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From YouTube: Public Arts Commission Meeting | Jan 19, 2022
Description
City of Palm Springs Public Arts Commission meeting, held January 19th, 2022
A
A
A
So
that
is
awesome
so
now
we'll
move
on
to
public
comments.
This
time
has
been
set
aside
for
members
of
the
public
to
address
the
public
arts
commission
on
items
of
general
interest
within
the
subject
matter:
jurisdiction
of
the
commission
and
agenda
items
if
members
of
the
public
cannot
be
present
later
in
the
meeting
at
the
time.
The
item
is
heard
by
the
commission.
A
A
F
E
C
Yeah
I'll
go
ahead,
how
y'all
thanks
so
much!
This
is
like
alexis
or
lex
ortega
resident
of
palm
springs
born
in
race,
and
I
also
am
really
anticipating
the
presentation
that
will
be
done
about
this
potential
mural
at
dimuth
and
want
to
just
express
my
excitement
in
seeing
some
of
adam's
work.
The
fact
that
we
can
uplift
ethnic
communities
here
in
this
city,
which
I
love
and
I'm
really
excited
to
hopefully
see
it
through,
and
hopefully
you
all
will
see
it
through.
C
C
C
I
think
it's
a
wonderful
project,
I'm
part
of
the
bay
nihon
group,
and
I
just
I
love
where
the
direction
it's
going
and
very
fervently
support
it.
I'd
also
like
to
mention
that
my
family,
my
great-grandfather,
was
filipino
and
he
emigrated
to
the
u.s
turn
of
the
century
and
and
moved
to
his
family
from
san
francisco
area
to
palm
springs
in
the
50s
late
40s.
C
A
A
A
Item
e,
so
I
just
wanted
to
welcome
everybody
to
this
year's
commission
and
I
want
to
leave
a
lot
of
time
for
our
agenda.
So
I
just
will
speak
to
you
about
a
couple
of
of
things.
I
know
a
lot
of
the
new
commissioners
are
interested
in
doing
community
related
public
arts
projects,
as
am
I,
so
it's
really
exciting
to
have
this
as
the
first
project
that
comes
before
us
for
the
year.
A
So
I'm
looking
at
this
as
a
really
great
jumping
point
to
even
the
next
two
years
of
the
commission
and
getting
a
lot
of
things
on
our
schedule
to
roll
out
through
the
next
next
two
years.
Basically
so
this
project
and
our
our
arts
maintenance
project
as
well
as
a
three-year
program,
and
then
that
frees
us
up
for
a
lot
of
interesting
projects
that
we
can
continue
to
put
on
our
plate.
A
So
we've
had
a
couple
of
public
comments
about
issues
not
necessarily
relating
to
a
piece
of
public
art,
but
just
maintenance
issues
and
things
with
lighting
and
other.
You
know
we.
We
always
have
a
lot
of
issues
with
sprinklers
and
and
even
a
little
bit
about
graffiti,
so
we
in
our
maintenance
meeting
last
week
we
were
kind
of
brainstorming
storming
at
how
we
can
be
able
to
address
issues
with
the
public
quickly
and
have
them
all
go
to
maybe
one
source
so
jay
had
this
fabulous
idea.
A
If
we
could
ask
for
public
arts
to
be
added
to
the
city
app,
so
people
would
have
a
one-stop
shop
versus
you
know,
finding
someone
on
facebook
or
seeing
someone
at
the
grocery
store
or
sending
emails
and
not
knowing
who
to
contact
so
we're
trying
to
figure
out
ways
to
streamline
work
for
the
commission.
So
we
can
focus
on
the
bigger
picture
and
have
these
knitty
items
that
have
a
tendency
to
not
have
a
point
of
reference
to
be
able
to
create
that
point
of
reference.
A
So
we
get
everybody
communicating
in
the
same
way.
So
hopefully
that
will
be
that's
a
really
exciting
thing
on
a
note
for
me
to
be
able
to
say:
oh
if
we
could
add
public
arts
to
the
city
app,
so
everything
could
be
funneled
through
that.
If
people
have
issues
or-
and
then
there's
one-stop
shopping
for
that,
so
I'm
hoping
we'll
find
out
in
the
next
month
or
so
if
that's
possible
and
jay
might
know
some
more
tonight.
A
A
F
Yeah,
it
would
be
great
if
jay
could
pull
up
the
presentation
and
could
move
it
forward
for
us
and
I'll
sort
of
walk
through
it.
What's
in
there,
some
of
the
main
things
that
be
developed,
and
then
I
hope
we
can
have
a
few
minutes
for
adam
the
artist
to
also
speak
and
respond
to
any
questions,
and
I
should
just
mention
that
my
name
is
mara
gladstone.
F
I
am
presenting
this
proposal
on
behalf
of
bayanihan
desert,
which
is
a
philippines
community
action
network,
that's
whose
members
identify
as
filipino-american
and
are
based
in
and
around
the
palm
springs
area.
So,
and
my
role
in
this
is
to
simply
help
support
and
move
forward
this
project
and
support
the
artist
in
realizing
this
project.
F
So
the
title
of
our
proposal
is
the
philippines
community
neural
project,
we're
using
the
x
and
in
in
as
an
identifier
to
be
inclusive
and
intersectional
and
to
consider
all
peoples
who
might
connect
with
and
identify
as
filipino
or
filipino
american
next
slide.
Please
so,
who
are
we?
This
is
our
logo,
which
is
designed
by
the
artist
adam
loudoun.
I
love
wen,
who
are
we?
F
We
are
a
multi-generational
philippines
community
action
network
comprised
of
diverse
individuals
who
identify
as
filipino-american
and
are
based
in
the
palm
springs
region.
We
celebrate
our
heritage
collectively,
share
news,
promote
our
achievements
and
identify
and
support
underrepresented
perspectives
and
issues,
particularly
those
of
concern
to
aapi
communities
throughout
the
coachella
valley,
and
I
just
want
to
mention
to
you,
although
our
network
is
comprised
of
philippines,
identifying
individuals,
a
lot
of
the
issues
that
we're
concerned
with
affect
bipolar
communities
and
lgbtq
communities
as
well.
Next
slide,
please.
C
F
So
these
are
just
some
examples
of
some
filipino-owned
businesses
in
the
community.
Some
images
from
past
events,
zoom
events
in
the
last
year,
networking
sort
of
service
that
we've
done
in
the
community
for
the
last
few
years
next
slide.
Please
so
what
we
would
like
to
propose
and
it's
something
that
we
as
a
group
have
been
talking
about
for
many
years,
but
for
various
reasons
the
timing
just
never
seemed
right,
but
we
are
now
ready.
We
are
proposing
a
mural
celebrating
philippines,
history,
culture
and
people
of
the
palm
springs
region.
F
Filipino
americans
have
played
an
enormous
role
in
the
social,
cultural
and
economic
development
of
california,
the
coachella
valley
and
the
palm
springs
region
and
in
fall
2021.
The
palm
springs
city
council
issued
a
proclamation
making
october
filipino
american
heritage
month
and
celebrating
october.
25Th
is
very.
A
F
Way,
I
just
wanted
to
point
out
actually
that
proclamation
has
some
really
amazing
historical
points
relating
filipino
americans
and
their
relationship
to
california.
This
mural
would
seek
to
look
at
that,
but
also
to
explore
a
little
more
in
depth.
How
filipino
americans
have
had
an
impact
on
the
coachella
valley
at
right
is
an
example
by
the
artist
a
mural
he
did
for
the
filipino
community
center
in
the
excelsior
district
in
san
francisco
about
10
years
ago.
F
Next
slide,
please
what
we'd
like
to
propose
is
and
recommend
that
the
best
place
for
such
a
mural
would
be
in
the
dunoof
park
neighborhood,
where
the
manong
generation-
these
are
our
male
elders,
who
tended
to
be
filipino
farm
workers,
chefs
and
hospitality
professionals
established
their
homes
and
built
multi-generational
multicultural
communities
in
the
early
20th
century,
previously
called
the
veterans
track.
Neighborhood.
F
F
Yep
next
item:
okay,
so
here's
here's
at
the
top
left
is
an
image
of
the
proposed
mural
wall
at
the
entrance,
and
so
even
though
we
explored
options
for
facing
the
wall
to
be
a
street
facing
side.
I
think
it's
important
to
note
that
we've
selected
a
wall
where
people
children
the
community
that
is
actually
using
the
center
walks
by
so
it
beats
them.
So
it's
less
about
being
like
a
presence
to
those
in
cars
and
more
of
a
presence
to
the
park.
F
Users
at
the
right
is
a
little
bit
more
of
the
facade
and
then
at
the
bottom
are
some
of
the
people
who
use
the
community
center.
The
filipino
basketball
basketball
league
next
slide.
Please
I
mean
it
might
be
best
for
adam
to
talk
about
himself
and
actually
his
full
name
is
james,
adam
labon,
garcia,
he's
also
known
as
vanyan
in
the
art
world.
He
is
a
palm
springs
native.
He
graduated
from
palm
springs
high
school.
He
attended
college
of
the
desert
for
a
while.
F
He
went
to
san
francisco
state
university,
where
he
was
really
active
in
the
arts
community
there
and
he
created
a
number
of
murals
in
the
san
francisco
area,
including
as
a
lead
artist
on
the
filipino
community
community
mural
at
san
francisco
state
university,
and
so
his
work
is
throughout.
It's
illustrated
throughout.
So
you
can
see
what
I
love
about
side
note.
I
was
previously
a
curator
at
the
museum
I
also
at
the
arts
museum.
I
also
just
love
figurative
painting,
but
it's
pretty
incredible.
F
His
painting
style
has
so
much
energy
and
emotion
and,
like
almost
a
social
realist
kind
of
practice,
what's
also
really
great
about
adam's
work,
is
that
he's
actually
been
working
as
a
science
illustrator
for
almost
10
years.
So
I
think
in
this
mural
he
would
be
able
to
capture
a
lot
of
the
flora
and
fauna
that
are
specific
to
the
desert,
but
also
might
have
connections
to
filipinos
and
asian
american
communities
next
slide.
Please
and
here's
some
examples
of
this
work.
F
You
can
see
the
more
sciency
ones
are
examples
of
the
science
illustrations
which
are
pretty
incredible
and
but
then
you
see
how
those
things
start
mixing
in
into
some
of
the
sample,
work
and
portraiture.
You
see
here
next
slide,
please
so
as
part
of
this
process,
we're
very
aware
that
community
murals
can't
just
be
done
by
a
single
person
and
they
need
input
from
their
communities.
F
F
F
We
want
to
create
some
community
forums
to
gather
input
and
archival
images,
and
we
would
love
to
be
able
to
potentially
work
with
the
public
arts
commission
to
maybe
put
out
a
call
for
that,
the
idea
being
we
should
have
between
one
and
three
opportunities
for
community
input,
but
some
of
those
that
might
be
invited
input
as
well.
The
idea
is
that
we
would
then
be
able
to
have
a
draft
proposal,
a
mural
proposal
ready
at
some
point
this
spring.
F
F
So
this
is
a
rough
timeline.
If,
if
we're
able
to
begin
moving
forward
on
the
project,
we
have
already
begun
our
preliminary
meetings
with
artists,
site
visits
and
just
casual
conversations
with
some
people
in
the
community
who
might
support
this
project.
At
this
point,
we're
doing
the
proposal
to
the
public
arts
commission.
F
We
would
continue
that
research
february
march
and
april
do
at
least
one
community
input
session
and
then,
as
part
of
this
process,
while
a
painted
mural
seems
like
a
very
economical
process
and
something
that
the
artist
is
very
familiar
doing,
we
are
considering
researching,
painted
printed
or
tile
mural
options
for
durability,
longevity
and
cost.
So
that's
something
that
we
would
do
in
that
period
of
time
as
well
and
we'd
be
happy
to
work
with
the
council
to
share
our
findings
from
that
with
the
commission.
F
Next
slide,
please,
the
idea,
being
you
know
we
could
be.
We
could
either
present
the
the
draft
of
the
proposal
to
you
sooner
than
that,
but
the
final
mural
proposal
would
be
presented
to
the
public
arts
commission
in
may
or
june,
and
then
at
that
point
we
could
move
forward
with
production
and,
as
we
all
know,
the
summer
gets
a
bit
hot.
F
So
the
idea
is
that
we
will
probably
want
to
execute
the
mural
in
the
fall,
although
if
there
was
funding
to
support,
maybe
having
a
like
a
studio
for
the
artist,
he
could
begin
working
on
it
in
the
summer
and
and
then
in
the
fall
while
that's
being
executed.
We
would
be
developing
programs
and
a
publicity
plan
with
the
idea
of
really
doing
a
dedication
of
the
mural
and
a
launch
of
some
education
and
programs
with
community
partners
in
spring
2023,
and
I
think
that's
my
last
slide.
F
C
C
I'm
born
and
raised
in
palm
springs.
I
moved
away.
I
lived
in
the
bay
area
for
a
bit
hawaii
japan
for
a
little
bit
in
dc
and
what's
prevalent
in
these
larger
communities,
is
public
murals,
representing
their
communities
and
how
helpful
and
how
helpful
it
is
to
solidify
communities
in
large
to
learning
about
their
histories
and-
and
I
would
just
love
to
have
this
push
through
and
help
our
community
learn
and
re-learn
and
share
our
our
histories
with
the
larger
community.
F
A
What
this
project,
I
think,
is
so
important
for
the
city
of
palm
springs
is
to
continue
the
search,
our
search
and
in
highlighting
of
diversity
of
the
city.
I
think
it's
really
important
to
celebrate
what
created
palm
springs,
made
palm
springs
and
continues
to
make
palm
springs
thrive,
and
that's
really
celebrating
the
people
who
are
dedicated
to
it
here.
So
this
project
kind
of
hits
all
of
those
buttons.
You
know
it's.
A
It's
celebrating
a
desert
community,
that's
so
important
here
it
gives
it
gives
the
community
input
into
a
public
arts
project,
and
then
you
know
near
and
dear
to
my
heart-
is
public
programming
on
the
arts
and
sharing
that
with
the
community.
So
it's
there's
so
many
ways
to
celebrate
the
public
arts
in
this
project.
So
it's
on
my
end.
It's
really
exciting,
so
I
just
want
to
open
it
up
to
everybody,
and
one
thing
you
mentioned
the
thing
about
adam
and
having
a
studio.
A
Maybe
we
think
about
something
too,
where
adam
can
have
some
kind
of
open
studio
days
or
something
like
as
a
maybe
we
could
work
with
parks
and
racks
on
their
summer
program
and
maybe
there's
some
kind
of
you
know
an
exchange
studio
space
for
maybe
having
some
kind
of
open
like
an
open
studio
with
some
students
prior
to
the
mural.
I
think
that
could
be
really
exciting
as
well.
F
F
But
we
felt
like
that's
something
that
we
should
we
should
hold
on
before,
because
because
there's
so
much
kind
of
asked
of
the
artist
early
on
in
terms
of
conceptualizing,
what
the
mural
is
going
to
be
and
sort
of
gathering
all
that
input.
But
yes,
adam
and
bay
and
nihon
desert
are
super
excited
about
the
opportunity
to
educate,
to
educate
our
community
about
the
histories
here
that
we
don't
hear
enough
about
so,
and
the
presence
of
filipinos
here
today
we're
everywhere
awesome.
G
F
H
A
G
I
guess
my
my
point
with
that
mara
is
that
you
know
getting
something
in
front
of
the
parks.
Commission
and
other
commissions
will
delay
your
timeline
because
things
need
to
be
put
on
their
schedule
in
advance
and
they
only
meet
every
month
as
well,
and
they
can
only
vote
on
something
every
every
month
in
advance.
C
C
G
F
I'd
be
super
happy
to
do
that.
My
children
go
to
the
du
booth
park
community
center.
I
use
these
facilities.
A
lot
of
our
families
do
as
well
we'd
be
happy
to
talk
about
that.
I
also
believe
some
of
our
public
commenters,
maybe
dieter
crawford,
serves
on
the
perks
commission
as
well
and
so
by
a
nihon
desert
has
a
lot
of
friends
in
public
service.
F
But,
yes,
we
100
will
be
presenting
to
the
public's
arts
commission,
but
we
are
hoping
that
in
this
initial
conversation,
you
might
support
the
development
of
the
idea
of
this
mural.
For
some
reason,
the
demouth
park
does
not
does
not
want
it
that
we
can
find
another
home
for
this
important
mural
somewhere
in
palm
springs
and.
G
Again,
my
experience
working
with
the
parks
commission
is
they're,
very
linear
thinkers,
and
we
need
to
show
them
exactly
what
it's
going
to
look
like
exactly
the
park
and
exactly
where
it's
going
to
be.
It
just
isn't
how
they
approach
what
they're
doing
so.
We
need
to
be
as
specific
as
possible,
or
I
I
you
know,
the
the
arts
commission
tends
to
be
a
little
more
free
thinking
and
the
person
I
am.
A
Yeah-
and
I
think
I
think
we're
like
the
first
stop
for
anything
like
this
and
then,
if
you
know
we
kind
of
give
our
consensus,
then
it's
kind
of
the
next
stop
would
be
parks
and
recs
versus
putting
the
cart
before
the
horse
there.
But
I
I
do
think
I
do
think
it
would
be
good
just
to
get
just
to
give
them
a
presentation,
not
necessarily
that
they
have
to
vote
on
anything,
but
just
say
hey.
This
is
coming
down
the
path
you
know
we
want
to
get
your.
A
G
F
B
F
The
de
move
park
center
is
like
really
wonderful
and
is
also
a
bit
underutilized,
and
I'm
very
hopeful
that
putting
this
art
there
sort
of
shows
how
much
the
city
cares
about
this
community.
Here,
it's
more
of
a
working-class
community
with
generations
or
have
lived
on
blocks
a
lot
of
mixed
families.
Many
filipinos
live
locked
about.
You
know
house,
to
house
across
the
street
over
here
and
and
it's
just
it's
part
of
district
one.
F
So
you
know
again
that's
a
district
that
was
that
was
like
sort
of
created
to
create
representation,
and
I
we
just
really
think
it
would
be
important
to
speak
to
the
citizens
in
this
community
who
have
been
a
bit
neglected
in
the
cultural
sense,
especially
given
that
it
houses
this
like
incredible
park.
So
I
just
wanted
to
share.
You
know
share
that.
As
a
note,
my
kids
really
love
going
there.
I
think
there's
a
very
modest
gerald
clark,
public
art
piece
there,
but
there's
a
lot
that
more.
F
A
Yeah
we
talked
about
it
last
week
in
our
maintenance
meeting,
because
that
piece,
seven
and
nines
and
elevens
were
that's
on
our
our
schedule
to
ask
to
update
this
year
and
to
help
rejuvenate.
You
know
that
in
your
mural
we
were
talking
about,
would
help
to
rejuvenate
that
park
and
it's
a
really
important
park.
I
wholeheartedly
agree.
D
A
A
D
I
think
it's
also.
I
want
to
just
sort
of
underline
or
underscore
what
tracy
and
gary
were
saying
about
as
you're
doing
here,
it's
important
to
at
least
communicate
and
inform
parks
and
rec
regarding
the
process
that
you're
going
through
as
opposed
to
even
waiting
till
you
have
the
mural.
I
would
have
liked
to
have
seen
the
mural
this
evening,
but
I
understand
it's
a
very
lengthy
process.
D
The
question
that
I
have
is
do
you.
I
have
a
couple
of
questions
actually,
then
a
suggestion:
do
you
foresee
this
as
being
a
mural?
That's
going
to
be
there
beyond
five
years,
or
is
there
a
certain
lifespan
that
you're
looking
at
for
the
mural
and
who
would
be
responsible
for
the
maintenance
of
the
mural.
F
F
I
I
do
think-
and
this
is
the
same
in
museum
practice-
that
when
you
get
a
gift
or
an
artwork,
that
you
plan
for
expenses
to
maintain
them,
so
I
would
recommend
if
the
arts
commission
does
move
forward
with
with
supporting
this
project
that
it,
you
know,
keep
that
in
its
budget
just
like
it
maintains
all
of
other
artworks.
But
your
question
is
one
of
the
reasons
why
we're
going
to
look
into
tile
options.
F
F
That
said
this
particular
wall,
though
it
is
south
facing
it,
is
sheltered,
and
that
is
one
of
the
reasons
why
we
thought
it
would
be
a
good
sight
for
the
mural.
In
addition,
we
can
explore
options
for
mounting
the
mural
on
the
wall,
since
we'll
have
to
do
something
like
that
anyway,
but
it's
possible,
we
can
create
a
kind
of
armature
that
would
allow
it
to
be
moved
if
needed.
These
are
all
things
that
we
would
want
to
explore.
F
You
know
in
that
sort
of
three
month
this
spring,
assuming
we
can,
you
know,
sort
of
move
things
forward,
but
it
will
take
a
little
time
to
get
quotes
because
we're
going
to
want
to
have
a
rough
sense
of
what
adam's
mural
is
going
to
look
like
before.
We
can
really
like
decide
what
the
best
materials
are
to
create
it
and
see
what
the
actual
costs
are.
D
C
D
H
I'll
just
add
my
comments
and
very
quickly.
I
think
this
project
has
a
lot
going
for
it
in
terms
of
the
potential
for
raising
some
community
awareness
and
even
building
some
community
pride,
and
I
know
like
I'm,
getting
really
excited
already
about
what
it
could
eventually
look
like
and
I'm
expecting
like
a
very
striking
mural
at
the
end
of
all
of
this,
but
I
want
to
say
I
really
appreciate
the
approach
that
you're
taking
in
terms
of
collecting
a
lot
of
community
input
and
planning
for
this.
H
You
know
there
you
had
that
list
of,
like
all
the
cultural,
significant
themes
and
ideas
that
you
could
incorporate
this,
and
I
think
it's
going
to
be
really
interesting
and
fun
to
see
where
you
land
on
what
this,
what
the
final
image
or
images
will
be.
So
I'm
excited
to
follow
along
with
that
process.
A
Yeah,
echoing
what
you're
saying
it's
really
great
to
see
a
project,
that's
laid
out
over
a
period
of
time
to
build
that
whole
project
together
instead
of
having
you
know
it
come
to
us
at
the
very
end.
So
that's
I
think
that
that's
what
makes
this
exciting
as
well,
especially
for
the
whole
community
and
then
the
the
meeting
in
october
when
the
city
dedicated
the
month
of
october
to
the
filipino-american
community.
A
F
G
G
A
C
C
When
she
was
mayor
of
last
year,
she
wanted
to
do
a
proclamation
again,
for
you
know
recognizing
october's
filipino
american
heritage
month,
so
in
working
on
that
and
communicating
with
by
nihon
desert
this
idea
of
doing
a
mural
came
up
again,
so
we
definitely
wanted
to
see
that
move
forward
and
and
yeah
and
and
yeah
chair
merrigan
was:
was
gracious
enough
to
set
up
a
meeting
with
mara
gladstone
and
some
other
members
of
by
nihon?
So.
A
So
so
I
guess
we
could
go
to
item
f2,
which
is
about
this
same
project
and
if
you
guys
could
stay
on
mara
and
answer
any
questions.
That
would
be
great
if
anyone
has
any
questions.
So
one
of
the
things
I
had
said
when
you
know
bringing
a
new
project
to
the
commission,
I
wanted
people
to
you
know,
bring
it
as
a
presentation
and
talk
about
it
and
have
people
be
able
to
think
about
it
before
taking
a
vote
on
it.
A
But
tonight
I
just
wanted
to
kind
of
bring
up
talk
about
sponsoring
the
mural
fees
and
then
I
kind
of
put
this
as
a
placeholder
artist
fee
and
what
whatever
other
sponsorship
fees
we
we
would
like
to
do
and
at
work
in
sponsoring
this
mural.
So
one
thing
which
mara
knows
because
she
was
active
in
the
mural
subcommittee
with
the
when
she
was
a
commissioner
with
the
public
arts
commission
is
we
sponsored
a
number
of
murals
a
year?
A
A
A
Haven't
through
kovid
and
and
russell,
you
can
correct
me
if
I'm
wrong
with
the
george
boyd,
but
I
think
we
paid
for
those
fees.
We
haven't
really
had
the
need
to
come
up
with
like
a
package
again.
So
if
we
think
about
it,
if
people
are
interested
in
that
we
could,
you
know
kind
of
come
up
with
an
idea
that
we
pay
for
so
many
something
a
year
or
just
do
it
as
a
onesie,
onesie,
tuesday
basis
of
people
coming
to
us
with
murals.
A
So
that's
one
thing
and
then
the
other
thing
is.
It
would
be
great
if
we
could
sponsor
this
project
so
part
of
what
this
project
is,
which
I
think
is
really
important
to
the
city
manager
and
the
council
is
a
commun.
This
kind
of
community-based
project,
and
it's
something
that
I
talked
to
the
city
manager
about-
was
that
that
that
was
one
thing
that
that
I
thought
that
I
I
am
really
interested
in
and
that
I
thought
the
commission
was
very
interested
in
was
doing
more
projects.
A
As
that
we
asked
for
community
input
and
really
have
the
community,
be.
You
know
a
helpful
part
of
the
process,
and
I
think
this
is
a
great
you
know,
initial
project
that
we
could
put
to
the
city
council
as
something
that
we
really
support.
It
kind
of
hits
all
of
the
bells
and
whistles
of
what
we
like
to
do.
We
like
to
you
know,
promote
the
community.
We
like
to
celebrate
diversity.
We
want
to
promote
local
artists.
A
We
want
to
keep
those
you
know.
Community
ties
are
really
important.
You
know.
Obviously
we
want
to
celebrate
beautiful
public
art
and
we
have
liked
to
do
a
lot
of
community
programming
in
the
past,
which
was
super
successful,
which
coveted
totally
throughout
the
window.
So
that's
kind
of
getting
us.
This
project
can
kind
of
get
us
back
on
the
track
that
we
were
on
pre-coded
and
I
think
it's
a
really
great
project
to
put
forward
to
the
city
council
over
the
next.
You
know
month
or
so
is
one
of
our.
A
A
A
A
So
it's
actually
it's
two
payments
on
here.
So
that
is
the
idea
behind
the
artist's
research
and
then
whatever
contract,
that
that's
how
it
would
be
written
up
right
with
multiple
deliverables.
So
we
would
be
able
to
split
the
fee,
which
is
really
helpful
right
for
a
local
artist
to
be
able
to
get
this
project
off
off
the
road
and
then
and
then
we
would
also
build
into
the
budget
our
programming,
so
that
would
be
pre-approved
by
the
city
council.
A
A
So
do
you
guys
we're
not
proposing
this
tonight?
I
just
want
to
throw
this
out
to
you
guys
and
get
some
feedback
and
we
can
get
some
more
tighter
numbers
a
little
bit
on
b
and
c,
but
I
think
I
think
this
is
a
well
a
great
project,
for
you
know
an
amount
of
money
that
we
can
definitely
afford
and
that
I
think,
would
be
really
worth
the
cost.
G
G
We
need
to
factor
in
a
maintenance
number
because
we're
just
kicking
the
can
down
the
road
otherwise,
and
a
lot
of
that
obviously
depends
on
where
this
mural
will
go,
and
you
know
what
the
maintenance
will
be.
You
know
we
know
what
we're
experiencing
with
the
gym,
so
jesse
mural
with
the
tiles.
What
what
are
the
ti?
You
know,
tiles
not
only
is
a
higher
in
manufacturing,
but
it's
also
in
ultimate
maintenance,
and
so
that
that
is
a
major
concern.
G
I
have,
and
it's
not
specific
to
this
one,
but
I
think
we
need
to
address
it.
We're
fiduciary
irresponsible.
If
we
don't,
I
I'm
also
questioning
what
can
be
done
beyond
the
mural
and
I
think,
almost
to
what
matthew
was
saying
we
need
to
do
more
to
just
you
know,
not
just
sticking
a
mural
up
and
saying.
Okay,
our
our
work
with
the
public
arts
commission
is
done.
Let's
make
this
more
of
a
program
and
more
of
an
educational
component
to
it,
and
that
needs
to
be
thought
out
and
presented
as
well.
G
A
A
This
is
the
cost
of
whatever
this
project
and
we're
going
to
devote
this
much
money
to
maintenance
and
it
actually
kind
of
comes
off
our
budget
every
year.
Right
so
we
say:
okay,
we're
going
to
devote
five
percent
of
this
cost,
or
I
don't
know
one
percent
of
the
cost,
whatever
we
whatever
this
researched
item
is,
and
we
always
have
that
in
our
maintenance
budget
right
from
now
until
whenever
this
mural
in
it,
however,
whatever
its
existence
is
so
then
we
know
from
now
on.
A
Okay,
if
we,
you
know
put
this
sculpture
on,
I
don't
know,
talk
with
canyon
and
we're
going
to
you
know,
cost
thirty
thousand
dollars
we're
going
to
have
a
kitty
for
it.
That's
in
our
actual
maintenance
budget
every
year,
so
that
that
that
has
you
know
like
it's
endowed,
so
we've
we're
paying
for
it
and
the
and
then
commissioners
in
the
in
in
the
future
will
have
all
of
that
data
right
and
they'll
know.
A
Okay,
this
has
been
budgeted
for
this,
and
then
it
just
is
kind
of
you
know
restricted
funds
that
come
off
our
budget
every
year
that
we
know
we
use
for
you
know
whatever
maintenance
projects,
and
maybe
you
know
we
use
less
on
one
and
more
on
another,
but
we
always
know
that.
There's
this
specific
amount
of
funding
that
that
can
be
used.
G
Yeah
that
was
essentially
what
I
was
saying
is
we
need
to
factor
in
maintenance
on
this.
I
think
you
know
it's
it's
not
as
as
simple
as
twenty
two
thousand
dollars.
It
is
twenty
thousand
dollars,
plus
at
least
a
ten
year
maintenance
budget,
and
I
think
that
we
need
to
vote
on
that
and
approve
that
before
we
approve
the
entirety
of
the
of
the
project.
G
G
We
are
not
being
fiduciary
responsible
with
that
and
that's
you
know,
shame
on
us
for
for
even
considering
something
without
a
number
on
there.
This
is
a
question
actually
for
jay
and
maybe
mara,
I'm
not
sure,
but
can
we
use
public
funds
for
something?
I
noticed
that
mara
mentioned
potentially
religious
components
to
this
mural.
Can
we
use
public
art
funds
for
religious
messaging.
B
A
B
A
Yes,
but
it's
very
fungible,
it's
just
whatever
people,
you
know
it's
not
something.
You
know,
I
don't
think
it's
something
completely
thought
out
like
our
budget
is
fungible
like
we
can
move
like.
If
we
don't
have
enough
money
for
maintenance,
we
can
move
money
into
maintenance,
that's
what
they
always
tell
us.
So
it's
kind
of
fungible,
but
the
only
item
that
we
have
an
endowed
maintenance
for
is
the
kennedy
sculpture.
A
And
this
is
just
our
initial
outreach
meeting,
so
we
had
one
meeting
in
december
and
then
this
is
this.
Is
the
initial
outreach
to
us
so
and
what's
great
about
this?
Is
that
it
is
the
initial
outreach
right
that
we're
not
down
the
road
where
nothing
is
changeable
or
not?
Fixable
or
you
know,
all
the
decisions
have
been
made,
which
is
what's
exciting
about
this
project.
Is
we're
kind
of
going
through
this
process
all
together,
so
makes
it
much
more
open
to
the
public
and
you
know
much
more
transparent.
A
A
C
A
E
To
help
you
quickly,
if
that's
okay,
oh
sure,
go
for
it.
Thank
you
chair
and
thank
you
public
arts,
commission.
I
I
I
just
as
a
like
jay
said
I
do
serve
on
the
human
rights
commission,
so
I'm
actually
here
not
on
that
capacity,
and
it
was
great
to
see
that
commissioner
crawford
was
here
also
from
parks
and
rec.
So
there's
this
level
of
like
hey,
you
know
what
we've
got
commissions
working
together
and
I
think
that's
one
of
the
most
exciting
things
about
it
too.
E
I'm
I'm
a
product
of
veterans
track
and
I'm
so
proud
of
this
project.
I
can't
even
say
you
know
it's
beyond
words
and
I'm
so
so
grateful
tamara
and
adam
and
the
whole
crew
by
the
nihon
desert.
Just
to
give
you
a
sense
of
what
bayern
means
as
well.
Just
so
I
think
that
could
be
the
tagalog
word
of
the
night.
E
So
the
idea
again,
the
community
comes
together
to
build
the
sense
of
identity.
Also,
as
a
lot
of
you
may
know,
too,
filipinos
in
the
united
states
are
not
just
filipinos,
because
we've
immigrated
here,
we
we're
actually
a
colony
of
the
united
states
from
very
much
part
of
the
first
part
of
the
20th
century.
As
everyone
knows,
a
product
of
the
spanish
american
conflict,
which
a
lot
of
us
call
the
filipino-american
award
as
well.
So
we
we
I'm
so
grateful
that
we
are.
A
Well,
thank
you,
everybody.
It's
really
exciting!
I'm
glad
we're
at
the
we're
at
the
beginning
of
starting
this
journey
together.
So
I'm
looking
forward
to
more
discussion
and
flushing
out
of
the
project,
and
so
we
will
talk
to
you
guys
soon.
So
thank
you
so
much
for
your
time
and
and
coming
to
propose
this
to
us.
A
A
Barrett
and
matthew
for
their
input
and
steadfastness
and
and
work
on
this
project
so
we're
proposing
to
do
with
a
three-year
contract.
It
could
be
three
to
five
year
contracts,
but
at
least
a
three-year
contract
to
free
us
up
and
free
the
vendor
up
of
time
having
to
update
all
of
these
projects
and
then
have
months
go
between
contract
renewals.
So
normally
the
city
does
a
lot
of
three
to
five
year
contracts,
it's
kind
of
normal,
so
it
takes
a
lot
more
time
to
do
these
just
one
one
year
contracts.
A
A
So
we're
proposing
to
get
as
much
stuff
done
as
possible
over
in
the
next
year
to
fix
things
that
have
damage
and
they
and
just
as
time
goes
by
it
will
be
more
and
more
costly
to
fix
them,
and
we
have
the
funds
to
do
this,
especially
since
we've
kind
of
been
restricted
with
spending
a
lot
of
money
this
year
without
having
it
approved.
So
we
definitely
have
the
funds
to
do
this
and
then
keep
maintaining
pieces
on
an
annual
and
biannual
maintenance
schedule.
A
A
A
A
Or
item
one
two
and
three,
a
conservative
has
already
estimated
the
costs
and
come
and
given
a
budget
for
the
repair.
So
it
was
a
couple
of
years
ago.
So
maybe
it
will
go
up
a
little
bit,
but
on
the
estimate,
I've
put
the
high
end
of
the
estimate
and
not
the
low
end.
So
on
the
big
report
that
you
guys
have.
It
has
the
range,
but
just
so
we
can
get
an
estimated
restoration
cost.
A
I
went
with
the
high
end
of
every
item
so
for
some
reason
we
had
asked
for
we
didn't
get
a
cost
for
repair
for
the
hunt:
totem
haul,
so
I've
guesstimated
into
this
cost.
I've
tried
to
pad
it
enough
for
item
three:
four:
five
and
six
so
nines
and
elevens
totem
and
the
batter
item
two
is
the
four
barony
sculptures
and
they're
they're,
not.
A
A
A
A
So
that's
estimated
at
60,
16
500
for
the
year
and
then
item
21.
Those
are
the
additional
ones,
so
I
guesstimated
on
those
and
then
each
year
we've
had
a
contingency.
It's
been
five
thousand
dollars
and
we
haven't
used
all
of
it.
So
I
just
brought
it
down
a
thousand.
So
sixteen
thousand
for
three
years,
so
our
subtotal
for
the
first
year
would
be
84
000
and
then
that
would
take
care
of
restoring
items.
A
The
items
in
number
one
item
number
one
and
then
year
two
would
be
or
by
by
annual
maintenance,
twenty
two
thousand
dollars
and
then
year
three
another
twenty
two
thousand
dollars.
So
that
would
be
the
maintenance
plus
the
contingency
for
both
of
those
years
and
then
it
would
be
a
total
of
128
for
three
years,
which
I
think
is
really
great,
because
I
thought
it
was
going
to
be
way
more
than
that.
So
that's
kind
of
my
back
of
the
envelope
estimating.
H
D
A
Yeah,
so
I
think
that
if
we
can
get
to
a
scope
right,
we
and
we
could
say
in
the
scope-
you
know
if
you
know,
if
I
mean
I
think
the
feral
would
appraise
well
enough
to
have
it
the
the
thing
is
we
don't
have
any
anything
in
our
ordinance.
That
says,
don't
up,
maintain
pieces
right
like
there's.
No,
like
we
built
into
these.
These
changes
that
we
wanted
to
the
ordinance
that
was
kind
of
like
we
have
the
ability
to
basically
say
no.
A
We
don't
want
to
spend
this
money
on
this
because
we
don't
think
it's
worth
it,
but
we
don't
really
there
isn't
anything
in
there.
Now,
it's
except
saying
you
have
to
maintain
things,
so
we
are
going
to
ask
next
month
for
an
appraisal
on
like
a
number
like
five
pieces
of
art
and
farrell
is
one
of
them,
so
we
could
write
into
the
scope.
A
You
know
19
through
30.
First
and
then
you
know,
you
know
we
can
determine
their
scope
right
of
when
they
do
the
work
or
or
tell
them
which
ones
we'd
like
to
have
them
do
and
then,
if
there's
questions
right
and
then
we
say
well
we're
just
gonna,
you
know
we
can
change
our
mind
and
say
we're
not
gonna
do
feral
where
we're
gonna
hold
off,
but
at
least
this
gives
us
that
that
cushion
to
be
able
to
start.
A
G
G
A
A
Yeah,
so
exactly
so
so
take
whirlwind
as
an
example,
so
it
that
is
not
that's.
Why
it's
been
on
the
back
burner
because
it's
it
hasn't
been
worth
fixing
if
the
sprinkler
just
keeps
fitting.
In
so
stacy
said
they
were
actually
able
to
to
re-route
the
sprinkles
in
that
area
and
have
it
not
be
an
issue
ever
again.
B
A
A
More
with
stacy
matthew-
and
I
so
yeah
we
wouldn't,
we
would
have
to
deal
with
the
sprinkler
issue
before
we
restore
it
like
if
there's
an
issue
with
something
we're
not
going
to
restore
it
until
that
issue
is
fixed,
so
so
they
thought
the
pebble.
You
know
a
pebble
moat
might
be
a
good
way
of
of
helping
fix
that
or
you
know
we
can
get
more
like
advice
on
it
once
it
goes
out
to
the
contract
too,
but.
G
A
We're
not
we're
actually
not
responsible
for
it,
and
I
think
who
knows
why,
like
we're,
also
not
responsible
for
the
dog
park,
but
I
think
because
probably
the
maintenance
costs
are
so
high,
but
the
reason
I
put
the
dog
park
on
there
is
in
talking
to
stacy
about
it.
You
know
the
actual
the
dog
park
piece
of
art
is
the
entire
fence
around
the
whole
park.
A
We're
actually
not
for
some
reason,
but
there
they
have.
I
talked
to
her,
I
said
well
what
if
we
could
just
get
you
some
funds,
because
they
don't
really
have
the
money
to
help
with
the
gates,
because
they,
you
know
they
reached
out
to
the
artist
a
number
of
times
and
the
artist
is
not
responsive
and
they
don't
really
have
the
the.
A
Contacts
to
kind
of
have
someone
come
in
and
fix
like
the
artistic
welding
that
needs
to
be
done
and
that's
something
that
art
collective
could
help.
So
if
we
didn't
want,
if
we
said,
okay,
I'm
not
comfortable
with
us
paying
for
anything
for
the
dog
park,
we
could
at
least
get
an
estimate
for
the
maintenance
department
and
give
it
to
them.
A
So
you
know
that
I'm
kind
of
throwing
that
at
you
guys
like.
Oh,
we
don't
we're
we're
not.
We
don't
have
to
spend
maintenance
money
on
on
that
piece
of
art
for
some
reason,
but
if
we
did
that
could
probably
they
have
a
lot
of
issues
there
with
the
gate
and
it's
really
heavy
and
and
and
it's
like
a
piece
of
art.
A
D
I
realized
that
I
completed
the
application
for
the
rain
maker
and
I
agree
I
don't
think
we're
responsible
for
that.
We
haven't
been
responsible
for
that.
So
when
the
money
became
available,
we
applied
for
it
just
to
see
if
we
could
assist
with
it.
If
we
don't
get
it
we're
not
responsible
it
really.
It's
about
maintenance,
it
falls
in
the
city
because,
that's
historically
who
has
taken
care
of
it.
D
A
A
D
A
A
A
B
Is
it
yeah,
I
think
it's
money
we
need
to
spend
because
it
is
a
public
arts
collection
and
it
is
our
responsibility
to
maintain
it
and
certainly
working
with
the
art
collective.
If,
if
there's
a
piece
of
art
that
is
deemed
not
worthy
of
the
restoration
of
repair,
they
will
certainly
come
to
us
and
we
can
decide
at
that
time
what
to
do
about
it.
B
So,
looking
at
this,
I
would
certainly
be
willing
to
make
the
motion
to
approve
this
budget
when
you
consider
that,
over
three
years,
it's
about
like
42
000
46
000
a
year,
which
is
basically
nothing
to
spend
on
maintenance
when
you
consider
the
scope
of
our
collection.
So
would
you
like
a
motion
to
approve
this.
G
G
B
B
H
G
A
Okay,
great
and
then
just
to
let
you
know
I
had,
I
had
told
mara
and
christie's
hostages,
fellow
when
we
had
that
meeting.
They
know
they
have
to
that.
I
explained
the
whole
ish.
You
know
thing
with
parks
and
rex
and
our
new
relationship
and-
and
they
are,
you-
know,
willing
and
able
to
make
sure
that
everything
is
cool
with
that
and
told
them
that
you
are
their
liaison
with
that.
D
Okay,
I
met
with
main
street
palm
springs
this
past
this
week.
Actually,
and
I
updated
them
on
three
things
that
the
commission
has
been
doing.
One
was
working
with
the
art
collective.
I
don't
need
to
explain
all
of
this
stuff
too,
because
you
all
know,
but
one
was
working
with
the
art,
collective
and
just
explaining
that
we're
in
the
process
of
at
that
point,
referring
various
pieces
of
of
our
collection
to
the
commission
to
be
restored
to
you
know
to
be
to
be
taken.
D
Care
of
the
second
thing
I
spoke
to
them
about
was
rainmaker.
I
said
we,
we
completed
the
application
form
for
that
we're
waiting
to
hear
in
the
interim.
I
did
get
a
call
from
the
artist
david
and
he
was
getting
calls
from
several
people
that
he
know
in
the
community
wondering
why
it
wasn't
turned
on
so
he
said
at
that
point
he
was
going
to
call
or
make
a
phone
call
to
find
out
why
it
wasn't
working.
At
this
point,
I
explained
to
him
that
it
was
flooded
that.
D
It's
been
drained,
it's
been
dried
and
that's
the
update
that
I
gave
him,
but
that
was
I
think
on
saturday
that
we
spoke
because
he
was
texting
me
and
then
he
just
called
me.
The
other
thing
that
I
spoke
to
them.
I
didn't
mention
that
to
them,
though,
the
other
thing
that
I
spoke
to
them
about
was
the
bench
and
benches
downtown.
D
I
put
a
call
into
a
desert
arc
with
a
firm
called
the
desert
arc,
janitorial
company.
They
had
mentioned
that
they
have
a
low
pressure
hose
and
I
I'm
trying
to
meet
with
them
downtown.
I
said
I
would
tell
joy
about
that.
Who's
in
charge
of
the
main
street
palm
springs
to
let
her
know
what
we're
doing
and
what
our
location
is
or
she
wants
to
come
over.
D
I've
noticed
around
la
plaza,
that's
where,
and
I
think
that's
the
200
block,
that's
where
most
of
the
issues
go,
but
there's
a
lot
of
homeless.
There
too.
I
don't
want
to
blame
it
on
them,
but
there
seems
to
be
a
heavy
population
of
homeless
in
that
area
and
there's
a
lot
of
there
was
a
lot
of
benches
in
that
area
too,
as
opposed
to
where
the
design
section
is
of
palm
canyon
drive
and
that's
what
I
informed
them
about
the
one
thing
I
did
find
out
about.
I
had
sent
this
text
to.
D
D
A
A
I
know
that
shonda
had
much
had
like
a
table
at
a
couple
of
things,
so
I
don't
know
she
may
have
materials
and
I'm
sure
we
could
scrounge
up.
I
have
some
buttons
and
gave
me
at
the
at
the
the
taught
unveiling.
So
I'm
sure
we
could
scrounge
up
some
things.
I
know
we
don't
have
like
a
actual
booth,
but
we
could
ask
denise
if
they,
if
they
have
them
right,
maybe
we
could
just
glom
on
to
somebody.
D
A
A
H
H
A
Let
me
ask
anne
actually:
we
had
these
banners,
these
pop-up
banners
that
we
used
at
the
museum
and
I
think
if
they
still
exist,
I
know
one
of
them
broke.
She
has
it,
but
I
guess
whatever
cost
we
wanted.
We'd
have
to
get
on
our
agenda
and
maybe
they
would,
since
it's
a
city
thing,
they
would
just
let
us
take
it
out
of
our
budget
or
whatever.
A
B
A
B
We
haven't
matthew
when
you
meet
with
the
cleaning
people
for
the
benches.
Please
include
tyson
expert
on
our
benches
and
because
he's
been
doing
the
cleaning,
so
we
if
we
find
a
service
that
can
clean
the
well
within
his
recommendations.
I
would
much
rather
him
doing
the
artwork
part
of
it
and
not
cleaning
yeah.
D
Okay,
also
too,
I
will
mention
thank
you
for
bringing
that
up
russell,
because
joy
had
mentioned
that
she
thought
someone
was
doing
that,
and
I
said
no.
My
understanding
is
that
tyson
is
is
in
charge
of.
If
there's
any
damage
to
the
actual
artwork,
he
goes
and
repairs
it
and
re.
You
know
redesigns,
he
does
the
artwork.
B
D
H
D
A
And
if
you
guys
just
like
write
up,
you
know
what
you'd
like
to
do
with
put
some
costs
on
it.
Then
we
can
put
it
on
the
agenda
for
february
awesome
and
denise
goolsby.
Is
that
and
bear
east
east?
Oh
yeah,
you
said
you
work
with
her
at
the
desert,
sun
so
and
she's
so
helpful.
So
if
we,
if
we
ask
her,
for
you,
know
any
excess
stuff,
if
we
can't
get
things
approved
in
time,
I'm
sure
she'd
give
them
to
us.
If
she
has
anything.
B
A
Great
and
then
the
last
item,
which
kind
of
relates
to
maintenance
and
also
not
maintenance,
is-
and
it
relates
to
this
app.
So
you
guys
got
a
public
comment
on
jungle
red
on
the
lights,
so
we
had
kind
of
a.
We
talked
about
this
in
our
subcommittee
about
things
not
related
to
public
art
and
how
much
we
want
to
be
responsible
for
and
and
what
should
be
kind
of
city,
maintenance,
responsibility
and
not
actual
commissioner's
responsibility.
A
So
you
know
because
if
we
start,
you
know
pulling
up
lights
and
replacing
lights,
it's
just
going
to
set
a
precedent
on
other
projects
that
maybe
are
things
that
we
shouldn't
be
responsible
for.
But
if
we
have
this
app
or
have
some
kind
of
system
where
we
can
funnel
these
requests
like
in
a
timely,
you
know
organized
manner,
then
we
could
have
the
city
maintenance,
take
care
of
these
items
because
it
seems
to
me
like
something
in
a
medium.
A
A
I
talked
to
mara
and
actually
the
the
company
that
installed
the
banners,
has
the
banners
or
they
installed.
The
statue
and
the
banners
has
the
banners,
so
they
could
go
and
replace
them
and
we
just
need
to
let
them
know
we
want
them
to
go
and
replace
them
so
jay
can
we
just
do
that
they
have
the
banners
and
they
were
originally
contracted
to
go.
Do
that
it
might
cost
us
a
little
bit
of
money
or
might
cost
us
no
money.
A
C
No,
no
updates
yet
on
the
app
idea-
and
you
know
I
don't
know
how
well
it
works
in
terms
of
the
public
reporting
issues
say
on
homelessness
or
graffiti
or
any
of
the
other
ways
the
app
is
used.
I
have
heard
from
some
of
the
departments
that
receive
the
request
and
I
get
the
impression
they
are
addressed.
So
you
know
that
process
you
talk
about.
Chair
of
you
know
having
facilities
manage
it,
we
would
just
want
to
make
sure
they
understand
that.
A
D
Because
I
I
like
the
app
idea,
however,
that
might
not
be
private
as
far
as
people
communicating
that
something's
wrong.
Other
people
can
see
that
when
they
open
the
app
up,
I
guess
my
question
is:
do
we
have
an
email
address?
Could
we
establish
an
email
address
for
the
public
arts
to
sim
to
specifically
report
damage
to
artworks.
A
I
really
love
the
idea
of
the
app
because
then
it's
like
on
the
city
realm
and
no
matter
who's
on
the
commission.
It
goes
into
the
actual
city.
You
know
work
product
versus
commissioners
having
to
check
an
email
and
make
sure
they
check
it
and
get
back
to
people
like
it's
like
that.
The
public
gets
instant
gratification
that
they
sent
the
message
to
the
city
but
yeah
it
could
be.
A
You
know
if
it's
not
possible,
we
could,
you
know,
make
sure
people
email,
the
it's
just
been
so
haphazard
right,
like
people
tell
you
on
the
phone
or
people
tell
you
at
the
supermarket
or
they
tell
you
on
facebook
and
just
to
like
streamline
our
communication
strategy.
I
think
that's
why
I
think
it
would
be
helpful,
so
it
would
be
one
place
because
a
lot
of
people
won't
email.
Necessarily
right,
like
you
know,
so
we
get
all
maintenance
issues
reported
to
an
app
a
public
arts
maintenance
app.
B
B
C
C
We
include
the
visual
arts
rights
information,
but
they
they
can
also
help
out
with
ordinance
information
such
as
modifications
to
the
municipal
code
in
regards
to
public
art.
So
we
have
someone
to
work
with
on
that.
So
but,
but
you
know,
I
don't
think
they're
gonna
get
to
it
until
march
for
for
getting
it
onto
the
agenda
for
city
council
to
review
and
consider
so.
A
A
B
We
had
agreed
in
our
december
meeting
that
the
mural
ordinance
would
be
in
our
january
19th
meeting,
and
you
requested
a
couple
of
commissioners
work
on
the
revisions
and
have
it
ready
for
the
presentation,
and
a
couple
of
commissioners
did
do
that.
So
can
the
mural
ordinance
be
on
the
february
meeting.
H
A
D
A
C
G
I
just
have
I'm
confused,
though,
because
20
minutes
ago
we
all
said
that
the
fountain
was
responsibility,
the
maintenance
crew,
not
the
arts
commission
anymore,
and
I
think
we
need
to
be
very
clear
with
the
delineation
on
this.
Is
this
either
a
public
arts
initiative
or
is
it
a
maintenance
initiative.
A
Yeah,
I
think
meaning
reach
out
to
him,
is
just
kind
of
to
give
him
that
knowledge,
maybe,
but,
but
I
think,
because
it's
a
piece
of
public
art
like
people
will
continually
ask
us
questions,
and
then
we
have
to
kind
of
answer
them
that
you
know
we
understand
the
issue.
You
know
we
really
want
the
fountain
on.
A
D
And
also
too,
if
I
speak
to
him
or
when
I
speak
to
him,
I
would
definitely
explain
to
him
that
it's
never
been
a
maintenance
responsibility
of
the
arts.
Commission.
It's
always
been
a
city
responsibility
only
because
of
measure
j
funding
was
made
available.
Did
we
pursue
that
option?
So
it's
really.
It's
really
in
the
city's
hands.
A
We
couldn't
put
on
the
agenda
something
like
something
like
this
right
like
we
would
like
to
ask
the
city,
you
know,
send
them
the
measure,
j
proposal
and
say
hey.
If
this
doesn't
get
measure
j.
You
know
we
get
so
many
calls
about
this
fountain.
We
want
the
city
to
take
responsibility
for
it
and
get
it
fixed,
so
we
could
do
that
right
and
push
it.
As
you
know,
this
is
how
we
feel
about
it.
We
could
put
that
on
the
agenda
and
add
these
public
comments
to
it
and
send
it
to
the
council.
A
A
Because
it's
the
most
like
commented
on
thing,
I
mean
people,
you
know
I
I
get
it
verbally,
but
people
talk
about
it
constantly
like
either
how
much
they
like
the
sculpture
or.
Why
isn't
it
on?
Because
the
city
does
used
to
we
found
out
at
our
meeting
with
stacey
that
they
turned
the
fountain
off
continually
for
events
in
the
parks
like
whenever
there's
something
happening
there.
They
turn
the
fountain
off
and
the
fountain
is
like
a
pool.
So
obviously
that
has
helped.