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From YouTube: Public Arts Commission | November 14, 2019
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A
A
A
Second,
all
in
favor,
aye,
ok,
all
right!
This
is
the
time
that
has
been
set
aside
for
members
of
the
public
to
address
the
public
Arts
Commission
on
items
of
general
interest
within
the
subject
matter:
jurisdiction
of
the
public,
Arts
Commission
and
agenda
items.
If
the
member
of
the
public
cannot
be
present
later
in
the
meeting
at
the
time.
The
item
is
heard
by
the
Commission.
Additionally,
members
of
the
public
may
address
the
Commission
on
each
item
listed
on
the
posted
agenda
at
the
time.
Each
item
is
heard.
A
Testimony
for
public
hearings
will
only
be
taken
at
the
time
of
the
hearing.
Any
person
who
wish
to
speak
at
a
public
hearing
may
do
so
when
the
public
hearing
is
called.
Although
the
public
Arts
Commission
values
your
comments
pursuant
to
the
Brown
Act,
it
generally
cannot
take
any
action
on
items
not
listed
on
the
posted
agenda
and
five
minutes
is
assigned
to
each
speaker.
I
think
we
have
Dan
Spencer
if
you
could
come
up
here
and
if
you
guys
want
to
come
to
bring
a
chair.
A
C
My
name
is
Dan
Spencer
I'm,
a
local
architect
and
nonprofit
volunteer.
Today,
I
would
like
to
say
a
few
words
about
memorials
a
bit
about
a
personal
perspective
and
then
about
Palm.
Springs
memorials,
obviously
serve
a
wide
range
of
purposes,
but
for
me,
memorials
create
an
engaging
public
realm,
as
you
can
see
by
my
one-page
handout.
Memorials
come
in
all
types
and
sizes
and
they're
still
being
built
for
memorials
for
AIDS.
C
C
We
evaluated
and
explored
numerous
sites
and
Palm
Springs,
including
where
public
art
currently
exists
and
eventually
developed
a
concept
that
will
the
plaza
street
art
together
in
a
very
active
area
along
arenas.
It
was
not
built.
We
didn't
carry
it
any
further,
but
it
was
one
of
those
moments
where
we
really
thought
that
it
was
an
important
thing
to
look
at
in
this
community.
C
It's
my
hope
that
the
Art
Commission,
along
with
city
parks,
Council
and
numerous
local
organizations,
would
see
that
it's
time
is
right
to
create
the
Palm
Springs
our
AIDS
AIDS
Memorial
I
know
this
Commission
is
looking
at
studying
your
process
of
how
you
move
forward
on
special
projects
and
I
hope
that
you
consider
using
the
Palm
Springs
AIDS
Memorial
as
a
test
model
for
your
investigation
and
process.
Thank
you
very
much
open.
A
For
questions,
please,
actually
the
reason
I
asked
Dan
to
come
was
we
were
talking
about
a
new
RFP
process
or
registry
of
artists
and
I
think
it
would
be
nice
to
have
if,
if
some
from
the
commission
would
be
interested
in
just
being
part
of
dance
committee,
so
that
we
can
tie
it
in
with
what
else
were
doing.
But
if
anyone
has
any
questions
just
about
the
memorial,
please.
D
That's
totally
because
we
have
been
in
conversation
with
them
in
the
last
couple
of
months
about
activating
arenas
is
a
very
artful
area
and
one
of
the
walls
you're
talking
about
doing
a
few
murals
and
one
of
the
walls
is
the
my
directions,
north
face
and
wall
of
hunters,
and
it
would
need
to
be
a
mural
or
some
sort
of
educational
cuz.
They
wanted
to
be
representative
of
history,
probably
from
a
Stonewall
forward
or
whatever,
but
it
would
be
on
pals.
It
would
be
attached
to
the
building.
D
A
E
C
A
Think
there's
sort
of
a
meditative
garden
at
Desert,
AIDS,
Project,
but
I,
don't
think,
there's
anything
like
the
wall.
That's
here
visiting
at
the
bank
and
that's
going
to
be
at
the
library
right
mm-hmm,
which
is
a
history
that
travels
around
but
yeah
I.
Think
as
long
as
we
have
someone
from
desert,
AIDS
Project
and
someone
from
arenas
and
someone
from
the
park
to
all
come
together
and
figure
out.
What's
the
best
way
to
do
this,
I
think
so.
A
A
Like
so
many
of
our
meetings,
sometimes
things
that
we
specifically
approve,
for
example,
we
approved
funding
the
mural
by
Gabi
Vasquez.
However,
in
a
location
that
hasn't
worked
out,
and
so
it's
going
to
be
changed,
so
the
minutes
are
correct
as
to
what
we
said
that
day
and
we
can't
go
back
and
change
it,
but
I
just
call
your
attention
to
that
that
sometimes
it's
not
the
best
source
of
what's
actually
developed
since
then.
Does
anyone
have
any
corrections
may
have
a
motion
to
approve
the
minutes.
I'll.
F
A
If
you
don't
mind
passing
it
around,
we
should
be
fine
with
the
Mara
and
I
approached
Mara
and
I
to
say
was
this
something
that
would
come
under
the
jurisdiction
of
the
Arts
Commission
and
in
fact
it
doesn't
because
it's
not
a
mural
and
it's
not
a
it's,
mostly
murals
that
are
specifically
called
out.
It's
not
a
sculpture
that
needs
to
be
approved
by
the
City
Council.
So,
but
we
thought
that
the
rest
of
the
Commission
would
like
to
hear
what
they
are
doing
at
the
architecture
and
design
center.
So.
F
F
He
lives
in
one
of
the
Wexler's
steel
houses
in
North,
Palm
Springs,
and
we
have
several
works
by
him
in
the
museum
collection,
and
the
exhibition
is
called
copy
repeat
and
we'll
be
on
view
at
the
Palm
Springs,
Art,
Museum
architecture
and
designs.
Excuse
me
a
design
Center
from
January
25th
2020
through
late
2020.
F
And
then
the
artist
subsequently
has
designed
each
variation
for
each
of
the
window
panes
and
when
it
moves
inside
the
building,
then
the
pattern
becomes
slightly
smaller
and
the
colors
are
true
to
the
drawing
that
you
see
from
the
artist
to
the
right
of
the
photograph
of
the
A&D
Center,
and
it's
meant
to
serve
as
a
metaphorical
hedge
that
encloses
the
exhibition
which
will
be
inside
the
space.
And
the
exhibition
includes
many.
A
G
F
F
Off
the
shield
off
itself
and
it
the
colors
didn't
fade,
and
it
didn't
do
anything
to
the
film
that's
already
on
the
windows
and
then
from
the
inside
of
the
building.
You
can
see
the
pattern
that's
applied
to
the
outside.
So
not
only
will
that
when
it's
on
the
east
and
the
north
facades
it
will
be
visible
on
the
interior
and
the
exterior
of
the
building.
A
F
At
night
we
keep
the
after
the
space
closes
to
the
public.
We
keep
the
work
lights
and
the
ceiling
on
so
there
will
be
some
light
in
the
space
and
then
on
Thursday
evenings,
of
course,
we're
open
until
8:00
p.m.
and
then
it
will
definitely
be
very
visible
and
in
the
drawing
the
white
areas
are
actually
transparent.
So
there's
this
sense.
So
then
you
see
that
we
were
to
film
through
them
on
on
the
outside,
and
you
see
from
the
inside.
You
see
out
to
the
outdoors.
A
A
Our
joint
project
with
the
Palm
Springs
Art
Museum,
called
this
history
of
suspended
time,
was
on
the
consent
calendar
for
the
City
Council
on
Wednesday
night,
and
it
was
approved
with
the
understanding
that
there
were
a
lot
of
technical
issues
that
had
to
be
resolved.
But
as
far
as
putting
that
sculpture
on
that
site,
that's
been
approved.
A
A
We
have
not
been
able
to
do
that
yet,
but
we
have
set
up
a
meeting
on
Tuesday
with
all
the
people
from
the
city
that
would
be
involved
like
facilities
and
the
assistant
city
manager
and
then
people
from
the
museum
who
understand
what
needs
to
be
done,
and
hopefully,
in
that
meeting
we
can
figure
out
how
it's
going
to
be
installed,
but
we
have
the
the
go-ahead
to
do
it,
assuming
that
the
city
can
just
work
out
there.
There
are
some
issues.
A
A
That's
really
the
only
part
of
my
report,
because
the
second
half
of
our
meeting
is
really
devoted
to
discussing
a
lot
of
the
plants
that
are
coming
up.
So
we'll
do
that
and
as
a
result
for
items
see
the
action
item.
I
would
like
to
amend
this
to
read
that
we
approved
the
expenditure
of
up
to
thirty
five
thousand
dollars
from
the
public
arts
fund,
subject
to
an
agreement
with
the
Palm
Springs
Art
Museum,
so
that
they
can
go
forward.
Knowing
that
we've
approved
the
funding
and
the
city
will
have
to
approve
the
contract
and.
A
A
A
G
G
A
A
G
B
B
Make
a
motion
to
approve
an
expenditure
up
to
$35,000
to
install
the
sculpture,
entitled
history
of
suspended
time
by
Gonzalo
LaBrie
on
the
art
part
h2
site,
subject
to
an
agreement
between
the
city
and
the
Palm
Springs
Art
Museum.
A
D
A
Very
much
okay
and
I
will
report.
Hopefully
the
next
meeting
that
it's
all
settled,
I
figure.
If
we
get
everyone
in
the
same
room,
it's
better
than
going
back
and
forth
about.
You
know
how
much
weight
it
will
support
and
how
we're
gonna
do
it,
and
you
know-
and
the
museum
has
a
lot
of
work
to
do
first,
just
to
get
it
here
so
Tuesday
for
three
o'clock.
If
anyone
would
like
to
come
I
can
we
can
send
that
out
are.
A
A
A
She
just
wanted
to
make
sure
she
wouldn't
get
arrested,
for
you
know
tampering
with
the
mural,
and
it
occurred
to
me
that
this
could
happen.
You
know
randomly
and
it
doesn't
require
a
contract
with
each
person
to
do
it.
I
think
we
just
need
them
to
submit
a
bill
for
what
it
took
to
repair,
something
on
their
own
piece.
B
E
A
It's
we
have
been
asked
several
times
by
the
facilities
department.
If
we
are
going
to
be
responsible
for
maintaining
things
like
the
benches,
because
when
they
do
it,
they
power
wash
it.
So
we
said
yes,
we
would
do
it,
but
we
don't
have
any
way
to,
for
example,
pay
Tyson
for
two
hours
of
work
and
a
you
know
a
can
of
paint.
If
we
have
this
fund,
he
can
submit
an
invoice
up
to
a
thousand
dollars
right
for.
B
We
have
the
agreement
with
art
collective
to
do
maintenance
and
repairs
on
the
list
of
pieces
that
that
they
have
proposed
on
they're
available
to
do
more,
but
I,
don't
know
how
quickly
they
would
get
to
it,
giving
it
they're
going
down
their
list
of
some
30
art
pieces
to
do
work
on.
So
in
this
case
it
would
be
I
believe,
as
worded.
B
A
E
E
E
You
know
in
advance
of
season
or
something
like
that
where
these
sort
of
Corrections
can
be
made,
because
I
just
prefer
that
for
just
for
these
reasons,
I
think
between
the
costs
and
then
also
just
in
the
spirit
of
the
kind
of
publicness
of
these
projects.
It's
just
it's
going
to
be
an
impossible
task,
so
well.
A
G
A
B
B
A
G
A
A
B
A
G
G
B
A
G
A
D
A
B
B
E
A
That
and
also
the
other
conference
rooms
are
fairly
small.
So
it's
hard
to
have
some
guests,
but
I
think
that
it's
been
good
to
meet
at
the
Museum
once
in
a
while
or
the
or
the
desert
art
center
or
something
we
could.
We
could
keep
doing
that
just
so
that,
but
there's
certainly
no
problem
meeting
earlier
as
long
as
it's
at
a
time
where
members
of
the
public
could
come
and
it's
more
important
for
the
City
Council
that
they
need
to
be.
D
B
B
B
A
A
G
A
A
E
Happy
to
update
on
the
Gerald
Clark
road
science
project,
so
I
think
most
of
you
have
seen
the
updated
proposal
and
site
location
list.
Gerald
and
I
visited
all
the
parks
in
the
city
of
Palm
Springs
and
identified
five
of
them
that
we
thought
were
really
great
for
for
some
of
the
road
signs
and
then
two
additional
locations.
That
would
be
alternatives
if,
for
some
reason,
the
other
locations
didn't
work
out.
Gerald
has
all
the
designs
I'll
be
asking
him
to
send
me.
E
The
final
design,
images
and
all
of
the
commissioners
have
been
really
helpful
in
each
reaching
out
to
different
community
neighborhood
groups
to
share
with
them.
You
know,
advance
notice
of
the
project
and
already
I
think
I.
Think
we
think
you
attended
one
of
those
meetings.
So
what
we're
getting
there
but
we'll
be
sure
to
going
to
all
of
those
in
December
and
then
and
then
we're
also
conversations
with
the
Parks
and
Rec
Department
too.
E
So
they
can
assist
us
in
the
installation
and
so
they're
just
very
clear
about
the
locations
of
these
signs
and
the
project.
It
appears
that
there
aren't
any
red
flags
going
up
with
the
proposed
locations,
so
that's
a
great
relief
and
I
think
the
other
things
that
I
would
love
this
commission
and
Sarah
to
think
about
are
just
how
we
can
best
promote
the
project.
E
Think
we
can
discuss
this
more
like
offline
about
some
ways
that
we
can
really
promote,
that
and
or
if
we
would
like
Gerald
himself
had
suggested
that
it
might
be
interesting
and
kind
of
wonderful
to
have
some
bird
singing
to
celebrate
those
installations
of
Simon's
lations,
particularly
at
sites
where
they're
already
sort
of
stages
built
in
such
as
that
the
Palm
Springs,
the
Welcome
Center
has
a
little
stage,
and
some
of
the
signs
that
he's
proposed
would
be
around
there.
I'm,
not
a
stage
where
they're
kind
of
like
poured
concrete's,
seating
and
steps.
E
And
finally,
the
idea
of
maybe
making
one
of
our
Thursday
collaborative
conversations
with
the
collaborative
events
with
the
museum
to
be
something
that
celebrates
that
public
project.
So
these
are
just
all
things
to
think
about
that
I
would
be
happy
to
continue
conversations
with
Gerald
directly
or
you
know.
I
can
connect
you
if
you
have
some
ideas
so
and.
A
A
E
I
have
actually
made
an
interactive
google
map
already
I,
don't
know
how
to
you
know,
make
that
maybe
Sarah
can
make
that
indefinitely
like
more
beautiful,
but
it
actually
is
very,
very
specific.
With
the
exact
locations
like
that
that
we
would
recommend,
you
know
next
to
the
building
or
whatever
so
I
actually
already
have
that
great
and
can
share
it.
G
E
E
It
says
so
so
Gerald's
also
Jarrell
and
I
also
discussed.
He
will
be
making
smaller
plaques
like
little,
maybe
white,
with
a
little
like
sort
of
the
informational
kind
of
class
underneath
it
that
would
explain
what
the
project
is.
You
know
this
is
a
work
by
Gerald
Clark
jr.
and
offers
some
kind
of
context
for
the
work.
What
we're
still
working
on
at
that
language
would
be.
But
yes,
it
would
be
just
sort
of
placed
underneath
the
the.
A
E
Particular
interest,
in
instance,
even
you
may
be,
connecting
with
the
Y
or
the
after-school
clubs
that
are
there
to
coincide.
You
know
because
I'm
certain
that
you
know
some
of
the
students
do
sort
of
are
in
that
area,
so
we
can
know.
A
E
A
E
B
G
A
D
D
A
Well,
they
did
do
a
very
nice
video,
yes
watch
the
video
yes,
but
it's
if
you
remember
it
was
once
one
big
insulation
with
all
the
colored
balls
and
that
ran
into
trouble
with
whether
it
would
block
traffic
and
also
whether
it
would
be
subject
to
too
many
people
touching
it
and
possibly
breaking
it.
A
So
it
evolved
into
four
Pete
four
separate
parts
to
it
that
are
installed
in
what's
called
the
regional
terminal,
which
is
the
one
if
you
go
in
and
you
go
all
the
way
to
the
right
and
they
are
there's
sort
of
an
overhang
and
these
hang
down
from
it
and
it
took
I,
don't
know
a
crane
and
a
lift
and
everything
else
to
get
them
up
there.
But
what
they're
working
on
is
a
some
signage
that
basically
has
a
picture
of
it
and
it
encourages
people
to
look
up.
A
If
you
know
they're
there,
you
see
them
and
it's
it's
cool
when
you
walk
in
there's
four
of
them
and
they're
right
over
light,
so
that
they
show
up,
I
mean
it's,
but
I
think
we
just
have
to
sort
of
announce
them
a
little
bit
more.
It's
not
worth
probably
trying
to
actually
have
a
dedication,
but
I
think
we
could
maybe
get
a
site
visit.
I
mean
that
there's
a
limit
to
how
many
people
we
could
probably
get
through
security.
A
The
other
alternative
is,
if
anybody's
up
for
going
to
the
next
Airport
Commission
meeting,
which
meets
at
8
a.m.
on
the
first
Wednesday
or
something
we
could.
You
know
officially
give
it
to
them
or
whatever
and-
and
you
know
just-
we
can
also
Madalena
supposted
some
things,
and
we
could
get
that.
You
know
we
could
get
something
in
the
paper
if
we
wanted,
but
the
they
were
very
enthusiastic
at
the
airport,
except
that,
then
they
realized
that
they
were
about
to
start
renovations
of
the
ticketing
area
and
in
the
upper
terminal.
A
D
The
event,
certainly
it's
one
of
the
projects
that
morphed
into
various
forms
and
it's
interesting
for
us
working
with
the
Airport
Commission,
because
we
see
how
they're
a
little
bit
more
limited
and
restrictive
than
we
would
like
them
to
be
and
public
art.
So
I
mean
it's
great,
that
we
were
able
to
showcase
our
biblical
artists
and
do
an
installation
at
the
airport.
Is
that
100%
ideal?
No,
but
it's
great
that
it
was
well.
D
And
certainly
the
artists,
both
if
I
went
to
the
Backstreet
Studio
Art
Walk
last
Wednesday
and
Linda
Mack
Sennett
has
opened
her
new
gallery
and
Rancho
Mirage
I
went
to
her
opening
and
they're,
both
so
thrilled
and
excited
that
we
were
able
to
do
this
for
them
that
they
thank
us
wholeheartedly.
Okay,.
D
Right,
well,
it's
very
easy
to
that's
the
two
murals
we're
talking
with
Gaby
Vasquez
Caesar,
which
is
visiting
Mirage
and
then
and
faith
Nichols
transplant.
So
we've
been
sort
of
around
about
with
the
actual
locations
we
have
voted
on
and
approved.
The
budget
for
Gabby
Vasquez
was
originally
going
to
be
on
the
West.
D
It
was
going
to
be
on
the
south
facing
wall
of
yo.hannes
restaurant
on
arenas.
The
merchants
had
said
yes
to
it
and
then
changed
their
mind,
so
you
and
connecting
us
with
the
cultural
center
they're
very
enthusiastic
about
it
being
on
the
north
wall
of
the
cultural
center,
which
is
shown
in
the
mock-up
that
Gabby
did
for
the
mural.
We.
D
A
D
D
It
was
only
about
a
ten-foot
wall,
so
it
would
be
easily
done
it's
on
the
inside
and
would
be
easily
accessed.
So
it's
just
a
basic
ladder
here.
She
would
need
to
help
some
scaffolding,
so
the
only
adjustment
I
would
wanted
to
do
as
I
mentioned
to
her
when
we
looked
at
the
site
and
realized
that
she
wouldn't
need
to
do
any
sort
of
scalping
or
scissor
lift
that
we
would
just
do
an
add-on
for
that
amount
to
her
original
budget
that
we
approved
so
on
this
mock-up
she's
added
three
to
$600
for
scaffolding.
B
D
D
D
A
A
D
A
A
A
A
A
There
was
no
mention
this
year:
I
have
what
we
did
was
in
in
September.
The
action
item
says:
approval
of
funding
to
commissioned
artwork
from
the
30
30
exhibit
commissioners
Choice
Awards
for
a
total
amount
not
to
exceed
$21,000,
and
it
was
7,500
for
and
6,500
for,
Gabby
3500
for
John
Moores,
but
clothesline
is
color
spectrum.
A
E
E
Maybe
I
don't
know
if
that's
based
on
the
scale,
the
project
you
got
a
flavor
involved,
but
you
know
there
are
a
number
of
like
tools
that
are
available,
such
as,
like
the
wage
fee,
calculator
and
things
like
that.
That
can
help
us
with
that.
But
you
know
like,
for
example,
what's
the
fee
for
Gaby's
mural
or
what
is
what's
her
artist
fee.
A
E
So
I
just
think
we
have
to
this
feat:
fee
seems
a
little
high
to
me,
based
on
the
scale
of
the
project
and
based
on
height
memory,
of
how
much
we've
paid
other
mural
artists
for
very
large-scale
work,
so
so
I
just
I
just
think.
We
need
to
think
about
that,
and
maybe.
A
A
D
A
We
have
is
we've
gotten
the
Planning
Department
to
notice
that
we
would
have
a
public
hearing
on
these
two
murals.
It
has
to
be
ten
days
notice,
so
we
set
up
it's
Tuesday,
the
26
which
again
is
Thanksgiving
week,
but
to
meet
at
the
Cultural
Center
and
with
any
member
of
the
public.
Who
gets
this
notice
and
wants
to
come,
and
then
we
can
vote
it.
A
Well,
I
think
that
we're
trying
to
finish
as
many
of
those
33
30
by
30
projects
as
we
can
but
I,
think
that
we
need
to
really
make
final
decisions
out
of
them,
because
there
are
two
or
three
that
we're
not
going
to
be
able
to
do.
I'm
just
confused.
A
D
I
think
it's
at
this
point.
My
recommendation
was
that
we
would
move
forward
with
Gabi
Vasquez
mural,
and
then
we
would
have
to
I
would
read
ress
with
an
faith
Nichols,
both
her
budget
and
the
location,
because
she
is
stated
to
me
on
a
few
occasions
that
it
was
under
her
distinct
impression.
It's
when
she
entered
the
contest
of
30
by
30.
A
E
D
A
E
A
A
That
is
our
I
mean
if
it
was
a
mural
that
came
in
from
someplace
else,
we
would
vote.
We
would
have
a
public
hearing
and
then
immediately
vote
to
send
it
to
the
City
Council
or
not
so
both
murals
are
listed
on
the
public
hearing.
So
if
we
get
to
that
point-
and
there
is
no
second
mural-
that's
fine,
but
if
we
can
okay,
we
can
work
it
out
because
nowhere
have
we
said,
have
we
agreed
on
a
budget
for
it
all
right.
A
B
Can
we
talk
about
the
piece
now
as
we're
looking
at
now,
because
I
I,
like
the
piece
but
I,
don't
think
it
should
go
right
next
to
the
other
piece
that
just
seems
really
busy
to
me.
I
mean
the
other
piece
isn't
in
the
picture,
but
it's
like.
Why
would
you
put
two
murals
in
the
exact
same
spot
when
there's
like
so
many
plate?
You
know
there.
E
Actually
don't
mind
I
feel
like
they're
so
different,
because
Anne's
is
so
figurative.
The
other
one
is
a
landscape.
She
think
they're
kind
of
a
nice
compliment
and
they're
very
different
scale.
I
mean
if
we
were
to
have
this.
His
smaller
Ryan
gambled.
Next
to
again
the
the
Gaby's
work
it
would.
You
know
that
wouldn't.
B
A
A
G
A
G
A
A
A
Planning
had
to
send
out
the
notices.
Yesterday
we
were
going
to
do
one.
So
you
know.
If
if
we
don't
have
a
quorum,
then
we
can't
vote
on
it,
but
we
we
will
have
had
the
public
hearing
so
that
if
any
one
there's
not
a
lot
of
neighbors
there's
you
know
co
DS
construction
site,
but
there's
some
houses
nearby,
krisily.
E
G
E
A
Were
ones
that
people
thought
were
really
worthwhile
and
should
be
tried
and
I
must
say
that
this
is
the
only
artist
who's
pushed
back
quite
a
bit
about
where
and
when,
and
you
know
it's
always
sort
of
you
promised
to
do
this,
and
we
tried
we've
tried
to
make
it
clear
that
we're
doing
the
best
we
can
and
and
when
we
got
budgets
from
some
of
the
ones
that
we
have
liked.
A
You
know
some
of
them
were
a
hundred
and
eighty
thousand
dollars
and
it
you
know
it's
so
perhaps
it's
time
to
like,
at
the
end
of
this
year,
we're
going
to
revitalize
the
the
ability
for
artists
to
register
that
they
want
to
do
things,
and
if
we
have
an
RFP
to
put
it
online,
it
may
be
time
to
close
out
the
other
one
and
say
you
know
these.
Are
you
know
if
we
haven't
been
able
to
do
these
projects?
A
G
G
D
Yeah
and
two
of
the
other
main
projects
Bijan,
who
did
the
we
are
one
proposal
and
Richard
Becker
who
did
the
buoyant.
This
is
the
unity
baby.
They've
had
ongoing
communication
with
them
over
the
summer
time.
That's
where
we
got
several
different
variations
of
their
proposals,
so
they
know
especially
Bijan
realizes
that
his
is
a
large
installation.
That's
not
going
to
happen
next
month
or
even
next
year.
It's
just
something
that
we
will
consider
for
some
specific
spot.
The
Richard
Becker
is
something
perhaps
then
the
next
being
we
put
on
the
discussion.
D
I
would
like
to
address
doing
with
him.
Susie
wanted
his
small
childlike
figures,
because
it's
within
a
reasonable
amount
of
money,
I
can't
remember
specifically
what
the
number
was,
but
he
knows
two
that
were
it's
an
ongoing
process.
So
thank
you.
All
of
these
artists
are
sort
of
aware
that
we're
working
on
them.
So
it's
we're
doing
our
due
diligence,
yeah.
A
Well,
maybe
we
still
should
perhaps
I'll
send
a
note
that
which
I
can
do
through
the
call
for
entries
and
just
you
know,
touching
base
sort
of
that
we
are
working
on
these
and
I.
Think
we've
gotten
a
number
of
things
done.
You
know
it
was
really
a
lot
of
things
done,
considering
this
the
steps
that
each
one
has
to
go
through
so
I
think
for
sure
and
faith
that
just
to
find
out,
you
know
by
the
25th
26.
B
A
A
B
D
B
A
A
Which
is
good
because
Russell
has
been
talking
to
people
on
arenas
and
Michael
Braun
who's,
very
supportive,
but
maybe
not
here,
maybe
not
there.
So
you
know
it's
been
a
lot
of
legwork
to
to
try
to
figure
it
out,
but
the
cultural
center
would
like
to
have
more
and
I
think
they'd
be
very
amenable
to
maybe
leaving
something
up
for
a
couple
of
years
and
then
you
know
doing
something
different.
B
B
She
gave
us
a
revised
schedule
which
I
forgot,
but
they
will
be
beginning
soon,
and
so
our
process
is
that
you
know
they'll
just
kind
of
go
through
the
works
and
we're
gonna
just
kind
of
meet
periodically
and
keep
you
posted
on
the
pieces
and
things
like
that
and
the
plan
is
basically
to
do
the
sort
of
cleaning
first
and
then,
as
works,
that
they
come
across,
need
more
attention.
They'll
be
sort
of
put
into
a
different
bat
like
of
like
more
like
conservation
and
then
we'll
kind
of
keep
going
as
we
go
through.
B
A
We
asked
them
to
do
that
and
we
can
give
them
the
list
of
possible
sites
that
we
have
you
know
sort
of
sitting
around.
But
what
I'm
hoping
is?
Having
responded
to
a
47
page
RFP
with
a
60
page
proposal
that
the
city
will
consider
that
they
are
experts
in
this
field,
and
so,
if
they
recommend
something
that
we
won't
have
quite
as
much
of
a
time
selling
the
the
idea
sounds.
A
G
G
So
that
is
one
thing
and
then
there
are
a
number
of
different
registries
here
and
the
ones
I
thought
the
Laguna
Beach
one
was
really
interesting.
The
Palm
Desert
one
stands
out
not
for
any
design
or
anything
other
than
you
have
to
be
juried
and
to
be
on
the
artists
registry.
So
it's
something
we
should
think
about.
A
A
B
G
The
map
has
to
move,
but
it
would
also
be
for
the
people.
A
lot
of
the
pieces
from
the
30
by
30
show
are
already
framed
renderings.
So
we
could
have
a
pop
up
30
by
30
the
pieces
that
were
commissioners
choice,
have
them
at
the
airport
with
you
know,
signage
of
what
the
show
is
about
and
have
it
as
a
temporary
show
there.
G
So
even
you
might
not
have
seen
the
renderings
the
framed
renderings
in
the
show,
but
we
didn't
show
everything
so
I
think
all
of
those
pieces
have
a
rendering
of
them
of
some
sort
that
was
framed
and
ready
to
go.
So
I
thought
it
would
be
a
way
of
start.
You
know
keeping
the
projects
in
the
ecosphere,
you
know,
while
we're
working
on
things,
so
they
would
be
the
the
pieces
that
we
pulled
out
as
commissioners
choice.
I,
don't.
E
E
E
I
I
just
think
that
was
part
of
a
project,
a
show
that
happened
and
I
know
they're
framed,
but
I
just
I
just
think
having
like.
Maybe
you
know
our
statement,
statement
about
Wahab,
Lockhart,
I
think
just
a
sort
of
general
like
a
nice,
attractive
public,
Arts,
Commission
thing
with
the
math
and
a
QR
code
to
scan
an
app
of
all
of
our
you
know,
sites
or
something
I.
Just
think
this
is
also
like
a
passageway
and
having
a
lot
of
text
having
having
work
that
you
have
to
explain.
A
lot
is.
A
That's
just
those
feelings,
maybe
not
a
big
map
like
the
one
that
we
used
to
have
it.
That
was
just
hard
to
read,
but
something
you
know,
the
information
booths
at
the
airport,
maybe
there'll
be
something
I
just
flew
out
of
San
Francisco
and
there's
a
there's,
a
map
to
the
art
and
the
airport.
You
know
it's
like
and.
E
We
can
even
think
about
you
know
the
student
are
like
the
portraits.
You
know
you
can
blow
things
up
and
mount
them
on
foam
board,
and
you
know
sort
of
high-impact
emphasizes
what
we
do
in
the
community
and
really
like
singular
projects
that
are
easily
digestible,
I
think
would
work
best
in
the
space
we.
A
G
E
G
G
A
G
G
A
E
E
Selecting
that
that's
and-
and
so
you
know,
I,
don't
know
what
exactly
that
means,
but
it's
usually
a
certain
kind
of
artist,
a
certain
you
know
someone
who's
really
self
promotes,
and
you
know
has
a
kind
of
Verve
about
them
and
and
I
just
I,
think
I,
don't
know
we
operate
on
such
a
lean
budget
that
I
just
I.
Just
can't
imagine
us
managing
like
a
large-scale
database.
E
I
mean
all
these
other
examples
are
cities
that
have
significantly
more
resources
than
we
do,
and
so
so
that's
one
thought,
and
then
the
other
is
that
you
know
that
said.
I
see
that
are
the
one
benefit
is
that
it
is
a
space
where,
in
artists
who
are
interested
in
communicating
with
the
city
and
with
the
Commission,
are
able
to
do
so
in
a
sort
of
open
and
sort
sort
of
solves
a
kind
of
problem,
but
we've
been
having
people
when
it
allows
us
to
sort
of
annually.
E
We
can
let
go
through
and
sort
of
take
check
it
out
and
see
what
see
if
any
of
the
project
participate.
If
they're
not
vetted,
if
they're,
not,
you
know,
if
they're
just
simply
sort
of
uploading
portfolios,
it
just
becomes
this
sort
of
space
information
blog.
That
won't
actually
be
that
helpful
for
us,
but
but
I
think
do
see
the
benefit
of
data
communication.
It's.
A
A
They
want
to
give
the
city
or
they
want
to
do
for
the
city,
and
we
have
a
commitment
to
sort
of
reach
out
to
the
neighborhoods
and
the
parks.
The
question
is:
how
can
we
put
those
two
things
together?
In
other
words,
how
can
we
generate
ideas
from
the
various
neighborhoods
and
the
parks
about
what
they
would
like
to
see
and
then
also
have
some
ideas
of
projects
that
people
want
to
do
I'm,
just
as
smart.
E
As
someone
who
wears
an
institution
that
I
think
it
is
an
arts
institution,
we
are
constantly
fielding
proposals
from
all
sorts
of
people.
Gifts
of
sculptures
gives
their
proposals
and
I
think
this
small
Hall
Commission
again
operating
on
a
super
small
budget
annual
budget
I
just
think
us
opening
the
door
to
just
all
ideas
is
not
a
great
idea
and
not
a
good
use
of
our
resources.
E
I
do
think
you
know
doing
an
annual
call
for
a
general
project
that
may
or
may
not
be
realized,
like
you
know,
public
or
in
a
park
or
make
a
bench.
You
know
paint
the
electrical
box
or
you
know
something.
That's
or
you
know
annual
call
for
a
mural
at
this
site.
You
know
something
like
that:
I
think,
having
specific
I
mind,
so
we
know
what
we're
getting
into
is
is
better
than
than
just
doing
an
open
a
public
open
call
I.
E
Just
really
don't
think
we
have
the
capacity
to
manage
that
information,
and
then
it
potentially
leads
more
to
more
sort
of
disgruntled
relationships
with
people
in
our
community.
Who
might
expect
us
to
respond
to
all
of
these
things
and
to
be
good
commissioners
and
good
citizens
and
representatives
of
this
commission?
We
would
have
to
do
that.
I
just
think
it
just
I,
don't
know
I
I'm,
really
kind
of
against
this
I
I,
don't
I
just
but
I'm
definitely
open
to
ideas
about
how
we
can
build
that
communication
and
in
some
way.
G
E
Mostly
give
away
sculptures
because
they're
buying
a
new
one
or
because
they're
moving
out
of
their
home,
unfortunately
I
mean
at
least
that's
like
the
bulk
of
probably
what
we'd
be
getting
here,
especially
in
this
desert.
So
I,
just
it's
that's
not
I,
don't
think
that's
where
we
should
be
going
with
our
resources
and
but
the
idea
of
installing
more
sculptures.
You
know
I'd
love
to
do
that,
but.
A
A
E
B
G
A
A
A
E
A
A
If
you
can
give
us
some
yeah
sure
you
know
I
think,
wouldn't
that
we,
if
we
before
we
put
anything
in
a
park,
I,
think
that
there
need
to
be
juries
or
committees
or
whatever.
That
includes
some
people
from
the
neighborhood
I
mean
we
have
to
come
up
with
sort
of
a
process
so
that
we
don't
go
around.
Trying
to
you
know,
put
murals
up
I
think
it
was
great
for
the
first
few,
but
we
can
see
we
saw
it
happened
at
a
meanness.
A
E
A
E
Important
for
us
to
also
remove
ourselves
from
the
idea
that,
like
art,
has
to
be
this
thing.
That's
on
a
wall.
That's
there
for
a
period
of
time
me,
for
example,
the
city
of
La
just
completed
like
a
two-week
public
art
project
in
parks
is
called
la
currents,
food
or
something.
So
then
they
commissioned
I,
think
10
or
12
projects
installed
at
various
parks
that
were
really
up
for
short
period
time.
E
So
that
whole
thing
just
goes
in
the
garbage
afterwards
and
so
I
think
we
need
to
think
about
different
we're
all
committed
to
parks
which
I
think
we
are,
but
maybe
we
can
think
about
different
we're
having
you
know,
artists
as
artists
work
in
so
many
different
ways,
and
this
is
beautiful,
so
I
think
it
besides,
bringing
like
RFP
models,
which
are
totally
boring.
Look
like.
Let's
bring
models
of
like
temporary
public
art
things
that
we
see.
B
E
If
we
see
projects
that
kind
of
work
like,
for
example,
I'm
gonna
go
back
and
sort
of
look
back
at
that
early
call
for
that
now
for
that
LA
project
that
I
saw
I
only
saw
like
two
of
them,
but
you
know
I'll
just
see
we
can
just
start
seeing
how
they
modeled
it
and
again.
They're
operating
was
like
a
lot
more
funds
and
a
whole
staff
of
people's
were
able
to
select,
but
if
we
can
kind
of
scale
it
down
to
be
something
more
manageable
and
that
could
be,
we.
A
Could
probably
find
works
having
public
art
night
at
the
Museum,
we
can
have
a
you
know
a
week.
That's
art
in
the
parks
and
but
I
agree
I'd
like
to
see
more
ephemeral
things
and
just
keep
the
interest
and
also
the
process.
I
mean
have
artists
working
in
a
way
that
people
can
watch
or
participate
or
whatever
and.
E
It's
it's
also
reflective
of
like
socially
engaged
art
practices
or
people
are
really
interested
in
folding
in
that
connection
and
conversation
with
the
community
in
their
work,
so
that
we
don't
always
have
to
be
going
to
exclude
everybody
what's
happening
to
describe
the
project,
but
rather
the
project
itself
is
an
act
of
communication.
I
may
think
you
know
that.
B
I,
like
I
just
want
to
add
on
because
I
like
I,
mostly
agree
with
everything
you
say
and
I
do
worry,
because
if
I
like
the
idea
of
the
artist
registry,
but
then
there
is
this
like
obligation
like
you
have
to
actually
look
through
it
right.
So
I
I,
like
I,
I,
think
I.
Like
the
idea
of
that
entry,
you
know
like
having
a
project
that
have
people
submit
to
that,
and
then
we
can
like.
We
did
with
the
exhibition.
G
A
But
and
that's
that's
a
little
static
to
me.
You
know
just
there's
nothing
magic
about
two
years,
except
that
you
don't
want
to
change
it
out
too
often,
but
we
could
have.
You
know
some
parameters
for
how
long
and
one
of
my
projects
is.
I
would
like
to
come
up
with
some
changes
to
the
mural
ordinance
that
we
can
propose,
and
one
of
them
is
there's
no
reason
that
it
used
to
have
to
be
that
it
stayed
for
ten
years
or
something
and
now
it's
down
to
two.
A
But
what's
magic
about
to
I
mean
you
know,
there
should
be
walls
that
can
be
painted
every
year
at
a
you
know,
at
somebody's
celebration
and
there's
ones
that
should
stay
longer,
but
they
in
this
climate
they're.
None
of
them
are
doing
very
well
after
a
couple
of
summers,
but
I
think
a
little
bit
more
just
standardization
of
what
we
can
do
and
we
can
say
we
can
do
you
know
ten
projects
of
this
scale
in
the
course
of
the
year
or
something
and
just
all
right.
That's
good
tell
us
about
the
walk
ovens.
A
D
A
G
F
E
D
Yes,
they
might
thought
on
that
after
we
talked
about
this
I've
gone
to
one
or
two
of
the
walk
Indians,
and
it
just
seems
like
it's,
it's
a
very
busy
event
and
the
people
who
go
to
that
are
so
focused
on
the
ends
or
the
thing
that
maybe
we
better
serve
doing
our
walk
of
our
artwork
on
some
other
free
Thursday
night,
as
opposed
to
at
the
same
night.
It.
A
Might
be
true,
we've
got,
you
know
the.
They
were
like
six
hundred
people
there
just
for
public
art
night,
because
it
was
the
free
night
and
lots
of
people.
You
know,
took
the
maps
and
they
you
know
they
talked,
and
there
was
a
program
going
on.
So
we
could
I
think
we
I,
don't
know
who
said
this
earlier,
but
we
need
to
just
remember
that
were
a
volunteer
committee
and
there's
not
a
lot
of
us
so.