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From YouTube: Public Arts Commission | June 16th 2021
Description
City of Palm Springs Public Arts Commission meeting, held June 16th, 2021
A
B
C
A
A
B
D
B
So
I
wanted
to
just
see
what
I'm
very
interested
in
what
you're
doing.
I
follow
you
on
instagram.
I
love
all
the
work
you
do.
So
I
wanted
to
see
what
you
know.
The
meeting
was
all
about
what
you're
doing.
I
also
work
for
paws
magazine,
and
so
I
was
particularly
interested
in
the
aids
memorial,
so
I
just
wanted
to
great
tune
in
and
see
what
you're
doing
so
keep
up
the
great
work.
Thank
you.
A
A
This
time
has
been
set
aside
for
members
of
the
public
to
address
the
public
arts
commission
on
items
of
general
interest
within
the
subject
matter:
jurisdiction
of
the
commission
and
agenda
items
if
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
on
the
listed
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
are
assigned
for
each
speaker.
A
A
B
A
A
So
that
means
that
you
will
start
the
year
with
450
000,
which
is
just
a
little
bit
less
than
we
had
this
year,
and
I
think
we
spent
more
than
most
years,
but
we,
I
think,
accomplished
an
awful
lot.
So
I'm
I
like
to
I'm
glad
to
see
that
this,
in
spite
of
covet
and
everything
else,
people
kept
building
things,
so
they
kept
paying
their
fees
and
we
get
to
use
it
okay.
A
This
group
is
not
asking
the
city
to
pay
for
this
memorial,
but
to
take
it
as
a
donation
and
to
place
it
in
the
park.
So
is
dan
here
or
phillip.
You
just
get
to
do
the
whole
thing,
I'm
I'm
here.
Oh
there
you
are
okay,
so
dan
spencer
is
the
chair
of
this
committee.
That's
been
working
on
it
and
philip
k.
Smith
is
the
artist,
and
I
want
you
to
just
do
your
presentation
and
I
think
jay
has
some
slides
to
put
up.
D
And
I'll
start
off
giving
a
little
bit
of
background
so
that
folks,
that
didn't
see
us
a
year
and
a
half
ago,
just
before
covid
present
before
the
arts
commission,
that
I
give
you
a
little
bit
of
background
to
this
in
nine
years
ago.
I
gave
a
lecture
at
this
palm
springs.
Art
museum
on
world
aids
day,
and
several
people
came
up
to
me
afterwards
and
said
we
need
to
have
one
here
in
a
memorial
in
the
desert.
D
Here,
a
memorial
is,
is
absolutely
critical
for
our
community
to
remember
and
memorialize
and
celebrate
the
lives
of
those
we
have
lost,
and
that's
what
our
task
force
has
been
working
on.
We've
spent
many
years
working
on
ideas
and
concepts,
and
it's
only
been
within
the
last
couple
of
years
that
we've
really
focused
on
a
couple
of
key
aspects.
D
One
is
to
have
a
major
sculpture
designated
as
the
memorial
and
adjacent
to
the
sculpture
will
be
a
small
sign
that
will
tell
what
it
is,
but
it
will
also
have
a
qr
code
and
that
will
link
folks
to
all
the
stories
that
are
local,
as
well
as
linked
to
the
national
aids,
memorial
and
the
stories
of
the
quilt,
which
are
all
being
digitized
and
incorporated
into
that.
So
it's
a
very
engaging
aspect
to
a
current
notion
about
memorial.
D
A
couple
people
that
are
with
us
today
on
the
task
force,
jeff,
geraski
and
dad
hover-
are
with
us
and
mike
richie,
isn't
able
to
be
here,
he's
on
the
task
force
and
he's
actually
on
the
board
of
the
national
aids
task
force
or
national
aids.
Memorial
commission
so
very
great
connection.
There
I'm
going
to
stop
rambling
at
this
point,
but
I'm
going
to
turn
it
over
to
philip
and
he'll.
Take
you
through
what
we're
looking
at
doing.
G
G
G
C
G
But
I
I'm
interested
in
this
project
very
much
because
it's
it's
one
of
these
rare
moments
where
I
I
didn't
know
what
to
do
initially
and
when
I
came
into
the
studio
one
day.
I
knew
precisely
what
to
do
and
that's
what
I'm
presenting
to
you
today.
Really.
What
came
to
me
was
that
the
eighth
memorial,
you
know
really
is
needs
to
be
about
people
and
that
the
scale
of
this
works
means
that
this
work
needs
to
be
at
the
human
scale.
G
But
I
also
wanted
something
that
was
tactile,
something
that
is
about
touch.
It's
one
of
the
beauties
of
public
art
is
that
it's
out
there
in
the
open,
24
7.,
you
can't
have
stanchions
around
it.
You
don't
want
stanchions
around
and
you
want
to
invite
that
kind
of
engagement,
but
I
wanted
to
really
bring
in
ideas
about
the
community
about
the
individual,
but
really
that
the
work
would
be
a
literal
touchdown
for
hope
for
healing,
for
grief
and
for
unity
within
our
community
and
sort
of
tying
into
globally
with
the
aids
epidemic.
G
This
is
a
plan
of
the
downtown
park
if
you've,
driven
by
there
recently,
all
of
the
palm
trees
have
been
planted
throughout
the
oasis,
and
this
x
is
our
vision
as
to
where
this
work
could
be
located
sort
of
under
the
canopy
of
those
palms
within
the
park,
so
that
it
has
a
bit
more
of
a
360
degree.
Experience
invites
people
on
each
side,
but
also
there's
a
bit
of
a
clearing
in
the
trees
there.
G
That
could
invite
a
slightly
larger
group
of
people
to
gather
around
this
work,
for
particular
events,
which
was
important
to
the
task
force
so
moving
into
visuals.
This
was
one
of
the
kind
of
very
first
sketches
that
I
did
this
thought
of
this
kind
of
round
work,
and
you
might
see
this
this
piece
behind
me,
which
you
know,
is
a
taurus,
nine
and
I'm
interested
in
light
and
shadow.
G
But
I
was
interested
in
how
my
ideas
as
an
artist,
what
I've
been
dealing
with
in
terms
of
the
environment
in
terms
of
light
and
shadow
movement
of
the
sun,
could
really
begin
to
apply
itself
to
the
ideas
that
I
was
talking
about
with
the
aids
memorial.
So
there's
a
sense
of
it
being
around
a
smooth,
fluid
form
and
that
on
I'm
going
to
skip
ahead
to
the
front
face
of
it
is
this
kind
of
quilt
work?
G
If
you
will
of
these
concentric
circles
that
are
creating
a
dynamic
surface
of
light
and
shadow,
that
really
is
meant
to
be
a
metaphor
for
our
community
for
humanity,
for
the
variety
of
people
that
have
been
touched
by
aids
and
across
the
surface
you're.
Seeing
this
pinwheel
of
line
work,
and
that
is
actually
like
a
groove
that
is
cut
across
that
topography.
G
It's
also
very
important
that
there's
this
circle,
this
opening
in
the
middle,
so
that
there's
a
sense
of
looking
past
of
looking
at
what
is
in
front
of
you,
but
also
looking
beyond,
because
then
on
the
back
side
back
side,
front
side,
let's
say
on
the
individual
side:
is
these
series
of
fins
this
the
lines
you're
seeing
is
more
of
a
kind
of
topographical
understanding.
So
you
understand
that
these
fins
are
moving
in
and
out
in
and
out
this
kind
of
symmetrical
patterning.
G
G
The
other
thing
I'll
go
back
to
here
is
the
overall
form
itself
on
the
community.
Side
has
a
bit
of
of
an
enveloping
feeling
like
it's
like
it's
curling
around
you
kind
of
reaching
out,
if
you
will,
whereas
on
the
individual
side,
it's
as
though
this
artwork
is
pushing
out
towards
you
as
the
individual,
so
I
really
like
that
dynamic
on
each
side,
so
I
haven't
talked
too
much
about
the
materiality.
G
A
variety
of
humanity-
let's
say
so,
just
I'm
gonna
go
straight
into
a
few
details
as
well.
Just
to
do
the
whole
the
whole
talk
here,
and
we
can.
We
can
talk
about
some
of
these
about
some
of
these,
but
ultimately
the
dimensions
are
roughly
it's
about
nine
feet
in
diameter
and
that
width
is
more
or
less
three
feet
from
an
engineering
standpoint.
It
is
relatively
straightforward.
The
stone
because
of
the
scale
of
it
needs
to
be
carved
in
three
sections,
and
I
want
those
sections
to
be
seamless.
G
That's
part
of
the
reason
why
we're
choosing
limestone
so
it's
more
of
a
homogenous
surface
so
that
those
seams
are
not
so
visible,
but
there
is
a
vertical
steel
post
that
will
be
anchored
to
a
footing
that
will
be
underground.
That
won't
be
visible
and
you'll
notice
that
in
the
elevation,
I'm
showing
actually
a
slightly
earlier
scheme
that
shows
two
support
beams
underneath
it.
G
What
I've
shifted
to
is
a
singular
beam
at
the
center,
that's
not
visible,
so
it
appears
as
though
the
piece
is
just
somehow
balanced
perfectly
sitting
on
the
ground
and
what
I've.
The
reason
why
I
wanted
that
is
this:
this
sense
of
removing
the
weight
and
the
sense
of
weight
that
there's
a
lightness.
But
although
you
understand
that
this
is
a
very
heavy
piece
of
stone,
it's
somehow
delicately
sitting
on
the
ground
and
balanced
perfectly.
G
G
A
Let's
start
with,
first
of
all,
is
there
anyone
else
from
the
committee
that
would
like
to
add
some
comments
to
the
plan
for
for
installing
this
or
whatever
is
there?
Are
there
any
of
our
of
our
guests?
Who
would
like
to
add
otherwise
I'd
like
to
go
around
and
let
each
commissioner
ask
a
question
so
actually,
philip,
it
would
help
if
you
unshared,
because
then
I
could
see
everybody
no
problem.
Okay,
would
someone
like
to
start
with
a
either
a
question
or
a
comment.
B
I
think
the
concept
is
brilliant,
especially
the
limestone
cool
to
the
touch
generally
so
be
soothing.
I
like
the
circular
nature
of
it
because
it
depicts
the
circle
of
life.
The
opening
in
the
center
with
the
rays
coming
out
of
it
is
the
universe
giving
forth
light.
I
think
the
concept
is
brilliant
and
it
gives
me
goosebumps
so
kudos.
A
I'd
like
to
mention
the
question
that
I
asked
dan
the
other
day
about
this,
that
this
is
this
will
be
sitting
on
solid
ground.
If
you
look
at
the
plants,
it
shows
where
the
parking
is
underneath
right
around
the
park,
but
this
area
is
will
support
this
weight.
I
think
that's
one
of
the
first
things
most
people
want
to
know.
We
had
that
problem
with
the
labrea
sculpture,
because
there
wasn't
solid
ground
under
it.
F
F
So
I'm
interested
in
the
lighting
that
you
you're
planning
and
maybe
it
we're
not
there
yet,
but
I'm
also
wondering
about
how
you're
specifically
gonna
position
it
and
I'm
wondering
if
you've
done
any
like
light
studies
on
that
area,
because
I
know
that
you
know
a
lot
of
architects.
Do
that
and
sort
of
designing,
and
I
know
so
so
that's
one
question
another.
F
F
We
don't
know
what
it's
going
to
look
like,
but
I
guess,
as
as
you
know,
I
I'm
very
supportive
of
this
project,
but
I
would
also
love
to
see
you
know
as
we're
thinking
about
what
a
monument
is.
There's
a
kind
of
static,
and
this
isn't
specifically
for
youth,
philip,
but
rather
sort
of
broader
statement
about
and
encourage
encouraging.
F
You
know,
maybe
there's
a
potential
to
change
lighting
over
time,
to
do
things,
to
project
things,
to
to
use
the
monument
this
sculpture,
to
do
other
things
and
to
sort
of
activate
it
in
different
ways,
because
I
think
what
we've
seen
in
our
the
collection
that
we
have
at
in
the
city
is
that
a
lot
of
times,
they're
they're.
You
know
the
work
almost
starts
to
disappear
if
it's
not
continually
engaged
with
in
an
active
way,
and
so
these
are
just
a
few
few
thoughts.
I've
had
three
thoughts.
G
G
G
I
almost
I
I
well
I'll
I'll
I'll,
just
say
that
I
I
think,
first
and
foremost,
my
goal
is
that
this
work,
no
matter
who's
walking
by
that,
whether
they
know
it's,
the
aids
memorial
or
not,
that
it
is
immediately
a
timeless
beautiful
object
that
desires
to
be
engaged
with,
and
that
through
that
engagement,
there's
a
learning
process
about
what
it
is.
The
fact
that
all
of
the
let's
say,
the
the
information
and
the
facts,
which
is
probably
the
most
difficult
part
of
the
timeless
factor.
G
G
I
actually
feel
that
this
is
somewhat
of
a
new
idea
that
there
is
a
distinct
kind
of
physical
object
that
can
exist
on
its
own,
be
beautiful,
but
then
through
education
understand
that
these
marks
these
lines,
these
things
this
this
texture
has
meaning,
but
then
the
digital
is
able
to
support
the
actual
logistics
and
information.
So
I
think
that's
fascinating.
G
I'm
gonna
go
back
to
the
beginning
and
talk
a
little
bit
about
lighting.
I
mean
I,
I
consider
myself
to
be
a
light-based
artist.
My
my
medium
is
light,
but
you
know
you
don't
go
down
to
the
art
store
and
buy
light,
so
you
need
to
evoke
a
quality
of
light
through
the
choice
of
materials
through
surface
through
various
sheens
or
glosses
whatever
it
may
be.
G
G
That
changes
as
a
result
of
the
movement
of
the
sun
on
the
artwork
itself,
but
then
also
how
the
shadowing
of
the
palm
fronds
and
the
landscaping
are
going
to
drape
across
that
surface
and
create
a
new
surface.
That,
for
me,
is
the
exciting
part.
That's
why
I
really
like
that
this
work
is
trying
to
be
pushed
towards
the
center
of
the
car
so
yeah.
I
don't
necessarily
think
that
it's
a
good
idea
for
landscaping
to
be
pushed
right
up
next
to
it
or
to
grow
up
onto
it.
G
A
Yeah,
thank
you
phil.
That's
it's
a
very
thoughtful
answer
and
I
hope,
because
the
next
step
of
this
will
be
for
you
to
make
a
presentation
to
the
city
council.
I
hope
that
they'll
be
able
to
also
spend
enough
time
with
this
to
understand.
You
know
what
went
into
it.
Do
any
other
commissioners
have
questions
yes,
tracy.
E
E
In
that
respect,
I
think
that's
an
exciting
way
of
thinking
of
the
placement
of
the
piece
and
how
you
how
it
becomes
part
of
the
park
throughout
its
whole
design,
which
is
something
we've
talked
a
lot
about
in
the
past
few
years.
Some
of
the
art
that's
placed
in
the
city
was
the
placement
of
it.
Wasn't
real,
really
well
thought
out
so
from
a
functional
mechanical
point
of
view,
with
maintenance
and
with
just
an
aesthetic
point
of
view.
So
I
think
that's
awesome.
E
E
Okay,
great
questions
that
have
arisen
from
other
projects
that
we've
talked
about.
So
one
thing.
I
know
that
everybody's
proposing
this
as
a
gift
to
the
city-
and
one
thing
we've
talked
about-
is
to
create
kind
of
a
process
to
accept
gifts
of
art
that
we'd
like
to
have
a
plan
for
their
maintenance
and
and
something
like
a
a
thought
of
endowing
something
for
that
or
you
know,
have
the
city
realize
that
we
need
to
endow
a
certain
amount
of
money
for
maintenance,
so
we're
not
running
up
to
any
issues
with
that.
E
So
I
think
this
could
be
like
a
model
for
that
idea
of
you
know:
we've
accepted
a
lot
of
art
in
the
past
and
we're
having
a
hard
time
tracking
down.
If
there
was
you
know
one
thing
as
an
endowment,
most
thing
doesn't
and
then
we
have
a
large
maintenance
worker
going
through
now
over
the
past
few
years
to
try
to
catch
up
with
whatever.
E
A
E
G
A
Also
and
also,
but
we
we
feel
strongly-
and
it
says
somewhere
in
the
ordinance,
also
that
we
are
responsible
for
the
upkeep
of
all
the
public
art
in
the
city
and
we're
trying
to
figure
out
after
I
mean
this,
art
ordinance
was
created
in
1988.
So
after
about
35
years,
we
really
don't
have
a
good
sense
of
exactly
which
art
belongs
to
the
city
and
what
maintenance
it
needs.
A
F
Is
your
condition?
Are
there
conditions
for
display
of
this
gift
so,
for
example,
if
in
20
years
someone
says
we'd
like
to
move
this,
does
that
negate
or
change
the
terms
of
the
get
you
know
once
it's
gifted?
Can
we
you
know?
Yes,
it
will
be
cited
in
this
place,
but
I'm
just
wondering
if
there
are
any
conditions
around
it.
G
I
mean
I,
I
would
only
speak
to
that
through.
What's
in
a
typical
public
art
contract
right,
I
mean
whether
it's
a
gift
or
not.
There's
always
a
concern
that
in
the
future
the
artwork
may
need
to
be
moved.
Whatever
the
reason
is,
there's
a
safety
can
something
was
a
safety
factor
need
to
be
removed.
The
other
is
that
something
about
the
site
has
changed
and
that
the
work
doesn't
make
sense
there
anymore.
G
Those
are,
as
all
contracts
do,
have
to
think
about
the
worst
case
scenarios
and
what
happens
if
things
go
sideways,
but
I'm
just
sort
of
speaking
about
it
through.
What's
in
a
typical
public
art
contract,
which
I'm
not
sure
how
that
might
be
able
to
work
here,
but
I'm
sure
we
could
work
something
out,
I'm.
A
Sure
the
city
attorney
will
have
something
to
say
about
it.
However,
there
is
federal
law
that
requires
that
if
a
public
work
of
public
art
is
to
be
altered
or
removed,
that
the
the
first
decision
needs
to
it
needs
to
go
to
the
artist
and,
for
example,
if
they
would
like
to
take
it
back
rather
than
have,
it
moved,
that's
an
option
and
that's
all
federal
law,
regardless
of
what
the
city
may
say.
A
F
And
that's
good
practice
and
that's
good
relationships,
and
but
I
just
I
recall
that
we've
had
some
problems
with
moving
some
artworks
in
the
in
the
past
to
try
to
make
way
for
some
other
things.
And
it's
just
you
know,
I'm
just
I'm
just
for
you
know
this
is
the
thing
with
monumental
sculpture.
Is
that
I'm
just
bringing
up
this
question?
Because
the
idea
is
that
this
is
entering
the
collection,
and
I
just
think
it's
something
you
know
we
should
be
aware
of.
A
G
H
H
H
You
know
I
mean
my
first
initial
thought
was
like
take
a
picture
from
me,
the
daisy
side,
with
my
head
through
it.
That
was
like
my
first
initial
reaction,
but
I
was
just
trying
to
make
sure
that
someone's,
head
or
body
couldn't
get
stuck
inside
of
that
hole
in
any
way
or,
if
they're
able
to
climb
up
it.
G
I
mean
it's
all:
it's
always
a
challenge
right.
If
I
mean
anybody
will
climb
anything,
I
I
did.
I
did
massive
totally
mirrored
volumes
at
coachella
and
somebody
ran
up
and
did
a
backflip
off
of
it.
So
I
I
anticipated
that
those
things
may
happen
because
that's
what
happens
when
art
is
out
in
the
public,
you
have
control
over
it.
So
you
do
need
to
think
about
those
things.
I
think
it's
a
good
comment.
G
It's
something
we
can
look
at
I'll
say
that
the
the
artwork
I'll
say
right
now
is
probably
you
know
like
right
at
90,
we're
doing
small
tweaks
here
and
there
about
what
what
surface
is
polished,
which
is
not
some
of
the
dimensions
of
that
light
and
shadow
surface
and
I'll.
Just
look
at
even
architectural
code
about
dimensioning.
G
H
Was
with
the
lighting
with
those
polished
services?
Is
there
any
way
to
look
into
maybe
doing
a
projection?
Look
at
doing
an
event
where
we
can
project
the
names
on
to
the
sculpture
as
a
commemorative
event,
something
along
those
lines.
So
with
that,
with
that
surface,
would
we
be
able
to
project
onto
it.
G
I
I'm
not
entirely
sure
about
that
shonda,
I
think
just
because
for
a
projected
surface
right,
if
there's
a
lot
of
undulation
in
it
depending
on
perspective,
you
might
get
sort
of
strange
gaps
and
lines,
don't
kind
of
match
up.
If
we're
dealing
with
a
big,
you
know
flat
surface
out,
I
mean
it
might
be
more
appropriate,
let's
say
to
project
onto
the
face
of
the
parking
garage
where
they've
got
the
kind
of
strata
concrete
piece
which
is
directly
adjacent
to
this.
G
B
Yeah
and
if
I,
if
I
might
I'd
like
to
suggest
if
it's
possible,
perhaps
tomorrow,
I
have
a
offline
meeting
with
the
artist
to
talk
about
the
sighting
of
it
in
the
park,
because
where,
where
I
think
I
saw
it
located,
is
actually
a
sloped
lawn
area
for
seating
around
about
10
palm
trees.
Okay,
they're
going
to
have
their
ring
led
lights
on
them.
B
A
G
Questions
I'll
say
to
you
that
that
we
presented
yesterday
to
jeff
coors
and
also
to
the
new
city
manager,
and
we
were
talking-
you
know
at
the
end
of
the
meeting
about
a
lot
of
the
timing
and
the
logistics
associated
and
ensuring
that
those
conversations
about
sighting
can
happen
much
sooner
than
later,
so
that
we're
not
having
to
rip
anything
out.
To
put
this
in,
you
know,
there's
some
basic
logistics
like
let's
get
conduit
in
while
it's
dirt,
let's
get
a
footing
in
while
it's
dirt
and
figure
things
out.
G
We
also,
you
know,
acknowledge
that
we're
coming
to
you
with
that
one
x
marks
the
spot
on
the
downtown
site
plan,
but
I
you
know
I
haven't
yet
walked
the
park
myself
and
I
think
that
it'd
be
good
to
have
a
conversation.
Also
with
rios
who,
you
know,
is
the
creator
of
this
park,
the
designer
of
the
park-
and
I
know
nate
cormier
from
rios
I'm
also
working
with
them.
I've
been
working
with
them
for
the
last
five
years
on
a
project
in
west
hollywood.
E
One
more
quick
question:
the
the
data
the
web.
You
know
the
the
online
content.
That's
going
to
activate
this
piece
remotely
if
you're,
if
it
ends
up
being
a
gift
to
the
city,
is
that
something
is
it?
Is
the
online
content
going
to
be
like
with
a
national
organization,
or
is
it
something
that
we
would
we,
with
the
with
your
group,
that's
putting
the
memorial
together,
we
would
add
content
to
or
how
would
that
work.
D
Yeah
I
at
this
time
I
would
say
that
we
can
add
a
lot
of
content,
and
so,
if
there
are
specifics,
I
was
just
thinking
about
phillips
presentation
just
now,
and
it
would
be
so
easy
to
have
a
video
that
you
access
and
have
him
describe
exactly
what
he
described
today
and
be
able
to
inform
a
lot
of
thinking
around
the
memorial
there's
a
lot
of
other
ways.
We
can
engage
that
or,
if
there's
even
a
link
to
where
there
are
other
art
pieces
in
the
city.
D
A
I
think
tracy
may
have
been
asking
who's
responsible,
for
example,
for
the
names
is,
this
is:
is
dap
health
going
to
do
it
or
because
your
committee
will
disband
so?
Presumably
there's
a
group?
Somebody
will
be
responsible
for
new
names
being
added
or
or
memorials
of
some
sort.
You
don't
have
to
tell
us
now,
but
that's
clearly.
A
C
I
will
do
that.
Thank
you.
I
also
just
wanted
to
add
my
voice
to
the
other
commissioners
saying
I
really
love
appreciate
what
you
came
up
with
philip
and
I
really
like
the
idea
of
the
tactile
quality
to
it
for
some
that,
just
like
you
said
people
touch
public
art
anyway,
but
people
you
know
this
when
you're
actually
designing
it
to
be
touched,
which
is
kind
of
nice
and
it's
not
just
climbed
on,
and
so
so
I
hope
it
works
out
well
going
forward.
F
B
B
A
B
A
A
This
was
simply
meant
to
be
sort
of
an
update
on
which
pieces
were
ready
to
go
to
the
city
council
and
if
you
start
at
the
bottom
at
item,
5
cindy
is
working
on
simply
extending
the
time
that
both
alicia
and
arlene
need
to
finish
the
contract
that
they're
working
under
it.
It's
not
changing
the
scope
at
all,
but
it's
just
taking
longer
than
it
seemed
to
get
through
this.
A
She
is
writing
staff
reports
on
extending
the
contracts
for
sarah,
madeleine
and
tyson,
and
hopefully
in
time,
to
go
to
the
council
meeting
on
the
24th
the
engineering
assessment.
She
needs
a
little
more
information
more
in
order
to
get
it
on
the
council
agenda
and
the
two
loans
of
desert
x.
Installations
have
contracts
that
have
not
been
negotiated
yet,
and
so
we
need
to
go
on
record
as
urging
the
city
and
the
city
attorney
to
do
that.
A
F
A
Okay,
so
the
main
thing
is-
and
perhaps
jay
can
do
this-
to
just
convey
to
the
council-
that
we
have
voted
to
go
forward
with
these
loans
and
have
agreed
to
pay
the
amounts
that
are
listed
in
here,
so
that
the
as
much
as
we
can
do,
we
we
would
like
to
keep
them
we're
willing
to
pay
to
have
them
be
installed
at
the
end,
there's
not
much
more.
We
can
do
other
than
that.
There
were
three
items
pulled
from
the
may.
27Th
council
consent
agenda,
which.
A
A
A
A
The
second
was
to
paint
k
rails
at
hunters
which
are
being
used
for
outdoor
dining
and
the
third,
which
is
unfortunate,
that
it
doesn't
go
through,
was
the
window
decals
that
tracy
had
been
working
on
with
angel
view
and
two
other
storefronts,
and
unfortunately
the
comment
from
one
of
the
city
council
members
was,
I
don't
think
we
should
be
doing
temporary
anything
and
secondly,
they
accounts.
One
of
the
council.
A
Members
asked
the
city
attorney
if,
if
painting
on
private
property
was
a
gift
of
services
from
the
city
so
and
since
the
sort
of
mini
grants
that
we
were
working
on
during
covid
are
really
just
about
over,
I'm
not
sure,
there's
any
way
we
can,
and
I
it's
also
up
to
the
two
commissioners
who
were
working
on
this,
but
it
doesn't
seem
that
putting
them
on
the
agenda
again
will
do
anything
except
you
know,
sort
of
get
more
questions
from
the
city
council
that
we
can't
answer
during
the
meeting.
So
it's.
E
E
Validity
to
it
right
so
they're,
you
know
nothing,
you
know
they
don't
they
don't
go
against
the
sign
ordinance
because
they
aren't
an
advertisement
and
they're,
not
they
don't
have
a
company
name
on
them,
etc,
etc.
So
we've
asked
the
you
know.
We
asked
angel
view
and
we
asked
the
other
people
to
just
to
give
us
a
letter
from
their
point
of
view
on
why
they
were
so
excited
about
this
project,
and
you
know
we've
done
all
of
these
projects
all
over
the
city.
E
A
And
we,
I
like
your
idea,
though,
of
doing
it
in
july
and
and
trying
to
put
together
a
packet
that
does
have
letters
from
the
stores
and
and
and
a
little
bit
more
rationale
for
why
doing
something
temporary
at
the
request
of
a
downtown
store
is
very
much
in
keeping
with
what
we
wanted
to
do
to
begin
with.
But
I
think,
if
we
don't
put
it
on
this
next
council
agenda,
where
we're
hoping
to
get
all
the
contracts
extended
so
that
we
can
actually
keep
going
yeah.
Let's.
A
It's
a
shame,
and
I
I
was
really
taken
by
surprise
at
the
reaction
to
it,
because
you
know
we've
been
sending
the
council
reports
on
things,
we've
been
doing
and
there
have
been
a
lot
of
things
like
those
in
k,
rails
we've
painted
windows,
but
that's
as
it
may
be.
Okay.
What
this
brings
me
to
a
sort
of
an
update
on?
What's
going
on
about
the
the
fact
that
four
of
us
on
the
council's
terms
are
expiring
at
the
end
of
june.
A
A
But
it's
not
clear
when
there
could
be
another
meeting
when
there
could
be
a
meeting
of
the
new
commission
plus
in
the
whole
time,
I've
been
on
the
commission
and
tracy
and
I
are
comparing
notes.
It
has
never
met
in
july
because
the
city
is
about
to
shut
down
for
august,
and
so
you
know
anything
that
would
have
to
go
to
the
city.
Council
would
have
to
wait
till
fall
anyway.
A
A
If
that
you
know
if
the
timing
works
out
and
in
september,
hopefully
there
will
be
a
fully
formed
commission
and
it
can
elect
new
officers
and
in
fact
again
on
since
I've
been
on
the
commission,
we
always
had
the
elections
in
the
fall
and
september.
So
try
to
do
them
before
june.
30Th
just
doesn't
make
any
sense,
actually
can't
do
them
before
july
1st.
A
A
Sorry,
okay,
the
best
thing
to
do
would
be
to
a
nice
way
to
end.
This
would
be
to
see
if
either
the
three
continuing
commissioners
would
like
to
just
talk
a
little
bit
about
where
they
see
it
going
and
if
the
outgoing
commissioners
would
like
to
make
any
sort
of
valedictory
comment
he
did
put
on
the
agenda
the
projects
that
everyone
was
working
on.
A
C
C
My
fellow
commissioners
for
the
incredible
hard
work
that
they've
done,
particularly
in
this
past
year
with
these
mini
grants.
I
understand
how
much
work
it
is
and
how
much
effort
you
put
in
and
how
much
time
it
takes,
and
I
just
want
to
applaud
all
of
you
for
doing
that
russell.
All
of
the
projects
that
are
I've
seen
that
ours
look
so
good
and
shonda.
I
just
saw
another
electrical
box
today:
driving
down
san
rafael
right
by
indian
canyon,
so
that
was
a
joy
to
see
and
tracy
all
your
work
as
well
and
mara.
C
I
mean
it's
just
it's
really
something
and
al.
I
also
appreciate
everything
that
al
has
done
over
these
years,
that
we've
been
together
on
the
commission
and
it's
been
a
joy
to
meet
and
work
with
all
of
you
and-
and
it's
been
very
meaningful
for
me
personally,
and
I
I
just
want
to
let
you
know
how
much
I
appreciate
all
that
you've
done
and
how
much
I
look
forward
to
seeing
the
future
work
along
with
any
future
commissioners
who
will
be
joining
the
commission.
Thank
you.
A
Thank
you,
and
I
would
like
to
say
yes
exactly.
It
seems
hard
to
believe
because
it
was
a
different
world
when
we
started-
and
I
think,
put
a
lot
of
injected
a
lot
of
energy
into
the
commission
that
hadn't
been
there
before,
which
reminds
me
that
I
do
want
to
also
thank
the
artists
and
and
who
have
who
have
really
taken
over
making
making
these
projects
happen.
A
And
that
would
be
sarah
and
madeleine
and
tyson,
and
now
arlene
and
alicia
doing
the
work
that
we've,
it's
so
important
and
we
just
have
never
figured
out
how
to
do
before
and
patrick
sheehan,
who
has
tackled
the
parks
department.
But
who
has
the
perspective
of
having
been
chair
of
the
public
arts
commission
years
ago?
A
A
A
H
Oh,
I
have
questions
just
to
for
clarity's
sake,
since
we're
wrapping
this
up,
and
I
didn't
realize
that
so
so
I
just
have
like
out
of
the
commissioner
stuff
that
the
request
that
was
on
there
had
those
things
not
been
approved
or
been
approved
like,
for
instance,
I'd
be
like
tyson
doing.
A
live,
painting
event
this
weekend
is
that
something
that
I
thought
was
already
approved,
but
it's
on
here
now,
so
I
just
want
to
make
sure
that
all
of
that
is
copacetic.
B
B
The
five
or
excuse
me,
the
four
that
were
approved
were
the
tuskegee
airmen
tribute
project,
which
I
understand
has
already
been
completed,
the
garden
dome
at
demouth
park
that
was
approved,
the
utility
box
qr
code,
stickers
project
that
was
approved,
with
the
caveat
that
the
qr
code
includes
a
link
to
the
city
website
and
not
just
the
public
arts
commission
website
and
finally,
the
last
one
that
they
approved
was
the
utility
box
painting
project
at
joj,
which
I
believe
is
what
shonda
you're
referring
to
that
tyson's
doing.
So
that
was.
A
F
E
A
B
B
E
I
want
to
put
mine
to
something:
oh
okay,
and
I
want
to
really
thank
you
and
and
for
your
leadership
and
your
soldiering,
our
soldiering
on
these
past
three
three
years.
It's
been
really
exciting,
we've
done
amazing
work
and
your
dedication
and
love
and
of
art
has
has
been
infectious
to
the
entire
town.
E
So
I
really
thank
you
for
all
of
all
of
all
of
this
leadership
and,
like
we
talked
today,
so
it's
not
the
end,
we're
all
gonna
be
around
each
other,
so
which
will
be
so
great
and
tom.
You
are
amazing,
and
you
have
such
an
amazing
heart
and
such
a
bright
outlook.
So
I
I
thank
you
so
much
for
the
work
that
you've
done
over
these
past
years,
and
I
really
love
that
we've
gotten
to
know
one
another,
although
none
of
us
have
been
able
to
see
each
other.
E
And
then
I
would
I
you
know
I
thank
mara
and
al
as
well,
so
it's
been,
we've
had
a
really
great
group,
so
so,
hopefully,
next
year,
we'll
like
go
on
to
lots
of
interesting
things.
We
talked
this
afternoon
about
having
kind
of
a
you
know
a
a
meeting
in
july.
That
would
be,
you
know,
a
work
kind
of
like
a
work
study,
special.