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From YouTube: Arts Commission - April 20, 2020
Description
The regular monthly meeting of the Oklahoma City Arts Commission of April 20, 2020. The meeting was held by video conference.
B
Everyone
we
now
have
a
quorum
and
we'll
begin
the
Oklahoma
City
Arts
Commission's
April
20th
meeting.
As
you
are
aware,
during
the
state
of
emergency,
a
place
for
the
kovat
19
pandemic
and
in
compliance
with
state
and
local
stay-at-home
orders,
no
physical
location
will
be
provided
for
Arts
Commission
meetings.
The
meetings
will
instead
be
live
streamed
from
remote
locations.
We
want
to
remind
everyone
that,
as
you
have
arrived
in
our
virtual
meeting,
we
have
muted
your
mic
as
instructed
in
the
agenda
those
who
called
or
emailed
us
in
advance
to
let
us
know
your
name.
B
B
If
we
lose
our
connection
for
this
meeting
for
more
than
15
minutes,
we
ask
that
everyone
who
wishes
to
receive
reconvene
notification,
please
send
an
email
within
24
hours
to
OKC
arts
at
OKC.
Gov.
Again,
that's
OKC
a
RTS
at
OKC
gov.
You
will
be
notified
directly
and
we
will
publicly
post
a
special
meeting
notice.
I
will
restate
this
throughout
the
meeting.
C
C
B
C
A
H
C
C
B
E
B
The
motion
carries
moving
on
to
agenda
item
three
items
for
discussion.
Action
I
want
to
remind
everyone
that
if
we
lose
our
connection
for
this
meeting
for
more
than
15
minutes,
we
ask
that
everyone
who
wishes
to
receive
reconvene
notifications
send
an
email
within
24
hours
to
OKC
arts
at
OKC
gov.
You
will
be
notified
to
wreck
li
and
we
will
publicly
post
a
special
meeting
notice.
B
I
will
restate
this
throughout
the
meeting
agenda
item
three:
a
Arts
Commission
AC
2000,
zero,
zero,
seven
update
to
Oklahoma
City
Arts,
Commission's
definition
of
public
art
introduced
at
the
January
27th
2020
Arts
Commission
meeting
and
referred
to
a
special
committee
and
deferred
for
discussion
on
February,
17,
2020
and
further
discussion
on
March
16
2020.
Rather
that's
incorrect.
We
canceled
that
meeting
and
discussion
action
for
today's
date.
April
20th,
2020
Robbie.
Will
you
please
introduce
this
item?
Yes,.
J
B
J
A
That
means
some
people
are
just
looking
at
the
public
view
through
zoom
and
then
they
don't
have
their
live
meeting
pulled
up
on
that
separate
window
anymore.
So
what
Alison
was
describing
with
the
agenda
with
the
yellow
item?
That's
the
live
meeting.
That's
that's!
The
prime
go
feature
that
you
have
to
have
open
to
be
able
to
the
display
that
showed
just
the
single
it's,
the
white
screen,
just
a
single
item
and
it
popped
up
the
vote
at
the
end
that
showed
that
it
passed.
C
C
Thank
you
perfect.
So,
commissioners,
we're
going
to
start
with
some
of
the
boring
stuff
on
our
agenda
or
a
lot
of
the
words,
the
more
tedious
things
and
then
we're
going
to
end
with
a
few
highlights
on
our
agenda
items.
So,
as
the
chair
said,
we
have
been
talking
about
this
definition
of
public
art
for
some
time.
C
So
it
is
good
to
talk
about
it,
a
lot
and
get
it
right,
because
what
the
goal
is
with
this
definition
is
if
the
Arts
Commission
recommends
it,
then
staff
can
reference
this
as
long
as
it
is
not
in
conflict
with
what
the
city
has
adopted.
So
this
would
also
come
to
play
as
we're
working
with
our
code
enforce
our
code
consultants
on
the
multi-year
update
to
our
municipal
code
for
chapter
59.
This.
C
If
you
decide
to
make
the
motion
to
defer
it
till
May,
just
to
get
more
public
comment
on
it,
so
I'm
going
to
start
going
through
it
we'll
start
with
a
the
definition
of
an
artist.
So
this
is
an
individual,
that's
recognized
by
critics
and
peers
as
a
professional
practice.
Tichenor
of
visual
arts-
and
there
are
several
ways
to
judge
the
quality
of
the
professionals
work.
So
some
can
be
educational
background.
It
could
be
their
experience
past
public
Commission's,
their
sales
of
works,
their
exhibition
record
publications
and
productions
of
works
of
art.
C
Now
one
of
the
big
places
of
clarity
that
we
would
like
to
recommend
is
that
architects
or
landscape
architects
of
record
on
a
particular
project
are
disqualified,
from
also
being
considered
for
a
commission
of
work
of
art
on
the
very
same
project,
and
the
idea
here
is
that
you
stand
on
one
professional
distinction.
So
if
you
are
the
landscape
architect
of
record,
that
is
how
you're
known
you
can
do
extraordinary
works
of
landscape
architecture
in
your
project,
but
that
the
artist
would
be
another
different
professional
same
thing
with
architects.
C
You
can
do
extra
examples
in
our
city
of
extraordinary
architecture,
but
the
artists
that
would
be
commissioned
on
that
same
project
would
be
a
different
professional.
Now
in
no
way
would
this
disqualify
landscape,
architects
or
architects
from
being
considered
for
a
public
art
project
as
long
as
they're,
not
the
architects
of
plant
or
landscape
architect
of
record
okay.
C
Then
B
paragraph
B
is
stating
very
clearly
that,
prior
to
any
placement
of
a
temporary
or
permanent
work
and
Arts
Commission
review,
application
is
submitted
for
evaluation
by
the
Arts
Commission
and
that
a
permit
shall
be
issued.
Currently
permits
are
issued
by
the
development
services
center,
and
we've
been
talking
now
for
a
number
of
years
that
in
the
future,
the
Arts
Commission
may
rather
have
permits
for
certain
types
of
works
of
art
that
were
not
structural
in
nature
issued
by
the
Office
of
Arts
and
Cultural
Affairs.
C
So
this
would
allow
some
flexibility
to
consider
that
in
the
future
and
that
you
can
begin
further
exploring
this,
let's
go
onto
the
next
slide.
So
now
we
get
to
our
definition
of
art
and
ever
since
2008,
when
the
task
force
looked
at
this,
they
looked
at
definitions
of
art
for
several
cities
across
the
u.s.,
both
large
and
small,
and
the
definitions
they
liked
the
most
were
those
that
provided
a
great
deal
of
flexibility.
C
So
you
can
see
here
by
the
list,
the
imaginative
use
and
interplay
of
all
artistic
media
and
disciplines,
because
these
often
change
that
that
works
of
art
need
to
be
accessible
in
a
public
space.
So
if
you
cannot
visually
or
physically
access
it,
it
is
not
called
public
art,
its
original
art,
and
it
evokes
an
experience
or
an
emotion.
It
can
take
on
a
variety
of
forms
and
it
looks
at
the
site,
the
location
in
its
context
and
the
audience.
So
this
would
mean
that
it
is
site-specific.
C
C
It
evokes
an
experience
or
emotion
and
then
also
works
of
art
can
possess
funk
well,
as
well
as
aesthetic
qualities
they
can
be
lighting,
for
example,
or
benches
or
other
things
that
you
can
use,
and
then
it
may
stand
alone
at
a
site
or
it
may
be
integrated
into
its
site,
and
a
good
example
of
this
would
be
the
terrazzo
floor
right
now.
That
has
been
designed
and
is,
is
being
mixed
for
the
Will
Rogers
World
Airport
lobby.
C
L
C
We
hope
so
we're
getting
closer
by
that
okay
and
we're
going
to
keep
inching
along
to
get
closer,
but
but,
as
I
mentioned
in
the
beginning,
these
are
going
to
be
recommendations,
so
these
are
not
even
after
you
weigh
in
on
this
and
take
some
action.
These
are
not
going
to
be
code,
we're
going
to
have
to
go
through
this
longer
process
and
make
sure
that
City
Council
agrees
with
that.
But
this
will,
if
the
Arts
Commission
votes,
to
make
these
their
standing
rules.
These
would
be
in
the
basis
for
your
recommendation.
F
Does
that
change
the
scope
of
what
the
Arts
Commission
does,
since
we
are
supposed
to
be
a
recommending
body
only
if
we're
giving
the
permits,
if,
if
our
scope
is,
is
changed
to
where
we're
issuing
the
permits
are
those
permits
only
going
to
be
advisory
and
still
have
to
be
approved
by
the
City
Council,
or
is
it
going
to
change
where
we
actually
are
issuing
the
permit?
So.
C
City
staff,
usually
issues
permits
based
on
ordinances
and
several
internal
policies,
so
the
Arts
Commission
could
either
be
a
recommendation
body
or
a
quasi-judicial,
and
that's
what
why
we
need
to
get
these
definitions
and
this
recommendation
to
a
point
where
staff
can
further
evaluate
it
and
then
we're
also
as
part
of
this
plan
based
on
recommendations
from
the
city
clerk.
Looking
at
moving
the
Arts
Commission
to
a
different
category
and
code
to
allow
for
some
change
there.
Does
that
make
sense?
Does
that
answer
your
question?
Well,.
F
C
C
L
C
C
C
That
works
would
either
be
classified
as
permanent
works
of
art,
and
these
would
either
be
structural
like
a
sculpture
or
non
structural
like
a
mural
or
they
would
be
classified
as
temporary
works,
also
structural
or
non
structural,
but
displayed
more
than
six
weeks
but
less
than
two
years
and
then
in
February.
When
we
discussed
this,
there
was
a
motion
to
change
the
next
definition
to
short-term
works
of
art.
That
would
only
be
play
in
place
for
a
six-week
period,
and
that
way
it
would
be
very
clear
which
type
of
art
someone
was
referring
to.
C
So
then
this
is
where
we're
talking
about
which
types
of
art
shall
require
review
by
the
Arts
Commission.
So
in
the
last
meeting
we
decided
that
short
term
works
of
art
that
have
a
duration
of
less
than
a
six-week
period
may
be
subject
to
administrative
review
if
they
meet
all
of
the
recommendations
that
you've
previously
done.
C
Are
there
any
questions
about
that
before
I?
Go
on
to
number
two
okay
now
number
two.
This
is
where
I
wanted.
The
reason
that
I
highlighted
this
is
at
the
last
meeting,
where
you
heard
this.
You
had
also
a
different
and
item
where
you
created
standing
rules
and
recommendation
or
review
of
works
of
art
by
design
review
committees,
and
this
was
specifically
for
murals.
C
So
at
that
time
we
wanted
to
make
sure
that
if
a
design
review
committee
reviewed
a
work
of
art
like
a
mural
that
it
wouldn't
have
to
come
back
to
Arts
Commission,
you
were
going
until
the
code
update.
You
wanted
to
temporarily
allow
design
review
committees
to
issue
a
CA
and
then
for
the
mural
to
get
a
permit.
But
as
staff
worked
to
implement
that
temporary
plan,
we
saw
something
that
stopped
us
from
being
able
to
do
that,
and
that
is
the
conditional
uses
for
it's.
C
It's
a
conditional
use
to
have
a
mural,
and
it's
very
well
orchestrated
in
the
chapter
59
of
the
code,
exactly
the
way
we've
been
doing
it
and
it
spells
out
that
you
must
go
to
Arts
Commission
that
you
must
go
to
a
design
review
committee
if
you're
in
a
district,
and
then
you
seek
a
permit.
So
that's
why?
F
Do
okay,
I'm,
just
I'm
not
asking
what
it
is?
It's
just
that
if
we're
going
to
include
an
exception
from
having
to
come
before
the
Arts,
Commission,
mm-hmm
and
part
of
that
is
for
work
done
pursuant
to
a
curatorial
plan,
I
have
that
the
curatorial
plan
is
being
managed
by
not
just
anybody
who
calls
himself
a
curator,
but
someone
who
meets
certain
kinds
of
qualifications
right.
So
are
you.
H
F
I'm,
just
thinking,
if
we're
going
to
create
an
exception
for
that
kind
of
for
for
a
curatorial
plan
that
we
need
to
know
what
a
curatorial
plan
is
and
what
a
curator
is.
Otherwise,
somebody
can
call
themselves
a
curator
right
and
say
well,
this
is
my
curatorial
plan
and
not
not
have
any
qualifications
to
it
right.
C
C
C
They
have
formerly
owned
a
gallery
and
curated
several
shows
like
in
the
instance
of
plaza
alley,
walls
where
they
have
actually
put
together
a
theme
and
and
curated
the
artists
and
the
type
of
work
for
those
exhibitions,
and
so
we
could
easily
put
put
a
definition
in
this.
If
that
was
your
motion
as
well.
Well,.
F
Because,
since
we're
capitalizing
curatorial
plans
and
principal
curator,
that
kind
of
infers
that
there
is
a
definition
that
goes
along
with
it,
it's
not
not
because
we
just
think
that
they're
an
occupation
that
deserves
having
been
capitalized,
but
it's
a
it's.
The
designation
that
has
a
meaning
within
the
terms
of
the
ordinance
or
the
the
policy
that
we're
working
with
I
mean
I.
Think
anyway,
that's
just
my
opinion.
I'm.
J
C
Are
under
an
application,
if
no
permit
exists
for
something
that
requires
a
permit
like
a
rotating
exhibition,
they
would
put
together
an
application,
and
we
had
I,
usually
provide
technical
assistance
and
show
them
examples
of
previous
applications
for
curatorial
plans,
and
they
outline
what
the
plan
is.
You
know
what
the
site
is,
how
many
possible
locations
they
might
have,
how
they
would
select
artists,
how
many
times
a
year.
They
might
change
the
exhibition.
F
C
Curatorial
plan
is
the
curiam.
The
curatorial
plan
that
you
have
recommended
is
only
during
the
time
that
that
principal
curator
that
you
have
recommended
is
still
in
charge
of
that
exhibition.
If
that
staff
person
leaves
or
if
somebody
leaves
the
state
or
the
city
and
no
longer
is
the
principal
curator,
their
replacement
has
to
come
back
with
a
new
curatorial
plan.
C
Okay
and
the
other
things
that
that
are
not
exempt
from
further
action
are
things
like
anything,
structural
requirement
permits
and
all
of
the
code
review
in
addition
to
Arts
Commission
redo.
But
yes,
during
the
time
of
the
principal
curator,
if
you
reviewed
their
plan-
and
the
other
thing
you
asked
for
is
us
for
annual
updates,
so
they
come
back
to
you
every
year
and
they
provide
you
with
an
annual
update
this.
C
This
is
how
closely
aligned
my
exhibitions
have
been
with
the
plan
I
presented
to
you
here
are
the
changes
I
plan
to
make
next
year,
if
possible.
If
there
it
are
a
considerable
amount
of
changes,
you
may
say
we
would
like
you
to
reapply,
because
this
is
this
is
enough
of
a
change.
We
would
like
to
evaluate
it
again.
You
know
so
it's
a
constant
conversation
but
but
you're
right
that,
because
they're
professional
curators
that
you've
recommended
you
give
them
a
little
more
freedom.
They
have
professional
credentials
in
this
area,
so
Robbie.
C
B
G
M
F
Well,
toothy,
yes,
I!
Do
you
think
that
we
have
need
to
have
define
what
I
think
that
we
probably
should
have
a
definition
of
what
a
curator
is
in
our
context?
But
also
in
this
paragraph
to
be
I'm
I
would
think
about
adding
just
a
suggestion.
Curatorial
plans
under
the
oversight
of
the
designated
principal
curator
that
that
person
has
already
been
identified
and
that
not
because
if
principal
curator
might
be
a
definition
that
qualifies
them
to
be
a
curator.
F
But
Robbie
said
if
they
change
the
curator,
then
we
have
to
go
back
to
the
beginning
for
approval.
So
I
think
that
if
you're
as
long
as
you're
going
to
be
talking
about
an
exception
to
the
application
process
and
one
of
those
being
curatorial
plans
under
the
oversight,
not
a
just
any
principal
curator
but
under
the
the
designated
principal
curator
of
the
plan,
or
something
like
that,
it's
getting
planned
in
there
a
little
bit
too
much
but
and.
D
H
D
B
Would
add,
I
would
amend
my
answer
to
Commissioner
Loftus
question
the
scope
of
work
we
we
deal
with
is
public
art
and
I.
Think
that
should
be
stressed
as
well.
A
curator
of
easel
paintings
or
photography
may
not
have
the
skill
sets
that
we
need
for
art
in
the
public
sphere.
There
are
very
different
scopes
of
work
if
just
to
add
to
that
list
of
definitions,
if
we're
expanding
it.
I
I
J
Don't
think
that
we
want
this
to
be
a
reason
that
we
limit
a
curatorial
plan
in
the
future.
As
long
as
the
applicant
is
abiding
by
the
approved
plan,
then
they
should
be
able
to
execute
the
items
they've
included
in
there
with
only
an
update
to
the
Arts
Commission,
as
we
have
requested
it
in
the
past
they're.
J
M
Bryan
kovash,
my
original
comment
was
related
to
an
earlier
version
of
one
of
the
curatorial
plans,
where
the
the
named
writer
could
basically
just
a
point.
Whoever
was
on
the
board
or
the
committee
or
the
group
without
any
kind
of
oversight
or
background
check
and
I
think
we
need
to
be
a
little
bit
tighter
than
that.
But
I
agree
with
all
of
what
a
you
know:
leaving
room
for
emergency
aerators,
those
sort
of
things,
but
there
needs
to
be
a
little
bit
of
oversight.
We
can't
just
say:
okay
I'm
out
of
town.
C
M
C
One
thing
we
could
do
chairman
chambers
and
and
arts
commissioners
is
is
we
could
send
this
back
to
the
special
committee
and
staff
could
work
with
the
committee.
We
could
present
the
three
curatorial
plans
we
have
in
place
and
staff
could
do
a
little
research
on
definitions
for
curators
and
then
bring
back
that
recommendation
to
the
Arts
Commission.
Along
with
this,
at
the
May
meeting,
we.
B
I,
like
that
I
feel,
like
our
intention,
was
to
defer
this
to
our
next
real
early
scheduled
meeting
on
May
18th,
pending
emotion
of
interaction
and
I
I
would
hate
to
force
this
back
on
the
Select
Committee
of
Commissioner,
Haslam,
Beck
and
Eichmann,
but
if
you're
willing
to
do
so,
I
I
think
we
can
navigate
some
of
that
language
to
have
it
prepared
for
public
input
at
our
next
regularly
scheduled
Commission
meeting
Commissioner
Eichmann.
Are
you
okay
with
that
I'm.
E
B
B
And
I
believe
not
every
Commissioner
still
has
an
on
every
Commissioner
has
access
to
our
voting
system.
Oh
I
see
stuff,
but
do
other
commissioners
have
access
to
this
information
to
your
voting
portal.
In
that
case,
I
have
a
motion
from
Commissioner.
Loftus
I
have
a
second
from
Commissioner
Cooper,
Jennifer,
rather
Robbie
I.
Believe
you
have
the
microphone.
Will
you
please
call
the
vote?
I
will.
C
L
D
G
B
That's
Arts.
Commission
year,
20
item
number:
zero:
zero,
zero,
zero;
eight.
The
title
is:
what
is
the
city
but
the
people
by
Martin
Donlin,
one
percent
for
art
for
the
Central,
Oklahoma
transportation
and
parking
authority,
Convention
Center
parking
garage
at
the
address,
15
South
West
4th
Street
Robbie.
Please
introduced
the
item
gladly.
E
H
M
C
H
L
B
Based
on
based
on
the
numbers
and
I
think
every
voice
present
has
been
has
cast
his
or
her
vote.
The
motion
carries.
We
are
in
now
moving
on
to
agenda
item
3b
AC
2000:
zero,
zero,
zero,
eight.
What
is
the
city
but
the
people
by
Martin
Donlan,
a
1%
for
art
for
the
Central,
Oklahoma
transportation
and
parking
authority,
Convention
Center
parking
garage
address,
15,
South,
West,
4th
Street
Robbie.
Please
present:
ok,.
C
Zack,
could
you
back
up
to
the
previous
slide?
Please
there
we
go
right
there,
so
this
is
the
orientation
you
can
see
the
Oklahoma
City
Boulevard
there
to
the
north
of
a
multi-use
building
to
the
north
of
this
parking
garage
and
the
parking
garage
is
situated
just
east
of
the
Omni
Hotel,
and
it
is
just
north
of
our
new
Convention
Center.
So
if
you
can
imagine
west
of
that,
Omni
Hotel
there
on
your
screen
would
scissor-tailed
park
and
then
north
across
the
Oklahoma
City
Buddha
Boulevard
would
be
the
Chesapeake
arena.
C
Okay,
so
that's
going
to
be
your
orientation
about
this
and
you
can
see
there
in
red
what
the
architect
requested,
because
we
always
work
with
the
architects
when
we're
integrating
artwork
tap
architecture
requested
that
the
West,
the
south
and
the
east,
facing
skin
walls
be
designed
by
the
artist
for
this
public
art
project,
so
we're
going
to
go
into
that
a
little
bit
more.
What
was
requested,
let's
go
to
the
next
slide,
so
the
architect
had
specified
duo
guard
well,
I
want
to
tell
you
a
little
bit
more
about
the
garage
too.
C
So
the
materials
specified
by
the
architect
is
this
duo.
Guard
fusion,
colored
tiles,
so
they're,
four
inch
square,
polycarbonate
tiles
with
a
custom
metal
fastener-
and
this
is
a
product
of
custom
product
that
duo
guard
has
not
done
before
so
they're
very
excited
about
this
project.
They
will
be
installed
on
vertical
steel
cables
that
are
spaced
almost
five
inches
apart.
The
tiles
come
in
102
standard
colors,
three
different
finishes
from
clear
to
matte
and
building
code
specifies,
like
you,
can
see
in
one
of
these.
C
C
So
the
project
budget
summary
was
prepared
by
the
city
engineer
and
the
the
total
budget
for
the
construction
project
was
32
million
dollar
budgeted
construction
cost
a
little
over
26
million
and
the
1%
for
our
allocation
is
two
hundred
and
sixty
two
thousand
two
hundred
and
forty
dollars.
I
must
say
by
integrating
this
project
the
idea
that
the
architect
had
it's
really
great,
because
all
of
the
duo
guard
tiles
and
the
fasteners
and
the
installation
is
being
covered
under
the
construction
budget.
C
So,
to
tell
you
a
little
bit
more
about
it
on
december
6th
of
last
year,
we
did
an
RFQ
called
artists
out
of
cut
post
board
of
trustees
and
it
was
advertised
on
December
11th,
the
dentist.
The
deadline
for
submissions
was
January
8th
and
then
the
committee
met
on
the
14th
of
January
and
chose
three
finalists.
C
Those
finalists
attended
a
mandatory
site
tour
on
February,
19th
and
the
site
tour
is
you
know
they
visit
the
construction
site
and
they
get
a
lot
of
information
about
what's
going
on
around
it,
especially
in
a
site
like
this,
where
everything
is
being
newly
developed.
It's
really
important
for
the
artist
to
have
a
full
understanding
of
what's
coming
next,
that
they
can't
see
on
the
ground,
and
then
the
artist
came
back.
The
finalists
came
back
on
March
9th,
and
the
selection
committee
received
those
reports
and
Martin
Donnellan
was
who
the
committee
recommended?
C
C
He's
you've
probably
seen
his
work
at
many
airports.
He
does
a
lot
of
very
large-scale
Airport
work
and
what
he's
known
for
is
his
flexibility
and
his
his
easy
to
work
with
nature
and
he's
just
an
extraordinary
designer,
and
so
let's
go
to
the
next
slide.
So
this
is
the
west
side.
If
you,
if
you
walk
down
its
southwest
fourth
and
you'll,
see
the
sky
walk
coming
from
the
Convention
Center.
C
This
would
be
the
West
skin
wall,
the
color
glass
there
that
you
see
running
vertically,
that
is
part
of
the
elevator
tower
and
as
the
elevators
go
up
and
down
with
the
lights
in
there
you're
going
to
see
some
changes
in
that
as
the
elevator
transitions.
But
then
you
can
see
to
the
west
of
that
the
skin
walls
that
Martin
has
created-
and
these
are
human
figures
of
all
different
shapes
and
colors.
C
You
can
see
how
the
color
really
pops
from
this,
because
the
garage
will
of
course
be
lit
from
the
inside,
so
the
staff
recommendations
on
this
we're
going
to
change
these
slightly.
We
had
two
things
going
on.
At
the
same
time,
while
we
were
preparing
this
agenda,
we
were
both
negotiating
changes
all
the
way
up
to
the
to
the
end.
The
day
after
this
agenda
was
produced.
So
I'm
going
to
talk
to
you
about
a
few
different
recommendations
than
what
you
see
here
on
your
packet.
C
There
are
slight
changes,
because
a
couple
of
these
dates
changed
the
day
that
we
signed
the
contract.
Okay,
so
staff
is
recommending
that
you
recommend,
with
conditions
to
the
khutba
board.
That's
the
Central
Oklahoma
transportation
and
parking
authority
and
that
you
for
a
final
contract
and
recommendation
number
one
is
that
the
artists
coordinate
and
complete
all
design
development
and
construction
drawings
and
submit
a
material
list
by
June
15th.
C
Also
that
artists
sign
of
Visual,
Arts,
Rights
Act
waiver
prior
to
the
agreement
being
presented
to
kata
and
then
on
number
four
we're
going
to
modify
that
that
the
artists
plan
for
an
art
marker
submitted
to
the
Office
of
Arts
and
Cultural
Affairs
for
review
and
comment
by
the
khutba
administrator
prior
to
fabrication
and
installation.
So
they'll
submit
it
through
the
Office
of
Arts
and
Cultural
Affairs,
making
sure
it
meets
the
recommendations
and
then
we
will
provide
it
to
the
administrator,
the
location
and
the
language
or
the
administrators
approval.
B
L
C
C
Yes,
okay,
so
you
can
see
that
these
are
in
a
checkerboard
fashion
and
where
there's
metal
fasteners
and
there
are
drilled
holes
on
each
side
of
the
polycarbonate
and
then
the
lighting
comes
from
inside
the
parking
garage
like
if
you
can
imagine
going
in
another
parking
garage
by
the
same
architectural,
firm
tab
like
say
the
Arts
District,
you
know
how
well-lit
that
is.
Yeah.
A
C
The
inside,
so
that's
what
these
all
have
very
upgraded
lighting,
and
so
it's
super
bright
from
the
inside
to
have
so.
Everyone
has
a
great
feeling
of
safety,
and
so
that's
how
these
are
lit
is
it.
It
shines
through
also
during
the
day
just
like
in
the
arts
district
parking
garage.
This
the
sunshine
from
the
outside
of
the
parking
garage
shines
in,
and
you
can
actually
see
colors
on
the
ground,
like
you
do
in
the
arts
or
parking
garage,
and
this.
L
C
The
general
contractor
this
is
all
under
the
general
contractors
contract
with
the
city,
so
you
know
those
are
bonded
and
they
have
all
of
the
different.
You
know.
I
haven't
personally
reviewed
a
lot
of
them,
but
I
know
that
they're
a
lot
longer
than
an
arts,
arts
agreement
and
I
would
think
that
they're,
based
on
decades
of
experience
working
with
these
kinds
of
projects.
C
L
C
C
C
I
get
back
to
one
thing,
and
this
may
help
clear
this
up,
so
the
architect
specified
this
specific
material
and
the
fastener
and
obtained
it
created
construction
documents,
and
these
were
bid
and
contracted
through
the
general
contractor.
Does
that
help
clear
up
this
guy
I
mean
all
of
this
was
specified
by
the
architect,
not
the
artist?
Okay.
C
We
merely
did
a
call
to
artists,
saying
these:
are
the
rules
you're
going
to
use
all
these
materials?
We
are
going
to
use
this
general
contractor
and
their
sub
consultants
are
going
to
use
these
fasteners.
What
you
need
to
do
is
come
up
with
an
amazing
design
that
we
can
approve,
and
then
we
want
to
make
sure
that
you
create
an
installation
plan
so
that
it
gets
installed
right
and
so
you're
there
at
the
time
of
installation.
So
if
you
see
somebody
installing
a
tron,
you
can
stop
up
yeah.
E
What
I
would
add
then
hearing
that?
Is
there
there's
two
possible,
you
know
negative
events,
one
would
be.
The
design
is
incorrect,
which
it
sounds
like
the
architect
actually
designed
the
fasteners
and
stuff
or
it
was
installed
incorrectly,
which
would
then
fall
on
the
contractor,
so
I
think
either
through
the
artist
you
know
or
the
contractors
bonding
capability
would
cover
the
situation.
H
N
Anthony
McDermott
cap
architecture,
architect
of
record
415,
North
Broadway,
Avenue,
Oklahoma,
City,
73
102.
Thank
you
thanks,
Ron,
so,
and
you're
all
correct
the
that
we
have
no
relationship
with
the
artist
no
contract.
No
contractual
relationship
with
the
artist
at
all.
Jim
is
also
correct
that
if
the
if
the
system
fails,
then
that
would
be
our
you
know,
because
we
designed
the
system.
If
the
installation
fails,
it's
a
contractor
issue
the
and
then
I
think
the
Jim's
point
earlier.
The
fasteners
are
all
stainless
steel.
N
The
polycarbonate
comes
with
a
ballistic
rating
and
a
color
fastness
raining,
so
we
intentionally
selected
the
material
because
it
came
with
warranties.
Originally
I
wanted
to
do
glass,
but
we
had
issues
with
a
ballistic
rating
and
I
think
the
color
fastness
would
have
been
okay,
so
we
selected
a
material
that
is
proven,
that's
backed
up
by
a
manufacturer,
and
we
tried
to
think
it
through
and
and
to
one
of
your
earlier
questions.
Jim
the
there
are,
there
is
no
special
lighting
on
the
skin.
N
It's
internally
lit
by
general
illumination,
which
is
Robbie
said,
is
higher
than
higher
than
normal
higher
than
required.
Illumination.
Just
like
you
see
at
the
artistic
garage
where
the
illumination
and
the
foot
Campbell
levels
is
higher
than
what's
required
and
higher
than
most
garages
and
again,
as
Robbie
said
it's
for
safety,
yeah.
L
N
N
B
N
There's
going
to
be,
there
will
be
just
like
a
just
like
a
stained-glass
window.
Has
structural
bars
in
that
you
don't
really.
Your
eye
doesn't
really
see
because
you're
you're
perceiving
the
the
totality
of
the
design,
so
the
garage
that's
on
the
east
and
west
side
does
have
a
horizontal
structural
member
that
will
kind
of
cause
a
slight
shading,
the
sad
side.
We
were
able
to
use
a
cantilever
slab
so
actually
you're,
just
in
a
very
slab
edge.
N
L
C
B
D
D
Think
about
you
know:
I
see
that
Arts
District
every
night.
The
way
it
glows
in
that
space
is
totally
transformed,
Civic,
Center
Plaza,
and
to
think
about
something,
I
thought
the
thought
process
of
things
like
that.
Freeze
that
the
Acropolis
with
the
individuals
was
so
interesting
and
I
just
think
the
color
palette
is
beautiful
and
it
really
was
exciting
to
see
this
in
the
packet.
I
agree.
B
Thank
you,
I'm,
not
sure
if
there
anyone
else
joining
us
in
this
meeting
who
could
possibly
speak
for
or
against
the
case,
someone
correct
me
if
I'm
wrong,
otherwise
I'm
moving
on.
If
all
questions
are
answered
and
I'll
entertain,
a
motion
and
a
second
I
just
want
to
remind
in
the
staff
recommendations
of
this
report
under
the
recommendation
condition
one
in
your
staff
report.
It
reads:
July
1st,
however,
that
should
be
June
15th.
C
B
Like
just
I
have
a
recommendation
or
sell
EUR
in
a
second
by
Commissioner
Loftus,
any
further
discussion,
all
right
Robbie
will
you
please
call
the
roll
and
I
am
just
for
clarification,
I'm,
seeing
a
screen
now
and
I
believe
someone
on
staff
is
recording
our
votes
in
the
system,
so
I
I
think
it's
working
both
ways,
but
let's
please
continue
with
the
roll
call
Robbie.
Okay,.
E
H
O
B
Carries
now
is
the
time
that
I
provide
a
reminder
that
if
we
lose
our
connection
for
this
meeting
for
more
than
15
minutes,
we
ask
that
everyone
who
wishes
to
receive
reconvene
notification
notification
send
an
email
within
24
hours
to
OKC
arts
dot.
Rather
OKC
arts
at
OKC
gov.
You
will
be
notified
directly
and
we
will
publicly
post
a
special
meeting
notice.
I
will
restate
this
throughout
the
meeting.
B
C
There
is
a
sum
of
the
contributing
items
in
the
district.
Are
the
memory
garden
and
the
entrance
to
the
memory
garden
is
by
a
steep
stone
and
concrete
stairway
that
leads
down
from
the
higher
end
meant
to
the
east,
and
it
was
designed
and
constructed
by
Henry
Walter
in
1954
and
there's
a
stone
bust
of
Will
Rogers
by
Laurence
Kenney
Stevens
displayed
in
the
garden,
backed
through
this
project.
C
We've
been
in
contact
with
the
director
of
the
foundation
for
Lawrence
tinnie
Stevens,
who
knows
the
sculpture
well,
and
he
is
pulling
his
files
and
he
may
even
have
some
of
the
original
material,
because
that's
kind
of
what
the
artist
would
do
is
he
would
go
ahead
and
and
save
some
of
the
stone
material
back
in
his
files,
just
in
case
in
the
future
that
we
needed
it.
So
we're
really
excited
that
we've
made
contact
with
him.
The
last
assessment
of
the
city's
art
collection
was
performed
in
July
of
2019
by
shakoora
Manor.
C
Our
summer
course
credit
in
turn
from
OCU,
and
she
noted
that
there
were
significant
issues
on
the
end
of
the
nose,
the
bottoms
of
the
ears
and
some
of
the
top
right
ear.
There
was
pitting
all
over
the
surface
of
the
sculpture.
It
really
needed
to
be
cleaned.
There
was
a
lot
of
moss
and
mold
some
cracking
on
the
right
shoulder,
and
so
you
can
see
as
Zach
moves
through
some
of
these
images.
You
can
see
how
some
of
that
deterioration
has
occurred.
C
This
the
restoration
of
this
project
has
been
cleared
through
the
municipal
counselor's
office.
There
was
a
project
budget
summary
prepared
by
the
City
Engineer
for
facility
improvements
at
Will,
Rogers
Park
in
2016,
and
it
was
funded
with
2007
geo
bond
for
a
total
of
nine
hundred
and
thirty
one
thousand
dollars
the
total
one
percent
for
art
budget
for
this
project
is
seven
thousand
five
hundred
and
forty-two
and
what
the
parks
department
as
the
primary
client
on
this.
They
requested
that
the
funds
be
used
to
restore
this
bus,
because
people
really
love
it.
C
On
February
24th.
We
issued
a
request
for
qualifications
to
the
art
handlers
and
the
3d
artists.
In
our
pre-qualified
pool.
We
had
a
deadline
of
March
11,
one
response
was
received
from
Smith
art
conservation
LLC,
and
you
might
called
that
name
before.
Smith
art
conservation
is
the
same
group
that
we
hired
last
year
to
clean
the
land
red
monument
and
they
did
an
excellent
job.
C
We
sent
us
through
a
committee
Commissioner
kovash
and
Parks
Department,
Scot
Copeland,
and
a
stakeholder
from
the
Friends
of
Will
Rogers
Foundation,
all
reviewed
the
submit
all
and
all
recommended
it
to
the
Arts
Commission.
So
we're
asking
today
for
the
Arts
Commission
to
consider
this
and
if
you
recommend
it
to
City
Council,
we'll
go
to
them
for
authorization
for
staff
to
negotiate
an
artist
agreement
and
then
we'll
present
them
with
a
final
agreement
for
their
their
approval.
B
Thank
You
Robbie,
if
my
memory
serves
correctly.
This
item
has
been
on
our
annual
inventory
and
condition
reports,
one
of
the
critical
items
for
many
years,
and
it's
not
easy
for
us
to
find
funding
for
conservation
and
proper
maintenance
of
the
city's
assets
when
it
comes
to
public
art
juveniles
for
Robbie
about
this
agenda
item.
F
B
C
H
O
C
B
C
Here
we
go
so
City
Council
approved
the
Public
Art
Commission
agreement
with
Jason
clam
oski
and
Leslie
Chang
of
studio,
K
CA
for
taking
flight,
and
this
was
a
1
percent
for
art
project
for
upper
scissortail
Park.
It
was
an
amount
not
to
exceed
$500,000
and
you
can
see
a
model
there
of
the
sculpture
in
their
studio.
C
C
They
were
looking
in
Oklahoma,
they
were
looking
all
over
the
US
and
then
they
ended
up
looking
for
fabricators
in
other
countries
to
try
to
bring
the
cost
down
to
the
amount
of
their
contract,
and
so
let's
go
on
to
the
next
image.
So
here
is
taking
flight.
You
can
see.
The
image
on
the
left
is
a
daytime
view.
The
word
stands
48
feet
high,
that's
from
the
the
ground
to
the
top
of
the
sculpture
and
it's
a
28
foot
7
inch
diameter
sphere
from
these
angled
columns.
C
You
can
only
imagine
the
engineering
on
this
is
extraordinary
and
there
are
a
lot
of
things
underground
that
you
cannot
see
that
have
to
be
navigated
around
the
work.
The
the
work
is
formed
of
polished,
bronze,
stainless
steel
formed
panels.
This
is
very
similar
to
the
work
in
Millennium
Park
that
is
formed
in
the
same
way
and
it's
colored
to
Echo
Oklahoma,
soil
kind
of
a
coppery
hue,
and
so
you
can
also
see
from
the
nighttime
shot.
It
would
have
been
lit
at
night
and
light
would
have
emanated
from
the
inside.
C
So
this
is
also
inspired
by
a
famous
figure
in
history.
Eleanor
Roosevelt.
The
future
belongs
to
those
who
believe
in
the
beauty
of
their
dreams.
In
January
of
this
year,
staff
communicated
with
the
artist
that
we
wanted
the
artists
to
put
the
fabrication
on
hold.
They
were
right,
they
were
ready
to
sign
a
fabrication
contract
and
we
asked
them
to
put
it
on
hold,
because
we
had
just
learned
about
another
project
across
the
street.
C
Let's
go
to
the
next
image
here
there
had.
This
is
a
stretch
along
the
north
side
of
the
boulevard
east
of
Robinson
and
just
south
of
the
Chesapeake
arena.
It's
a
very
unusual
sight,
because
it's
it's
narrow
and
long
running,
east
and
west
and
Urban
Renewal
Authority
did
a
call
for
proposals
or
request
for
proposals
and
received.
This
proposal
went
and
they've
been
working
with
I
I'm,
not
sure
if
they've
reached
a
final
agreement
yet,
but
they
have
had
several
meetings
on
it
and
there
is
some
preliminary
work.
C
That's
been
submitted
to
downtown
Design
Review,
but
it
has
not
been
on
a
docket
yet,
but
what
we
can
see
from
what
has
been
submitted
so
far-
and
we
have
also
met
with
the
architect
and
the
managing
partner
for
this
Thunder
alley
proposal-
is
that
we
know
that
the
the
Thunder
really
wants
to
have
a
basketball
featured
at
this
corner,
that
this
is
the
site
that
they
they
want
the
world
to
see
and
their
game
is
basketball
and
there's
not
much.
They
can
do
to
change
that,
a
large
basketball.
C
So,
let's,
let's
go
on
to
the
next
image
in
the
PowerPoint.
So
you
can
see
here.
We
try
to
show
you
the
spots
where
the
conflict
will
occur
and
where,
with
the
boulevard
running,
east
and
west
and
Robinson
running
north
and
south,
and
you
can
see
the
park
there
and
taking
flight
where
it
would
be
located
and
then
diagonally
across
from
that,
and
it
would
almost
appear
that
you
would
have
to
very
similar
works
of
art
on
these
two
opposite
corners.
C
Excuse
me,
I'm,
sorry,
go
back
goes
back
set,
so
what
staff
is
asking
the
Arts
Commission
to
consider-
and
we
we've
kind
of
outlined
this
in
our
staff
report-
that
you
know
it's
the
desire
with
of
the
city
and
the
Arts
Commission.
While
we
can
sit
when
we
Commission
these
are
works
of
art.
We
want
it
to
be
part
of
unique
works
of
art
display
throughout
the
city
and
in
our
collection,
and
we
work
very
hard
in
our
final
contracts
with
the
artists
that
we
commissioned
to
avoid
any
kind
of
duplication
we've.
C
Given
you
a
couple
of
examples
in
the
staff
report,
the
first
one
is
a
paragraph
in
our
artist
agreement
where
we
talk
about
copyright
and
we
state
that
both
parties,
both
the
city
and
the
artist,
acknowledge
that
originality
and
uniqueness
of
work
are
valuable
to
both
parties.
Okay,
another
paragraph
just
talks
about
unique.
They
unique
this
ended.
C
We
asked
the
artist
warrant
to
the
best
of
their
knowledge
that
their
work
is
unique,
an
edition
of
one
and
does
not
infringe
on
the
copyright
of
anyone
else
and
then
the
last
example
we
wanted
to
show
you
out
of
the
contract
was
the
reputation,
the
reputation
of
both
the
city
and
the
artist,
and
that
in
no
way
would
either
party
go
forward
and
damage
the
other's
reputation,
any
anything
that
would
reflect
a
discredit
on
the
other.
So
because
of
the
timing
of
both
of
these,
both
the
Rd
commissioned
work
and
a
newly
proposed
work.
C
We
think
the
timing
is
unfortunate,
but
also
the
timing
could
be
fortunate
because
it
allows
us
to
possibly
change
direction
if
we
saw
the
need
to
so
what
staff
is
proposing
is
that
the
Arts
Commission
consider
a
recommendation
that
would
allow
us
to
Commission
an
additional
conceptual
design
report,
so
we
have
now
invested
in
studio,
KC,
A's
understanding
of
this
site.
They
have
visited
the
site
a
couple
of
different
times.
They
now
know
what
the
Omni
Hotel
looks
like
in
its
final
form.
They
know
what
what
the
convention
center
is.
C
You
know
the
first
time
they
ever
visited
this
site.
It
was
just
a
lot
of
dirt
and
construction,
but
now
you
can
actually
see
physical
buildings
and
how
high
massive
they
are.
They've
also
seen
the
renderings
of
Thunder
alley
and
in
they
have
a
better
idea
of
what
they
could
do
now
through
all
their
fabrication
investigations
with
fabricators
of
how
they
could
design
a
work
of
art
for
the
corner.
That
would
not
be
similar
to
what
the
Thunder
has
proposed
on
their
corner,
so
for
the
cost
of
a
conceptual
design
report.
C
So
that
was
a
significant
amount
of
money.
What
we
would
like
to
do-
and
you
can
see
here
in
our
recommendations-
is
go
ahead
and
pay
for
a
conceptual
design
report,
so
the
artist
can
propose
a
new
work
that
goes
directly
to
the
same
committee
that
originally
reviewed
this
and
that
they
get
the
committee's
comments
and
possibly
even
generate
from
those
comments.
A
final
conceptual
design
report
that
once
the
Committee
recommends
it
could
be
brought
back
to
the
Arts
Commission
and
if
you
agree,
this
is
better
for
the
city.
C
We
would
take
that
then
to
City
Council
and
ask
their
permission
to
amend
the
agreement
with
the
artists.
So
some
of
the
conditions
we've
stated
on
your
memo
in
our
recommendation
is
that
the
selection
committee
be
involved
and
that
all
of
the
concepts
schedules
and
budgets
would
be
part
of
this
conceptual
design
report
for
you
to
evaluate
later
and
that
the
new
concepts
require
as
little
disruption
to
sitter
scissortail
parks,
amenities
as
possible.
So
this
would
include
all
lighting
benches
and
landscaping
to
ensure
that
we
would
not
need
to
spend
those
dollars.
C
We
had
a
very
large
administrative
budget
set
aside
because
originally
we
had,
we
had
wanted
to
do
a
public
art
master
plan
and
if
we
needed
to,
we
could
forego
that,
but
that
would
certainly
be
supportive.
We
had
selection
costs
on
this
project
of
almost
$40,000.
This
is
one
where
the
Arts
Commission
had
wanted
world-class
artists,
so
we
had
very
high
fees.
You
know
in
our
schedule,
because
this
is
a
very
large
one
of
the
biggest
Commission
sets
skydance
bridge,
and
you
also
wanted
a
national
juror.
D
D
C
K
B
C
The
architect
is
Bacchus
pain
and
Associates,
and
we
had
a
technical
assistance
meeting
with
them
originally
because
they
did
not
have
an
artist
yet
selected,
since
we
recommended
an
artist
from
the
pre-qualified
pool
or
several
artists
from
the
pre-qualified
pool.
It's
our
understanding
that
they
chose
to
have
meetings
with
Stan
Carroll.
We
are
not
aware
if
he's
contracted
yet,
though.
C
C
F
Code
I
have
a
I,
have
a
question,
commissioner
Cooper.
Now
it
seems
to
me
that
the
piece
that
was
designed
by
studio
Casey
was
approved
a
couple
years
ago
was
announced
everything.
Why
is
it
here?
You
know
a
couple
years
later
were
scratching
a
design
that
was
a
international
competition
because
I
mean
and
I
love
the
Thunder,
because
they
want
to
put
a
basketball
across
the
street.
C
F
I
understand
in
that,
but
we're
talking
about
someone
coming
along
I
guess
I'm,
asking
this
question
more
for
future
reference
than
for
this
one.
We
know
that
we
have.
This
community
has
a
lot
invested
in
the
Thunder,
and
we
know
that
we
have
citizens
in
Oklahoma
City,
who
are
extremely
invested,
who
are
very,
very
invested
in
the
Thunder,
and
we
want
them
to
do
well
on
their
their
a
signing
part
of
our
community.
F
G
B
B
J
I
think
we
all
agree
that
having
two
balls
across
from
each
other
at
the
intersection
not
to
demean
the
artwork
at
all,
is
completely
inappropriate
and
I.
Think
it
is
the
guy.
It
is
under
our
jurisdiction,
as
Arts
Commission,
to
identify
those
kinds
of
issues
both
from
a
you
know.
A
respect
for
the
artists,
but
also
to
maybe
out
of
respect
for
our
city's
image
is
the
way
I
would
say
that
I
really
liked
the
piece
that
the
selection
committee
had
picked
out
for
scissortail
Park,
but
I
also
really
trust.
J
The
selection
committee
I
trust
our
staff
and
I
trust.
The
artists
that
was
selected
to
make
lemonade
out
of
these
lemons
and
come
up
with
something
even
better
and
something
that
will
be
the
iconic
piece
of
art
at
this
intersection.
No
matter
what's
done
in
the
private
sector,
around
it,
so
I
kind
of
agree
with
Commissioner
Seward
and
with
Commissioner
Cooper
and
I
combined.
Those
those
two
opinions
into
my
into
my
comment
here,
but.
E
I'm
I
agree
with
both
I'm
wondering
it
seems
to
me
that
we
need
to
analyze
how
we
essentially
got
in
you
know
this
pickle
and
it
could
be
and
I'm,
not
speaking
for
the
Thunder,
but
it
could
be.
They
had
no
idea
at
all
that
there
was
a
piece
of
art
that
represented
this
very
similar,
the
similarity
between
the
two
and
they
they
basically
forward
in
the
dark
that
there
was
something
happening
on
the
opposite
corner.
E
You
know,
I,
don't
know
that
the
Thunder
follows
the
Arts
Commission
I,
don't
know
that
they,
you
know,
stay
up
with
public
art
and
I'm,
not
defending
them.
I
just
want
to
want
us
all
to
wear
kind
of
different
hats
and
I.
Think
I
think
the
the
conflict
may
have
come
from
the
standpoint
that
possibly
they
didn't
know
and
like
the
mice
we
didn't
know
what
they
were
doing
and
I'm
not
sure
how
to
fix
that
problem,
but
it
just
seems
like
we
may
be
in
the
situation,
had
no
fault
to
anybody
in.
B
The
vein
of
communication,
commissioner
Hasson
back
I
will,
in
my
opinion
this
is
one
of
the
most
publicized
public
art
selection
decisions.
It
was
covered
by
The
Oklahoman.
It
was
all
over
the
social
media
with
traction.
I
know
that
we
all
don't
receive
our
news
in
the
same
platform
in
the
same
manner,
but
there
were
definitely
in
short
problems
with
communication
from
stakeholders
in
the
same
neighborhood.
C
O
C
B
F
I,
don't
know
I
guess
we'll
just
have
to
look
at
when
we're
reaching
out.
We
need
to
maybe
go
out
of
our
ways
to
to
contact
the
constituencies
so
that
they're
more
aware
that
these
things
are
going
on.
I,
don't
know
how
they
didn't
know
about
the
deal
with
this
particular
piece,
because
it
was
very,
very
well
publicized.
F
But
I
mean
I
think
it's
very
fair
to
the
artists
to
be
given
the
opportunity
to
redesign
the
piece,
so
that
there's
in
fact
will
be
a
unique
piece.
We
want
a
piece
that
the
community
can
be
very
proud
of,
and
perhaps
this
is
just
one
of
those
opportunities
that
it'll
turn
out
even
better
given
given
the
opportunity,
because
I
certainly
agree
that
two
two
round
orbs
across
the
street
from
one
another,
would
not
be
complimentary.
B
E
I
would
like
to
just
please
Jim
I'm
thinking
how
communication
might
be
better
when
a
rezoning
of
a
piece
of
property
or
something
major
is
happening.
People
within
a
certain
radius
are
made
aware
of
that,
so
that
there's
a
record
that
everybody
within
that
radius
has
at
least
been
given
the
opportunity
to
speak,
or
at
least
knows
about
the
project.
That
may
be
one
way
to
prevent
something
like
this
in
the
future.
So.
C
That
actually
did
happen
when,
when
the
taking
flight
went
to
downtown
design
review,
that
would
be
the
mechanism
for
notification
of
all
the
surrounding
property,
so
the
Omni
just
might
have
gone
to
the
Chesapeake
arena,
though,
because
tenants
don't
get
notification
only
owners,
it
would
have
gone
to
the
the
property
of
private
owned
property
across
the
street.
So
it's
there
in
public
art
I
see
a
lot
of
miscommunication
between
tenants
and
owners.
J
I
think
one
of
the
things
that
could
have
been
done
in
this
particular
situation
is
that
when
this
RFP
went
out
from
okura,
we,
the
public
art
that
was
approved
adjacent
to
it,
should
have
been
included
as
something
that
was
required
to
be
taken
into
consideration
and
I.
Don't
know
that
it
wasn't
was
or
wasn't.
I
haven't,
read
the
RFP,
but
it
seems
like
that
that
I'm
sure
that
there
was
language
about
the
Omni.
There
was
language
about
the
park.
J
There
was
language
about
the
location
that
this
piece
of
property
has
within
our
downtown
area
and
how
a
project
proposed
for
this
piece
of
property
would
relate
to
those
items
and
I
think
that
we
could
potentially
have
better
communication
with
the
Alliance
and
urban
renewal
and
all
of
their
partner
groups.
I
guess
about
including
adjacent
public
art
as
an
item
that
an
applicant
or
responder
to
the
RFP
needs
to
consider,
and
if
that's
something
that
staff
on
when
they're
going
to
release
an
RFP
can
respond
to
ahead
of
time
and
say:
hey.
J
J
L
Just
a
couple
of
quick
points:
Luther
I
think
the
community
is
it's
been
it's
a
fortuitous
situation
because
we
could
have
had
this
thing:
fabricated
sitting
in
New,
York
City,
getting
ready
to
come
down
here
and
I'm,
not
sure
that
the
Thunder
would
change
direction
from
there
to
basketball
and
all
of
a
sudden
we've
got
the
the
the
two
orbs
that
somebody
said
so
I
think
that's
a
that's
an
issue.
I
would
also
point
out.
L
We
didn't
think
the
artist
we
picked
the
park
piece
that
the
proposal
that
they
made
I
trusted
that
they
can
come
back
with
something
else
that
will
be
as
good
or
better
than
what
we
picked
and
I
hope.
That's
the
case,
I
just
think
it's!
It's
really
good
that
we
weren't.
We
didn't
have
this
thing
built.
You
know
we
we
weren't
already
down
the
road.
We
still
had
the
ability
to
recover.
It
I
think.
That's!
That's
good!.
B
D
D
Certainly
from
the
artists
standpoint,
basketball
was
not
its
genesis,
and
so
you
know
we
have
sort
of
a
really
strange
situation
that
developed
with
a
basketball
team
that
wants
to
represent
their
sport,
and
we
had
a
piece
of
art
that
perhaps
wasn't
designed
with
that
in
mind.
But
that's
what
a
lot
of
people
see
and
so
I
think
we're.
You
know
we
came
in
a
very
awkward
place
and
the
timing
has
perhaps
allowed
us
the
opportunity
to
regroup
and
I.
Think
it's
Terry
I'm
not
happy
about
the
way
it
came
about
and
I
do
think.
D
O
B
K
K
I,
hear
outstanding
positives
compared
to
many
other
Metroplex
programs
and
internationally
as
well.
So
we've
got
a
really
good
reputation
here.
It
is
obviously
a
very
sticky
wicket
and
from
the
aspect
of
arts
something
has
to
change.
You
can't
control
the
private
entity,
but
as
someone
who
protects
the
rights
of
artists,
especially
in
contracts,
I,
can
see
how
from
the
artists
standpoint,
obviously
the
studio
would
not
want
to
lose
a
commission
opportunity
of
this
nature.
Nor
would
they
want
to
face
a
situation
where
they
have
something
so
similar
opposed
to
their
work.
K
I
also
see
how
the
city
has
has
they're
in
a
position
where
they're
they're
forcibly
moving
this
change,
which
has
been
contracted
based
on
something
private,
that's
happening
and
I
also
know
that
the
selection
on
the
RFQ
was
the
project,
not
the
people.
With
that
in
mind,
I
think
beefing,
it
beneficial
to
add
a
future
contract
stipulation
and
larger
contracts.
C
So
that
is
very
similar
to
one
in
our
contract,
and
we
talked
about
that
internally
quite
a
bit.
We
feel
that
we've
progressed
so
far
with
this
particular
group
of
artists.
They
they
understand
the
site,
its
soils,
its
conditions,
underground,
they've
they've,
been
able
to
study
it
now
for
over
a
year,
and
we
feel,
like
we've,
invested
a
lot
of
money
in
their
understanding
and
to
see
a
new
artists
group
come
in
and
to
have
to
evaluate
all
those
things
we
even
lose
more
ground.
B
B
If
needed,
I
have
the
staff
report
in
front
of
me
in
the
staff
recommendation,
which
does
not
constitute
requiring
the
Commission
to
make
this
decision
or
use
this
language.
But
the
recommendation
is
to
Commission
an
additional
conceptual
design
report
by
Studio
KCA
for
1%
for
art
for
upper
scissortail
Park
with
conditions.
The
recommended
conditions
include
one
payment
to
Studio
K
CA
be
made
in
accordance
with
conceptual
design
report
policies
to
that
studio.
B
Kca
work
with
the
sub
action
committee
to
present
the
report
and
seek
comment
and
feedback
from
the
committee
and
revised
final
concepts,
schedules
and
budgets
prior
to
presenting
to
the
Arts
Commission
for
final
evaluation
and
three
that
new
concepts
require
as
little
disruption
to
sister
tell
parks,
amenities
as
possible,
including
lighting
benches
and
landscaping.
I.
I
C
B
You
motion
is
carried
and
it's
that
time
once
again,
if
we
lose
our
connection
for
this
meeting
for
more
than
15
minutes,
we
ask
that
everyone
who
wishes
to
receive
reconvene
notification
send
an
email
within
24
hours
to
OKC
arts
at
OKC
gov.
You
will
be
notified
directly
and
we
will
publicly
post
a
special
meeting
notice.
I
will
restate
this
I,
don't
think
again
during
this
meeting.
B
C
So,
commissioner,
Yosef
and
I
talked
earlier
today
and
and-
and
she
was
sad
that
she
couldn't
make
it
with
us
today,
but
for
good
reason,
and
the
one
thing
she
wanted
to
mention
was
that
Oklahomans
for
the
Arts
typically
schedules
its
arts
day
at
the
Capitol,
that
many
of
you
have
participated
in
on.
They
had
it
scheduled
for
April
22nd
and,
of
course
that
has
been
canceled,
and
she
just
wanted
to
make
sure
that
everyone
understood
that
and
to
be
looking
for
the
date
when
that
is
rescheduled.
C
B
D
A
couple
of
few
words
I
did
become
aware
that
the
protective
fencing
around
the
sculpture
had
fallen
down
and
Robbie
quickly
contacted
parks
today
and
they've
been
out
and
replaced
the
fencing.
So
that's
important
for
the
project,
and
we
continue
to
have
some
conversations
about
potential
relocation
sites
and
more
to
come
on
that
Thank.
B
You
commissioners,
Salyer
and
Thank
You
Commissioner
Seward
for
your
continued
work.
Moving
on
to
agenda
item
4c,
it's
that
time
for
us
to
speak
about
or
consider
the
Curtis
Schwartz
Awards
and
our
chair
of
this
committee
is
commissioner
Seward
Commissioner
Seward
anything
to
share
our
report.
Well,.
B
C
Just
the
project
report
is
attached
and
I
did
want
to
make
a
distinction
for
the
Commissioner.
So
if
you
see
on
social
media,
we've
been
posting
a
lot
of
progress,
shots
of
construction
and
I
did
want
to
make
you
aware
that
public
art,
installation,
mural
painting,
is
not
allowed
under
the
governor's
order.
Right
now.
Construction
is
so
if,
if
construction
like
with
integrated
art
projects,
because
general
contractors
can
proceed,
that
is
allowed,
construction
of
foundations
is
allowed,
but
anything
like
murals
paintings
or
public
art.
Installation
is
not
currently
so.
H
B
Moving
on
to
agenda
item
six
comments
from
commission
members,
starting
from
me,
I
I
want
to
make
one
clarification
on
our
agenda
item
3a
back
in
the
very
beginning
of
this
meeting
almost
two
hours
ago.
We
make
it
a
point,
and
this
has
probably
already
made
clear.
We
said
next
May
meeting
and
I'm
pretty
sure
we
said
the
date
of
our
regularly
scheduled
a
meeting
which
is
May
Monday
May
18th.
B
B
Also,
we
are
the
first
I
believe
the
first
board
committee
or
Commission
to
use
this
new
platform
of
prime
gov.
So
we
had
a
lot
of
eyes
watching
us
navigate
this
new
technology
and
some
of
the
staff
members,
particularly
helping
holding
at
least
my
hand,
staff
can
and
many
of
our
state
ratings,
the
City
Clerk's
office.
Frances.
Thank
you
to
you
and
your
team.
Also
public
information
office,
Zack
Nash,
has
been
on
this
call,
helping
us
or
this
teleconference,
helping
us
anytime,
it's
technology
or
in
the
digital
world
he's
usually
the
one
leading
the
cause.
B
So
thank
you
to
all
of
those
that
mentioned
above
and
finally
thank
you
to
all
of
our
commissioners.
Uvic
you've
exhibited
an
incredible
amount
of
patience
and
I,
dare
say
grace
through
this
transition.
Thank
you
all
be
safe
and
well
moving
on
to
any
other
items
from
commissioners.
Anything
you'd
like
to
share.
B
F
We
need
to
all
do
what
we
can
to
help
support
the
various
arts
organizations,
because
they're
really
going
to
struggle
coming
out
of
this
I
mean
lyric
this
morning
announced
they're
canceling
their
whole
season
this
year,
so
I
mean
it's.
It's
really
sad.
What
what
is
what's
what's
going
on
and
I
certainly
understand
the
danger.
I'm
sure
we
all
do,
but
our
arts
groups
need
our
support.