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From YouTube: Public Arts Commission | Oct 20, 2021
Description
City of Palm Springs Public Arts Commission meeting, held October 20th, 2021
A
So
I
will
call
the
meeting
to
order
it
just
kareem
just
so
the
chat
doesn't
get
recorded.
So
if
we
we
want
to
avoid
the
chat,
so
we
make
sure
everything
is
available
to
the
public
when
we,
because
we
record
the
meeting
so
just
fyi.
A
So
I'd
like
to
call
this
regular
meeting
of
the
palm
springs
public
arts
commission
to
order
on
wednesday
october
20th
2021
at
5
30
pm.
B
Absolutely
commissioner
lesniak.
D
B
And
chair
merrigan.
A
A
B
E
A
I
sounds
unanimous.
A
This
this
time
has
been
a
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
the
member
of
the
public
cannot
be
present
later
in
the
meeting
at
the
time.
The
item
is
heard
by
the
commission.
A
E
Yes,
if
I
could
and
sure
you're
welcome,
thank
you
for
the
opportunity
to
speak
to
you
and
and
for
your
service
to
the
city,
I'm
curry,
griswold,
I'm
vice
chair
of
the
gene,
autry
neighborhood,
associate
organization.
E
I
come
before
you
tonight
to
speak
about
two
things.
I
love
my
neighborhood,
which
we've
called
home
since
1977
and
raised
our
two
kids,
and
I
was
just
re,
just
retired,
as
a
teacher
from
palm
springs,
unified
after
37
years
and
art
our
everywhere
and
for
everyone
is
such
a
wonderful
goal
to
strive
for,
and
gene
autry
wants
to
be
part
of
that
which
would
better
integrate
us
with
the
city
as
a
whole.
E
We
would
like
our
utility
boxes
included
in
the
city,
art
art
outreach
program.
We've
talked
it
over
with
the
board
and
we
understand
that
two
have
already
been
approved.
I've
given
shonda
the
photos
and
addresses
of
about
10
utility
boxes,
but
I
think
some
of
them
don't
belong
to
the
city
we've.
Our
jean
autry
board
has
reviewed
your
website
and
and
given
her
names
of
local
artists,
and
we
would
love
to
have
native
plants
and
animals
on
the
utility
boxes.
E
Our
neighborhood
is
really
supportive
of
this.
We've
also
spoken
to
grace
gardner
and
dennis
woods.
Our
councilman
who
council
members
who
have
indicated
their
support
we'd
be
in
support
of
more
substantial
artwork,
but
we
don't
know
where
in
our
neighborhood
that
would
fit
or
how
that
could
be
accomplished.
E
So
we're
going
to
be
encouraging
neighbors
to
nominate
other
residents
for
recognition
for
making
our
neighborhood
a
better
place
to
live,
whether
it
be
through
an
act
of
creativity,
kindness,
caring
or
property
improvements,
we're
also
having
a
meet
and
greet
next
month
to
initiate
a
neighborhood
crime
watch
group.
I
mention
these
other
efforts
because
they're
part
of
our
board's
plan
to
nurture
even
more
of
a
spirit
of
community
and
pride
in
china.
E
I'm
also
interested
in
in
the
news
that
you
were
trying
to
restore
the
james
of
jesse
mural
in
some
way,
because
I
used
to
teach
a
lot
of
kids
when
I
taught
at
raymond
cree
a
lot
of
my
students
were
in
that
area.
E
So
thank
you
so
much
in
advance
for
any
way
you
could
help
us.
C
C
E
Oh
goodness,
we
we
are
over
near
gene,
autry
and
vistacino
sort
of
that
whole
area
we're
one
of
the
biggest
neighborhoods,
because
we
and
we
go
from
from
gene
autry
all
the
way
over
to
to
feral
and
then
in
so
that's
the
area
we're
in.
E
B
A
I'd
like
to
ask
you
one,
I
just
want
to
clarify
so
tonight
on
our
agenda
is
an
item
to
add
two
utility
boxes
to
the
project
that
was
already
approved
last
february
and
those
are
in
your
neighborhood
you,
you
just
said
there
are
two
that
already
are
already
approved.
Were
those
already
in
the
project
approved
or
are
you
talking
about
the
ones
tonight.
E
I
think
they're
the
ones
tonight
I
don't.
Okay,
I
don't
think
there
are
any
I'm
not.
We
were
told
that
to
the
utility
we
turned
in
about
10
addresses
and
photos
of
utility
boxes,
and
then
shonda
said
that
when
the
city,
somebody
in
the
city
reviewed
it,
there
were
only
two
that
were
actually
owned
by
the
city.
The
others
belong
to
other
agencies,
yeah,
okay,
okay,
I
don't
think
they're
actually
been
formally
approved.
A
A
A
It's
it's
our
budget,
okay,.
B
A
A
D
I
could
just
address
what
christina
was
looking
at.
That
was
the
the
other
boxes
featured
in
that
were
the
boxes
that
she
was
talking
about.
Only
two
of
all
of
those
boxes
in
that
were
approved.
D
A
Awesome,
so
thank
you.
So
we
will
move
on
to
e.
So
I
just
wanted
to
talk
to
you
guys
about
a
couple
of
things.
Just
so
we're
all
on
the
same
page
and
and
we
can
move
forward
with
a
really
active
and
productive
year.
A
So
one
thing
that
I
really
want
to
make
sure
is:
if
you
have
a
project-
and
you
want
to
talk
about
it
and
put
it
on
the
agenda
to
please
write
it
use
that
sheet.
A
I've
sent
up,
I've
updated
it
now,
from
the
last
meeting,
it
was
sent
out,
write
up
the
sheet,
don't
put
it
into
an
email
and
send
it
to
me
and
call
me,
and
we
can
talk
about
it,
because
there's
only
so
much
time
if
people
want
meetings
to
be
sharp
and
tight
to
have
things
on
the
agenda
and
then
some
things
kind
of
need
to
happen
on
the
agenda
when
it's
a
good
time
for
them
to
happen.
A
So
I
spent
a
lot
of
time
this
meeting,
cutting
and
pasting
from
different
emails
from
people
to
kind
of
create
their
agenda
items,
and
I
I'm
not
going
to
spend
my
time
doing
that
again.
So
so,
if
you
guys
could
please
just
write
the
things
up
like
that
sheet
and
then
it
will
help
us
move
forward
in
a
much
easier
way
and
then
we
can
just
attach
those
sheets
to
our
agenda.
So
it'll
be
great.
A
So
the
other
thing
I
just
wanted
to
kind
of
I'm
not
sure
I
just
wanted
to
talk
about
and
and
it's
something
I'm
not
sure
people
really
might
realize.
But
when
we
are
we're
a
public
arts
commissioners
and
we're
representing
the
city,
the
entire
city
and
we're
in
representing
the
city,
we
have
to
really
make
sure
that
we
don't
have
any
conflicts
of
interest.
A
So
I
will
give
my
conflict
of
interest
right
now.
So
if
you
sit
on
a
board
that
has
anything
you
know
that
might
touch
public
arts
within
the
city
or
have
a
public
arts
project,
you
have
to
be
really
careful
with
that.
You
know
you
if
you
bring
something
to
the
commission,
you
can't
vote
on
it.
You
have
to
abstain
from
that
and
ask
other
commissioners
to
help
shepherd
your
project,
so
I'm
the
president
of
the
desert,
horticultural
society
of
the
coachella
valley.
A
A
That
is
my
conflict
of
interest,
so
I
put
it
out
there
freely
and
to
the
public
to
let
you
know
and
if
other
people
are
on
boards,
it's
not
just
who
you
work
for
it's
also
boards
that
you're
involved
with.
We
really
need
to
make
sure
that
we
keep
those
conflicts
away
from
the
public
arts
commission
and
in
that
respect
too,
we
we
are
a
community
of
seven,
so
we
really
cannot
go.
A
So
we've
had
some
issues
over
the
past
year,
with
promises
made
and
being
you
know,
wanting
to
have
promises
kept,
but
not
having
the
entire
commission
being
able
to
weigh
in
on
these
things.
So
we
need
to
bless
any
project
with
a
vote
and
it
protects.
All
of
us
protects
the
city,
and
we
know
that
the
people
that
we
are
working
with
you
know
this
is
a
project
that
the
city
has
put
itself
behind.
A
You
know
we
vote
on
it,
then
it
goes
to
the
city
council
and
they
vote
on
it,
and
then
it
is
a
true
project
that
has
money
behind
it
and
also
a
stamp
of
approval
for
going
forward.
So
I
just
really
want
to
make
sure
that
there
aren't
any
projects
hanging
out
there
that
that
we
don't
know
about
and
that
we
as
a
commission,
we
need
to
respect
each
other
and
bring
everything
to
the
commission
and
have
all
of
us
vote
on
it,
because
that's
why
you
guys
are
on
the
commission.
A
That's
why
we're
all
part
of
a
commission
right
to
like
weigh
in
give
our
advice
and
be
part
of
this
whole
project
and
not
sidelined?
So
you
know
I.
I
want
that
to
be
a
positive
thing:
it's
not
a
negative
thing,
so
we
just
have
to
really
make
sure
that
we're
not
you
know
unless
we
vote
as
a
commission
or
determine
as
a
commission
like
we
don't
have
people
that
are
like
representatives
of
the
public
arts
commission
in
other
places.
A
So
unless
we
decide
we
wanted
to
do
that,
but
that's
something
we
would
have
to
vote
on
and
it's
created
a
little
bit
of
a
conflict
now
with
other
commissions.
A
A
I
want
us
just
to
be
able
to
move
forward
in
a
positive
manner,
and-
and
this
is
a
way
we
can
do
it
so
just
please
reach
out
just
communicate,
I'm
a
communicator
and-
and
if
you
have
any
question,
just
call
or
email
ask
jay,
you
know
we
just
have
to
really
make
sure
that
any
work
that
we
do
anything
even
if
it's
a
lecture
series
anything
like
that,
we
need
to
look
at
it
as
a
whole
commission
and
vote
on
it.
A
A
So
I
wanted
to
invite
arlene
to
talk
to
us
about
our
our
maintenance
program.
So
a
couple
of
years
ago
we
you
know.
One
thing
I
really
wanted
to
do
on.
The
commission
was
start
a
maintenance
program
because
there
didn't
seem
to
be
one
and
a
lot
of
the
art
in
the
city
just
was
in
really
bad
shape
and
it's
part
of
our
ordinance.
A
A
You
know
we
have
about
70
something
pieces
of
art,
so
we
would
add,
you
know
I
don't
know,
maybe
10
a
year
and
eventually
finally
working
work
through
that
whole
backlog
of
art
and
then
also
in
the
meantime,
take
care
of
some
of
the
really
kind
of
big
ticket
items
that
needed
repair.
A
So
so
arlene
has
been
doing
that
for
the
past
few
years,
and
I
just
wanted
to
ask
her
to
come
and
kind
of
talk
to
you
guys
about
what
she's
been
doing.
Kyle
is
here
also
he's
been
like
one-on-one
with
our
art,
so
they
can
kind
of
give
you
an
idea
of
you
know
where
they've
been
where
they're
at
with
the
collection
so
far
and
then
some
recommendations
for
the
coming
year.
So
so
arlene,
thank
you
so
much
you
and
kyle
for
coming
and
and
take
it
away.
F
Okay,
well
one.
I
just
want
to
say
hello
to
everyone
and
tell
you:
yes,
it's
myself
and
kyle
who
owned
the
art
collective
and
we
do
a
little
bit
of
everything:
fine
art,
maintenance,
art,
storage,
art,
installation,
art,
transport
and
we
started
our
company
in
about
the
end
very
end
of
2018
and
we're
up
and
running
right
before
that
lovely
global
pandemic
that
we
all
experienced
but
wanted
to.
Thank
you
so
much
for
the
opportunity
to
have
two
consecutive
years
of
this
public
art
maintenance
contract
with
the
city.
F
It's
really
been
a
joy
for
us
to
participate
with
this
and
something
we
were
extremely
thankful
for
during
covid,
because
we
were
able
to
keep
working
at
the
very
least
cleaning
sculpture.
We
were
somehow
contributing
to
cleaning
things
up
during
that
lovely
global
pandemic
so
and
we
could
keep
our
crew
working.
F
So
we
really
are
appreciative
of
this
contract
and
I'll
kind
of
just
do
a
general
overview,
and
then
I
was
going
to
turn
it
over
to
kyle
because
he
is
the
one
whose
are
for
sure
expert
on
it
and
has
been
hands
on
with
all
of
the
sculpture.
So,
just
to
give
you
just
a
quick
review
of
where
we
started,
we
submitted
a
proposal
when
you
had
the
original
rfp
for
public
art
maintenance,
and
that
was
starting
with
a
set
amount
of
artwork,
and
this
was
2019-2020
contract.
F
F
G
Yes,
so,
as
arlene
was
saying
before
her
dog
interrupted,
we've
seen
a
lot
of
success
with
the
the
bronze
works.
It's
been
exciting
to
see
a
lot
of
the
pieces
kind
of
bring
out
their
original
patinas.
So
sorry,.
F
G
F
She's
back,
okay,
I'm
so
sorry,
anyways
I'll
continue.
I
am
obviously
at
home
and
my
dog
is
very
passionate
about
the
mailman
coming
to
our
house.
Okay,
so
going
back
to
what
I
was
saying
with
the
first
contract,
we
saw
quite
a
bit
of
success
with
some
of
the,
in
particular
the
bronze
pieces
that
were
part
of
the
work
that
was
prioritized
and
they
hadn't
been
cleaned
in
quite
some
time.
F
Put
together
an
inventory
list
of
all
of
the
artwork
part
of
the
city
of
palm
springs
inventory.
That
was
something
that
was
somewhat
unknown
so
going
into
the
second
year,
which
we
just
finished.
We
put
together
a
proposal
for
continuing
care
and
maintenance
of
the
artwork
that
we
had
already
found
success.
F
So,
in
summary,
of
what
we've
completed,
we
made
further
progress
on
the
original
artwork
pieces
that
we
were
working
on.
We
have
a
link
that
is
viewable
and
the
city
owns
with
the
pieces
that
we've
worked
on
all
the
reports
attached
to
that
of
the
before
and
after
photos,
and
then
also
the
artwork.
F
Assessment
for
the
city
of
palm
springs
that
had
quite
a
few
art
pieces
belonging
to
the
city.
We
could
not
physically
find
all
of
those
art
pieces
so
based
off
of
that
original
project.
There's
still
more
work
to
do,
and
we
have
a
list
of
pieces
that
we
could
not
find
that
need
more
further
review
and
locating
if
they
are
still
in
existence.
F
We
also
have
an
updated
suggestion
of
works
that
we
think
need
either
grounds
maintenance
care
to
prevent
further
damage
from
work.
Going
back
to
the
original
conservative
report
on
key
pieces
that
are
really
in
the
city
limelight
that
we
recommend
repairing
there's
a
few
pieces
that
came
back
with
a
considerable
restoration
cost
that
we
think
should
be
up
for
discussion
on
how
important
these
pieces
are
a
lot
of
these
restoration
costs.
I
think,
will
probably
be
over
what
the
value
of
some
of
these
pieces
are
and
then
also
tracy.
F
F
All
of
these
reports,
I'm
referencing
tracy
I'll,
send
to
you
in
a
dropbox
and,
however,
you
share
that
with
the
committee.
We'll
also
provide
the
updated
link
that
has
the
full
list
of
artwork.
We
have
found
that
belongs
to
the
city
of
palm
springs
and
included
in
that
is
reports
on
each
of
the
pieces
that
we
have
been
currently
maintaining.
G
I
mean
I,
I
could
say
a
lot
of
things.
I
just
didn't
know
how
in-depth
we
you
know
want
to
get
on
some
of
these
things.
I
think
a
lot
of
it's
more
detail
oriented
I
mean
I
think
there
are
some
pieces
that
are
more
immediate
concern,
especially
pieces
that
are
in
prominent
locations.
One
that
comes
to
mind
is
the
charlie
pharrell
piece
in
front
of
the
palestinians
airport.
G
I
mean
everybody
sees
that
that's
one
of
the
ones,
that's
in
the
worst
condition
and
part
of
the
challenge
we've
had
with
that
piece,
and
a
number
of
other
pieces
is
finding
out
who
to
contact
that
handles
the
sprinklers,
because
it's
getting
hit
by
sprinklers
from
multiple
angles
every
day
and
no
amount
of
work
that
we
do
and
maintenance
it's
still
still
getting
hit
by
water.
So
things
like
that
are
a
concern
and
again
just
prominent
pieces,
but
I.
F
G
F
Could
just
add
to
what
you're
saying
too
kyle
something
that
we've
discussed
is
again
when
we
originally
created
the
first
contract.
We
went
and
assessed
all
of
these
pieces
and
upon
assessment
we
knew
there
were
pieces
once
we
had
the
first
cleaning
we'd
be
able
to
be
able
to
further
determine
what
needed
to
potentially
be
repaired
or
additional
maintenance
on
going
into
the
second
year.
We
continued
that
and
something
where
I
think
is
proof
of
how
important
maintenance
is
for
art
at
the
airport.
F
There's
a
statue
of
jfk
and
part
of
the
first
contract
when
we
originally
assessed
the
piece
it
just
looked
like
it
needed
a
thorough
cleaning
after
cleaning
it
twice,
which
was
part
of
our
contract
the
first
year.
We
actually
thought
there
was
something
else
going
on
so
going
into
this
contract.
We
actually
brought
a
conservator
with
us
to
the
airport,
who
determined
that
the
piece
could
potentially
have
damage,
but
we
should
work
on
it
clean
it
a
little
bit
more
thoroughly
and
so
kyle
spent
what
two
two
full
days
at
the
airport
on
that
piece.
G
F
G
F
We
thought
this
was
going
to
have
to
go
on
to
our
list
of
a
full
restoration,
so
that
piece
by
having
two
years
of
maintenance
cleaning
and
then
having
a
conservator
even
come,
look
to
see
if
maybe
a
different
solution
was
needed,
actually
turned
out
to
be
a
successful
venture
and
a
piece
we
already
have
noted
on
for
our
next
proposal
to
really
monitor,
because
it's
something
that
we
need
to
watch
closely
to
see.
If
that
residue
comes
back
and
what
is
causing
the
residue
that
was
actually
damaging
the
piece
so
kyle.
G
So
there's
a
few
options:
yeah
when
we
were
talking
the
conservative
again,
this
may
be
too
detailed.
This
was
just
a
big
win
for
us
to
clean
this
one
up.
There
there's
a
tree
above
it,
so
we
weren't
sure
if
it
was
sap-
or
you
know
at
some
point,
somebody
could
have
maintained
it
with
a
lacquer
or
something
like
that.
You
know
there's
a
lot
of
possibilities,
so
I
think
that
pizza
is
really
important
to
continue
to
monitor
because
of
the
state
that
it
was
in.
G
I
mean
once
we
finally
figured
out
the
solution.
It
was
six
to
seven
hours
of
just
you
know
continuous
clean
to
get
it.
I
mean
it
looks
amazing
now,
but
I
think
it's
important
to
monitor
that
particular
piece
just
to
find
out
what
caused
the
original
build
up
on
it.
F
Yeah,
sorry,
that
was
detailed.
I
just
wanted
to
call
out
a
particular
reference
so
that
you
had
an
idea
and
again
I'm
saying
all
of
these
things.
When
you
have
the
visuals
to
go
through
we're
happy
to
respond
in
a
more
detailed
way,
but
ultimately
going
forward,
we
would
propose
continued
maintenance,
in
particular
on
the
bronze
pieces
that
we've
already
been.
Maintaining.
F
The
john
clements
pieces
tracy
you
and
I
have
spoken
about
those,
but
in
prepping
for
this
presentation,
kyle
noted
those
actually,
if
they're
not
going
to
be
moved,
those
at
least
need
to
go
on
concrete
bases,
because
currently
two
of
them
are
not
and
they're,
therefore,
sitting
in
a
moist
area,
which
then
starts
to
damage
the
piece.
So
I
think
we're
very
happy
with
the
progress
that
we've
been
made,
but
knowing
your
committee's
commitment
to
really
starting
to
fully
maintain
the
city's
arts
collection.
F
I
think
it
would
just
be
a
discussion
of
what
you
want
to
prioritize
next,
two
of
the
pieces
that
we
had
the
conservator
come
look
at
depending
on
what
budget
is
available.
Kyle
already
mentioned
the
charlie
pharrell,
but
I'd
also
call
out
the
felipe
castaneda
piece.
That's
on
palm
canyon,
that's
in
a
very
visible
area.
I
know
for
a
fact:
that's
an
artist
that
has
history
and
value
to
it.
Both
of
those
pieces
came
in
for
restoration
costs
between
6
500
and
10
000,
which
is
somewhat
normal
for
restoration
costs,
especially
since
involving
fraud.
F
So
I
think,
there's
certainly
future
discussions
that
need
to
happen.
We
wanted
to
give
you
at
least
a
roundabout
of
where
we've
been
excited,
to
see
this
progress
and
we'll
certainly
be
offering
a
formal
proposal
of
what
we
would
suggest
prioritizing
based
off
of
just
the
knowledge
of
some
of
these
sculptures.
F
A
Sorry,
I
have
a
quick
question,
two
quick
questions
for
you
then.
So
I
know
we've
been
talking
about
the
charlie
farrell
and
the
castaneda,
and
those
were
two
that
we
had
wanted
to
actually
start
restoration
on
last
year
and
we
don't
understand
why
they
didn't
get
put
in
to
the
contract,
but
that's
not
neither
here
or
there
so
because
we're
starting
new.
So
I
think
those
are
super
important
for
us
to
you
know
not
even
think
of
as
maintenance
to
just
think
of.
A
As
you
know,
we
have
a
certain
number
of
things
we
need
to
restore
and
that's
like
a
line
item
or
whatever,
but
I
and
then
the
clement
pieces.
We
always
go
back
to
the
clement
pieces.
I
I
think
they're
beautiful
and
it
just
really
disturbs
me
that
they're
so
poorly
installed-
and
I
told
everybody
that
I've
sat
at
the
coffee
shop
at
earnest,
coffee
and
seen
trucks
hit
the
clement
sculpture
there.
A
A
I
think
it
would
be
super
beautiful,
but
if
not
you
know,
we've
been
talking
about
d,
you
know
divesting
art,
so
your
input
on
some
of
this
is
a
really
good
discussion
we
can
have
with
city
council
right,
like
you
know,
the
clement
piece
at
palm
canyon
theater
is
on
grass
right.
So
it's
making
it
deteriorate
and
then
I
I
think
the
city
was
painting
them
every
few
years,
but
I
don't
think
that
has
been
done
in
a
in
a
while
and
you
know
they
really
need
to
be
repainted.
A
A
So
you
know
to
do
the
charlie
farrell
is
so
important,
and
maybe
we
ask
you
guys
if
you
could
give
us
you
know.
Maybe
you
recommend,
like
you
know
in
your
estimate,
right
to
the
city,
maintenance
staff
and
stacy
is
really
great.
Actually
so
I
think
if
we
brought
her
in
on
the
conversation,
she
would
be
really
helpful
to
us
about
these
maintenance
issues.
A
But
maybe
we
say
you
know,
maybe
you
guys
have
some
kind
of
recommendation
like
you
know,
surround
this
statue
by
so
many
feet
of
gravel,
or
you
know
something
like
that.
So
we
can
give
maintenance
people
like
a
a
way
to
start
looking
at
it,
because
if
we
spend
ten
thousand
dollars
restoring
it
and
then
the
sprinklers
are
just
hitting
it
every
day.
A
It's
it's
it's
just
you
know
a
crime
and
a
shame,
and
it's
not
anything
that
anyone
wants
to
have
happen
right
so
and
they
did
work
with
us
at
city
hall
with
the
mayor
bogart
statute,
because
that
was
being
sprinkled
on
all
the
time.
So
maybe,
if
in
your
re,
you
know-
maybe
in
your
recommendation,
if
you
kind
of
have
a
little
thing
that
we
can,
we
can
provide
to
the
maintenance
department,
I
think
they'd
be.
A
That
would
be
really
value
added
and
and
they
would
they
would
look
at
it
as
a
positive
thing.
They
would
want
to
help
us
with.
G
Great
in
regards
to
charlotte
phil,
that's
actually
a
relatively
easy
solution.
In
my
opinion,
what
I've
seen
is
it's
the
direction
of
the
sprinklers
at
one
point,
a
sprinkler
literally
directly
blasts
the
piece
enough
to
where
there's
water
spraying
everywhere.
G
So
I
think
in
regards
to
that
particular
piece.
That
is
a
relatively
easy
solution
and
the
john
clements
piece
is
like
I
couldn't
agree
more,
I
mean
they're
in
such
prominent
locations.
I
mean
they
haven't
been
that's
what
I'd
heard
as
well.
The
city
had
been
painting
them
every
year.
You
know,
I
mean
they're
just
faded.
You
know
I
mean
you
look
at
how
much
palm
springs
is
you
know
glowed
up
and
it's
just
then
you
see
these.
G
You
know
amazing
pieces,
they're,
just
kind
of
forgotten,
and
you
mentioned
the
piece
from
the
theater.
That's
the
one
I'm
most
concerned
about,
because
at
some
point
it's
going
to
become
a
structural
issue,
the
deterioration
and
then
suddenly
it's
a
public
hazard.
You
know
if
some
kid
goes
and
swings
on
it.
It
doesn't
have
the
structural
integrity
because
of
where
it's
resting,
so
we
would
be
very
excited
to
you
know,
help
with
relocation
and
make
suggestions.
G
Just
again,
you
know
we
love
our
city
and
we
love
our
art.
We
want
it
to.
You
know
present
the
best
way
how
it
should
so
we'd
be
very
excited,
helping
out
moving
forward
on
that
project
as
well.
Kids,.
G
I
I
figured
this
year
every
time
I
look
at
you
know
we
go
to
clean
this
just
like
we
can
only
do
so
much
just
because
again,
we
know
that
because
of
the
environmental
things
landscaping,
which
I
won't
keep
repeating
that,
but
you
know
it
is
concerning
you
know
you
make
it
look
amazing,
but
then
you
know
the
next
morning:
it's
not
going
to
look
as
amazing
as
it
was
after
we
finished
our
job,
so
we'd
be
excited
to
work
with
with
stacey
I'm
happy.
G
We
have
a
name,
and
I
I
think
that
would
be
on
board.
Like
you
said,
I
mean
we're
all
here
for
the
same
goal.
You
know
to
present
our
city
the
best
way
that
we
can
so
we'd
be
very
excited.
I'm
really
looking
forward
to
this
year.
I
like
what
you
said
at
the
beginning.
It
got
me
pumped
for
the
upcoming
project,
so
we're
looking
forward
to
it.
Thank
you.
A
Does
thank
you
guys
so
much
for
being
here.
Does
anyone
want
to
ask
these
guys
any
questions
or
have
any
comments
or.
H
Well,
first
off
I
want
to
thank
arlene
and
her
crew
for
doing
such
a
spectacular
job
for
the
last
couple
of
years,
just
to
have
the
information
that
we
have
now
on
our
collection
that
we
didn't
beforehand
is
immensely
helpful
to
us,
and
then
I
wanted
to
ask
two
things.
Unfortunately,
you
used
to
work
very
closely
with
commissioner
yani.
H
That
would
include
something
like
laying
a
concrete
pad
what
size
it
would
need
to
be
all
of
that
sort
of
thing
and
then
a
dollar
amount
that
would
be
associated
with
that,
because
I
know
those
pieces
we
would
like
to
have
in
one
place
ideally-
and
there
are
a
couple
of
commissioners
that
were
going
to
at
some
point
present
a
plan
for
an
area
city
property.
That
would
be
a
great
location
for
all
of
them
to
be
and
concrete
pads
would
be
necessary
because
it's
a
lawn
grass
area.
H
So
yes,
because
there's
also
a
couple
of
other
pieces
that
we've
talked
about
moving
there
there's
one
on
north
cam,
north
palm
canyon,
the
stacked
cubes.
I
can't
remember
the
artist
name,
but
it's
now
buried
behind
a
tree,
so
you
can't
really
even
see
it
yeah
so
very
specific
pieces.
If
this
new
commissioner
is
one
that
could
be
the
point
person
with
you
say:
okay,
these
three
pieces
in
this
piece:
how
much
will
it
cost
to
move
it
to
x,
location?
You
could
give
us
that
budget.
F
Absolutely
I
think,
a
lot
of
that
and
kyle
can
add
to
this
certainly
depends
on
knowing
the
site
that
it's
going
to
that's
really
required
for
us
to
really
dial
in
costs.
But
yes,
and
we
actually
just
provided
outside
of
this
committee,
we
were
requested
directly
by
the
city
of
palm
springs,
to
provide
a
quote
for
moving
the
bogart
statue.
Also
so,
and
we
put
together
a
general
estimate
because
they
weren't
quite
sure
where
or
if
that
place
piece
is
going
to
be
relocated.
F
But
yes,
it's
no
problem
for
us
to
provide
an
estimate,
and
we
always
try
just
so.
You
know
to
provide
a
max
estimate,
because
there
are
sometimes
unknown
costs
and
I
would
add
greatly
since
covid.
That
is
true,
but
this
is,
I
think
I
wanted
to
have
this
conversation
with
your
committee
to
really
get
a
feel
for
what
you
were
thinking
for
your
priorities
going
forward.
F
We
can
put
together
an
estimate
for
anything,
and
I
already
had
a
few
ideas,
some
that
tracy
you
and
I
discussed
about
priorities
for
the
city
and
what
you
want
to
do.
But
I
think
at
this
point
it'd
be
great
to
really
know
your
wish
list.
We
can
always
provide
quotes.
It
doesn't
mean
that
we
have
to
do
those
right
away
and
those
can
be
for
future
discuss
discussions
because
sometimes
having
those
quotes
really
certainly
determining
on
cost
or
if
you're
really
weighing,
which
piece
do
we
want
to
focus
on.
First
can
be
helpful.
G
No,
I
was
going
to
say
about
the
same.
You
know
the
more
information
we
have,
the
more
accurate
our
quote
can
be,
especially
with
pr
prepping
concrete
pads.
You
know
things
like
that
tend
to
take
a
month
to
cure
properly,
just
because
the
amount
of
weight
that
we're
putting
on
it,
you
know
there's
all
sorts
of
factors,
but
again
the
more
information
we
have,
the
more
accurate
we
could
be
on
our
quotes,
the
john
clements
pieces
in
particular.
You
know
I
would
like
others,
you
know
talk
about.
G
You
know
when
we
pull
those
pieces
up,
you
know
what
sort
of
reconditioning
can
we
do
with
these
pieces
before
we
reinstall
them?
You
know
going
back
to
the
piece
in
front
of
the
theater.
You
know
some
of
the
paint
has
actually
deteriorated
and
rusted
away,
and
you
can
certainly
paint
over
these
things,
but
there
are
other
options
to
make
sure
that
when
they're
in
their
new
space,
they're
going
to
look
like
a
new
art
installation,
but
yes,
that
was
a
very
long
answer
to
your
short
question.
C
And
one
of
the
pieces
on
the
document
that
I
have
in
front
of
me
is
specifically
the
sales
it
states.
One
of
the
questions
is
determine
the
ownership.
C
A
This
one
we've
had-
I
don't
know
if
arlene
wants
to
answer
we've
had
this
discussion
on
this
piece
that
it's
not
a
piece
of
public
art
that
we
can
determine
right.
We
think
it
was
a
piece
that
was
done
for
you
know
with
federal
dollars,
highway
fund
dollars,
but
it's
something
that
we
need
to
look
at
more,
but
there's
no
artist
attached
to
it
or
anything
that
we
know.
G
Gene
autry
and
on
ramon
as
well.
B
That's
my
understanding.
That's
a
state
of
california
artwork
for
the
highway
that
runs
through
that
that
area.
F
So
I
can
provide
a
little
context
of
how
we
were
slightly
involved
in
that
we
were
requested
last
year
to
do
an
assessment
on
that.
I
think
I
understand
it
that
there
was
a
city
councilman
who
was
very
passionate
about
having
those
pieces
potentially
repaired
upon
assessment
and
further
discussion.
We
determined
that
that,
yes,
those
could
not
be
confirmed
ownership
with
the
city
of
palm
springs,
which
then
does
not
give
us
any
latitude
or
approval
to
do
anything
further.
F
So
we
provided
a
general
assessment
on
those
pieces
and
that's
really
the
extent
of
how
we
were
involved
with
that.
B
Also
to
address
matthew's
question:
the
arts
commission
is
part
of
the
city,
so
it's
it's,
you
know,
sort
of
you
know
there
may
be
instances
where
the
city
decides
to
do
something
considered
art,
maybe
park
and
recreation
or
something-
and
you
know
the
question
is
regarding
maintenance.
B
F
And
I
would
note
too,
you
know,
I
think
there
was
one
other
one.
Other
instance
that
happened
last
year,
where
there
was
graffiti
on
a
sign,
I
think
in
front
of
maybe
the
casino
I'm
I'm
going
off
of
memory
here
and
we
were
asked
to
go,
assess
it
and
see
if
we
could
clean
it,
not
actually
part
of
our
contract.
But
what
we
did
last
year
was.
We
did
put
in
a
line
item
for
anything
that
potentially
came
up
so
that
we
would
have
a
little
bit
of
a
leeway.
F
Besides
even
saying
that
we
know
things
happen,
we
know
people
do
bad
things
to
public
art
sometimes,
and
we're
always
happy
to
be
on
call
and
assess
those
things
and
help
where
we
can.
So
while
we
couldn't
necessarily
the
sales
I
feel
like
was
somewhat
of
an
odd
situation,
anything
else
we've
kind
of
been
brought
in
on
we're
happy
to
do
that.
A
C
Going
back
to
a
statement
that
jay
had
made
about
this
particular
art
piece,
the
sales
again
if
they
were
put
in-
and
I
do
agree
they
probably
were
put
in
by
the
california
highway
department-
can
we
possibly
get
in
touch
with
them
to
find
out
if
they
have
funds
to
maintain
them?.
B
Yeah,
well,
I
don't
know
arlene
if
you
have
any
contacts
with
him
in
the
research
you
were
doing,
but
you
know
definitely
make
that
request.
I
hear.
F
I
think
we
yeah
we
started
to
go
down
that
rabbit
hole.
I
I'd
have
to
look
through
my
emails.
I
think
we
did
get
close
to
trying
to
find
a
contact
and
again
this
is
where,
if
if
this
is
something
that's
an
aesthetic
with
the
city
in
particular
relating
to
art
which
art
is
in
for
sure
the
eye
of
the
beholder
and
some
people
considered
certain
installations,
art
and
we
are
happy
to
go
down
that
path.
You
know
just
like
with
any
just
like
being
contracted
with
the
city.
F
Sometimes
people
who
have
ownership
of
these
things
don't
even
know
that
there's
an
issue
so
when
those
problems
arise
and
we
can
bring
back
the
sales
back
onto
our
kind
of
project
list
to
do
some
more
due
diligence
to
find
out,
it
was
a
little
tricky
finding
information.
But
again
I
I'll
have
to
circle
back
on.
If
we
have
a
contact
or
not,
but
there's
always
an
option
is
what
I
guess
I
would
say
to
that.
A
G
I
will
just
say
in
regards
to
cells,
I
went
and
took
a
look
at
them
personally
were
in
pretty
bad
condition.
I
mean,
I
think
our
initial
recommendation
is
probably
a
re
repainting.
G
I
don't
know
if
that's
something
that
can
be
safely
done
in
their
current
location,
I
mean
you
could
do
it
certainly,
but
it
would
not
be
to
the
best
quality
of
the
piece,
so
just
something
I
just
wanted
to
mention.
As
you
continue
to
pursue
this,
there
is
a
decent
amount
of
work.
That's
going
to
go
into
getting
these
back
to
what
I
would
consider
a
good
state
and
something
that
I
would
think
is
presentable
for
people
within
our
sending
and
new
new
people
coming
to
our
city.
A
B
B
Yeah
so
in
terms
of
the
budget,
I
think
chair
merrigan
mentioned
a
figure
at
the
start
of
this
discussion,
which
seemed
small.
B
B
As
a
whole
and
in
terms
of
the
scope
of
work
that
we
have
before
us,
so
I'm
just
wanting
to
open
up
the
discussion
and
how
much
flexibility
we
have
in
increasing
that
budget
because
it
seems
like
we
should
be
devoting
a
sizable
portion
of
our
annual
budget.
Just
to
maintain
the
collection
that
we
already
have.
A
Yeah,
that's
a
great
question
and
that's
one
thing
I
wanted
to
bring
to
the
next
meeting
is
to
have
a
discussion
on
our
budget
and
where
we
want
our
funds
to
go,
because
it's
not
something
that
we've
really
done
over
the
past
few
years
to
really
take
a
hard
look
at
you
know
we
have
this
amount
of
money
and
what
do
we,
you
know
want
to
kind
of
blank
set
aside
for
things
that
we
have
to
do
things
that
we'd
like
to
do
and
figure
out
where
everybody's
comfortable
right?
A
So
that's
one
thing
I
wanted
to
bring
up
at
the
next
meeting
and
then
yeah.
We
need
to
like
put
way
more
money
at
this
at
this
contract.
This
contract
has
ended,
so
we
do
need
to
renegotiate
a
new
contract.
So
that's
when
russell
said
the
the
thing
about
the
committee
we
have
a
committee
now
and
who,
who
whoever
else
wants
to
join
it.
A
So
it's
barrett,
christina
matthew,
and
I
so
we're
a
four-person
committee,
so
our
meetings
will
be
public
noticed,
so
we
have
to
kind
of
what
we
did
last
year
right.
So
we
well
you
weren't
on
the
commission,
so
we
went
through
arlene's
recommendations
and
then
we
came
up
with
a
recommendation
for
the
for
the
next
fiscal
year
and
then
some
of
that
is
what
she
worked
on
and
then
other
pieces.
I
don't
know
why
they
just
you
know
we
need
to
work
on
the
charlie
farrell.
A
There's
there
are
a
number
of
pieces
in
the
city
that
we
really
need
to
jump
on,
and
part
of
that
is
also
you
know,
putting
that
to
city
council
and
saying
you
know
we
need
to
put
our
money
where
it's
really
needed
for
these
pieces
and
then
also
use
that
as
hey.
You
know,
the
totem
pole
is
always
going
to
have
an
issue
being
in
that
park.
A
A
Yeah
they
they
they're
the
a
famous
car.
You
know
artist,
family
who
carves
totem
poles
and
they
gave
that
to
the
city.
So
I
don't
think
you
know
some
some.
We
don't
know
why
things
were
put
in
certain
places,
but
I
don't
think
you
know.
Maybe
it
was
like.
Oh
this
would
be
a
nice
place
for
it,
but
then,
as
time
goes
by,
you
know
it's
wood
and
you
know
we
need
to
take
care
of
a
number
of
these
pieces
in
a
better
manner.
A
So
so
yeah
we
have
to
put
some
money
behind
these
projects
because
they're
really
important
it's
it's
part
of
what
is
in
our
ordinance
that
we're
supposed
to
be
doing
so.
F
I
would
just
add
to
that
note
too,
when
we
started
the
first
contract,
there
was
a
very
clear
set
fund
and
that's
why
there
were
only
a
certain
number
of
pieces
chosen
to
get
this
started
to
at
least
start
the
ball
rolling
for
the
care
and
maintenance.
Last
year
there
was
a
little
bit
of
back
and
forth,
and
something
you
had
referenced.
A
So
one
question
on
that,
so
the
so
the
inventory
link.
Yes
excuse
me,
are
you
going
to
so
last
year
it
was
you
know,
it's
been
just
the
pieces.
You
were
working
on
correct.
So
are
you
going
to
add,
even
though
you
might
not,
you
might
not
have
all
the
information
but
add
all
of
those
additional
pieces.
So
we
have
like
an
okay,
great.
F
A
F
Yes,
so
we
used
the
same
database
system
that
we
use
for
our
art
storage
clients,
because
it
can
do
a
multitude
of
things.
One.
You
have
a
link,
that's
easily
accessible
with
visual
images
that
can
be
uploaded
with
documents
from
there.
I
can
export
all
of
that
information
into
csv
excel
file.
We
can
make
pdf
reports.
We
can
do
a
variety
of
things
pending
your
needs.
Ultimately,
our
first
priority
was
just
to
get
the
information
and
get
it
into
one
location,
but
also
knowing
this
is
a
city.
F
A
And
then
so,
then
we
can
provide
that
to
an
appraiser
to
do
yes,
correct,
great
yeah,
because
the
what
we
had
decided
was
that
we
would
so
for
the
commissioners
who
don't
know,
we've
been
going
down
this
route
of
creating
an
inventory
which
you
know
we
had
this
excel
sheet
from
2006.
That's
all
we
have
so
this
has
been
this
journey
and
thank
you
arlene
has
been
helping
us
on
this.
So
it's
it's.
You
know
we're
get
we're
actually
getting
quite
there
much
better
than
we've
had
in
the
past
few
years.
A
So
then
it
when
you
know
so
arlene,
has
created
this
link
and
I've
sent
it
to
the
committee
we'll
send
and
we'll
send
all
of
this
out
to
all
of
the
commissioners.
A
So
you
make
sure
you
all
have
this
information,
but
then
we
will
provide
the
city's
I.t
department
with
this
csv
file
and
even
though
there's
a
new
one,
though
there
will
be
a
new
it
person,
so
I'll
have
to
talk
to
them
about
it
again,
but
they
will
take
that
information
and
they
will
upload
it
and
create
new
files,
new
fields
for
it.
So
we
have
a
public
arts
inventory,
that's
within
the
city
of
palm
springs
system
and
then,
hopefully
that
will
become
a
forward
facing
site
that
the
public
can
look
at.
A
You
know
with
certain
information
that
we
want
to
share,
so
those
are
kind
of
all
of
the
steps
it's
it's
going
to
take
a
while
to
have
all
of
it
happen,
but
we're
we're
actually
really
making
progress
on
it.
So
that
is
amazing.
F
A
A
A
A
F
E
F
E
A
So
that's
the
first
time
we've
had
them
as
a
full
commission.
So
I
really
wanted
to
make
sure
that
you
guys
are
all
in
the
loop
on
this,
so
we
can
think
about
how
much
money
we
want
to
budget
and
and
what
we
think
we're
going
to
ask
for
in
a
new
contract.
A
So
we
have
to
make
a
proposal
and
then
have
a
vote
on
it
and
send
it
to
city
council.
So
when
arlene
sends
the
rest
of
the
material
I'll
make
sure
that
the
whole
commission
has
it
and
then
we
can
come
up
with
a
plan
on
how
to
kind
of
meet
on
it.
A
Since
it's
for
people
we
haven't
all
talked
all
at
the
same
time,
but
when
we
did
this
work
last
year,
it
wasn't
a
very
long
term
committee
work.
We
just
kind
of
made
a
budget
and
and
kind
of
went
through
our
needs
and
assessments
of
the
year.
So
we
can
work
on
that.
A
So
the
next
item
is.
A
The
parks
and
recs
commission.
A
Discussion
and
presentation-
and
I
did
send
I
I
think
jame-
might
have
missed
the
email.
But
I
did
send
out
a
link
to
parks
and
rec's
meeting
and
where
they
were
talking
about
the
moving.
The
bike
rack
and
placing
the
taught.
A
A
They're
very
upset
with
the
public
arts
commission
and
feel
that
and-
and
this
is
not
saying,
they're
right
or
they're
wrong-
they
feel
very
slighted
and
not
they
don't
feel
like
we're,
collaborating
collaborating
with
them
at
all,
so
we're
kind
of
in
on
our
end,
you
know
I
looked
through
the
ordinance
and
you
know
we
followed
what
we
did
with
the
ordinance,
but
we
need
to
always
really
like
reach
out
and
be
collaborators
within
the
city
since
we're
all
all
in
the
same
pot,
and
we
all
want
to
be
friends
and
we
don't
want
people
like
I
mean
if
you,
if
you
guys
watch
the
meeting
brutal,
it
is
absolutely
brutal
three
hours
long,
so
I'm
going
to
go
to
their
meeting
on
monday,
both
russell
and
I
are,
and
I'm
going
to
do
like
a
maya
culpa
of
not
keeping
them
into
the
loop.
A
A
So
anything
that
we
do
in
a
park-
and
this
has
to
do
with
the
project
that
you
guys
are
interested
in
working
on
right.
So
you
want
to
do
a
a
project
at
francis
stevens
park
and
and
with
that
location
comes
a
couple
of
things.
One
it's
a
park
so
anything
that
we're
going
to
do
in
a
park.
We
we
really
need
to
go
and
give
parks
and
recs
a
heads
up.
A
So
even
if
it's
not
voted
on
before
it
gets,
you
know
too
far
down
the
road
like
when
you're
almost
starting
it
in
a
way.
We
need
to
ask
parks
and
rex
to
get
on
their
agenda
and
just
say:
hey
we're
thinking
of
doing
this
project.
Are
you
guys
interested
in
it
like?
What
is
your
feedback
to
like
involve
them
in
the
in
the
conversation
so
and
then
they
might
have
some
really.
You
know
good
ideas,
better
ideas
than
we
have,
because
they
they
are
in
charge
of
the
parks.
A
So
so
that's
one
thing
we
need
to
do
when
you
guys
are
talking
about
the
francis
stevens
thing
and
also
that
park
is
a
historic
site.
The
whole
site
is
a
historic
site,
so
any
discussion
of
any
project
that
you
want
to
do
there.
A
We
also
have
to
involve
the
historic
site
preservation
board
and
if
you
listened
to
the
meeting
the
historic
site
preservation
board
at
the
end,
a
friend
of
mine
made
this
comment
that
basically
the
you
know
they
were
mad
at
public
arts
commission,
because
we
asked
them
to
approve
this
mural
that
was
already
being
painted
so
we're
kind
of
getting.
You
know
there
is
tension,
because
we
have
not
been
inclusive
up
front
with
people,
but
we're
also
getting
blamed
for
things
that
we
had
absolutely
nothing
to
do
with
like
that.
A
Mural
having
to
have
them
have
a
special
meeting
to
vote
on.
It
had
nothing
to
do
with
us
so,
but
there
was
no
one
there
to
say
that
I
tried
to
sign
into
the
meeting,
but
I
couldn't
get
in
so
it's
kind
of
left
hanging
that
it's
like,
oh
well,
they
didn't
follow
the
rules
or
whatever
so
now
we're
having
to
have
this
special
meeting.
A
So
so
any
discussion
of
anything
at
francis
stevens
is
going
to
include
those
two
organizations
as
well.
So
just
heads
up
on
that.
A
We
just
have
to
kind
of
establish
those
relationships
ahead
of
time
and
I'm
you
know
we're
gonna
go
say
we're
sorry,
I'm
gonna
say
we're
sorry
and
then,
hopefully
that
will
we
can
grease
the
wheels
and
start
anew
with
this
commission,
because
also
they
were
really
upset
about
the
aids
memorial,
but
that
also
had
nothing
to
do
with
us
right.
So
I
they're
obs.
A
lot
of
the
reason.
A
They're
upset
is
just
a
communication
problem
too
it's
and
it's
not
necessarily
our
fault,
it's
not
their
fault,
it's
just
miscommunication
and
it's
toxic
at
the
moment,
and
we
just
need
to
nip
it
in
the
bud
and
be
good
neighbors
and
just
really
value
their
opinion
on
what
they
do
in
parks,
because
we
would
want
them
to
value
our
opinion
on
public
art.
A
So
when
we
first
wrote
you
know
people
reached
out
from
the
city
to
say
this
was
an
issue.
I
kind
of
had
this
idea
like,
oh
well,
why
don't
we,
you
know,
try
to
smooth
things
over
there's
this
bike
bike,
rack
project
we
did
a
number
of
years
ago
before
russell,
and
I
were
on
the
commission
of
these
public
art
bike
racks.
I
thought
why
what
if
we
buy
them
a
couple
of
these
bike
racks
as
a
you
know,
let's
move
forward
together
kind
of
thing.
A
A
I
guess
a
bunch
of
bike
racks
are
broken
and
they
already
determined
like
where
to
move
things,
so
they
kind
of
already
determine
where
to
move
our
sculpture
of
the
heath's,
satel,
sculpture
and
city
maintenance
is
going
to
give
them
a
few
extra
bike
racks,
but
I
do
think
it
would
be
fun
in
a
way
of
you
know,
creating
good
relations
if
we
thought
of
purchasing
a
couple
of
bike
racks
for
them
and
then,
if
we
want
to
give
a
recommendation
about
where
to
move
this
spider,
we
can
do
that.
A
You
know
as
well.
Russell
has
some
photos
he
wants
to
show
you
guys.
A
So
that's
kind
of
where
that's
at
so
I
know
russell's
gonna
give
a
presentation
to
them
on
monday,
and
so
I'm
just
putting
this
out
here
for
you
guys
and
and
russell
if
you
want
to
put
your
two
cents
in
take.
Take
it
from
here.
H
Yeah
you'll
just
chime
in
quickly
because
it's
yeah
we're
in
the
unfortunate
situation
that,
during
our
process
of
presenting
and
sending
the
taught
installation
to
city
council,
no
one
in
city
staff
or
city
council
advises
us.
You
should
really
go
take
this
to
reckon
park,
because
when
I
looked
at
the
swim
center,
I
don't
think
of
it
as
a
city
park.
I
think
is
it
a
as
a
city
facility,
but
anyway
to
backtrack
from
that?
H
I
went
over
there
today
and
took
several
pictures
which
I
sent
over
to
jay
and
even
on
site,
because
they
specified
the
importance
of
having
this
particular
bike,
rack
and
or
other
bike
racks
there.
There
is
a
location
just
to
the
left,
if
you're
looking
at
the
bike
rack,
where
we're
going
to
put
the
top
installation
where
there
is
ample
room
for
this
to
be
moved
and
this
picture
that's
on
the
screen.
Now
is
an
area
where
we
wouldn't
do
the
spider
bike
rack,
but
we
could
certainly
do
a
city
of
palm
springs.
H
H
I
think
this
again
is
just
an
area:
that's
open
space.
It
would
certainly
accommodate
one
of
the
city
of
palm
springs
or
the
sustainable
community
bike
racks,
but
then
the
other
picture
they
sent
you
jay
is
to
the
left
of
the
actual
entrance
to
the
swim
center,
where
there's
also
the
gates
to
the
skate
park
and
there's
some
tennis
courts
there
there's
an
open
area
that
would
fully
accommodate
the
spider
swim
director
are
bike.
Rack!
That's
already.
There.
H
Right
right
here
in
the
left
side
of
these
gates,
there's
apple
area
for
the
underneath
those
palm
trees
and
the
clipped
hedges
would
be
a
perfect
location.
It's
it's
literally
like
20
feet
from
the
where
the
existing
rock
is
at
the
moment
and
in
all
of
the
times
I've
gone
to
the
swim
center.
Today
was
the
first
day
that
I
actually
saw
a
bike
chain
to
the
bike
rack,
but
so
there's
apple
space
there,
which
we
could
recommend
to
parking
rack
that
this
would
be
an
ideal
location
to
move
it.
That's
20
feet
away.
A
Yeah,
I
expected
because
of
what
we
were
told.
I
expected
them
to
say
like
oh
there's,
you
know
lights.
You
know
attached
to
this
bike
rack
all
the
time,
but
they
didn't
really
say
that
they
said
they
need
more
bike
racks
right.
So,
if
you
guys,
you
know
it's
kind
of
up
to
you
guys
like
what
you
think
we
want
to
do
like.
If
we
want
to
say
hey,
you
know
we'd
like
to
move
the
spider
here.
H
A
A
I
read
that
article
I
included
on
the
agenda
the
it
was
interesting
reading
about,
like
I,
I
know
david
dixon
for
a
long
time,
and
it
was
really
interesting
reading
about
what
he
said
about
this
project.
So
I
thought
that
was
really
cool,
so
it
would
be
neat
to
like
you
know
there
were
only
a
few
of
them
around
town.
H
B
Yeah
I
I
just,
I
think
that
if
we
zoom
out
a
little
bit
on
this
whole
situation,
I
find
it
distressing
because
it
was
our
first
meeting
as
new
commissioners
and
we
voted
on
this
project
and
we
didn't
know
you
know
that
it
could
have
these
ramifications.
So
I'm
I'm
I'm
sad
that
this
is.
This
has
all
come
to
pass,
but
is
there
any
way
that
we
could
just
understand.
B
Collaborating
with
parks
and
rec
historic
preservation
and
any.
A
A
I
asked
gary
if
he
would
be
our
liaison
to
the
parks
and
rex
commission
and
then,
if
you
guys
want
to
vote
on
that,
if
that
would
work
before
you
know
anything
that
you
do.
We
had
this
problem
with
the
benches
at
city
hall
and
I
had
said
at
meetings,
not
a
number
of
meetings
that
we
need
to
reach
out
to
historic
site
preservation
and
talk
to
them
about
these
projects
ahead
of
time,
but
it
wasn't
done
so
now
we
need
to
backtrack
and
yeah.
A
It
would
be
great
if
we
asked
to
be
on
the
agenda,
historic
site
preservation
board
and
just
went
there
and
said:
hey.
You
know
we
wanted
to
talk
to
you
guys
for
a
few
minutes
and
let
you
know
we're
interested
in
working
with
you.
That's
all
it
really
takes
right
right,
so
we
did
a
lot
of
we
paid
for
a
lot
of
projects
in
the
parks
and
wrecks
over
the
past
year
and
that
seemed
to
have
completely
backfired
like
we
have
no
well
of
goodwill
with
them.
A
So
I
talked
to
gary
about
it
for
a
long
time
and
that
and-
and
he
graciously
accepted
to
do
that-
hopefully
that's
still
the
case,
and
if
we
need
to
vote
on
it
we
can.
But
if
any
of
you
would
you
know,
if
you
think
about
it
at
this
meeting
right
and
say
hey,
you
know
I
would
like
to
reach
out
to
historic
site,
and
then
we
will
do
that,
but
we
need
to
kind
of
have
a
like
a
little
bit
of
a
brief
right
before
you
go.
A
Do
that
so
maybe
we
come
up
with
a
brief
that
works
for
all
of
them
or
something
like
that
because
it's
you
know
we're
all
on
the
same
team
and
it's
not
good
to
not
I'm
a
collaborative
person
and
I
have
relationships
all
over
plate
all
over
town,
and
I
don't
like
to
have
this
kind
of
you
know
it.
A
Just
was
crushing
listening
to
that
meeting
last
week
and-
and
you
know-
and
so
I
agree
with
you
completely
christina
so
maybe
if
a
few
commissioners
want
to
volunteer
to
be
a
liaison
and
then
but
we
do
have
to
kind
of
come
up
with
a
brief
of
the
commission
itself
right.
So
we
don't.
You
know,
especially
if
you
guys
want
to
do
this.
Francis
stevens
thing
you're
going
to
have
to
reach
out
to
them
as
well.
B
That
was
the
one
thing
that
when
christina
and
I
met
it,
was
we
know
we
want
to
do
something
here
and
we
knew
it
was
parks
and
we
were
just
like
you
know,
give
us
guidance
on
how
we
pursue
it
because,
as
I
mentioned
to
you
tracy,
I
don't
want
to
go
down
this
road
of
brainstorming
and
writing
and
coming
up
with
amazing
ideas.
If
parks
is
like
yeah,
that's
nice,
but
no,
so
I
I'm
all
for
going
to
them
now
and
just
saying
here's
our
vision.
We
have
no
particulars,
no
specifics.
B
C
And
I'm
gonna
make
two
statements.
First
of
all
we're
talking
about
collaboration,
but
we're
talking.
If
I'm
wrong
here-
and
I
don't
mean
to
offend
anybody,
but
I
may
be
wrong:
we're
talking
about
placing
bike
racks
in
a
park
without
first
asking
the
parks
and
wreck
where
they
would
like
the
bike
racks
to
be
placed.
C
C
One
thing
I
had
here
that
I
think
it
would
be
nice
for
us
to
talk
about
collaboration,
but
we
talk.
Would
it
be
nice
for
us
to
initiate
a
quarterly
meeting
with
the
chamber
with
the
arts
community
with
the
historic
society
with
the
museum
with
everybody,
that's
involved,
to
have
quarterly
meetings
or
two
yearly
meetings
where
we
discuss
what
everybody's
doing
where
we
discuss
what
our
focus
is
so
that
we're
all
sort
of
working
together,
because.
H
A
No,
that's
a
great
idea,
and
if
you
want
to
you
know
if
people
are
are
in
favor
of
that,
you
could
pursue
starting
to
try
to
get
something
like
that
up
and
up
and
running
no.
A
Can't
we
can
only
make
a
you
know
we
we're
responding
to
their
meeting
so
that
the
purchasing
some
racks
for
them
was
my
idea.
They
don't
have
to
take
it
right.
It's
you
know
it's
completely
up
to
them.
I
just
thought:
maybe
if
we
offer
it,
we
don't
have
to
either
and
we
don't
have
to
offer
them
a
place
to
put
the
spider
as
well.
We
could
just-
or
we
can
say
you
know
we'd,
like
you
know,
if
you
guys
haven't
reinstalled
it
already.
A
You
know
we'd
recommend
to
put
it
here
so
so
up
to
you
guys,
whoever,
however,
you
guys
want
to
take
this.
We
are
going
to
the
meeting
anyway.
H
A
So
is
that
how
you
guys
want
us
to
handle
it
like
we
just
throw
out?
Oh
you
know,
maybe
maybe
we
could
purchase
bikes
bike
racks
for
you,
and
maybe
this
is
a
location
you
could
use
and
not
vote
on
anything
tonight.
H
A
Okay,
so
so,
then,
we'll
move
on
to
stop
it
in
the
excuse
me
stop.
In
the
name
of
love,
utility
boxes
and
shonda
is
gonna.
Give
us
a
presentation
on
her
project.
D
Now,
before
I
go
and
before
I
do,
that
parks
and
rec
came
to
me
with
a
project,
and
so,
if
they're
asking
me
to
do
a
project,
then
do
I
then
write
it
up
as
a
proposal
to
bring
it
to
council.
So
we
can
vote
on
it.
Being
done.
Is
that
what
I'm
understanding
no.
A
D
I
mean
the
only
detail
I
have
is
that
the
new
person-
I
don't
even
know
if
he
knows
who's,
how
the
chain
of
command
goes,
but
there
is
a
room
that
was
brought
to
my
attention
at
the
dummy
community
park
and
I
was
asked
by
them
for
public
arts
to
create
a
mural
project
or
several
neural
projects
in
this
space
for
them.
D
So
that
person
asked
me
to
to
see
what
we
can
come
up
with
so
now
now
that
I
know
this
is
going
to
be
the
process
because
before
we
have
it
better
process
with
with.
A
Well,
there
should
have
been
a
process
that
just
wasn't
necessarily
followed
right,
so
we
we
can't
do
projects
unless
we
vote
on
them,
and
then
we
can't
promise
people
we're
going
to
do
things
for
them
without
talking
to
us
about
it.
Anything.
D
Anything
that
promised
anybody
anything
I'm
because
this
information
is
new.
Coming
at
me
now
I
am
now
saying
that
parks
and
recs
has
come
to
me
and
asked
about
a
project.
I
have
taken
pictures
of
the
room.
I
can
submit
those
pictures
to
the
group,
but
I
have
not
said
anything
to
anybody
at
parks
and
recs.
They
asked
me
to
do
it.
I
took
pictures,
I'm
like
okay,
I'll
see
what
I
can
do
and
that's
all
I
said,
no
promises
to
anybody.
D
A
No
thank
you
very
much
and
just
so
everyone.
Everybody
remembers
that
public
art
has
to
be
visible
18
hours
a
day.
A
D
Okay,
now
on
to
stopping
the
name
of
love
so
far,
hopefully
you
guys
have
gotten
all
the
information
eight
traffic
boxes
have
been
painted.
Actually
there
were
nine
and
one
was
removed.
D
The
link
has
been
sent
to
you
for
all
the
artwork
that
was
submitted
for
the
project
and-
and
I
feel
I
don't
know
if
this
is
right-
that
gene
autry's
project
should
is
a
different
project
than
the
stop
in
the
name
of
love
because
it
has
to
be
approved
outside
of
it.
I
don't
know
how
this
would
work
if
it
was
an
addendum
or
what,
because
this
project
has
already
been
approved.
So
I'm
a
little
sketchy
on
the
details
of
how
the
g,
not
trees
boxes,
will
get
approved.
A
So
the
reason
that
they
need
to
be
approved
is
because
only
so
each
box
itself
was
approved
by
city
council,
so
these
are
not
part
of
the
boxes
that
were
approved.
These
are,
in
addition,.
D
Yeah,
I
know
they're,
I
understand
that
and
I
and
unfortunately
I
think
we
have
a
communication
problem
with
each
other.
What
I'm
saying
is
is
that
this,
the
gene
autry
project
is
a
different
project,
so
is
it
going
to
be
approved
as
the
gene
autry
project,
because
the
way
it's
stated
now
that
it's
an
addendum,
I'm
understanding,
I'm
not
understanding
how
this
is
getting
approved,
of
these
two
additional
boxes
being:
okay,.
D
I
don't
understand
like,
but
that's
the
thing
I'm
I
was
hoping
that
you
would
put
the
box
project
all
the
stuff.
Jay
has
all
the
information
it
was
sent
out
to
everybody,
so
everybody
can
see
all
the
different
artwork.
So
I'm
not
understanding
what
you
want
from
me.
You
said
for.
A
Me
he's
trying
to
ask
you
to
kind
of
go
over
the
project,
so
you
can
elucidate
the
project
to
the
new
commission
commissioners.
So
then
you
could
do
your
proposal
for
these
two
additional
boxes,
so
then
they
would
have
the
information
to
vote
on
it.
So
so
this
is
your.
This
is
your
proposal,
so
just
take
it
away
on
how
you're
going
to
to
work
with
it
with
everybody
here.
B
D
Okay,
the
the
file
was
the
email
link
that
has
all
the
boxes,
the
proposal,
everything
on
it,
and
then
there
was
another
link
with
just
the
eight
completed
boxes.
D
Yeah
that
was
sent
earlier
in
addition
that
was
sent
yeah.
You
can
pull
that
up.
D
Because
the
stock
in
the
name
of
love
project
is
one
project
which
you'll
see
as
you
pull
up
as
you
scroll
down.
I
guess.
D
So
these
are
all
the
intersections
and
all
the
boxes
that
have
been
approved
by
the
city
to
be
painted,
and
if
jay
does
this
one
have
all
the
different
artwork
on
it.
B
D
And
then
these
are
all
the
different
artworks
for
the
boxes
and
then
all
these
boxes
were
already
voted
on
on
what
order
that
they
wanted
to
be
released,
which
that
link
was
also
included.
It's
in
the
google
there's
a
google
drive.
Also,
these
were
all
voted
on
and
the
first,
the
ones
that
got
the
highest
votes
were
the
first
eight
boxes
that
went
out
first.
D
D
And
the
gene
autry
project
they
wanted
to
have
some
of
this
artwork
or
the
artists
that
were
on
our
website.
They
chose
their
artists
that
they
wanted
for
their
neighborhood
for
the
two
boxes.
D
Now
there's
several
ways
we
can
do
it.
I
can
ask
her
in
if
she
wants
to
choose
any
of
those
designs
and
we
can
get
those
designs
whatever
designs
that
they
look
at
they
can
ask
for,
and
then
I
guess
the
committee
would
vote
if
those
two
box,
if
the
those
two
artists
that
they
chose
it's
okay
to
to
approve
for
those
boxes
to
be
done.
D
So
I'm
unfortunately,
I'm
at
a
little
bit
of
a
loss,
because
I've
never
had
to
present
something
like
this
before
and
I
feel
like.
These
are
two
different
projects
and
I
just
want
to
make
sure
that
corrine
and
the
gene
autry
neighborhood
gets
their
two
traffic
boxes
that
they
would
like.
D
These
are
the
eight
boxes
that
have
been
completed
and
the
intersections
that
they
are
currently.
D
The
city
two
of
the
boxes
on
the
day
that
we
had
121
degree
heat
they
overheated
and
those
from
what
I
know
of
personally,
of
actually
driving
past
those
boxes.
In
the
last
four
years
that
I've
been
in
palm
springs,
those
intersection
lights
have
gone
out
and
on
that
particularly
hot
day,
those
boxes
went
out
and
one
of
the
boxes
were
decommissioned
because
it
was
wrapped
in
astro
turf
and
the
artists
failed
to
put
the
holes
at
the
bottom.
D
So
then
that
one
was
decommissioned
and
and
that's
the
only
one
that's
been
removed
so
far.
So
here
is
what
you're
looking
at
right
now
is
the
boxes
that
the
gene
autry
neighborhood,
wanted
and
you'll
see.
I
don't
know
if
you
can
scroll
up
a
little
j.
D
So
those
are
the
two
boxes
in
this
picture
that
are
available
for
the
gene
autry
neighborhood
to
be
painted.
D
So
oh
go
ahead.
H
Yeah
just
a
question,
if
I
may
so
all
of
the
previously
approved
boxes
and
budget
all
of
those
are
accounted
for.
So
this
proposal
is
indeed
a
separate
proposal
for
two
boxes
in
the
genocide:
neighborhood,
seven
hundred
dollars
each
so
a
budget
of
fourteen
hundred
dollars,
which
we
have
to
approve,
which
now
has
to
go
to
council
for
approval.
B
Although
there
were
groups,
are
the
boxes
that
were
approved
and
that
these
appear
to
be
additional
boxes,
in
addition
to
those
that
were
already
approved
so
procedurally
it,
it
would
be
the
commission
voting
to
approve
them,
and
then
the
council
approving
them,
even
though
it's
such
a
small
dollar
amount.
B
D
Okay,
so
I
would
like
to
propose
a
new
proposal
of
this
proposal
for
the
two
gene
autry
boxes.
If
I
could
ask
the
commission
this
evening
to
vote
to
approve
these
two
boxes
to
be
painted
for
the
gene
autry
community.
D
A
Ask
one
question
before
just
about
the
funds,
so
in
your
request
it
was
changed
on
the
agenda
from
what
I
had
given
them,
but
you
had
wanted
a
dollar
fee
for
the
artist
and
two
hundred
dollars
for
supplies.
A
So,
if
anyone's
going
to
make
a
a
recommendation
on
that,
we
just
have
to
take
that
into
consideration.
If,
if
you
just,
if
you're
doing
a
700,
the
way
it's
written
up
is
that
you're
giving
a
700
artist
fee
and
the
other
project
the
artist
fee
was
500.
So
I
don't
know
how
you
want
to
you
know
a
commissioner
had
asked
me
that,
so
I
don't
know
how
you
want
to
answer
that.
D
Yeah,
I
I'd
have
to
go
back
through
the
paperwork
again,
because
I
believe
that
the
boxes
were
more
than
that.
No,
they
were
500.
B
Thanks
yeah,
I
I
checked
the
the
original
signed
document
from
the
that
was
presented
in
city
council
and
it
said
quote:
all
funding
is
budgeted
and
available
to
the
public
art
fund.
The
city
will
enter
into
individual
agreements
with
artists
performing
the
work
at
each
location
at
a
cost
of
500
per
location.
B
The
public
art
project
is
estimated
to
cost
26
000
with
52
locations.
52
into
26
000
is
500
per
box,
and
I
just
had
to.
I
don't
know
really
how
much
we've
spent
in
totality
on
this
project.
B
If
this
is
more
money,
the
extra
200
is
more
money,
and
why
are
we
paying
some
people
700
and
others
only
got
500?
From
my
perspective,
I
think
a
project
like
this.
We
need
to
have
sort
of
a
universal
fee
for
everybody,
and
then
I
have
one
other
question.
Well,
two
others
actually-
and
this
is
just
globally
for
this
sort
of
project-
is
what
sort
of
post
installation
inspection
process
do
we
have,
because
when
I
was
surprised
when
I
saw
the
original
designs
of
a
lot
of
them-
and
they
were
great,
they
were.
B
I
was
like
wow.
Those
look
really
cool,
but
they
were
not
executed
in
that
manner.
So
do
we
go
to
the
artist
and
say
hey
this,
isn't
what
you
presented?
You
presented
something
a
little
more
dynamic
and
graphic,
or
how
do
we
deal
with
that
or
is
there
any
inspection,
post,
installation.
D
Yeah,
as
far
as
I
know,
there
is
no
post
inspection
installation,
it's
basically
the
two
commissioners
that
are
on
the
project.
They
look
to
make
sure
that
the
boxes
is
complete
before
there
used
to
be
a
another
artist
that
would
come
in
and
do
that
and
he's
been
taken
out
of
the
equation.
Unfortunately,
the
boxes
were
500,
but
if
the
two
boxes
were
side
by
side,
they
were
given
750
because
they
were
so
close
in
proximity.
I
think.
D
Oh
I'm
sorry,
the
utility
boxes
are
7.50,
the
traffic
boxes
are
500
and
if
they're
two
boxes
side
by
side,
then
the
artist
was
given
additional
fee.
I
don't
think
you
I'll
have
to
look
through
my
stuff,
because
the
stuff
that
you
all
have
approved
now
that
I'm
looking
at
wasn't
the
stuff
that
I
received
that
was
approved,
so
I'm
gonna
have
to
look
back
and
see
because
I
think
emily
emily,
tate
jay,
I
don't
know
if
you
could
find
her
information.
D
She
did
two
boxes
side
by
side
and
her
fee
was
more
because
also
there
was
allotment
for
art.
I
mean
not
a
allotment
for
paint
and
allotment
for,
and
that
was
where
the
200
came
in.
It
was
to
get
supplies
and
then
that
other
artist
that
was
supposed
to
paint
and
seal
the
boxes
that
was
kind
of
to
like
that's
how
it
was
done
before
I
understood.
B
Did
we
pay?
Did
other
artists
get
sam
or
emily.
E
Madam
chair,
let
me
start
my
video
I'm
happy
to
chime
in
here.
Oh
great,
thank
you
cindy,
I'm
I'm
and,
and
forgive
me
I'm
trying
to
do
some
work.
While
I
listen
so
I
I
actually
can
tell
you
what
we've
paid
so
far.
Commissioner
fabo
is
correct.
We've
done
eight
boxes,
we
have
spent.
E
It
looks
like
fifty
three
hundred
dollars
on
those
eight
boxes.
Most
of
the
artists
received
seven
hundred
dollars
per
box,
and
that
is
an
artist's
fee
of
500
and
it
looks
like
they.
We
were
invoiced
for
200
in
materials.
E
It
I
think
the
most
recent
was
for
500,
but
the
majority
of
the
other
ones
are
for
700..
Thank
you.
D
And
the
reason
why
the
last
box
was
500,
because
that
artist
did
another
box
that
was
larger,
so
she
got
a
smaller
amount
for
a
smaller
box,
because
that
was
the
agreement
going
in
like
for
emily
tate.
Her
two
boxes
were
side
by
side
and
she
got
that
all
those
fees
and
what
was
how
much
did
she
get
paid
cindy.
B
You
know
I
look,
I
have
no
problem
with
the
200,
it
just
wasn't
in
the
original
proposal
and
I
just
wanted
to
ensure
that
we
didn't
pay
one
artist
more
money
and
you
know
everybody
needs
to
get
really
the
same
amount
for
doing
the
same
job,
particularly
because
this
is
a
you
know.
It's
a
a
nice
thing
for
the
city.
E
Well,
it
would
be
helpful
for
staff,
certainly
to
know
what
what
we
will
be
expecting
for
each
one.
It's
helpful
for
us
to
know
what
we
need
to
take.
It's
right.
B
D
A
Well,
it
looks
like
it
looks
like
I'm
just
running
off
the
sheet
that
sarah
made,
which
obviously
is
not
correct
right.
D
A
I'm
just
looking
at
the
february
11th
what
the
council
approved.
They
approved
500
for
each
location,
so
I
don't
know
how
we
have
now
a
200
fee
for
supplies
and
then
other
boxes
are
more.
It's
going
to
end
up
being
more
than
this
26
000
by
the
end.
So
I'm
just
saying
to
keep
that
in
mind.
I
think
it
should
be
completely
consistent.
D
A
D
So
the
house
is
that's
where
my
frustration
is
because
when
I
was
doing
this
project,
we
had
another
person
on
staff
helping
me
with
this
project
and
they
didn't
execute
everything
they
were
supposed
to
do
so
then
now
it
leaves
me
holding
the
bag
of
like
oh
yeah.
I
gave
it
to
that
person
and
they
were
supposed
to
work
it
out
with
the
other
chair,
and
then
they
told
me
this
and
they
were
supposed
to
do
all
of
that.
So
now
I'm
playing
catch
up
in
like
okay.
What
was
done?
What
was
submitted?
D
What
was
not
submitted
because
in
the
beginning
there
were
two
other
people
helping
get
this
project
up
and
going,
and
then
those
two
people
were
taken
and
then
now
the
like.
It's
all
all
disarray.
I
would
love
to
get
it
back
on
track.
Also,
I
would
like
to
find
out
from
sydney
cindy
with
all
the
boxes,
with
all
the
monies
that
have
been
paid
had
those
monies
amounts
been
consistent
with
everyone,
except
for
emily,
because
she
did
too.
E
D
And
from
what
I
understand
and
all
the
paperwork
that
was
put
through
before
when
somebody
else
was
taking
care
of
this
project-
and
I
was
just
pointing
at
the
where
to
put
the
boxes,
it
was
approved
at
seven
hundred
and
fifty
dollars
a
box.
So
yeah,
I'm
just
now
that
I'm
hearing
that
on
this
it's
approved
at
500.
This
is
the
first
I'm
hearing
that
it
was
approved
at
500,
because
all
those
boxes
were
paid
at
a
higher.
E
That's
what
I
think
what
happened
was
the
artist
boxes
were
supposed
to
be
500,
inclusive,
yeah
materials,
everything
and
that's
not
what
ended
up
happening
once
the
boxes
were
done
and
we
were
presented
with
invoices.
It
was
500
plus
their
materials.
Those
materials
should
be
part
of
the
five
hundred
dollars.
D
And-
and
I
was
told
at
the
time
under
the
commission
that
we
were
under
at
that
time,
that
the
artists
were
complaining,
that
it
wasn't
enough
money
to
do
to
do
the
project
to
pay
500
to
paint
the
box
with
like
materials
and
all
that
stuff.
It
wasn't
so
then,
from
what
I
understand,
the
other
projects
got
paint
kits.
They
got
a
200
for
additional
for
paint,
and
so
that
was
applied
to
our
project
too.
D
So
all
of
this
I
was
going
under
the
assumption
of
the
people
that,
because
I
was
a
new
commissioner-
and
this
was
my
first
project-
I
was
going
under
the
assumption
that
they
were
doing
it
right,
because
that's
what
I
was
told
to
do
and
how
to
do
it.
E
Well,
I
think,
going
forward.
We
just
need
to
make
sure
that
the
artifacts
can
understand
upfront
that,
first
of
all,
that
we
get
an
artist
agreement
in
place
before
the
work
is
done
and
that
they
understand
that
the
500
is
inclusive
of
materials
that
that's,
that
the
invoices
for
500
and
that's
it.
E
The
artist
just
needs
to
understand
that
going
in
and-
and
I
don't
know
how
I
don't
know-
what's
happened
with
these-
I
just
know
if
we're
going
to
continue
it
now
that
this
is
kind
of
re
resurfaced
this
project,
I
think
we
just
need
to
make
sure
going
forward
that
we
do
it
in
a
different
way.
D
Okay,
so
then
that
raises
the
issue
now
these
are
the
first.
Eight
people
have
gotten
the
700,
so
do
we
then
go
approval,
so
everybody's
consistent
at
that
price?
I
think.
E
A
Thing
to
think
about
from
now
on
is
that
artists
should
pay
for
their
own
supplies,
so
that
should
be
in
their
cost
of
doing
business
and,
if
they're
quoting
on
a
job-
and
they
didn't
include
enough
for
their-
you
know
they
don't
have
to
do
the
job
right
like
it's.
You
know
they
could
say.
No
500
isn't
enough
for
me,
but
you
know
200
like
adding
this
200
200.
A
D
I
didn't
touch
the
paperwork.
This
paperwork
I
didn't
submit.
I
didn't
like
that,
was
in
the
hands
of
somebody
else.
So
I
like
that's,
I
mean
I
don't
know
if
you
want
to
chime
in
here
russell
about
like
the
debate.
H
Well,
the
other
thing
I
want
to
chime
in
with
if
we
have
to
get
back
on
track
with
this
project,
city
of
council
approved
five
hundred
dollars
per
box.
So
we
have
to
stick
with
that
and
if
we
have
this
new
pro
proposal
to
do
two
boxes
in
gene
audrey,
they're
five
hundred
dollars
per
box.
So
this
proposal
would
be
for
one
thousand
dollars
that
we
as
the
commission
have
to
approve
and
send
it
to
city
council
to
approve
two
separate
projects.
So
go
back
on
track
with
the
first
batch.
H
H
Okay,
I
will
make
a
motion
that
we
approve
the
expenditure
of
one
thousand
dollars
for
two
boxes
in
the
gene
autry
neighborhood.
These
boxes
have
been
identified
per
location
which
can
get
submitted
to
city
staff
for
the
proposal
for
city
council,
but
the
vote
is
to
approve
two
boxes:
500,
each
for
a
thousand
dollars,
total
cost.
D
H
A
Oh
gary
did
everybody
raise
their
hand?
Sorry,
I
wasn't
looking
okay,
so
it's
unanimous
unless
someone
raises
their
hand
and
says
they're
not
you
know.
So,
thank
you
very
much
and
if
someone
could,
if
someone
wants
to
help
shonda
on
this
project,
it
would
be
great
if
one
of
the
commissioners
wants
to
step
up
and
help
her
on.
It
would
be
great
so
just
reach
out
to
shonda.
H
D
H
D
When
it
was
submitted
and
all
the
information
was
started
to
go
to
cindy,
then
like
I
mean
I
didn't
write
up
all
that
information
and
send
it
so
I
mean
I
just
want
to
make
sure
that
is
consistent
from
here
on
out,
and
I
am
worried
and
I'm
proposing
this
question
to
the
entire
commission.
Is
that
enough
money
for
an
artist
to
paint
a
box
is
that,
like?
Is
that,
oh
from
the
art,
the
eight
boxes
that
you
saw?
Do
you
think
it's
worth
800
or
700
or
500?
D
A
A
D
No
not
a
full
day
because
it's
usually
too
hot
to
paint
all
day.
That
was
the
problem
with
the
project
it
got
approved
in
march
and
then
by
time
I
got
off.
It
was
like
already
june
so
yeah,
so
it
was
just
hot
and
it
takes
more
than
one
day
like,
for
instance,
the
dome
that's
being
painted
in
dummy
park.
D
It's
taken
her
over
21
days
and
she
would
love
to
get
it
sealed,
but
that
wasn't
put
into
the
budget
for
it
to
be
sealed,
but
now
21
days
of
work,
and
I
think
that
project
cindy
was
only
like
fifteen
hundred
dollars
or
twelve
hundred
dollars.
Twenty
five.
A
So,
if
ceiling
wasn't
included
in
that
project,
then
ceiling
was
not
approved,
so
we
can't
just
go
backwards
and
like
reapprove
things
that
weren't
approved
and
if
you
don't
think
you
know,
500
was
good
enough
or
you
know
just
you
know
you
have
to
bring
it
to
us
with
a
new
proposal,
but
that's
what
we
voted
on
and
that's
what
the
city
council
approved,
and
I
think
five
hundred
dollars
is
fine
for
that
project.
D
Okay,
that's
all
I'm
asking
if
it's
because
I
I
mean
I
don't-
I
mean
it's
taking
these
artists
longer
to
paint
these
boxes,
so
I
just
wanted
to
make
sure
that
to
our
commission
that
that's
reasonable
for
artists,
yeah.
A
C
For
each-
and
I
know
this
is
a
lot
of
work
for
each
individual
box
are,
is
there
a
contract
that
the
artist
is
signing
which
might,
if
there's
a
contract,
it
might
make
it
easier
just
for
everybody's
understanding,
how
much
they're
getting
paid?
What
the
expectations
are.
E
The
specific
artist
agreement
that
we
use
is
kind
of
a
standard
agreement
that
we
ask
all
of
the
artists,
no
matter
what
project
they're
working
on
to
sign
it.
Basically,
let's
it
says
that
we
own
the
artwork.
We
can
reproduce
it
things
like
that.
It
now
has
an
indemnification
clause
in
there.
A
Maybe
an
idea
on
that
to
take
any
stress
out
of
this
discussion
from
anybody
being
stressed
out
about
it
is
maybe
we
you
know
as
commissioners.
If
we're
talking
to
people
about
work
and
it's
you
know
it's
been
approved,
we
send
the
city
council
agenda
with
the
information
and
the
staff
report
on
it.
Then
there's
no
questions
right,
that's
like
in
black
and
white
there.
A
A
D
So
a
quick
question
to
russell
with
your
benches,
the
thousand
dollars
was
the
the
blank
amount
that
they
got
or
did
they
get
additional
for
a
paint.
D
B
A
Let's
move
on
to
george
floyd,
so
russell
go
for
it
all.
H
Right
all
right
so
just
very
quickly,
because
there's
a
couple
of
things
that
have
come
up
with
the
george
floyd
moving
the
mural,
we
had
approved
the
budget
and
we
had
approved
the
location.
H
The
most
important
factor
in
this
being
on
the
agenda
to
rescind
both
of
our
votes
is
that
the
location
has
now
been
removed
for
as
an
option.
The
property
owner
has
now
decided
that
they
do
not
want
the
george
floyd
mural
on
their
building.
I
can
speculate
as
to
reasons,
but
it's
that's
not
important.
H
So
I
think
because
we
are
going
to
move
forward
with
commissioners,
armstrong
and
giniani,
proposing
a
social
issues
installation
at
francis
stevens
park.
I
think
it's
important
for
us
to
focus
our
time,
energy
and
money
on
that
project
and
let
the
george
floyd
mural,
which
was
originally
set
up
as
a
temporary
installation
just
to
let
it
end
its
run
at
the
end
of
well.
Basically.
H
Now
because
I
spoke
with
the
property
owner
they're
going
to
probably
take
the
panels
off
early
in
november
and
they
will
make
them
available
for
anyone
who
wants
to
take
them
away
and
that
anyone
should
not
be
us
as
the
arts
commission.
So
I
just
need
to
know.
Procedurally
if
we
need
to
unvote
this,
I
mean
when
we
vote
on
something
it
doesn't
mean
that
we
have
to
move
forward
with
it.
H
A
Let
me
just
tell
you
one
thing
just
just
for
to
throw
this
in
there
I
was
at
the
main
street
business
meeting
yesterday
and
someone
brought
up
to
jeff
coors,
what's
gonna
happen
with
the
george
floyd
mural
and
jeff
expressed
desire
to
not
have
it
go
away
and
someone
threw
out
that
maybe
we
had
talked
about
putting
it
on
city
property,
the
parking
garage-
and
he
was
seemed
interested
in
that
in
that.
A
So
that's
just
info
that
I
was
part
of
heard
of
yesterday
because
I
was
in
on
that
meeting.
I
didn't
say
anything
at
the
meeting,
so
just
letting
you
guys
know.
E
H
E
So
if
you
don't
take,
if
you
actually
don't
go
through
with
that
and
don't
proceed
with
that,
you
don't
formally
have
to
rescind
your
votes.
You
can
certainly
do
that
if
you
want
to
and
if
at
some
point
you
decide
that
you're
going
to
do
something
else,
then
you
would
just
bring
that
forward
and
you'd
have
a
new
vote,
but
it's
not
necessary
if
there's
not
if
you're
not
going
to
follow
through
and
actually
do
any
of
that.
H
E
And
and
let
me
just
add
and
then
I'll
and
I'll
stop
you
may,
because
it's
in
the
minutes-
and
it's
reflected
you
may
want
to
formally
resend
it
so
that
it's
recorded
in
the
minutes
and
then,
if
anybody's
interested
in
what
action
you've
taken,
they
would
come
back
and
see
that
you've
that
you
rescinded
it.
That's
something
to
think
about
as
well.
H
H
Okay,
all
right,
then,
I
would
like
to
make
a
motion
that
we,
rescind
both
of
our
previous
arts
commission
votes,
the
3
500
budget
to
restore
and
relocate
the
george
floyd
mural,
and
the
vote
at
the
location
would
be
340
north
palm
canyon
as
the
new
location.
So
my
motion
is
to
rescind
both
of
those
votes.
A
So
what
do
what
does
the
rest
of
the
commission
think.
H
C
I
have
I
have
concerns
with
that.
I
don't
think
I
would
not
want
to
see
the
mural
destroyed.
E
May
I
ask
a
question
and
did
the
the
commission
spend
funds
to
pay
for
that?
Mural?
Was
that
the
commission
by
the
city
two
thousand
dollars,
then
we
would
not
want
to
give
that
to
anyone.
That
would
be
a
gift
of
public
funds,
possibly
so
I
would
advise
if
it
comes
down
that
that
it's
put
in
some
type
of
storage.
We
have.
We
have
space
here
at
our
city
yard,
where
we
could
do
that.
I
would
want
to
get
at
least
some
clarification
from
the
city
attorney
on
what
the
appropriate
view
that
is.
B
A
George
floyd
mural,
like
we've,
talked
in
you
know,
gestures
and
ideas,
but
that
would
be
down
the
road,
so
I
don't
want
to
set
expectations
that
something
would
you
know
this
mural
would
be
renewed
right
away
because
remember
the
panels
are
it's
not
the
entire
mural.
H
B
Thank
you,
commissioner.
Lesniak.
B
A
B
H
A
Yes,
so
let's
continue
five
and
then
I
s
I
asked
jay,
I
I
kind
of
cut
and
paste
a
bunch
of
documents
that
I
have
to
cut
to
start
creating
a
temporary
art
list
and
he
sent
it
to
you
guys
this
afternoon.
So
I
don't
know
if
all
that
information
is
correct,
I
didn't
create
it,
I'm
just
putting
it
together.
So
just
asking
for
your
input
but
yeah.
Let's
continue
this
item
to
our
next
meeting.
If
that's
okay
with
everybody,
is
that
all
right,
any
any
names?
H
Before
we
do
that
story,
I
have
one
last
thing
before
we
adjourn
the
meeting.
Oh
please,
we
had
from
the
september
meeting,
approved
or
agreed
in
the
commission
that
the
mural
ordinance
discussion
would
be
on
the
october
agenda.
So
can
we
make
sure
that
that's
going
to
be
on
the
november
agenda
as
well.
A
Yeah,
so
if,
if
maybe
some
other
commissioners
could
look
at
it
too,
so
we
can
have
a
proposal
and
then
we'll
talk
about
it
at
the
next
meeting.
So
if
anybody
else
wants
to
make
proposals,
because
I
think
what
happened
at
the
meeting
we
just
had
and
the
whole
thing
with
going
to
the
hsbc,
like
all
of
the
things
that
just
happened
in
the
past
30
days,
made
a
lot
of
what
we
were
talking
about
kind
of
moot
and
created
new
issues.
A
So
so,
if
the
commissioners
could
kind
of
look
at
it,
it's
not
that
long.
The
mural
ordinance
and
come
up
with
some
recommendations
that
you
guys
would
like
to
do
that.
A
We
can
talk
about
and
if
we're
ready
to
vote
on
it,
we
can
vote
on
it
or
or
just
talk
about
it
and
then
vote
on
it
at
the
next
meeting
and
that
the
mural
ordinance
is
really
it's
really
like
an
anti-sign
ordinance
more
than
a
pro-art
ordinance
like
doing
all
the
research
I
did
on
it
because
it
uses
the
city
of
la's
mural
ordinance
as
its
starting
point
and
the
whole
reason
la
did.
Their
mural
ordinance
was
to
stop
people
making
signs
that
were
murals.
A
So
in
a
way,
I
think
we
could
think
of
the
mural
ordinance
more
holistically
to
be
more
of
like
an
art,
positive
ordinance
with
with
some
strictures,
so
just
think
of
that
you
guys
over
the
next
month
or
so.
If
you
could
take
a
look
at
that
and
if
people
wanted
to
get
together
and
talk
about
it
together
and
make
make
recommendations.
That
would
be
great.