and
me
sitting
like
a
native
coffee
shop,
the
people
there.
G
You
know
they
see
someone
that
looks
like
them
being
able
to
do
these
big
projects
with
the
city,
and
I
think
just
seeing
that
also
will
motivate
people
to
apply
for
these
kind
of
projects
versus
having
even
just
a
workshop
or
having
coaches
or
something.
I
think,
just
having
like
an
experienced
artist,
go
places
where
there's
people
in
your
community
that
they
can
relate
to
just
sit
down
and
talk
with
people.
G
You
don't
have
to
make
it
a
super,
formal
event
that
way
people
feel
pressured
to
come
and
be
at
a
certain
time,
but
just
show
up
at,
like
I
said
I
just
showed
up
at
the
coffee
shop
and
sat
there
for
like
three
or
four
hours
and
whoever
came
in
you
know
just
had
different
kinds
of
conversations
as
with
judy
stickers.
So
I
think
you
know
I
think
artists
had
that
that
ability-
and
I
hope
the
city
kind
of
sees
us
as
having
I
don't
know
magic.
E
Absolutely
I
just
want
to
say
thank
you
all
for
sharing
your
truth
tonight,
so
much
that
I
just
you
know
it's
like
a
lot
to
think
about
a
panel
with
five
artists
and
truthfully
I
could
spend
an
hour
with
each
one
of
you,
unpacking
the
wealth
of
knowledge
and
experience
and
generosity
that
you
all
sort
of
embody
in
your
work
and
your
practices,
and
I
hope
that
there's
an
opportunity
to
do
that
in
the
future.
E
But
I
appreciate
you
all
sharing
time
with
each
other
and
sharing
this
this
time
with
everybody
else.
You
are
imperative
to
our
arts
community,
and
I
know
that
you
all
are
connected
to
networks
of
artists
who
are
also
making
the
twin
cities
what
they
are.
So
thank
you
for
everything
you
do.
I
want
to
thank
the
arts
commission
for
inviting
me
to
facilitate
this
conversation
and
just
let
everyone
know
that
there
is
going
to
be
a
recording
of
this.
E
It
will
be
found
on
the
city
of
minneapolis
youtube
channel
on
the
2022
minneapolis
boards
and
commissions
playlist,
so
you
can
find
it.
It
will
be
archived
and
with
that
I
will
just
thank
everyone
and
sign
back
over
to
joan
or
tina,
I
don't
know
who's
going
to
close
or,
if
anyone's
going
to
close,
but
have
a
great
night.
Thank
you.
A
Thanks
everybody
really
appreciate
the
time
that
went
into
this
and
being
able
to
have
some
extra
time
to
just
hear
from
all
of
you.
I
know
it
matters
very
much
to
our
commissioners
that
they
understand
what
it's
like
to
work
with
the
city
and
and
think
about
how
we
can
improve
situations
from
our
vantage
point
from
where
we
sit,
but
also
you
know,
just
more
importantly,
alongside
all
of
you,
so
thank
you
very
much.
A
I
I
will
move
to
our
formal
template
for
our
meeting
to
say
that,
with
that
we've
completed
all
items
for
this
meeting,
I
will
ask
members
and
staff
if
there
are
any
other
matters
to
come
before
this
meeting.
Anybody
have
anything
else:
okay,
if
not
and
without
objection.
I
declare
this
meeting
adjourned.
Our
next
general
meeting
of
the
minneapolis
arts
commission
will
be
april
20th.
Thank
you.
Everyone
have
a
good
night.