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From YouTube: Public Arts Commission | May 9, 2019
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All
in
favor
aye,
okay,
so
we
are
gonna,
do
public
comments,
so
it
seems
like
just
come
and
sit
in
these
two
chairs,
and
let
me
ask
you
to
introduce
yourself
in
a
moment.
Okay,
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
public,
Arts
Commission
and
agenda
items.
If
the
member
of
the
public
cannot
be
present
later
in
the
meeting
at
the
time.
Each
item
is
heard
by
the
Commission.
A
Additionally,
members
of
the
public
may
address
the
Commission
on
each
item
listed
on
the
posted
agenda
at
the
time.
Each
item
is
heard.
Although
the
public
Arts
Commission
values
your
comments
pursuant
to
the
Brown
Act,
it
generally
cannot
take
any
action
on
items
not
listed
on
the
posted
agenda
and
five
minutes
is
assigned
for
each
speaker,
so
we're
fairly
informal,
and
what
we
would
like
you
to
do
is
introduce
yourselves
and
spell
your
names
for
the
lady
who
listens
to
the
tape
and
does
the
minutes.
D
D
Our
franchise
and
all
of
the
other
franchises
have
something
that
feels
very
corporate,
and
we
wanted
to
do
something
very
unique
and
make
it
feel
very
Palm
Springs,
like
so
that'll,
be
a
wall.
That's
96
tall
by
84
wide,
that's
in
the
lobby,
and
we
expect
it
to
be
very
photographed
because
it's
the
place
where,
when
people
come
and
take
a
class,
they
take
a
45
minute,
spin
class
generally
after
the
class
they
take
a
photo
or
a
selfie
or
a
group
photo
outside
of
there.
A
Who's
been
very,
very
generous
with
the
space
down
there.
This,
however,
is
an
indoor
mural,
so
I
just
thought
that
if
any
of
you
have
suggestions
of
artists
or
just
want
to,
you
know
sort
of
tell
them
who
to
speak
to
next,
because
it's
I
think
it's
great,
that
more
people
are
coming
forward
and
wanting
to
do.
Murals,
I
guess.
B
I
mentioned
to
Cheryl
prior
to
the
meeting,
as
we
did
with
st.
Paul's
Episcopal
Church
is
just
arranged
for
facilitate
introduction
of
a
couple
of
artists
to
them
and
let
them
go
with
it,
because
we
certainly
have
a
great
artist
pool
to
pull
from
and
if
you're
new
to
the
area,
then
you
probably
don't
so
we're
happy
to
oblige.
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A
At
our
last
meeting
we
did
approve
the
budget
request,
but
since
then
it's
been,
it's
had
to
be
amended
a
little
bit
just
to
fit
the
categories
of
the
city.
But
if
you
look
at
the
last
page
of
the
packet
that
Jay
gave
you,
we
wanted
to
be
sure
that
everyone
was
aware
these
budgets
are
based
on
a
hundred
and
eighty
one
thousand
dollars
coming
in
in
income
and
each
year
it's
been
close
to
that.
But
what
it
doesn't
take
into
account
is
the
carryover
and
they
won't
know
that
until
the
end
of
June.
A
G
Yes,
so
this
will
go
all
other
funds
for
council
will
be
at
the
meeting
the
next
we
do,
which
actually
is
May
22nd,
so
it'll
be
there
and
with
your
recommendation,
I
just
wanted,
but
one
thing
I
just
want
to
make
sure
of
what
we
will
have
is
I,
don't
see
it
here,
but
I
think
whatever
we,
we
will
have
the
carryover.
Thank
what
we
anticipate
it
to
believe.
I
see
it's
not
on
here.
No,
but
that's
at
least
a
couple
hundred
thousand
right,
I
believe
and.
A
I
would
think
because
we
carried
over
this,
shows
that
we
would
carry
over
four
hundred
and
forty
thousand
dollars
and
it's
hard
to
say
what
you
know.
We
believe
it's
just
hard
to
say
and
we
don't
have
it
up-to-date,
well,
accounting
of
what's
coming
in
the.
C
C
C
G
Let
me
offer
this,
and
this
is
you
know
partly
in
transition
with
it?
Did
you
finance
what
I'm
going
to
do
is
I
want
to
plug
in
where
you
have
public
art
acquisition
that
264
in
the
current
fiscal
year
mm-hmm?
What
I'm
going
to
do
is
I'm
going
to
go
ahead
and
just
we'll
just
move
that
we're
gonna
roll
that
over
I
don't
know
what
the
balance.
C
G
Says
so
what
I'll
do
is
I'll
put
we're
gonna
put
at
least
200,000
in
that
account
that
you'll
basically
start
spending
as
of
July,
1,
okay
and
then,
if
more
comes
in
through
the
year,
then
it
would
just
be
added
to
it.
At
least
it
gives
you
money
to
start
using.
So
if
we
have
to
take
it
from
general
fund
put
it
in
there
and
then.
A
F
A
G
A
Are
we
would
like
to
invite
you
to
a
birthday
party
for
the
babies
in
the
pit
they'll
be
one-year-old
on
June
6
and
we're
going
to
have
a
party?
Let
people
go
down
there
and
wish
some
happy
birthday
and
see
the
mural
and
see
what's
going
on
in
the
Virgin
site.
So
it
would
be
nice
to
know
that.
There's
not
a
council
meeting
that
because
we'd
like
them
to
come.
Does
anyone
have
any
questions
for
dr.
Reddy
about
there's
lots
of
questions
about
why
we
can't
get
anybody
paid
on
time?
But
that's.
A
F
A
G
The
idea
is,
what
used
to
be
it
just
used
to
be.
It
was
the
unappropriated
balance,
but
we
decided
to
do
some
years
ago,
as
we
just
put
all
that
money
whatever
it
is
into
your
line
item
that
you
can
spend
all
of
it.
If
you
care
to
do
so
so
whatever
whatever
revenue
comes
in,
will
just
ultimately
go
into
that
account.
Well,.
C
G
A
F
C
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E
G
G
A
G
A
If
we
did
approve
the
art,
what
they
would
like
us
to
explore
is
whether
they
could
simply
accrue
all
the
fees
that
they
would
pay
and
then
get
back
instead
of
having
to
pay
them
and
but
that's
a
whole
thing.
I
think
that
requires
amending
the
ordinance
to
be
able
to
do
that.
So
that
might
be
next
year's
project.
A
C
A
You
all
in
favor,
okay
and
now
the
minutes
for
April,
11
and
J.
You
had
a
so
on
the
last
page
of
the
minutes
where
it
says
the
second
line
insurance
for
fiscal
year.
Twenty,
it's
2200
and
it's
you're
saying
it
should
be
the
same
for
2021.
That's
correct!
Okay!
So
with
that
amendment
may
have
a
motion
to
approve
these
minutes.
D
A
A
C
A
Really
it's
just
two
other
murals
that
from
st.
Paul's
Church
and
the
Boys
and
Girls
Club,
and
we
voted
early
in
the
year
to
do
up
to
three
murals
by
nonprofits
that
we
wanted
to
encourage
and
by
the
way,
if
you
haven't
seen
the
one
at
st.
Paul's
Church,
it's
amazing.
It's
really
and
there's
a
when
is
the
party
for
father
Andrew,
I'm.
A
But
there's
a
good
guy
I
know
it:
I
would
retirement
party
for
him
al
fondo,
okay,
Marcus
invited
us
actually
because
he's
involved
with
the
church.
It's
very
cool,
though
okay,
so
let's
hold
that
the
subcommittee
reports
and
go
to
these.
Should
item
probably
have
doctor
ready
all
right.
Okay,
again,.
C
A
But
what
the
first
thing,
if
you
work
from
the
back
of
this
packet,
the
first
thing
is
the
last
time
we
ever
had
an
inventory
of
all
of
the
public
art
and
I'm,
proposing
that
during
the
summer,
when
there's
less
going
on
that,
we
try
to
make
sure
that
we
have
a
photograph
of
every
piece
of
art,
so
that
and
we
would
like
perhaps
dr.
Reiter-
you
can
help
us
with
this.
This
is
this
exists
on
a
computer
at
City,
Hall
that
we
don't
have
access
to
our
inventory,
and
so
it's
not
up
to
date.
A
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E
A
A
C
A
And
if
you,
if
you
move
up
while
this
is
some,
this
is
somewhat
related
item
five.
We
have
a
list
of
all
the
artwork
that
needs
to
be
maintained,
cleaned
painted
all
kinds
of
things
and
actually
I
talked
to
dr.
Reddy
about
this
and
the
best
way
to
handle.
This
seems
to
be
to
turn
our
list
over
to
the
city
and
ask
the
public
works
department
which
arranged
for
the
cleanup
of
the
Frank
Bogert
sculpture,
should
then
work
there.
You
know,
however,
they
want
to
do
it.
A
A
A
F
F
A
The
the
last
section
on
the
list
is
are
the
pieces
of
the
airport
and
we
have
had
in
the
past
a
contract
with
the
Palm
Springs
Art
Museum,
to
take
care
of,
because
most
of
the
art
at
the
airport
belongs
to
them
and
it's
on
loan.
And
then
there
are
a
number
of
pieces
and
the
last
time
we
did
a
contract
was
about
two
years
ago.
A
It's
something
like
$1,500
a
year
to
just
go
in,
and
the
only
thing
the
city
has
to
do
is
arrange
for
them
to
get
through
the
TSA,
but
maybe
we
could
find
the
last
contract.
It
might
have
been
a
five-year
contract
I.
You
know
if
we
just
don't
have
very
good
records,
we're
trying
to
see
do
we
want
to
continue
that
I
think
they
would
because
they
have
trained,
curators
and
stuff
I.
A
E
E
A
A
E
A
I,
he
is
the
person
that
has
done
the
work
for
the
last
five
or
six
years,
but
I
think
if
we
turn
this
over
to
the
city
and
ask
them
to
find
the
best
person
to
do
it.
If
there's
another
art
restorer,
that's
that's
fine,
but
this
deloused
did
at
least
go
around
he's
familiar
with
the
pieces,
so
he
went
around
and
and
identified
which
ones
needed
work.
A
G
G
A
A
C
Chair
should
we
would
have
been
proper
to
set
a
policy
that
we
restore
our
public
art
every
two
years
or
every
five
years.
A
F
A
A
A
C
F
A
G
C
A
A
F
A
F
D
G
C
A
F
A
Other
part
is
to
have
all
of
these:
the
the
works
of
art
and
the
locations
on
the
website
which
she
can
do.
She
was.
She
started
with
she's
doing
all
the
murals,
but
rather
than
printing
a
map
to
just
keep
it
on
the
website
up
to
date
where
they
are,
and
we
could
do
smaller
maps
or
whatever
it
be,
but
the
last
map
we
did
is
so
out
of
date
that
it's
just.
A
G
A
A
Others
it's
just
like
okay
and
that's
what
she's
been
doing
and
she
created
our
website
and
she
does
Facebook
and
Instagram
and
all
of
those.
So
what
we're
saying
really
is
we're
gonna
keep
doing
that,
but
over
the
summer,
when
there's
less
activity
to
make
sure
that
we
have
everything
photographed.
Okay,
we.
D
Manager
I'll
make
a
motion
to
extend
the
contract
for
Maddalena
Garza
for
six
months
to
complete
the
scope
of
work
to
include
photography
of
the
public
in
art
inventory,
including
murals,
to
be
used
for
maps
and
presentations
within
the
website
and
the
social
media
for
an
amount
not
to
exceed
six
thousand
dollars.
I'll.
F
A
F
G
We'll
give
it
to
them:
I,
don't
know
whether
we
could
just
informally
get
some
prices.
Maybe
that
will
suffice
for
this
backlog.
That
would
be
my
first
preference
if
we
have
to
do
an
RFP
one
way
or
the
other
we'll
do
those
formalities,
I
will
bring
it
back
to
you
what
we
have
before
we
do
anything,
and
then
you
can
give
us
direction
if
you'd
like
it
or
not,
or
what
a
drive
to
do
so
and.
G
What
I
would
suggest
is
that
once
we
do
this
and
you
know-
and
maybe
it's
a
request
for
qualifications
once
we
do
this,
we
have
a
contract
that
we
can
renew
annually
with
this
person,
and
then
you
can
just
appropriate.
However
much
one
every
year
put
it
in
that
contract,
then
we
have.
It
is
good
to
go
and.
A
We'll
also
try
to
find
the
contract
that
we
do
have
with
the
art
museum,
which
I
think
was
for
more
than
a
year
or
two
I
mean
it,
so
it
might
still
be
in
effect,
but
they
haven't
done
it.
No
one's
for.
G
The
airport,
no,
no!
You
raise
the
interesting
point.
There
may
be
another
way
to
do
that,
just
for
something
to
think
about
it
to
go
with
it,
conceptually
where
the
art
we
could
just
say
to
the
the
art
museum,
we
had
the
same
model
for
the
airport,
here's
our
art
pieces,
we'd
like
to
contract
with
you
to
get
it
done,
and
then
they
could
give
us
a
proposal
and
if
you
liked
it
well,
that
might
be
easier
than
us
trying
to
that's.
A
E
A
G
D
E
E
A
F
Some
issues
with
this
wine
is
I
feel
then,
where
are
we
hiring
museum
staff
to
do
this?
Are
we
hiring
the
museum
to
hire
somebody
else
to
do
it?
Because
I
don't
think
we
should
be
paying
museums,
full-time
museum
steps,
salaries
or
whatever
on
top,
or
you
know,
payments
on
top
of
what
they
already
earned
there
and
then
I'm
concerned,
because
you
know
we
had
this
contract
with
them
and
they
didn't
no.
F
But
I
mean
I,
just
it's
like
I
think
we
should
I
like
the
idea
of
just
having
somebody.
Do
it
I'm
totally
happy
if
the
museum
wants
to
recommend
people
who
were
familiar
with
our
collections,
but
then
we
end
up
putting
them
in
the
middle
again
and
they're
like
a
middleman
and
I'd
rather
I'd
rather
have
the
Commission
have
more
direct
oversight
of
it
and
working
with
the
person
and
the
city.
That's
my
personal
preference.
F
A
D
D
F
G
G
A
G
A
A
C
C
A
A
F
A
Didn't
meet
with
them,
okay,
so
they
had
supposedly
very
good
meetings
and
then
no
report,
no
emails,
no
phone
calls
three
times:
I
had
a
phone
meeting
set
up
with
Emily
and
she
didn't
follow
sue.
She
wasn't
June
and
interestingly,
I
wrote
them
this
email
to
say
that
I
had
learned
that
they
never
submitted
their
insurance.
So
therefore
there
is
no
contract
and
I
didn't
get
any
response
from
them
either.
So
I
don't
know
that
it's
worth
pursuing,
but
since
there
is
no
contract,
there's
no.
B
C
D
Living
here
no
response,
madam
chairman.
Yes,
this
is
unfortunate
because
this
was
kind
of
what
how
we
were
gonna
think
about
how
do
we
move
into
next
year?
Okay,.
C
D
This
is
where
we
are
so
we're
not
quite
there
yet,
but
my
comment
we
can
bring
back
to
it
is
that's
what
we
spend
this
summer
doing,
trying
to
find
a
consultant
that
can
do
that
for
us
and
get
that
in
place
so
that
when
we
do
come
back
for
the
fall,
that's
the
first
item
and
it
kind
of
triggers
us
to
just
get
to
work
on
that
when
we
come
back.
But
that's
unfortunate.
There's
been
a
lot
of
time
and
energy
that
went
into
this.
That
yeah.
G
A
Goal
is
to
have
a
strategic
plan
for
how
the
Commission
operates,
what
what
our
goals
are
in
terms
of
work,
that
we
initiate
working
with
developers
earlier
in
the
game
and
just
and
there's
there's
20
or
30
cities
in
California
that
have
that
are
our
size
and
half
the
programs
that
we
were
going
to
look
at
as
far
as
ideas
and
I'm.
Actually
that
someone
from
the
museum
told
me
that
they
had
a
contact
in
West
Hollywood,
which
has
a
good
program.
A
But
you
know
we
set
up
this
year,
Tracy,
mostly
as
a
series
of
activities
that
sort
of
explored
different
kinds
of
public
art
that
we
would
either
commissioned,
or
we
would
work
with
developers
etc.
And
we've
we've
asked
for
people
to
submit
their
ideas
for
public
art.
We
got
88
submissions
and
we're
gonna
have
an
exhibit
at
the
Museum,
and
we
were
going
to
have
a
panel
discussion
that
night
with
the
results
of
this
study
and
so
we'll
just
we'll
bump
that
to
the
fall.
A
But
you
know
the
ordinance
is
30
years
old
and
the
only
developer
in
the
last,
not
counting
escena,
which
came
to
it
after
the
fact,
but
Michael
Braun,
who
you
know,
followed
the
procedure
and
he
found
his
sculpture.
He
wanted
and
they
brought
it
to
the
Commission
and
we
approved
it
and
he
got
his
money
back
and
you
know
it.
A
But
we
have
no
idea
what
developers
might
have
you
know
if
they're
not
a
gated
community
or
they're
if
they
have
any
plans
for
art,
because
we
don't
even
know
who
they
are,
we
don't
know,
but
until
very
recently
the
city
didn't
keep
track
of
who
paid
in
art
fees.
It
would
just
show
up
as
a
lump
sum
of
money.
So
so
that's
I
think
what
we're
trying
to
do
is
get
some
focus.
Also.
F
My
understanding
from
was
also
they
were.
You
know
that
it's
been
a
long
time
since
the
city's
Commission
a
big
piece,
we're
looking
forward
to
the
public
to
the
park
project,
and
maybe
some
other
ones,
and
that
they
were
helped,
but
they
would
help
us
sort
of
understand
the
process
and
help
us
get
a
process
in
place
right
with
starting
with
rfqs
or
here
and
there's
all
these
things.
F
That's
kind
of
it's
been
so
long
since
we've
done
that
on
the
Commission
that
there's
like
no
one
here
who
remembers
it
and,
and
so
I
think
part
of
it
was
like
a
way
we
wanted
our
goal
or
my
goal
for
them
was
that
by
the
end
of
going
through
this
process
with
them,
we
will
be
ready
to
undertake
a
major
commission.
You
know,
and
we
would
understand
how
it
would
work
and
make
also
manage
those
things
right.
You
know
hire.
A
F
F
A
B
We
took
a
contract
with
Pete
sauce,
you
know
from
a
flat
black
in
Palm
Desert,
so
he
orchestrated
finance
the
diverse
pool,
one
latina
woman,
Lucia
stirring
a
piece
he
pulled
artists
from
Los,
Angeles,
San,
Diego,
Palm,
Springs,
Coachella
and
Desert
Hot
Springs,
and
these
are
artists.
We
wouldn't
necessarily
know
how
to
find
that,
for
example,
this
afternoon,
I
stopped
by
the
graffiti
art
project
and
that
Alex
of
although
Palm
Springs
base
for
important
Rico
and
travels
globally
doing
murals.
B
A
Other
thing
is
that
this
everyone
on
the
Commission
has
really
put
an
awful
lot
of
time
and
effort
into
this,
because
we
didn't
want
to
spend
this
money
on
staff
and
so
part
of
it
he
requires
I
mean
the
only
way
we
can
do.
It
is
to
contract,
with
someone
like
this,
this
guy
with
this
company
called
flat
black.
A
Everyday
day,
jobs
do,
but
you
know
it's
been
very
exciting
to
do
some
new
things,
but
I
don't
know
that
we
could
sustain
this
level
of
work
as
commissioners.
We
need.
You
know
we
to
find
that
the
people
who
can
sort
of
take
this
the
day
to
day
part
and
that's
why
we
want
to
have
some
some
guidance
on
doing
it
doing
it.
Well,
and
you
know
this
is
I
mean
all
over
the
country.
A
B
It's
one
of
the
main
things
of
working
with
a
consulting
firm
with
its
Dyson
one-bathroom.
Whomever
is
what
I
came
on
the
commission
two
years
ago.
There
didn't
seem
to
be
any
thing
in
place
that
gave
me
as
a
commissioner
direction
on
how
to
do
any
of
the
stuff
that
I
wanted
us
to
do
with
some
of
our
installations.
The
mural
program,
so
it
seems
like
we
all
have
been
figuring,
I,
know
sort
of
as
we
go
over
the
last
couple
of
years
and
we're
all
going
to
cycle
in
on
cycle
out
of
the
commission.
C
I
think
we've
really
given
our
community
of
our
community
a
voice
we've
been
listening
to
them
and
the
reputation
of
a
whites-only
public
arts,
as
as
it
relates
to
artists,
I,
think
that
that's
just
gone
away.
We've
become
very
diverse,
at
least
that's
my
experience
on
what
I'm
hearing
from
the
community
as
far
as
Dyson
and
Womack
is
concerned.
C
Perhaps
as
a
backup
do
you
think
we
should
have
a
conversation
about
hiring
the
city,
hiring
someone
we
had
Jennifer
Henning,
for
example,
at
one
time
who
did
most
of
this
work,
perhaps
on
one
part-time,
I,
don't
know
what
that
would
look
like
or
if
that's
possible,
but
as
a
backup
since
Dyson
and
Warmack
yeah
I
work
out.
Maybe
we
could.
C
A
C
A
D
I
think
how
did
we
get
to
Dyson
and
Womack
we're
changing
the
direction
of
this
Commission?
That
I
came
on
to
three
years
ago
when
I
came
on,
it
was
a
commission
who,
because
of
the
change
in
the
economy,
was
no
longer
doing
art
acquisition
or
even
aren't
maintenance,
and
it
gotten
into
more
public
outreach
in
doing
things
completely.
A
A
C
And
lastly,
you
know
softer
people
of
color
are
under
estimated
a
marginalized
or
you
know,
and-
and
you
know
we
need
to
respect
each
others-
opinions
no
I.
Take
this
very
serious,
it's
not
what
our
wants
is
what
the
community
wants.
You
know
to
be
able
to
have
a
voice
at
the
table.
I
take
that
very
serious
I'm,
not
here,
to
sell
art
or
to
take
pictures
or
to
make
money.
You
know,
I
really
have
my
ear
and
I
think
we
all
do
with
all
due
respect
to
the
community.
C
A
It
has
to
be
on
public
view,
so,
but
one
of
these
days
well
we'll
hear
from
one
of
them,
but
we
are
looking
for
some
real
direction
and
we
because
it's
even
if
you
have
a
study
session,
it's
difficult
to
sort
of
hash
things
out
in
a
public
meeting.
What
you
need
is
someone
to
listen
and
feedback
the
ideas
in
a
way
that
then
you
can
discuss
them
and.
G
A
E
It's
a
good
opportunity
actually
that
this
has
fallen
by
the
wayside
that,
because
this
was
kind
of
parallel
in
this
year,
was
supposed
to
be
kind
of
like
this
exploring
time
and
like
seeing
what
the
public
wants
and
I
think
now,
like.
Maybe
you
know
at
the
end
of
our
season
in
June
we
just
take
a
month
six
weeks
or
so
to
to
flush
out.
E
You
know
two
pages
of
what
the
direction
we
would
give
someone
and
what
what
we
now,
what
we've
learned
from
this
year
and
what
you
know,
maybe
that
how
that
has
changed,
what
we're
looking
at
and
how
you
know
the
park
not
being
started
or
anything,
but
that
you
know
comes
into
a
change
and
then
go
and
talk
to
three
or
four
different
groups.
Yes,
get
city
get
council
members
input
on
it,
I
think
I
think
this
is
a
good
thing
that
this
happened.
I
truly
do
the.
A
Only
thing
is:
we've
learned
to
take
the
long
view.
I
mean
some
things.
You
know
we
probably
seemed
very
impatient
that
we
want
all
of
these
contracts
signed
and
we
want
to
pay
people
and
stuff,
but
we
also
have
learned
to
sort
of
roll
with.
You
know
the
way
a
city
works,
and
that's
that
was
part
of
the
learning.
A
Experience
too,
is
you
know
we're
not
a
nonprofit
arts
council,
we're
part
of
the
city
and
that's
what
one
of
the
things
we're
really
trying
to
do
is
to
operate
within
the
city
and
to
absolutely
you
know,
do
this
with
the
council,
and
so
hopefully
this
report
that
I
wrote
will
lay
out
what
we've
been
trying
to
do
and
then
you
know
we
would
be
happy
to
meet
with
them.
Sometime
I
know
a
joint
meeting
or
whatever,
and
the
Parks
Commission
and
the
Airport
Commission.
A
A
G
A
Perhaps
we
could
at
some
point
just
look
at
the
question
of
these
like
artists
working
in
a
pit,
you
know
what
really
is
a
realistic
amount
of,
especially
in
that
case
where
it
was
restricted
access,
and
so
you
know
no
one
else
was
going
to
be
in
there.
This
whole
thing
of
asking
for
their
automobile
insurance
has
popped
up
two
or
three
times.
Maybe
we
could
just
get
a
little
bit
of
an
understanding
of
contracts
with
artists
should
have
their
own
set
of
rules.
G
A
A
A
A
So
we
talked
about
this
at
the
last
meeting.
This
is
a
piece
of
art
by
the
artist
who
did
imagine
art
here
and
I
would
like
to
propose
that
we
have
him
make
a
sign,
which
is
what
he
does
street
signs,
but
that
this
one
have
it
be
sort
of
a
sort
of
a
Palm,
Canyon
and
Museum
way,
with
a
sign
that
goes
towards
the
Art
Museum
and
some
other
museums
just
for
fun.
A
A
Which
will
be
street
sign
quality
you
know,
can
just
be
installed,
and
so
it's
time
to
move
imagined
art
here.
So
that
can
imagine
something
else.
Did
you
have
a
location
well,
I
talked
to
Marcus
I
thought,
maybe
in
front
of
what
to
called
the
Marlin
restaurant.
There's
a
there's,
a
planter
section.
There's.
G
F
A
A
F
G
G
C
B
E
A
A
It
I'll
tear
it
I
think
that
we
should
vote
to
spend
the
nine
thousand
dollars
on
this
piece
subject
to
everyone.
I
mean
working
out
just
exactly
where
it
goes,
but
it
will
take
a
while
to
fabricate
it
anyway.
So
and
it's
not
you
know
it's
not
a
major
expenditure.
I
think
it
will
be
very
cool
to
have
this,
to
draw
people
down
into
the
down
museum
way
to
all
the
things
that
are
going
on
so
yeah.
D
E
D
G
D
G
E
G
So
if
you're
giving
you
direction
that
you
want
to
spend
nine
dollars
for
a
pieces,
piece
of
art
we
do
is
reach
out
to
the
artists
and
tell
them
you
want
to
enter
in
a
contract
to
purchase
this
part.
We
wouldn't
actually
execute
it.
We
get
it
prepared,
we
wouldn't
actually
execute
it
till
you
make
sure.
G
A
C
G
C
C
G
D
A
A
A
B
B
B
A
G
F
F
F
E
E
B
A
F
F
G
G
A
G
A
A
A
Way
to
do
that
now
there
is
the
piece
is
currently
in
Rancho,
Mirage
and
they've
said
it
can
stay
there
for
another
month
or
something,
but
they
do
want.
It
moved
so
I
think
that
so
we're
fine
lassen
if
if
we
can
have
til
June,
13th
or
whatever
our
next
meeting
is
to
make
a
decision
of
where
it
should
go
over.
G
G
A
What
if
we
try
to
have
a
staff
report
by
the
13th
so
that
it
could
go
I
mean
all
what's
missing
here?
Is
you
just
need
to
fill
in
the
blank
of
where
it's
gonna
go
sure
we
have.
G
A
E
G
A
F
C
C
C
C
C
D
One
doesn't
have
anything
to
do
with
the
other,
but
I
still
know
perception
becomes
that
and
I
don't
want
us
to
become
the
target
of
how
look
at
how
freely
you
throw
my
money
around,
and
it
just
seems
like
I
would
need
to
be
a
convinced
a
little
bit
more
that
this
is
worth
by
having
putting
in
at
a
site
that
is
now
gonna
bring
people
to
an
area
that
don't
go
to
or
something
like
that
for
me
to
be
comfortable
with
saying
yes,
I
want
to
do
this.
Yeah.
F
D
F
B
I
guess
that
all
we're
gonna
to
thoughts
on
that
I
am
strongly
in
favor
of
us
doing
at
the
Downtown
Art
Park,
because
in
my
opinion,
right
now,
because
we're
getting
so
much
attention
to
the
Palm
Springs
public
art
scene,
because
it's
happening
downtown
that
we
still
need
to
do
a
little
bit
more
effort
and
sort
of
finish.
What
we're
doing
they're
all
having
the
art
pit.
B
If
we
were
to
put
the
rainbow
on
what
will
be
the
future
art
park,
which
is
still
a
couple
of
years
away,
and
we
have
the
graffiti
art
part
that
to
me
sort
of
complete
circle
or
vision
for
downtown.
And
then
we
can
spread
wings,
go
to
sunrise
park,
other
areas
of
the
city
and
coming
from
a
background
where
Egypt
public
art
installation
in
a
city
park
in
San
Francisco
for
seven
years,
spending
$30,000
as
a
bargain.
There's.
A
B
Of
our
installation,
this
range
in
value
from
low
of
about
$25,000
up
to
$75,000,
and
it
was
always
for
a
period
of
one
year
and
temporary
art
installations.
As
as
we
learn
from
the
desert-
X-
perhaps
not
so
much
this
year,
but
the
first
year
they
did.
It
was
a
phenomenal
success
and
draw
for
people
in
town
that
temporary
art
is
more
exciting
almost
than
permanent
art,
and
there.
C
Was
some
conversation
about
putting
a
bust
or
some
type
of
art
of
Lawrence
Crosley
at
one
of
our
city
council
meetings
in
the
new
development
area,
so
to
complete
that
maybe
at
some
time
I
don't
know
if
you
know
Lawrence
Krauss
Lee
is
there's
alarms
across
the
road.
There
was
some
discussion
about
that
too.
So
for
future.
A
B
A
A
A
A
That
was
the
artists
idea
or
the
museum's,
and
the
only
issue
is
that
these
photographs,
that
are
there
instead
of
advertising,
are
at
risk
of
fading
over
the
course
of
a
year
or
two,
and
so
because
they
are
actually
creations
of
the
artist
one
way
we
could
keep
help
keep
these
bus
shelters
there
is
Sunline
will
maintain
them
as
far
as
painting
them
and
everything,
and
if
the
photographs
fade
and
need
to
be
replaced.
That
would
be
the
art
installation
as
part
of
this,
and
then
we
would
be
responsible
for
that
again.
A
It's
I
think
it's
great
to
be
working
with
other
government
agencies
and
trying
to
do
this,
but
the
trouble
with
desert,
X
and
also
Cachola,
where
are
lots
of
people
Michael
Brown,
sends
me
an
email
every
couple
of
days
and
can
I
have
this
picture
from
Coachella.
You
know
great
big
something.
The
only
problem
is
that
there
there
is
a
time
crunch
and
it
may
be
too
difficult
to
decide
to
do
it.
A
E
E
E
E
E
A
E
A
F
A
It
is,
you
know,
it's
gonna
depend
a
lot
on
the
city,
I
mean
we're,
gonna
have
to
turn
it
over
to
them
and
see
if
it
you
know
that
can
be
installed
there
or
if
it
should
go
somewhere
else
and
I'm
happy
to
go
back
to
desert
X
and
say
we
need
till
June
19th
to
decide
and
they
can
say
well.
We
can
wait
that
long
and
we
can't-
and
the
question
is:
shall
we
have
we
can
we
can
have
an
interim
meeting
just
on
this
one?
A
F
A
F
A
A
Bad
I
gotta
get
some
dress.
Okay,
we're
gonna,
do
the
easy
one.
First,
we're
gonna,
do
the
bus,
shelters
and.
G
Events
etc.
So
so
that
being
said,
what
I
just
didn't
understand
what
we're
trying
to
do
they
have
to
that?
They
have
turned
into
art
the
yellow,
which
is,
and
it's
not
an
issue,
I'll
fix
it.
They're
not
allowed
to
have
yellow,
they
all
have
to
be
brown
yeah,
but
I
can
get
over
that.
So
so
we
gonna
have
an
agreement
with
them.
That
says
what
did
those
two
or
three
if.
A
They
sign
an
agreement
with
the
artist
to
keep
those
three
of
them,
yellow
that
they
belong,
that
the
shall
of
them
belongs
to
some
line,
but
the
artists
put
in
solar
panels
and
these
photographs
to
turn
them
into
a
work
of
art.
So
first
they
have
to
come
up
with
an
agreement
with
the
artist
that
they
will
keep
them
there,
and
if
they
do,
then
we
would
enter
into
an
agreement
with
sunline
that
when
they,
when
it's
time
to
paint
them,
they'll
paint
them.
A
G
G
A
G
A
A
A
G
A
G
C
C
A
G
F
G
F
F
B
G
B
E
A
F
A
E
F
Know,
like
we've
got
these
modern
chairs.
We
want
to
put
the
modern
chairs
all
over
the
city
here
we
want
to
take
over
the
city
and
do
a
mural
faster,
but
you
know
it's
like
and
we're
always
like
reactive,
and
we
end
up
getting
under
some
kind
of
pressure.
There's
like
a
time
pressure
and
I'm
personally,
I
am
ready
to
just
let
it
go
because
I
think
it's
too
much.
F
It's
not
the
direct.
You
know
we
want
to
be
more
in
control.
You
know,
instead
of
coming
out
having
pieces
come
to
us
we've,
you
know
we.
Our
whole
goal
is
to
that.
We
were
soliciting
the
pieces,
you
know
and
finding
a
safe
and
speedy
Anisa.
It's
like
we're.
Now
the
piece
is
coming
to
us
and
we
don't
even
have
a
site
for
it.
Yeah
and
it
just
seems
like
we're
getting
like
cart
before
horse,
whatever
I
just
yeah
I
would
rather
see
insights
and
installations.
F
You
know
that
we
identify
some
sites
and
say
this
is
where
we
would
like
a
piece
and
then
our
consultants
take
over
the
process
and
do
rfqs
RFPs,
and
you
know
we
come
up
with
a
really
good
piece.
It's
a
transparent
process
that
the
cities
of
you
know
everybody's
aware
of
that
mean
that's
that's
what
my
goal
has
always
been
for
this
answer
to
me.
This
is
like
exactly
what
we've
been
trying
to
get
away
from,
where
it's
like.
F
A
piece
here
we
have
to
get
our
hands
on
it.
You
know
we
can't
let
it
go
away
or
whatever
yeah
I
love.
The
piece
I
think
it's
great
I'd
love
to
see
it
stay,
I,
don't
know
where
and
it's
getting
very
expensive
we're
now
talking.
You
know
between
all
the
different
aspects,
forty
fifty
thousand
dollars.
B
A
A
A
A
A
F
C
D
B
B
E
E
We're
not
having
the
option
with
this
we're
just
borrowing,
something
that
we
didn't
conceive
of.
If
we're
thinking
of
the
point
the
impact
we
want
to
make
on
this
art
park,
I
think
it
should
come
from
us,
so
I
do
really
like
the
rainbow
it's
done
by
a
woman
artists
and
we
need
women
artists
to
have
works
in
this
city.
I
also
think
it
would
be
lovely
in
Ruth,
hardy,
Park
I
think
it
would
be
gorgeous
there.
C
D
First
of
all,
I
want
to
recognize
Commissioner
Pritchard
for
how
much
he
does
it
brings
to
the
table
in
his
knowledge
and
background
in
what
he
did.
San
Francisco
we're
a
town
of
45,000
people.
This
kind
of
money
I
feel
like
for
our
community,
is
too
much
for
a
temporary
I'd,
rather
save
that
money
for
something
we
wanted.
I.
Think
it's
a
wonderful
piece
and
I
will
continue
to
say.
I
would
like
to
see
art
outside
of
the
downtown.
F
I
made
my
comments
before
I
agree:
I,
like
the
piece
just
like
everyone
else,
but
I,
just
I,
think
I
I'm
more
concerned
with
the
time
issue
and
the
timing
and
not
having
enough
time
to
figure
out
a
site
I'd
like
to
get
more
input
from
the
community.
You
know
I'm
says
we
want
to
put
it
in
a
park
I'd
like
to
talk
to
the
neighborhood
asset.
A
Will
say
we
we
pushed
the
envelope
a
little
bit
as
far
as
putting
things
in
the
pit
and
putting
things
on
the
on
the
Virgin
site,
which
are
all
pretty
temporary
ephemeral
kinds
of
things
this
because
of
what
it
would
cost
to
move
it,
and-
and
you
know
it
needs
to
have
concrete
footings
and
things
it's
a
little
bit
more.
A
It's
I
think
it's
something
that
we
can't
rush
and
then
less
I
will
get
in
touch
with
desert
X,
but
I
think
it
sounds
like
we
would
need
till
August
or
something
to
find
a
place.
So
this
may
be
a
moot
point
and
that
they
I
don't
think
they
can
keep
it
that
I.
Don't
think
they're
willing
to
keep
it
that
long.
But
my
sense
is
that
even
the
people
who
want
to
perceive
would
like
to
get
more
information
and
more
answers.
A
Then
we
can
get
under
the
current
time
and
they
said
that
they
could
keep
it
too.
You
know
they
wanted
to
know
at
this
meeting
if
we
were
gonna
proceed,
so
I
think
the
answer
is
at
this
point:
no
and
okay
I'll
find
out.
If,
if
they'll
give
us
another
couple
of
months,
I
mean
it's
not
doing
any
harm
in
the
field
in
the
middle
of
and.
G
A
But
so
am
I
stating
this
correctly
that
we
have
to
tell
desert
expec
by
May,
15th
or
whatever
date
they
gave
us
was
15th
through
the
17th?
We
can't.
We
can't
do
it,
however,
if
they
can
give
us
like
through
the
summer,
if
it
can
just
stay
where
it
is
or
that
can
be
disassembled
and
it
could
be
I
mean
they'll
they'll
have
to
disassemble
it
themselves.
If
they,
you
know
and
put
it
in
a
box
that
we
there's
there's
enough
interest
that
we
couldn't
possibly
do
it,
but
not
on
this
timeline.
Is
that
just.
E
C
A
F
A
C
E
A
A
E
E
F
A
That
the
forum
to
ask
council
members
to
come-
and
we
will
have
brief
remarks
from
you-
know
some
some
group
of
us,
but
it's
you
know
the
idea
was
to
have
a
panel
discussion
but
clearly
they're,
just
gonna
kick
this
can
down
the
road
a
bit.
Can
we
just.
F
Say
it
just
very
brief
just
to
update
the
other
commissioners
on
the
30
by
30
exhibition.
There
was
a
whole
series
of
changes
and
alterations.
Now
you
know
it
is
at
the
Museum
right.
Is
everyone
aware
of
that?
It's
not
a
desert
art
center.
It
is
at
the
Museum
in
the
education
wing
which
you're
very
familiar
with.
Is
we
have
many
events
there
we
used
a
different
group
called
cafe
called
for
entries
and
we
got
88
entries.
So
we
were.
F
A
C
C
E
E
A
A
A
A
He
was
sort
of
throwing
out
that
idea
originally
anyway
to
have
a
party,
and
then
we
we'll
we'll
be
able
to
let
people
into
the
pit
in
a
in
a
sort
of
controlled
way
and
on
to
the
Virgin
site
in
a
controlled
way,
so
that
nobody
gets
hurt
and
we'll
have
to
find
out
if
we
just
make
sure
grits
insurance
covers
having
people
on
the
site
on
intersection.
Yes,.
F
A
Well,
the
first
reminder
is
that
we're
gonna
have
a
vote
chair
and
vice-chair
on
June
13
and
the
last
couple
of
years.
We
have
not
met
in
July
in
August
right.
F
A
F
F
A
A
great
year
and
thank
you
Tracy
for
you,
know
the
whole
when
I
reprinted
your
schedule
in
that
report,
I
mean
that's
pretty
impressive
and
I.
Think
it's
been
very
good.
Working
with
the
museum
I
mean
I
really
feel
that
our
support
of
the
museum
gets.
You
know,
they're
working
with
us
things
that
so
I
missed
the
thing
where
there
were
spies
in
the
park.
Anybody
go
to
that
I
had
it,
they
had
a
performance
art
where
they
were
spies
in
the
art
park.
Discussing
things.
Oh.
E
I
ask
one
question:
so
the
graffiti
part
cuz
I
wasn't
at
that
meeting.
So
when
so,
is
it
gonna
be
open
for
people
or
it
will.
B
C
C
A
Gonna
be
wonderful,
and
so,
if
we
take
down
the
tarps
as
you
walk
around
you'll
see
all
of
them
and
then
by
having
this
party,
we
can
let
people
walk
around
because,
though
look
at
you
know,
they'll
be
a
little
bit
of
supervision,
I'm,
just
afraid
that
someone
will.
You
know
these
are
made
of
well
now.
You've.
A
A
So
we
can't
just
let
people
walk
around
for
a
while
until
we
figure
out
and
we
we're
gonna-
have
the
the
art
mural
camp
at
the
Museum
that
they
last
summer
they
did.
They
worked
with
Sofia.
We
were
trying
to
get
them
to
work
with
some
of
these
flat
black
artists,
there's
about
20
round
they
I
don't
know
if
they're
in
any
of
the
pictures,
but
little
round
things
and
teach
the
kids
how
to
do
graffiti
and.
A
Leonardo
just
wrote
to
me
today,
though,
and
said
that
between
the
artist
schedules
and
trying
to
schedule
a
camp
because
they
wanted
it
to
be
for
like
high
school
kids,
this
one
he
wants
to
do
it
in
the
fall
and
do
it
like
four
Saturdays
in
a
row
where
they
could
finish
off
the
the
graffiti
under
the
under
the
supervision
of
the
artists.
Who
did
it,
but
so
I
think
that
can
be.
You
know
we
can
just
have
a
fun
party
and
everyone
will
want
to
go
up
close
with
the
babies
that
hasn't
a
birthday.
F
A
D
A
But
I
think
this.
This
was
a
good.
This
was
a
good
discussion,
because
you
know:
we've
we've
been
going
breakneck
speed
and
I
think
it
will
be
good
to
sort
of
finish
this
here
and
sum
it
up,
and
then
just
you
know,
and
it's
possible
that
the
council
will
want
to
approve
more
of
these
things
than
they
have.
A
But
that's
why
I
think
if
we
have
the
more
plans
we
have
that
we
can
say
to
them.
This
is
what
we're
going
to
do
as
opposed
to
look
what
we
should
look.
What
we
just
did
that
Russell
has
one
other
thing
to
show:
everybody
has
a
minute
Oh,
rather
cool,
something
to
think
about.
It's.
You
wanna
do
that.
Well,.
B
Yeah,
this
piece
is
actually
the
first
thing.
Inertia
wasn't
an
accident
so
currently
have
a
friend
of
mine.
Has
an
art
show
up
with
blended
accent
galleries,
so
the
few
times
have
been
they're
discussing
with
Linda
and
Greg
about
doing
this
piece.
So
this
image
shows
a
Photoshop
rendering
of
with
it
of
steel
frame,
making
it
transportable
and
making
its
own
entity.
So
it's
eight
and
a
half
feet
wide
by
nine
feet
high.
So
the.
B
A
A
F
A
E
A
E
F
A
A
Then
men,
so
they
but
it
you
know
it's
it's
sort
of
a
judgment
call,
but
this
was
one
where
I
drove
into
their
driveway,
and
you
could
see
that
there
was
a
pool
area
with
a
wall
around
it,
but
he
could
not
see
the
mural
so
I,
don't
think
that
college
eyes
and
these
people
from
soul
cycle
or
whatever
it's
called.
My
husband
I,
think
it's
great
that
there's.