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From YouTube: Public Arts Commission | August 30, 2018
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A
B
Like
caress
them,
okay,
all
right,
I'm
gonna
call
the
meeting
to
order,
because
we
have
lots
and
lots
to
do
a
little
bit.
Welcome
back
all
of
you.
This
is
this:
is
the
Thursday
August
30th
2018
special
meeting
of
the
public
Arts
Commission
of
the
city
of
Palm,
Springs
and
I'd
like
to
ask
mr.
burrata
to
please
call
the
roll.
C
D
D
B
Any
objections
any
changes:
okay,
because
we
are
a
special
meeting
and
not
just
a
study
session.
We
we
are
open
to
public
comments.
This
time
has
been
set
aside
for
members
of
the
public
to
address
the
public
Arts
Commission
on
items
of
general
interest
within
the
subject
matter:
jurisdiction
of
the
public,
Arts
Commission
and
agenda
items.
If
the
members
of
the
public
cannot
be
present
later
in
the
meeting
at
the
time.
The
item
is
heard
by
the
Commission.
B
Additionally,
members
of
the
public
may
address
the
Commission
on
each
item
listed
on
the
posted
agenda
at
the
time.
Each
item
is
heard.
Although
the
public
Arts
Commission
values
your
comments
pursuant
to
the
Brown
Act,
it
generally
cannot
take
any
action
on
items
not
listed
on
the
posted
agenda.
Five
minutes
is
assigned
for
each
speaker.
Do
we
have
anyone
who
would
like
to
speak?
B
Now
that
we
are
actually
a
special
meeting,
we
will
be
able
to
act
on
action
items,
but
the
first
four
items
are
just
discussion
items
and
while
we
will
try
to
sort
of
do
them
in
the
order
they
are,
it
really
can
be
somewhat
more
informal.
So
if
something
fears
off
and
from
one
topic
to
the
other
I
think
it's
not
that
important.
But
let's
start
with
the
30th
anniversary
celebration
plans
that
Commissioner
Merrigan
has
been
chairing.
E
E
So
we
are
discussing
our
30th
anniversary
launch,
so
it
is
going
to
be
at
the
Palm
Springs
Art
Museum,
on
October
11th,
where
we're
going
to
unveil
the
art
felt
our
interactive
map
with
the
city,
we're
going
to
have
our
proclamation
for
National,
Humanities
Month
and
we're
still
in
process
of
a
couple
of
our
other
items.
For
that
night,
then,
on
Sunday,
which
is
also
another
free
museum
day
we
are
having.
Our
art
is
here
street
festival
from
10
a.m.
to
2
p.m.
and
that's
going
to
be
an
interactive
public.
E
Public
event
to
engage
the
public
in
pump
in
what
is
public
art
and
how
they
want
public
art
used
in
the
city
and
what
kind
of
public
art
they
would
like.
So
that's
where
the
goal
this
year
in
this
respect
is
to
engage
our
public
to
see
to
educate
them
on
what
we
have
educate
them
on
what
we
could
have
and
see
what,
where
they're
at
and
what
they
would
like
for
their
city.
E
So
in
that
respect
we
have
a
bunch
of
interactive
engagements,
so
all
around
the
idea
of
public
art
and
a
lot
of
the
art
that
we
already
have
in
our
city
and
looking
forward
into
the
future.
So
some
of
the
crack
craft
activations
we're
going
to
do
are
a
photo
booth
with
public
art
images,
a
number
of
other
craft
activations
still
to
be
determined.
We
have
our
cookie
lady
who's
going
to
make
cookies
and
do
it,
kids
or
adult
activation
with
decorating
we're
still
talking
about
our
t-shirt
activation.
B
I
just
want
to
point
out
that
if
on
the
back
of
the
agenda,
if
you
look
at
item
action,
item
number
5,
this
is
basically
a
contract
to
have
Sarah
do
all
of
these
put
together
all
of
these
activities.
So
as
we
discuss
what
activities
people
would
like
to
see,
those
will
go
into
the
contract,
but
Sarah's
frisket.
She
has
sort
of
a
general
concept
for
everyone.
F
You
know,
we've
done
every
crowd
from
little
kids
to
older
people
and
it's
always
fun
and
a
great
way
to
not
just
make
something
and
make
a
piece
of
art
learn
something
new,
but
it's
really
more
about
community
when
it
comes
to
crafting
and
conversation,
and
so
I
decided
be
a
fun
time.
You
know,
and
with
music
and
kind
of
get
people
coming
together
in
the
spirit
of
art.
So
I
made
this
PowerPoint
just
to
kind
of
give
some
examples
of
the
crafts
I
was
thinking
I,
don't
know
how
to.
B
F
This
is
I
just
kind
of
threw
the
sans
like
me,
and
my
team
that
usually
helps
out
and
we've
done
pretty
much
all
the
golden
boys
festivals
in
Southern,
California
and
I've
also
just
helped
to
produce
events
for
the
city
of
La,
Quinta
for
Westfield
and
Sunline
transit
and
just
a
bunch
of
other
local
businesses
and
with
the
school
district.
So
you
know
doing
these
kind
of
interactive
crafts.
Is
my
passion
and
I've
been
doing
it
for
the
past
almost
10
years,
so
I'm
excited
to
do
it
in
the
streets
of
Palm
Springs.
F
So
we
do
a
couple.
We
kind
of
have
a
steady
couple
of
things
that
we
like
to
do.
We
usually
bring
out
like
a
still-life,
will
have
a
model.
We've
just
put
a
bunch
of
objects
for
people
who
just
want
to
come
sit
be
by
themselves,
not
really
have
struction
and
just
sit
and
draw
whatever
they
see
some
people
like
to
draw.
So
we
offer
that
for
them.
F
It's
just
making
buttons
and
pins
that
you
could
put
on
yourself.
It
could
be,
you
know,
upcycle
magazine
projects
or
it
could
be
images
of
the
public
art
pieces,
that
people
draw
in
color
and
then
they
can
make
it
into
pins.
So
it
could
be
really
customizable
or
a
recycling
project
and
either
way
it's
like
people
get
very
addicted
to
making
these
and
of
know
also
a
lot
of
what
we
do.
We
have
someone
that's
in
charge
of
it,
but
it's
not
a
step-by-step
process.
F
F
We
just
put
a
bunch
of
different
kind
of
fabrics
out.
We
bring
someone
that
has
a
sewing
machine
and
they
can
help
customize
people
to
make
whatever
they
like
a
lot
of
times.
People
make
headbands,
but
people
will
cut
and
sew
there.
You
know
t-shirts
or
make
purses
and
wallets,
and
it's
really
unlimited,
because
we
don't
tell
people
exactly
what
to
make.
We
just
offer
them
the
materials
to
do
so,
and
these
are
just
a
past
couple.
F
B
F
The
felt
map
for
me
is
I'm
really
excited
about
because
it's
more
personal,
it's
like
my
personal
art
project,
I
love,
felt
material
and
I'm,
really
passionate
about
felt
and
so
basically
I'm
creating
a
felt
map.
That
is
it's
the
city
of
Palm
Springs
and
there's
a
couple
permanent
pieces
that
are
like
landmarks
throughout
the
city
like
the
airport
or
the
museum.
F
And
it's
it's
really
nice
about
felt
is
that
when
it
hangs
you
can
take
another
piece
of
felt
to
fill
and
it
sticks
without
having
to
put
glue
or
anything
like
that.
So
you
know
people
will
really
be
able
to
communicate
visually
where
they
think
art
should
go
or
maybe
pieces
of
art
that
they
really
enjoy
or
that
they're
familiar
with.
And
what
I'm
kind
of
excited
about
is
that
it's
also
very
educational
as
I'm
making
all
these
right
now
I'm
like
wow.
F
These
pieces
are
beautiful
and
some
are
very
intricate
and
some
are
simple
and
I
think
it'll
be
a
way
for
people
to
have
the
you
know
a
piece
of
art
in
their
hand
and
then
be
able
to
see
it
later
within
their
city
and
connect
with
it.
So
and
it's
a
very
durable
material
as
well.
So
it's
kind
of
hard
to
like
rip
it
or
break
it
or
anything
and.
C
F
Yeah,
that's
a
great
point.
So
the
the
map
is
six
feet
tall
by
8
feet
wide.
So
it
really
has
a
presence
and
there's
a
lot
of
space
to
put
all
the
pieces.
Each
of
the
public
art
pieces,
I'm
basing
off
the
size
of
my
hand,
so
they're
pretty
good
size.
Some
come
out
a
little
wider,
bigger
but
they're
all
about
the
size
of
my
hand
and
they'll
hang
inside
the
museum.
F
F
E
B
You
were
talking
about
an
actual
map
of
the
pieces
that
are
around
and
that
occurred
to
me.
The
one
we
have
is
so
out
of
date
and
out
of
prints.
I
think
I'm
wondering
if
we
couldn't
photograph
this
when
it's
done
and
have
a
art
map
that
is
actually
a
piece
of
art
also
it
would
be
and
again
I
think
probably
not
print
too
many
of
them,
because
I
think
we're
gonna
be
things
are
changing
rapidly.
So
but
I
love
the
idea
that
you
can
move
things
around
I
wish
it
were
that
easy.
G
Right
well,
I'm,
just
gonna
make
just
a
couple
of
comments
and
thrilled
with
the
fact
that
you're
doing
a
felt
map,
because
it's
felt
as
a
Firebird
is
one
of
the
oldest
art
forms
and
it's
such
a
great
texture
so
to
think
I'd
be
a
good
to
honor.
That
wandering
just
a
minor
word,
wordage
thing.
If,
when
we're
talking
about
all
of
the
events
and
the
things
we're
going
to
create,
if
we
can
use
the
term
art
rather
than
craft-
oh
sure
yeah,
just
it
sort
of
yeah.
G
G
G
An
art
Throwdown,
just
basically
sort
of
a
mural
contest
between
perhaps
three
groups
of
individuals
attending
either
both
days
of
this
event,
working
in
conjunction
with
three
to
be
determined,
mural
artists
in
town,
where
there
would
be
a
sign
up
at
the
event
teams
of
perhaps
five
or
seven
people,
and
we
would
orchestrate
this
to
happen
on
the
burgeon
hotel
site,
which
will
have
a
session
of
art
around
October.
The
first
maybe.
E
G
B
A
Love
it's
the
first
I've
heard
of
the
idea.
I
enjoy
I.
Think
it's
great.
It's
a
couple
things
just
to
think
of.
Maybe
it's
like
you
were
saying:
maybe
it
starts
on
Thursday
and
then
they
have
until
Sunday
and
then
people
on
Sunday
can
vote
or
you
know
something
like
that
where
they're
sort
of
like
a
friendly
competition
aspect
or
something
you
know.
B
G
Coming
up
with
Bernard
Toys
Toys
I
adore
Aaron
Hanson,
both
artists
were
meeting
with
the
church
to
move
forward
with
the
mural
in
a
church
since
the
st.
Paul's,
yes,
st.
Paul's
on
West,
L,
Alameda,
sort
of
meeting
with
father
Andrew
on
Wednesday
the
5th.
So
one
of
those
two
artists
will
move
forward
with
that
project.
So
one
of
the
concepts
with
working
on
the
Virgin
site
and
actually
I,
have
to
go
and
do
some
measuring.
It
does
already
have
existing
concrete
footings
or
structures
that
are
on
site.
G
I
thought
when
we
were
having
lunch,
the
other
that
they
were
perhaps
big
enough
to
use
for
this
I
think
there
might
be
a
little
bit
smaller
scale
who
might
have
to
consider
on
what
we
would
do
it.
But
I'll
certainly
visit
this
site
and
for
our
next
meeting,
have
a
better
idea
of
whether
that
will
work.
If
we
need
to
or
Iraq
something
I.
B
Think,
whenever
we
can
just
these
activities
reference,
the
collection
and
the
just
the
whole
idea
of
public
art
lead
Tracy.
It
also
lined
up
the
possibility
of
t-shirts
that
say
the
30th
anniversary
may
be
with
imagine
art
here.
The
sign
and
I've
talked
to
the
artist.
It's
got
fresh,
our
of
who
did
the
signs
and
he's
willing
to.
Let
us
use
the
image
and
then
we've
also
talked
to
a
destination
PSP
about
going
forward
with
some
other
items
with
that
on
the
like
mugs,
and
you
know
postcards
things
that
they
would
create
and
sell.
B
But
I
would
like
to
I'd
like
to
suggest
that
we
move
the
imagine
art
sign
here,
because
it's
just
imagined
so
much
art
in
the
pit
that
there's
no
more
room
and
we
could
put
it
on
the
Virgin
site
or
we
could
put
it
on
the.
What
we're
calling
the
art
park,
the
section,
the
small
section
that
was
going
to
be
the
illumine
air
house
and
has
been
given
to
us
basically
for
the
next
few
years
and
the
other
one
of
the
other
action
items
is
to
ask
the
city
to
put
gravel
down
on
there.
D
Can
I
ask
Sara
yeah,
sorry
to
just
yeah
no
stay
on
the
order,
but
so
I
think
you
do
such
a
nice
job
with
your
design
and
your
marketing
and
I
was
wondering
if,
in
your
fee,
I
see
you
see
it's
a
pre-production
fee,
whether
that's
part
of
that
and
whether
marketing
in
general
was
like
social
media
stuff,
as
part
of
sort
of
you
know,
is
that
is
that
included
as
part
of
the
fees
is
generating
an
image
for
us?
Is
that
something
that
you
were
thinking
of
doing
where
the
deed?
F
I
actually
just
spoke
with
Tracy
about
that
and
I.
Don't
personally
make
the
graphics,
I'm
really
bad
at
graphic
design.
So
I
have
someone
that
I
usually
hire
that
will
do
the
digital
fires,
as
well
as
the
videos
that
we
use
to
promote
as
well,
and
so
that
was
a
separate
fee
and
I'm,
not
sure.
If
I
can't
remember,
if
you
told
me
if
you
put
it
in
yes,.
F
C
A
C
B
C
D
But
you
also
look
at
a
network
of
people,
and
so
I
would
like
us
to
encourage
really
thinking
about
that
and
relatedly
I
know.
Do
you,
as
part
of
I,
mean
I,
think
the
artists
kind
of
do
this
anyways,
like
the
nature
of
social
media?
But
are
you
creating?
You
know
documentation
of
the
events
as
as
part
of
is
that
also
part
of
this
fee,
or
is
that
something
that
we
have
to
like
hire
someone
separately
to
be
doing?
Or
do
you
sort
of
do
that
as
part
of.
B
We
do
for
this
one
event,
though
I
think
has
to
represent
that
commission
as
a
are
part
of
being
government,
I
mean
it.
It's
not
a
one-off
event.
It's
the
30th
anniversary
of
a
commission,
that's
been
working
for
30
years
and
is
hopefully
sort
of
stepping
up
what
we're
doing,
but
I
think
we
need
to
be
careful
not
to
create
another
design
or
an
or
a
logo,
or
something
for
this
one.
In
deference.
Definitely.
D
Not
but
I
do
have
one
other
related
point,
which
is
that
I
don't
know
what
the
title
of
this
weekend
is,
but
I
will
say
that
the
30th
anniversary
celebration
of
the
Public
Arts
card
Commission
it's
kind
of
a
long
title.
So
again,
I
kind
of
feel,
like
you
have
some
interesting
instincts,
I'd
be
curious.
What
how
you
might
frame
this
but
I,
don't
think
our
the
Palm
Springs
Art
Commission
logo
or
the
city
should
be
at
all
removed
from
it,
but
I
wonder
if
there's
a
way
for
us
to
think.
D
D
E
A
long
time
ago
we
I
had
gotten
quotes
from
before
we
kind
of
went
a
little
further
down
this
path,
so
it
makes
more
sense
to
have
Sarah,
because
she's
really
invested
in
this
project
also
too,
and-
and
she
has
a
really
great
point
of
view
to
do
this
other
work
than
and
then
add
someone
else
into
the
mix
and
especially
since
we're
on
a
time
frame.
So
what
you're
saying
is
like
completely
on
track.
So
thanks.
B
And
you
know
as
heroes.
If
we
talk
to
the
artist
who
did
imagine
art
here,
he
would
probably
let
us
also
make
the
sign
that
says.
Art
is
here,
you
know,
I
mean
I,
think.
Certainly
it's
a
it's
a
concept
that
he
owns
but
and
there's
a
lot
of
wonderful
signs,
but
I
think
he
might.
Let
us
also
make
this
one
for
this
event
so
that
we
could
keep
the
street
sign.
E
A
E
B
E
B
C
C
D
A
A
A
B
That
would
be
that's
not
the
kind
of
banner,
though,
but
usually
goes
on,
Palm
Canyon
sort
of
further
down,
but
maybe
we
can
find
out.
Maybe
we
can
put
a
banner
on
the
fence
or
on
the
you
know
something
to
do
with
maybe
the
role
and
would
let
us,
because
that
the
the
event
will
be
right
there
and
get
it
up
far
enough
ahead,
that
it
does
some
good
I
think
for
people
driving
down
Canyon,
it's
probably
not
worth
it
cuz.
We
do
I
find
you
can't
you
can't
always
read
it
anyway.
It's
your
is.
B
D
Mentioning
this
because
I
wonder
if
there,
if
there
is
lighting
or
if
there
isn't,
maybe
we
could
put
a
cool
gel
on
it,
I
mean,
maybe
we
don't
need
to
get
a
sign
which
costs
a
lot
of
money
to
produce,
but
maybe
there
are
like
built-in
lights
to
like
illuminate
the
palm
trees
and
attract
people.
Are
you
talking
about
then
another
Thursday
night,
the
Thursday.
B
C
H
Do
see
that
it
is
an
unfilled
column
item
on
the
budget,
so
it
is
something
that
I
mean
whatever
we
do.
I
know
it
says
signage
event
and
light
boxes,
so
I
do
think
and
I
guess
we're
gonna
get.
When
we
vote
on
this
we
can
get
a
little
more
specific
into
the
budget,
because
I
don't
really
want
to
get
into
that
here
until
already,
because
I,
just
like
some
clarification.
B
And
we
do
need
to
again
do
a
media
campaign.
That's
not
just
about
this
event,
but
about
the
30
years
of
the
Arts
Commission
and
the
future
plans
of
the
Arts
Commission.
So
that,
for
example,
can
go
on
with
our
social
media
as
it
is
and
I'd
like
to
see
us
do
some
kind
of
a
video
or
a
slideshow
that
could
be
at
the
Museum.
B
B
298
the
commission
started
in
88
and
I
was
trying
to
find
the
early
minutes,
but
I'd
like
to
I'm
gonna.
Try
to
invite
former
commissioners
to
come
on
Thursday
night
and
try
to
in
the
press
releases
that
come
from
the
city
give
a
little
bit
of
history.
But
that's
you
know
as
long
as
whatever
we
do
for
this
event,
just
sort
of
references
that
it's
part
of
the
30th
anniversary.
It's
not
just
a
fair.
B
D
Bring
great
story
well,
I,
guess:
I
wonder
if
we
can
just
have
like
a
one-sentence
tagline
describing
what
we
do
like
the
city
of
Palm
Springs
Public,
Art
Commission
has
been
bringing
art
to
the
community
for
30
years.
You
know
just
something
very
simple:
that
we
don't
have
to
have
this
long
paragraph
about
you
know
the
bureaucracy
had.
D
For
the
artists
or
something
but
just
something,
that's
like
warm
and
welcoming,
and
just
like
a
summary
and
that's
something.
We
can
start
attaching
to
things
and
we
don't
have
to
like
describe
everything
that
we
do
at
the
bottom
of
every.
You
know
document.
So
if
we
can
kind
of
work
on
that
and
subcommittee,
maybe
and
and
then
we
can,
you
know
attach
it
to
this
and
so
yeah.
B
Alright
and
I
think
we
should
but
I
like
the
direction
you're
going
in,
because
right
now,
basically
what
it
says
on
the
website
for
the
city
and
what
it
says
in
the
ordinance
and
everything
is
simply
about
purchasing
visual
art
yeah
put
around
the
city,
and
we
all
want
it
to
be
much
more
than
that.
So
we
need
to
describe
that
just.
D
It
all
makes
sense
to
me,
but
I
would
love
to
see
a
little
more
itemized,
how
much
time
you
spend
doing
the
marketing,
how
much
time
you
spend
doing
the
cleanup,
which
we
will
really
like
you
to
help
with,
and
you
know
the
recap
you
know
all
that
kind
of
stuff.
It
would
be
great
if
you
could
do
a
breakdown
similar
to
you
know
what
you
have
here
for
each
of
the
art.
Imagine
the
city
more
detailed
like
that
as
well,
but
I,
don't
know
if
we
write
a
contract
or
whatever
I.
E
D
H
B
H
F
H
B
B
So
the
Monday
of
so
that's
like
the
10th,
but
again,
if
there's
lots
of
things
we
can
talk
about,
but
if
we
just
if
we
want
to
actually
commit
to
something
we'll
just
have
to
have
it
on
the
agenda
ahead
of
time,
so
anything
else
on
it.
Now,
if
something
comes
up,
we
can
circle
back,
and
you
can
make
a
note
that
this
is
something
that
should
be
in
this
contract
or
we
should
be
sure
and
do
as
far
as
publicity.
E
H
H
H
G
B
H
Think
it's
a
great
story.
The
task
force
that
I
was
working
on
is
the
one
that's
drawing
the
new
districts
for
this
city,
which
is
fascinating
and
I
thought
if
we
could
only
draw
them
as
easily
as
moving
things
on
a
felt
map
yeah,
but
anyway,
yes,
I,
think
that's
one
thing.
I
really
would
like
to
see
if
the
city
could
help
us,
because
this
great
thing
that
we're
gonna
do
and
if
we
don't
get
a
turnout
that
really
benefit
from
it
so
and.
B
A
B
H
G
All
right,
I
guess
we'll
talk
first
about
on
the
agenda.
It's
the
illuminator
site
but
included
Reid.
We're
going
to
refer
to
that
is
the
art
park
site
just
to
be
a
little
bit
more
defined,
the
part
above
the
grid,
art
pit
or
Sarah.
Where
Sophia's
mural
look.
Now
it
was
back
in
either
the
mayor
June
meeting
we
voted.
The
piece
of
your
commission
was
Michael
bernburg.
We
voted
to
move
it
from
the
pit
onto
the
art
part
site,
so
an
update
from
Michael
bernburg.
G
His
contract
was
signed
on
April
the
19,
so
that
ends
buxley
October.
The
4th
was
it's
a
24
week
contract.
So
Michael
is
now
on
track
with
engineering
for
installation
on
that
site
and
completion
of
the
installation
for
the
October
11th
date
for
the
art.
Art
is
here
event,
there's
some
discussion
amongst
Commission
members.
G
As
to
whether
note
we
want
to
actually
proceed
with
it
being
placed
on
that
site,
I'm
open
to
hearing
what
the
Commission
feels
on
that
I'm
of
the
opinion
that
I
would
like
us
to
move
forward
and
just
put
it
on
that
site
positioning
to
be
determined
based
upon
other
things.
We
would
want
to
do
on
the
site,
but
I
think
the
momentum
being
that
we've
got
this
far
with
it.
I
would
like
to
see
it
come
to
a
fruition
and
actually
be
installed
sooner
rather
than
later.
G
We
own
the
piece
so
once
the
art
park
is
ready
for
construction,
which
will
probably
not
be
until
approximately
2021
is.
We
could
then
take
a
look
at
moving
it.
We
can
take
a
look
at
the
options
of
putting
it
somewhere
else
now
rather
than
there,
so
it
has
more
of
a
permanent
spot
I'm
hoping
to
hearing
everyone's
thoughts
on
that.
So
should
we
perhaps
talk
about
that?
First.
B
We
didn't
actually
vote
on
it,
so
it's
a
little
bit
in
limbo.
My
my
feeling
is
simply
that
things
have
evolved
so
much
since
the
original
idea
of
where
this
would
go.
I'm
just
I'm
and
somewhat
loath
to
see
it
installed
in
the
center
of
that
piece
of
park,
which
will
pretty
much
preclude
anything
else
we
might
want
to
do
also
visually.
A
G
Yeah,
all
of
the
engineering
ever
on
cotton
to
be
hable
to
be
installed
on
the
site,
so
I
think
we
should
have
sort
of
look
at
it
for
it's
a
two-part
thing.
Do
we
want
to
actually
put
it
on
that
site?
Certainly
the
positioning
of
where
it
is
on
the
property
can
be
such
that
would
open
up
the
space
for
other
installations.
So
if
we
did
a
parallel
to
the
fence,
that's
above
the
pit
so
facing
the
museum
rather
than
somewhere
in
the
centre.
G
The
whole
lot
is
still
essentially
all
open
for
anything
else
to
go
on
to
that
site.
So
it's
sort
of
the
two
decisions,
keep
it
on
this
site,
but
just
address
where
the
business
has
to
go
a
lot
for
other
installations
that
happen
on
site
or
do
we
want
to
shelve
putting
it
there
and
then
just
put
it
back
into
limbo
situation.
Okay,.
A
I
have
a
question:
I
think
this
might
be
a
J
question.
I
mean
I.
Remember
the
last
time
we
talked
about
this
and
it
was
like
well
if
we
put
it
in
the
pit,
it
needs
this
wind
study
and
that
cost
five
thousand
dollars
and
if
we
don't
put
it
in
the
pit,
we
don't
need
the
wind
study
and
it
doesn't
cost
five
thousand
dollars
so
Mike
I'm
just
concerned.
If
we
do
decide
to
put
it
elsewhere,
are
we
gonna
get
stuck
where
we
have
to
do
like
another
wind
study.
A
A
B
G
The
engineering
started
as
a
study
has
just
started
and
that
on
site,
and
actually
just
today
and
then
the
person
in
charge
of
the
engineering
what
it
was
destined
for
the
pit
city
person,
whose
name
have
to
look
at
my
thoughts
to
see
that
is
apparently
now
left
the
city.
So
it's
always
a
situation
where
we
on
the
commission
don't
know
who
to
ask
them
to
approach.
So
that's
the
artist,
don't
know
so.
That's
the
engineers
also
don't
know.
So
that's
something
going
forward
as
we
discuss
to
lunch
the
other
day.
D
I,
this
is
just
relaying
my
experience.
I
am
perplexed.
Why
this
engineering
is
complicated.
This
is
a
very
simple
artwork.
This
is
not.
This
is
like
having
a
guy
come
and
pour
concrete
pad,
and
that
person
should
have
an
engineering
firm
that
can
just
look
at
the
site
and
tell
you
and
look
at
the
gravel
and
tell
you
what
to
do
so.
I
I
can't
recall
if
there
is
something
in
this
contract
which
like
where
the
artist
was
kind
of
gonna,
organize
that,
but
this
is
not
a
complicated
artwork
to
install
to
me.
D
This
is
like
I
can't
imagine.
This
is
like
a
problem
from
our
end.
To
be
very
honest
with
you,
it
doesn't
sound
right
to
me.
It's
confusing
to
me
an
artist
who
produces
this
kind
of
work
should
have
done
this
a
lot
of
times
before,
and
this
is
not
a
complicated
artwork.
This
is
like
a
it's.
A
piece
of
metal,
that's
cut,
so
I
guess
I
I,
don't
know
if
we
have
any.
It
sounds
like
this
artist
is
having
some
trouble
doing
what
he
agreed
to
do
in
the
in
our
contract
and
I.
B
It
if
we
know
at
the
time
that
we
originally
wanted
to
just
take
this
on
loan
and
install
it,
we
ended
up
having
to
buy
it
because
the
city
we
just
we've,
never
really
tried
to
do
that.
The
loan
before
and
for
some
reason,
if
it
was
left
to
the
artist
to
go,
talk
to
the
city
and
it's
true,
it's
probably
not
the
way
to
do
it.
It
shouldn't
have
been
his
responsibility,
but
as
a
result,
you
know
it's
been
ten
months
and
I.
D
Work
with
a
lot
of
artists
and
all
they
are
aware
of
how
their
artwork
sits.
Anyone
who
does
public
art
anyone
who
makes
a
sculpture
that
goes
in
a
gallery
or
goes
in
a
wall
should
have
an
awareness
of
mounting
practices
and
like
really
basic
stuff
and
so
I
I
guess
I
feel
like
I
I'm,
confused,
I
I
would
I
would
put
this
question
back
to
the
artist.
This
should
be
something
that
concerns
the
artist
because
it
affects
how
the
artwork
looks
and
I
mean
I.
D
Think
even
we
can
see
with
what
Sara
does
with
her
projects.
She's,
always
thinking
about
mounting
and
like
public,
how
its
looked
at
publicly
and
how
it's
mounted
and
I
I.
Guess,
I
again
to
me,
there's
a
lot
of
questions
and
I'm,
really
confused
I'm,
just
confused.
Why
this
is
a
problem?
I
think
any
artist
will
have
worked
with
somebody
who
would
know
how
to
do
this
pretty
quickly
and
I.
Just
nothing
whew.
B
D
B
That
it
has
very
complicated
engineering
and
we
we
dealt
with
that
a
couple
of
meetings
ago,
but
it
should
be
simple
to
put
it
in
on
the
art
park,
and
the
question
is:
has
enough
our
concepts
of
what
that
Park
is
going
to
be
used
for
evolved
enough
since
last
November,
whenever
it
was
that
this
originally
started?
I
I
see
where
Russell's
coming
from
that?
B
We
should
just
do
it
because
we
have
taken
this
long
to
do
it
and
I
would
be
fine
if
it
just
simply
didn't
preclude
other
uses
that
we
I
can't
tell
you
exactly
what
they
are,
but
I
think
being
given
the
use
of
this
park
for
a
couple
of
years.
There's
a
lot
we
could
do
with
it
that
wasn't
even
on
the
table.
When
we
first
asked
well,
we
actually
thought
this
piece
was
going
to
go
in
the
pit
and
that's
you
know.
B
A
B
H
H
B
H
C
Have
to
agree
with
Maura
I'm,
not
confused
a
little
concerned.
I
understand
you
know
it
just
sounds
like
we're
filling
a
space
as
opposed
to
really
creating
or
holding
or
bringing
attention,
maybe
I'm
wrong
to
that
particular
space.
It
just
feels,
like
you
know,
maintenance
we're
just
filling
a
space
avoid
and
I
know
we're
not
with
all
do
we
spend
I
agree
that
should
be
I.
A
Would
just
say
in
response
to
that
when
that
piece
was
first
proposed
to
us,
you
know
the
whole
piece
was
movement
moment.
Movement
changed
and
it
was
very
much
in
the
context
of
that
downtown
area,
and
it
was
always
talked
about
as
something
that
could
possibly
be
moved
as
the
city
moved
forward.
So
so
I
don't
want
to
take
the
artists
to
test
for
that
right
and
I.
A
Don't
want
to
I,
guess
I
still,
imagine
it
as
something
that
will
move
around
I
mean
obviously
I
don't
want
to
spend
money
to
move
it
every
two
months,
but
I
do
imagine
it
as
something
I
think
it
was
originally
conceived
and
it
was
presented
to
the
Commission
as
such
that
it
was
something
that
would
move
around
movement
moment
change
or
whatever.
So
so,
I'm
less
concerned
about
that.
You
know,
I,
don't
necessarily
feel
that
we're
dumping
it
into
this
space
for
a
lack
of
another.
A
So
it
was
definitely
it's
in
the
area
like
you
know,
we
have
had
this
switch
from
the
pit
up
to
the
the
gravel,
whatever
whatever
we're
calling
it
the
gravel
pad,
but
but
I
do
feel.
You
know
I
our
original
intent,
which
maybe
were
losing
track
of
now,
was
that
it
was
going
to
kind
of
activate
this
downtown
space.
You
know
with
these
ideas
about
art
and
movement
and
change,
and
all
that
and
that
it
could
be
kind
of
this
evolving
thing
and
that
in
fact,
it
would
maybe
move
around.
G
B
G
Of
things
on
that,
the
water
first
apologized
to
Commission,
because
I
didn't
get
this
artist
sufficiently
enough,
because
the
the
artist
is
not
an
experienced
person
dealing
with
this
art
piece
and
he
does
not
actually
do
any
part
of
the
art
piece.
But
it's
mislead
right
from
the
beginning.
I
thought
he
was
actually
a
working
artist.
It
does
he's
more
of
the
concept
person
so
contracts
out
every
part
of
the
construction
of
the
piece,
the
footings,
the
installation
and
that's.
G
So
they
feel
a
bit
embarrassed
about
that
because
all
of
the
artists
I
work
with
in
San
Francisco
were
no
an
artist.
They
did
the
whole
work
and
the
trust
factor
was
there.
They
knew
what
they
were
doing
and
I
just
sort
of
I.
Think
we've
sort
of
got
played
by
this
guy
ins
were
sort
of
in
that
position
in
the
defense
of
the
art
piece.
I
think
it
is
still
very
relevant,
especially
down
there
beside
the
park.
That
is
going
to
start
construction
next
year.
G
It's
still,
especially
once
the
mound
of
dirt
starts
to
move
and
change
and
develop
into
a
park.
The
sign
movement
moment
change
relates
even
more
directly
to
that
transition,
and
if
we
position
the
art
installation
on
the
sites,
we
can
use
the
art
site
for
other
installations.
Then
there
is
lots
of
room
there,
but
moving
forward
understanding.
We
don't
have
the
process
to
do
temporary
art
if
we
don't
place
Michael
Byrne,
Birds
piece
there.
Now,
then
could
be
a
year
before
we
get
to
the
point
where
we'd
have
anything
placed
there,
though.
B
Some
of
the
pieces
that,
for
example,
we
talked
about
the
other
day,
getting
a
piece-
that's
been
at
Coachella
or
had
been
at
Burning
Man
that
are
already
made,
and
what
we
need
to
do
is
perhaps
move
them
or
install
them.
I
think
really,
where
we
got,
we
were
working
on
two
tracks
at
once
was
planning
to
commission
the
piece
have
it
built
and
then
install
it
temporarily,
and
that's
I
think
that
plus
the
fact
that
when
it
was
going
to
be
in
the
pit,
it
was
going
to
be
ten
feet.
B
Very
sort
of
composite
thing:
it's
not
borrowing
at
piece
from
that's
already
done
and
installing
it
on
this
put
on
this
piece
of
land,
for
example,
for
six
months
or
a
year
we
actually
commissioned
it
and
we
own
it.
So
if
we
do
I
think
we
will
find
things
to
put
on
that
property
as
I
say,
I
think
we,
you
know,
there's
a
lot
of
places
where
this
thing
went
off,
track
and
I'm
fine
with
going
ahead
and
having
him
install
it.
B
G
C
G
Next
well,
yeah
I
wish.
My
recommendation
is
that
we
could
do
that
in
a
September
meeting
with
the
stipulation
that
would
be
installed
and
we
could
go
down
to
the
site
and
determine
if
it's
going
to
be
parallel
to
it
directly
in
front
of
the
fence
that
overlooks
where
the
babies
are,
allowing
for
basically
the
whole
space
to
be
open.
Perhaps
that
would
create
more
of
a
win-win
situation.
G
A
G
G
B
C
G
G
We
would
be
specific
about
the
location
to
be
determined
or
we
could
say
it's
going
to
be
on
the
fence
facing
the
museum,
but
on
the
museum
way,
sides
have
allows
for
an
opening
at
the
fence,
overlooking
where
the
babies
are
installed
and
away
from
Sophia's
art,
mural
and
a
line
for
the
rest
of
the
part
reveal
for
future
installation
and
the
revolt
Michael
to
the
terms
of
the
contract.
That
needs
to
be
installed
by
October
before,
but.
G
B
B
B
Bran
that
it
not
be
that
close
to
the
pit
because
of
what
else
is
going
on
in
the
pit
just
visually,
he
doesn't
want.
First
of
all,
you
would
see
it
backwards
from
like
the
hotel,
and
he
just
he
said
that
he
would
prefer
that
it
be
at
some.
The
other
side
of
the
the
piece
of
property
from
the
fence
is.
D
The
scale
all
right,
it
means
so
it's
not
in
process.
Oh,
it's
not
I
mean
I,
I'm,
really,
sorry
I
don't
actually
support
this
brought
this
artwork
going
anywhere
on
that
site
and
I
won't
vote
for
it.
If
we
do,
I
should
probably
just
be
honest
about
that.
I
just
don't
feel
comfortable
with
it.
I
don't
I,
don't
like
it.
I,
don't
like
having
text
text
so
visible.
D
I
mean
this
is
we're
next
to
the
museum
I
just
it
just
it
feels
it
doesn't
feel
right,
it's
very
different
than
what
we
had
originally
discussed,
but
that
said,
I
mean
I.
Do
like
the
idea
of
it.
You
know
we
have
a
number
of
other
sites
throughout
the
city
that
we
had
identified
that
are
more
like
thoroughfares.
Was
it
like?
Wasn't
there
something
like
on
Vista,
Chino
and
gene
autry.
D
Or
something
there,
a
lot
of
there
are
a
lot
of
sites.
You
know
a
lot
of
that.
This
thing
could
make
a
lot
of
sense
on
and
if
the
work
isn't
fabricated
10
by
20
is
very
big
I
mean
maybe
we
can
rescale
it.
Maybe
this
goes
back
to
the
drawing
board,
but
at
the
same
time
you
know
if
this
work
isn't
in
a
fabrication
process.
Yet
I
I
have
serious
doubts
that
it
is
going
to
be
installed
by
October.
D
4Th
I
have
serious
doubts
that
the
artist
is
gonna
meet,
the
contract,
I
mean
I,
hope,
I
hope
he
does.
But
you
know
in
some
ways,
but
it's
it
just
feels
like
you
know,
it
would
be
good
to
be
apprised
of
what
state
it's
in
in
the
fabrication
process,
because
if
we
don't
even
have
that,
then
how
can
an
engineer
sort
of
assess
what
needs
to
be
done
and
that
kind
of
planning
just
takes
it
doesn't
take
that
much
time,
but
it
does
take
a
little
time
so
in
the.
E
Talked
about
maybe
other
locations
the
other
day
and
I
threw
out
the
library
just
because
I
thought
the
message
meant
a
lot
for
learning
and
the
library
is
such
a
historic
piece
of
architecture
to
the
city
and
its
should
be
way
more
important
than
it
is
so
I
mean
I'd.
You
know
when
there's
lots
of
space
over
there
I'm
sure,
there's
tons
of
other
places
around
the
city.
I
don't
want
that
park
over
loaded
and
just
the
thought
of
reading
it
backwards.
Now
just
is.
B
I'm
not
quite
sure
how
how
we
should
proceed
on
this,
but
it's
been
a
very
good
discussion.
We
have
a
meeting
in
two
weeks
at
which
we
can
definitively
vote
on
something
and
I
think
we
need
to
figure
out
what
we
need
to
do
in
the
meantime.
What
things
we
need
to
determine
I
think
I
think
if
I
understand
correctly
the
engineering
process.
The
report
is
that
this,
in
its
first
day
so
hasn't
gone
very
far
and
no
fabrication,
it's
been
done
right.
B
A
B
C
G
A
That's
you
shouldn't
have
to
do
that.
What
I
would
like
to
see
is
I
think
everybody's
brought
up
some
really
important
issues
and
just
think
about
it
in
time
for
the
next
meeting,
and
then
at
that
meeting
we
should
have
some
possibly
alternate
sites
and
maybe
think
about
putting
it
somewhere
else
and
just
end
like
use
it
and
get
kind
of
like
a
consensus
as
to
what
to
do
with
it.
I
don't
think
anyone's,
maybe
even
changing
the
scale
of
it.
You
know
I
mean
these
are
all
things
to
think
about.
A
I,
don't
think
we
can
hash
them
out
in
this
meeting.
It's
obviously
too
new,
but
I.
Think
if
we
think
about
it
a
little
bit
you
know
well
well,
each
Commissioner
will
be
in
a
better
position
to
sort
of
think
about
it
and
vote
on
something
at
the
September
meeting.
So
we
have
a
little
bit
more
time
to
process
that
the.
B
A
A
B
B
A
C
B
Other
possibility
of
a
place
that
in
the
state
of
flux
and
change,
is
the
Virgin
site
which
I
think
for
some
reason,
Michael
thought
that's
where
we
were
sending
him
it.
Could
you
know
it's
it's
a
sort
of
hodgepodge
of
of
concrete
barriers
and
stuff,
but
the
it
certainly
speaks
to
the
message
better
than
than
the
other
place.
But
perhaps
that
could
be
one
of
the
options
for
him.
A
A
A
B
C
C
C
F
C
Russell
and
I
well,
father
Andrew
was
here
and
our
last
meeting
and
to
make
a
long
story
short.
His
board
has
approved
the
mural
Russell
on
that
Russell
and
I
have
met
with
father
Andrew
prior
to
us,
coming
I
believe
and
we
had
an
artist
on
board.
As
you
know,
Castro
mr.
Castro
and
Russell
can
say
more
to
that,
but
we're
moving
ahead
with
two
artists,
Erin
and
Bernard,
and
the
church
will
decide
depending
on
you
know
their
vision,
whose.
C
G
So
what
we're
doing
currently
we're
going
to
meet
with
father
Andrew
and
the
two
artists
Aaron
at
3:00
p.m.
on
Wednesday,
the
5th
and
then
at
4
o'clock
with
Bernard?
Each
artists
will
come
up
with
their
sort
of
concept
or
vision
of
what
the
knurl
should
be
when
I
met
with
Aaron
on
site
were
identifying
actually
two
parts
of
the
long
wall
of
the
church,
which
is
the
east
facing
wall
running
north
and
south.
So
it
would
be
the
street
facing
what
it
doesn't.
G
Taste
is
free
but
perpendicular
to
the
street
on
LL
Amida
and
then
a
second
portion
sort
of
been
part
on
the
church.
So
it
would
be
a
two
part
mural
that
connected
probably
by
a
base
painting
of
some
sort,
so
we'll
meet
with
the
artist
and
with
father
Andrew
on
the
fifth
I'm
gonna
conduct.
The
next
meeting
we'll
have
more
of
a
direction
on
and
how
they're
going
to
move
forward
timeframe,
get
their
application
and
yeah.
G
B
But
the
idea
is
to
Commission
about
a
dozen
murals
all
to
be
painted
in
the
space
of
a
week,
with
lots
of
you
know,
opportunities
to
sort
of
interact
with
the
artists
and
what
I
think
we
can
do
for
them
is
two
things.
One
is
figure
out
how
they
can
make
one
application
to
do
12
murals
rather
than
twelve
applications,
and
try
to
just
figure
out
how
this
fits
into
the
process.
And,
secondly,
we
might
be
able
to
waive
the
fee
on
something
like
that,
and
that
would
be
our
way
of
sponsor
and
help
being.
D
D
Local
organizers,
but
they
have
one
of
them-
was
a
in
film
production
and
one
does
marketing,
and,
and
but
the
ideas
is
that
they
would.
There
are
a
lot
of
these
kinds
of
events
throughout
the
world
and
a
lot
of
big
in
small
cities,
and
it
actually
attracts
a
lot
of
street
artists
who
kind
of
travel
around
the
world
and
sort
of
make
their
mark
and
have
distinct
styles
and
I
mean
I.
Think
I.
Think
the
idea
of
doing
it
in
the
summer
is
a
great
idea.
B
B
The
guy
that
we
came
in
spoke
a
couple
of
months
ago
who
managed
public
art
projects
they're
doing
one
in
Sacramento
right
now
called
open
walls
which
they
post
dozens
of
pictures
on
Instagram
every
day
there
are
murals
all
over
Sacramento,
and
some
of
them
are
very,
very
good,
but
that's
the
kind
of
the
same
idea.
You
know
lots
of
attention
in
the
city
to
this
going
on
so
I
I
think
it's
great
that
they
want
to
do
it
and,
as
I
said
to
them,
you
know
this.
D
A
B
B
G
B
B
D
Are
obviously
no
sites
that
are
the
city
land
that
they
are
thinking
about,
because
I'm
losing
right
now
I
mean
I
I
toured
some
of
the
curators
to
some
of
the
museum
sites.
I've
talked
to
them
about
what
they
visited.
I
think
they're
thinking
a
little
bit
differently
about
the
sites
they're
using
than
last
time.
So
you
know
they're
just
they're,
looking
at
other
places.
B
C
Chairman
under
community-based
projects,
you
know,
hopefully
we
can
start
if
we
haven't
already
begin
thinking
about
the
martin
luther
king
program
in
january.
I
don't
know
if
we
want
to
do
that
again.
My
hope
is
that
we
do
something.
Gin
was
very
instrumental
yes
and
helping
with
that.
Lastly,
Black
History
Month
in
February
now.
B
There
are
some
programs
with
the
museum
right
and
maybe
at
the
next
meeting
we
could
bring
the
list
of
events
on
Thursday
nights
that
are
more
or
less
co-sponsored
by
us
or
part
of
our
sponsorship,
and
there
there's
always
been
one
for
Black
History
Month.
So
we
should
make
sure
that
that's
as
far
as
doing
art
exhibits
with
the
school
district.
B
Technically
speaking,
if
you
read
our
ordinance,
we're
not
supposed
to
be
doing
programs
like
that
spending
money
that
basically
comes
from
developers
for
art
in
the
city
on
programs,
the
kinds
of
exhibits
and
lectures
and
things
that
we've
been
doing,
certainly
not
to
the
extent
of
the
staff
time
that
it
took
so
I.
Think
what
we
need
to
do
is
find
a
partner
really
to
do
this
with.
If-
and
there
was
some
discussion
last
spring
about
one
art
show
yeah
for
young
artists,
we
in
the
lease
the
current
lease
with
the
desert,
Art
Center.
B
G
Why
don't
you
address
with
the
fellow
commissioners
the
Virgin
Hotel
site,
because
we've
talked
in
previous
meetings
in
general
terms,
about
having
an
approximately
45
thousand
dollar
budget
spent
in
to
spending
periods,
perhaps
hiring
Warren
brand
as
a
consultant
to
organize
and
supervise
this
whole
process?
That
has
always
been
sort
of
in
an
abstract
discussion,
so
it
was
like
before
so
for
our
next
meeting
to
consider
our
vision
for
that
site.
G
If
we
have
any
vision
for
that
site,
given
that
the
art
part
portion
is
now
a
more
open
and
more
visible
site
location,
do
we
want
to
spend
more
money
and
or
emphasis
on
that
site,
and
not
so
much
on
the
Virgin
site
so
between
now
and
that
of
each
commissioner
pett
vision
visit
the
Virgin
Hotel
site
to
sort
of
see
it
get
their
thoughts
are,
so
we
can
get
clear
a
sense
of
a
water
direction.
We
want
to
go
on
with
that
site
and.
B
D
So
all
this
conversation
is
leading
really
well
into,
which
is
you
know
it
speaks
to
that
the
staff
here
the
city
has
done
a
great
job
with
what
they
have
but
they're,
just
simply
not
enough
people
to
help
us
do
I.
Think
what
we
envision
and
you
know,
I've
been
going
to
a
lot
of
the
meetings
for
the
park,
the
public
art
planning
meetings.
You
know
until,
like
the
last
two
or
three
and
it's
very
exciting,
and
it's
really
going
to
be
a
world
class.
It's
gonna
be
a
great
park
that
really
I
think
showcases.
D
We
really
should
think
about
working
with
people
who
have
a
lot
of
experience,
creating
commissioning
programs
for
cities
and
organizations
that
don't
have
the
staff
to
do
that.
Stuff
and
I
I
think
it
might
be
best
for
me
to
simply
read
this
email
from
this
team,
Dyson
and
Womack
who
are
based
in
LA
but
they're
our
partners.
They
have
a
home
in
Joshua,
Tree
and
I.
Just
I've
been
talking
them,
I've
showed
them
the
sights
and
I
said
hey.
Can
you
just
send
me
some
cost
estimates
and
$200,000
to
Commission
something
how
much?
D
What
would
your
Phoebe-
and
he
said
you
know
it's
proving
rather
hard
to
share
with
you
anything
of
relevance.
Each
project
we
work
on
is
incredibly
specific
and
based
on
services
that
are
needed,
the
scale
and
complexity
of
the
artworks,
overseen
and
the
open
call
or
commissioning
processes
we
manage
what
may
be
helpful
for
your
session
tomorrow,
which
is
now
would
be
to
understand
if
we're
looking
for
someone
to
design
an
art
plan
and
commissioning
process
oversee
conch.
D
Acting
and
manages
the
program
through
to
realization
or
if
we
have
a
more
narrow
scope
of
work
in
mind,
knowing
that,
along
with
as
much
as
an
idea
of
the
vision
of
the
site,
would
allow
us
to
better
better
estimate
the
cost
so
they're,
very
professional
people,
they're,
not
gonna
sort
of
say
this
is
how
much
it
is,
and
I
would
like
to
pass
around
these
these.
These
one-sheets
as
well
as
these.
This
is
just
like
stuff,
they've
done
and
I
do
not
want
us
to
be
thrown
off
that.
D
D
And
they
they're
also
version
they
said,
look
feel
free
to
use
this
as
a
resource.
Even
if
you
don't
go
with
us,
you
know
they're,
very
they're,
very
nice
they've
done
this
a
lot.
They
want
to
talk
to
us
they're
there.
They
are
research,
they
believe
in
art
and
we're
happy
to
hop
on
the
phone
to
answer
any
questions
on
the
spot
or
chat
with
your
committee
at
any
time
and
right
now,
they're
actually
being
committed.
They
are
working
with
the
California
Air
Resources
Board
in
Riverside.
D
They
have
a
lot
of
money
because
that's
going
to
be
like
sort
of
the
flagship
environmental
sort
of
policymaking
plates
for
you
know
for
the
country,
basically
so
they're
putting
a
lot
of
money
into
that
research
facility
and
they're
actually
putting
a
lot
of
money
into
their
public
art
on
that
campus
and
Dyson
and
Womack
right
now
are
managing
that
commissioning
process.
They're
commissioning
three
works:
I
think
one
is
a
$450,000
budget.
D
D
You
know
they
answer
all
your
questions,
they're
open
to
conversations
and
I
would
love
to
see
us
really
think
big
about
the
kind
of
imprint
this
commission
wants
to
have
in
the
city
and
I
would
like
I
think
we'll
need
a
little
help
to
make
that
happen.
But
I
think
these
are
the
right.
This
is
the
right
kind
of
people
we
should
consider
working
with
so
I,
don't
know
what
the
next
steps
are,
but
I
would
really
I
would
really
love
us
to
to
think
I.
D
Don't
know
if
you
got
these
one
sheets
about
what
they
do.
These
are
all
the
different
pieces,
so
we
can
really
ask
them.
You
know
depending
what's
what
resources
the
city
has,
we
may
not
need
help
with
installations,
but
they've
worked
with
a
lot
of
different
artists.
Actually
fabricating
things.
One
of
the
cool
things
that
they
do,
which
I
love
the
idea
of
is
that
and
and
you'll
see
this
in
the
California
Air
Resources
Board
call
is
that
they
often
work
with
artists
who
don't
do
public
art
they
sew.
D
D
I
thought
they
were
at,
they
were
at,
they
were
about
to
vote.
They
were
ahead
of
schedule
and
my
last
understanding
at
the
the
public
meeting
we
know
wasn't.
It
was
very
close,
oh
okay,
so
they
were
actually
they
had
announced
that
they
were
actually
about
six
weeks
ahead
of
schedule.
The
idea
was
that
the
final
hundred
percent
approved
plans
would
be
November
and
it
looked
like
that
might
actually
happen
a
little
sooner
than
that
and
that
construction
would
then
begin.
You
know
in
early
2019,
so
the.
D
D
A
C
A
B
B
B
A
Just
I'd
like
to
just
add
I,
totally
agree
with
you.
I
love
the
idea
of
thinking,
big
and
especially
again.
It
just
seemed
like
it's
sort
of
a
once
in
a
lifetime
opportunity
for
us
to
do
something
really
significant
in
this
brand-new
Park
and
just
from
mind
the
Commission
that
when
David
Reddy
was
here
visiting
our
meetings
a
few
times
he
kept.
You
know
talking
about
that.
We
don't
necessarily
have
to
have
all
the
money
in
our
account.
Remember
he
talked
about
that.
We
have.
A
We
could
space
something
out
over
a
couple
years
so
that
to
give
us
the
freedom
to
think
big,
don't
necessarily
feel
constrained
by
you
know
what
we
see
in
our
budget
right
this
minute.
You
know
that
he
said
that
the
city
can
help
us
figure
out
a
way
to
you
know,
phase
a
piece
in
or
something
like
that,
so
that
you
know
and
that
the
funding
could
you
know
we
would
find
the
funding,
even
if
it's
not
sitting
in
our
budget
at
that
moment,
perhaps
spreading
it
out
over
a
few
years
or
something.
However,.
B
I
gave
everyone
a
copy
of
the
most
recent
budget
report
and
there's
still
some
unknowns
having
to
do
with
claims
by
developers,
possibly
who
are
going
to
ask
for
reimbursement.
None
of
them
are
pending,
but
we
just
have
to
be
cautious
about
it.
But
if
you
look
at
the
budget,
if
you
look
at
the
the
budget
column
about
three-quarters
of
the
way
down,
there
is
a
line
for
public
art
acquisition.
B
It
was
two
hundred
and
sixty
four
thousand
dollars
in
it,
which
means
that
for
planning
purposes,
I
think
two
hundred
and
fifty
is
not
out
of
the
question
for
the
downtown
part,
and
it
could
be
one
piece
or
more
than
one
piece,
but
at
least
in
terms
of
talking
to
you
know
someone
about
handling
this
process.
I
think
we
need
to
have
a
number
to
give
them
an
idea
of
what
the
scale
of
this
would
be
and
I
think
it's
safe
to
use
that
what.
D
They
said
is
that
that
isn't
possible
because
they
need
to
know
whether
they
want
us
to
create
they
want
to
create.
They
want
whether
we
want
them
to
create
the
commissioning
process,
and
you
know,
and
and
and
do
that
kind
of
vetting
and
to
me
I
think
we
do
because
you
know
we
are
we're
beholdin
to
the
to
the
public,
and
there
needs
to
be
a
transparency
and
I
think
having
that
process
embedded
into
what
you.
D
D
And
so
I,
you
know
I
think
that
will
definitely
be
part
of
whatever
this
is
and
so
I
just
think.
Having
you
know,
people
who
are
experienced
with
that
no
I
think
it's
so
I
take
that
is
very
essential,
but
they
make
they
didn't
know.
They
didn't
know
how
to
work
with
the
idea
of
$200,000,
because
they
really
need
to
know
what
parts
and
and
what
we
want
them
to
Commission
one
work
or
doing
or
differently.
D
We
want
do
we
want
what
what
do
we
want
from
them
and
so
I
think
I,
think
I
guess
I
I
would
say.
Let's
think
big,
let's,
like
think
ideal,
let's
like
think
five
year
plan
like
ideally
can
we
work
with
someone
for
like
five
years
and
maybe
realize
two
or
three
works
in
the
city.
You
know,
but
we
can
start
with
the
public
park
and
it's
maybe
the
second
one,
since
a
public
park
again
but
I
mean
I,
think
we
should
think
big
and
then
maybe
scale
back
and
and
then
I
think.
D
A
E
B
B
B
D
C
B
E
H
B
B
B
D
B
D
C
B
D
Part
and
I
guess
I
would
love
as
a
sort
of
longer-term
goal
as
we
look
to
the
next
fiscal
year.
I
would
love
for
us
to
figure
out
something
and
contract,
something
with
somebody
in
there
or
next
fiscal
year
to
manage
a
public
art
commissioning
process.
I
would
really
like
to
see
that
we're
to
do
it
really
soon,
but
you
know
I
know.
B
But
we
can
do
that.
It's
gonna
take
a
few
years,
so
we
can
do
it
in
November,
just
as
long
as,
but
we'll
have
to
have
a
an
RFP,
because
I
suspect
that
if
either
we
have
to
make
the
case
that
these
are
the
only
people
that
can
do
this
or
I
think
the
city
procedure
would
be
on
a
contracted
large
scale.
It
would
have
to
be
put
out
well.
D
And
what's
kind
of
great,
this
is
like
a
totally
non-threatening
relationship
with
with
Dyson
and
Womack
they're
very
friendly,
and
you
know
we
can
start
with
them
and
then
we
can
do
an
RFP,
but
I
think
you
know
again:
I
think
they
they're
kindred
spirits.
I
mean
they.
Actually
they
really
just
believe
in
the
power
of
art
and
they
are
there.
They
just
want
to
do
interesting
projects
with
artists
and
I
think
those
are
the
kinds
of
people
we
want
to
work
with.
No.
H
B
Do
okay,
and
so
it
what
we
might
do
is
if
we
figure
out
what
it
is
we
want
done
and
I
think
it
I
think
Mars
right
it's
to
handle
the
entire
process,
but
if
we
do
that,
I
think
that
we
would
need
to
let
more
than
one
company
but
there's
nothing
wrong
with
gearing
it
to
the
strengths
of
this
company,
because
they
have
that
kind
of
relevant
experience
but
branded
artists
on
it.
In
other
cities,.
B
C
B
No
I'm,
sorry
I
mean
you've
started
the
meeting
by
just
bringing
everyone
up
today.
If
you
remember
the
spring,
we
voted
to
ask
the
City
Council
to
please
take
personnel
charges
out
of
our
budget,
because
it
was
a
large
part
of
our
budget.
The
City
Council
agreed
but
declined
to
fund
our
position
from
somewhere
else.
B
So
in
effect,
Jennifer's
position
her
two
days
a
week
simply
went
into
the
winter
J's
Department,
okay,
one
half
of
it
is
being
funded
out
of
the
sustainability
budget
and
the
other
half
is
being
funded
just
out
of
the
general
budget,
which
means
that
we
do
not
have
a
designated
employee.
Anyway,
we
don't
have
an
arts
coordinator,
we're
not
paying
someone.
We
are,
however,
able
to
ask
J
to
facilitate
things
that
we
want
to
get
done,
Jennifer's
on
his
staff.
B
C
B
D
B
H
H
A
I
know
I
just
want
to
say
so
talking
about
the
budget.
What
I
was
just
saying
earlier
we
talked
about
so
this
is
the
budget
that
the
city
allocated
for
this
year,
previous
budgets,
I'm,
looking
at
one
that
we
received
in
May,
one
that
we
received
in
March.
There's
a
line
item
that
you
may
recall
that
was
always
called
unallocated
and
in
the
budget
from
March
and
May
the
unallocated,
which
was
like
our
money
yeah
it's
two
hundred
and
eighty
three
thousand.
A
F
A
C
A
B
C
B
C
C
D
Larger
projects
and
to
not
and
to
not
only
do
it
work
with
you
know
in
that
month
you
know
I
think
we
really
need
to
think
a
bit
more
broadly
about
cultural
access,
and
you
know
diversity
in
our
programs
and
I
would
encourage
just
you
know,
really
just
think
bigger
about
what
what
it's
possible
for
us.
You
know
and.
B
E
A
E
D
B
H
B
B
H
D
E
B
G
E
E
D
G
H
H
I'm
just
really
uncomfortable
voting
on
something
that
I'm
not
quite
sure
what
it
is
with
four
minutes
left
and
our
meeting
and
I
can
try
and
stay
a
little
bit
longer,
but
yeah
I,
just
to
be
told
that
my
question
is:
is
the
$24,000
with
not
sure
is
it
this
we're
getting
or
is
it
this
budget
for
the
event?
And
this
if
we
say
because
what
I
want
to
make
sure
is,
if
that
there's,
not
other
expenses
that
come
for
this
event,
that
show
up
at
a
later
time
there.
E
May
be
because
we
don't
have
anyone
working
the
entire
summer
mm-hmm
and
there's
no
way
to
get
anything
approved.
So
a
lot
of
this
work
I
had
done
for
June
and
none
of
it
was
able
to
get
approved.
So
now
we're
switching
gears
a
little
bit
and
we're
trying
to
put
you
know
we
started
out
with
the
art
map.
Then
we
lost
our
staff
person.
So
then
we
needed
if
we
want
to
move
forward
with
things
we
need
to
have
people
help
us
do
the
do
the
the
legwork
which
I've
been
doing
all
summer.
E
So
we
added
to
this
to
ask
for
another
quote:
to
do
event
management.
So
there's
the
$4,000
for
the
map.
There's
approximately
it's
gonna
depend
on
the
hours
$4,000
for
event
management,
and
then
this
includes
the
art
activation,
so
we
haven't
determined
which
ones
we
want
to
go
forward
with.
We
can
decide
as
a
committee
or
we
can
decide
as
a
group,
so.
D
So
if,
if
we're
a
little
uncomfortable
with
the
amount,
what
I
would
propose
is
we
move
forward
with
this,
but
specify
this
is
for
the
30th
anniversary
event
management
subtract.
You
know
$6,500
from
the
total
cap
on
what
we
would
pay
this
person
and
also
then
you
know,
go
for
the
lesser
amount
of
hours,
potential
that
and
then
and
then
just
approve
it,
because
she
she
has
a
lot
of
experience.
Elf
enough
justice.
To
be
honest,
I
mean
she
does
these
kinds
of
events
for
really
major
arts
festivals
around
California
she's.
D
A
C
B
An
amount
not
to
exceed
that,
and
the
reason
for
that
is
that
anything
over
$25,000
goes
to
the
City
Council,
so
dr.
Reddy
I
think
is
prepared
to
help
write
a
contract
as
soon
as
we've.
He
thinks
that
it
has
enough
moving
parts
that
it's
a
contract
rather
than
a
purchase
order,
because
there's
certain
things
that
she's
going
to
do
and
certain
things
she's
going
to
provide
and
some
contract
and
whatever
so
I
feel
comfortable.
B
E
A
H
Vote
on
those,
madam
chairman,
I'd
like
to
make
a
motion
to
approve
agreement
for
scene,
creative
LLC
for
festival,
art
of
in
activities,
interactive
felt
or
art,
map
and
public
art
event,
management
in
the
form
acceptable
to
the
city
attorney
in
an
amount
not
to
exceed
$24,000
I'll.
Second,
it
okay.
B
A
F
C
C
B
Oh
No
so
before
we
adjourn
if
there
are
things
that
you
would
like
to
have
on
the
agenda
for
next
meeting
on
the
13th,
that's
our
last
chance
to
do
anything
for
this
fall
period.
We
need
to
just
activate
the
rest
of
the
things
that
we
want
to
do.
I
think
I'll
work
with
J
and
we'll
do
a
draft
of
the
agenda
next
week
and
we'll
send
it
to
everyone.
So
you
can
add
in
things
so.
A
H
B
Well,
I
think,
ideally
it
would
be
a
discussion
and
then
the
action
I
didn't
like
those
with
that.
But
and
sometimes
we
have
legislative
things
and
whatever
we'll
have
to
you
know,
follow
some
of
the
thing,
but
it
is
nice
to
have
a
agenda
that
sort
of
flows.
Logically,
the
other
question
I
just
tapped
for
everyone
is
Thursday.
October
11th,
which
is
going
to
be
our
kickoff
at
the
Museum,
would
be
our
meeting
day.