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From YouTube: Public Arts Commission | Jan 20, 2021
Description
City of Palm Springs Public Arts Commission meeting, held January 20th, 2021
A
A
C
A
A
G
A
A
Now
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
commission
and
agenda
items
if
the
member
of
the
public
cannot
be
present
later
in
the
meeting
at
the
time.
Each
item
is
heard
by
the
commission.
A
Additionally,
members
of
the
public
may
address
the
commission
on
each
item
listed
on
the
posted
agenda
at
the
time.
Each
item
is
heard.
Although
the
public
arts
commission
values
your
comments
pursuant
to
the
brown
act,
it
generally
cannot
take
any
action
on
items
not
listed
on
the
posted
agenda
and
five
minutes
is
assigned
for
each
speaker.
A
Is
there
anyone
who
would
like
to
speak
as
public
comments?
I
would
like
to
note
that
we
received
just
a
little
while
ago,
through
the
city
clerk
a
letter
from
gary
johns.
As
from
the
historic,
it's
he's
a
board
member
of
preservation,
the
preservation
foundation,
commenting
on
the
benches
in
front
of
city
hall
that
were
placed
in
front
of
a
and
historic
property
and
urging
us
in
the
future
to
talk
to
the
historic
site.
A
A
A
If
anyone
would
like
to
see
it,
it's
simply
interesting
to
see
that
the
amount
coming
into
the
public
art
fund
has
been
fairly
steady
over
the
last
five
years,
but
is
showing
a
slight
increase
every
year
and
that
our
balance
remains
more
or
less
constant,
because
we've
been
spending
approximately
what
comes
in
each
year.
Even
though
we
do
it.
A
A
The
review
of
the
new
desert
x,
projects
which
have
been
proposed
for
palm
springs,
since
we
last
reviewed
the
myers
piece
for
the
chocolates
median,
and
I'd
like
to
ask
mara
gladstone
to
just
bring
us
that
we,
you
should
have
received
the
description
of
these
projects
with
the
agenda.
So
I
hope
everyone
has
that
do
you
need
jay
to
put
them
up
on
the
screen.
Yeah.
F
That
would
be
great,
I'm
happy
to
present
just
an
overview
of
of
how
this
proposal
came
to
be-
and
I
know
my
colleagues,
cesar
and
jace
are
also
available
to
answer
questions
so
full
disclosure.
I
do
work
for
desert
x
as
the
director
of
public
programs
there,
but
I'll
just
I've
been
sort
of
an
intermediary
between
members
of
the
community
and
the
arts,
commission
and
desert
x
because
of
this
project,
so
yeah
I'd
love
to
see
the
jay
if
you're
able
to
share
the
screen,
that
would
be
terrific.
F
F
So
the
project
that
is
proposed
is
called
the
wishing.
Well,
it's
a
sculptural
installation
of
large-scale
cubes,
woven
together
from
these
24
gallons
and
what
well,
basically,
I
got
a
call
from
an
email
from
a
member
of
the
community
dear
crawford,
who,
I
believe
also
serves
on
the
parks
commission
and
is
the
chair
of
the
board
member
of
the
james
or
jesse
desert
highlands
unity
center.
F
The
community
group
there
who
expressed
interest
in
in
in
hosting
in
in
welcoming
this
project
to
the
james
o
jesse
center
site,
so
the
curators
and
I
paid
a
visit
there
and
we
thought
it
was
really
beautiful
and
we
love
this
idea
that
that
location
serves
the
lar,
the
largest
african-american
community
in
the
coachella
valley.
So
to
have
the
only
artist
from
africa
in
this
show
in
desert
x.
Connecting
to
this
community
is
very
special.
F
In
addition,
the
location
has
is
very
close:
proximity
to
the
coach,
the
the
water,
the
the
the
water
pathways,
the
wash
that
runs
through
the
valley.
So
that's
also
a
very
compelling
and
interesting
linkage
from
local
to
a
global
context
and
thinking
about
water.
If
you
can
go
to
the
next
slide
as
well,
I
believe
there's
a
mock-up
or
at
least
an
example
of
the
site.
F
F
E
Yeah
I
can.
This
is
an
example
of
one
of
the
structures.
They'll
they'll
look
different
a
little
different
than
those
the
textures,
but
the
the
just
so
that
you
understand
sort
of
a
sense
of
what
the
objects
will
look
like,
and
there
will
be
two
of
these
cubes
sitting
on
sort
of
a
floor.
Woven
piece
made
from
the
same
material
and
search
has
done.
E
Many
of
these
projects,
in
collaboration
with
multiple
ngos,
he's
done
a
lot
of
public
and
private
commissions
that
use
this
material
and
and
its
relation,
in
particular,
its
relationship
to
issues
of
environmental
justice
around
and
and
issues
of
environment
just
around
access
to
water.
So
after
the
getting
in
throughout
these
objects,
sort
of
became
synonymous
with
a
lot
of
rural
communities
as
access
to
water.
E
So
a
lot
of
people
until
today
have
to
use
these
gallons
to
transport
portable
water
to
their
homes
from
well
sites,
and
so
this
color
has
become
almost
embedded
within
various
other
small
communities
and
rural
villages
in
the
body,
which
is
where
the
artist
lives
and
works.
And
when
he
came
to
the
coachella
valley
to
do
a
site
visit.
E
He
was
sort
of
interested
around
the
kind
of
issues
around
water
management
and
access
as
well,
and
was
not
as
aware
of
the
sort
of
issues
that
exist
in
the
coachella
valley
and
because
he's
done
work
relating
to
the
subject
matter.
He
wanted
his
project
to
be
able
to
sort
of
create
some
synergies
between
multiple
communities
that
he
has
worked
in,
including
including
his
stone
and
and
that's
how
we
arrived
at
this
proposal.
E
E
There
is
another
piece
in
my
I
can.
I
can
present
on
felipe's
work.
Felipe's.
The
other
project
is
a
is
a
sculptural
wall
work,
it's
a
it's
a
work
made
out
of
ceramic
tiles.
That
is
meant
to
be
a
permanent
piece
for
a
location
and
it's
by
another
name:
felipe
who's,
a
mexican-american
artist
based
in
new
york,
perhaps
one
of
the
kind
of
most
really
promising
emerging
latinx
artists
in
the
country
working
right
now
and
felipe
spent
some
time
here
with
over
the
last
summer.
E
E
Doing
sort
of
these
very
textured
panel
works
that
incorporate
wood,
carving,
they're,
usually
done
on
what
panel
size
is
and
incorporate
a
multiple.
So
the
series
of
techniques
associated
with
printmaking
he's
trained
as
a
printmaker
felipe
is
a
queer
artist
who
is
also
undocumented
and
so
a
lot
of
his
interest
in
research.
E
So
we
identified
a
few
locations
throughout
the
coachella
valley,
one
being
in
the
city
of
india
that
close
to
a
a
now
defunct
nightclub.
That
was
one
of
the
few
latinx
queer
nightclubs
that
operated
in
the
coachella
valley,
that's
no
longer
in
operation
and,
unfortunately,
our
our
for
full
transparency.
Our
conversation
with
the
city
of
india
was
not
very
productive
and
we
were
discouraged
by
their
lack
of
interest
in
another
wall
work
or
in
a
work
that
wasn't
necessarily
sculptural
in
nature.
E
The
wall
is
meant
to
pay
tribute
to
both
queer
communities
of
color
that
are
often
left
out
of
both
art,
history
and
local
community
stories,
and
so
what
you're
looking
at
are
two
arms
from
which
emerge
this
sort
of
rhizome
of
lotus
flowers.
That
is
meant
to
gesture
to
a
subject
or
a
person
that
is
coming
into
being,
and
the
idea
is
that
it
would
be
cited
in
a
location
where
local
stakeholders,
and,
and
particularly
so
the
members
of
queer
community
could
sort
of
have
access
to
this
work.
E
In
the
long
term,
we
have
had
conversations
and
felipe
sort
of
had
some
conversations
when
he
was
here
with
the
desert
aids
project
about
incorporating
this
mural
on
their
campus
as
a
permanent
work
of
art
that
would
stay.
I
had
a
nice
conversation
with
the
director
this
morning
because
now
that
we're
sort
of
looking
for
for
a
location,
the
city
of
palm
springs-
and
I
we
were
sort
of
informed
that
there
are
walls
and
spaces
on
the
campus
that
could
accommodate
this.
E
This
is
sort
of
what
the
well
identified
on
the
campus
of
of
the
desert
aids
project.
There's
some
logistical
issues
that
we
are
going
to
need
to
have
conversations
about
sort
of
the
maintenance
of
the
tree,
re-incorporating
the
design
to
see
how
the
mirror
can
sort
of
being
set
on
the
wall.
But
the
wall
is
pretty
much
to
the
scale
of
the
of
the
produced
artwork
and
and-
and
we
hope
that
this
can
sort
of
be
the
home
for
this
permanent
piece.
A
Yes,
yeah
yeah
yeah
right.
I
I
actually
spoke
to
david
brinkman
today,
also
because
this
is
a
mural,
I'm
afraid
we're
going
to
have
to
go
through
some
version
of
the
process
for
approving
murals.
So
I
asked
him
if
they
would,
if
desert
aids
project,
would
please
put
it
on
the
agenda
of
their
board
meeting,
which
is
next
tuesday
and
confirm
that
they
would
like
to
request
this
piece
on
their
building?
A
And
then
we
will
work
with
them
to
set
up
a
public
hearing
on
it
and
be
able
to
make
a
recommendation
to
the
city
council
so
that
we
can
do
a
after
their
board
meeting.
We
could
set
up
a
public
hearing
about
10
days
later
so
that
notice
can
be
sent
out,
and
then
the
arts
commission
can
vote
to
approve
this
and
pass
it
on
to
the
city
council.
A
A
B
A
A
G
A
B
But
just
further
to
that,
as
I
found
so
brought
up,
but
I
think
we
should
work
with
joj
center
and
desert
x
to
hopefully
keep
this
installation
at
joj
longer
than
the
desert
x
time
period,
because
I
think
it's
going
to
be
an
important
piece
to
draw
people
who
would
not
normally
go
to
the
jrj
center
to
actually
come.
There
experience
what
it
is
and
see
this
beautiful
art
piece.
E
H
H
E
E
C
A
A
And
so,
if,
if
these
two
that
we've
seen
today
can
go
through
the
approval
process,
we
should
have
five
six
pieces
in
palm
springs,
and
at
this
point,
if
we
can
let
mara
back
in
the
room,
I
think
that
one
of
the
things
we
can
look
forward
to
is
some
public
programs
around
all
of
these
pieces.
That
will
we'll
take
we'll
it,
I
think,
is
going
to
be
one
of
the
larger
concentrations
of
pieces
in
one
city
in
the
coachella
valley,
correct.
E
And
we're
incredibly
grateful
for
the
support
for
these
projects.
This
year's
desert
x
is
a
little
different
there's.
It
asks
you
know
the
projects
grapple
with
localized
histories
and
ask
challenging
questions
and
we're
really
grateful
to
the
public
rights
commission
for
the
support
of
projects
like
this.
C
D
A
At
the
same
time,
this
system
would
confirm
the
city's
holdings
and
help
manage
the
collection,
and,
quite
frankly,
we
have
a
very
out
of
date,
inventory,
which
we
sent
out
to
all
of
you
and
the
art
collective
has
just
sent
in
a
list
of
approximately
16
works.
That
they
can't
even
find
that
are
on
the
list.
So
there's
a
lot
of
work
to
be
done
to
sort
of
bring
this
all
up
to
date.
A
A
A
We
didn't
really
have
a
firm
idea
of
what
you
do
with
this
information
after
you
have
it
and
the
art
collective
has
they
attached
to.
Our
agenda
is
101
pages
of
their
condition
report
so
far,
but
the
difference
between
that
and
a
collection
management
system
is
what
you
do.
What
you
can
do
with
this
information
afterwards,
and
that
is
that
it's
accessible
in
terms
of
determining
priorities
for
work
that
has
to
be
done.
A
It's
important
in
terms
of
the
valuation
for
insurance
purposes
and
it's
a
way
to
make
it
available
to
the
public
so
that,
if
they
see
a
work
in
our
collection,
there's
a
way
to
link
them
to
information
about
the
artist
about
the
piece
about
the
subject
matter,
etc.
So
I
would
like
again
this
is.
This
is
not
a
vote
on
a
contract
because
we
don't
have
it
written
yet.
B
I'm
completely
in
favor
of
this.
I
think
it's
very
important
for
us
to
have
a
searchable
and
accessible
database
for
all
of
our
public
art.
When
I
read
through
alicia's
proposal,
it
just
seemed
that
it
was
concerned
that
there
was
a
little
bit
too
much
overlap
on
the
condition
and
maintenance
part
that
that
seems
to
be
already
covered
by
the
art
collective.
B
A
And
I
think
what
actually,
if
you
just
go
back
a
little
bit
jay
this
the
screen
before
what
this
plan
will
do
is
incorporate
all
the
work.
That's
been
done
by
the
art,
collective.
It
doesn't
have
to
be
duplicated,
but
it
needs
to
be
accessible
in
a
way
along
with
with
all
the
rest
of
the
information.
A
The
difference
is
that
alicia's
role
is
as
a
was
really
in
charge
of
the
collection
management
and
is
also
in
a
mission
to
handle
appraisals
and
recommendations
for
what
we
should
be
doing,
having
kept
track
of
the
museum's
collection
for
a
number
of
years.
But
it's
a
it's
a
different
skill
set
yeah.
H
So
can
I
just
today's
point
to
russell's
point
yeah?
That
was
an
understanding
that
there
is,
I
feel
like.
There
is
a
lot
of
this
information
already
from
those,
as
you
know
how
thorough
the
art,
collective
documentation
has
been
right.
So
so
there's
great.
So
there
is
a
lot.
I
think
my
sense
of
it
is
that
it's
kind
of
more
putting
it
into
another,
a
format,
that's
a
little
bit
more
workable
for
us,
like,
I
feel
you
know
like
some
of
the
stuff.
H
We
have
it's
like
so
much
information,
and
this
is
really
helping
us
manage
it
and
then
the
other
is
that
that
phase
three
part.
Of
course
art
collective,
is,
you
know
they
have
nothing
to
do
with
appraisals
or
anything.
So
that's
a
pretty
significant
part
of
is
sort
of
like
taking
what
we've
been
doing
and
then
adding
on
another
step.
That
would
be
something
that
nail
to
nail
would
do
as
opposed
to
art
collective,
because
that's
not
in
their
area
at
all,.
A
From
the
very
beginning,
it
was
very
hard
to
get
a
sense
of
what
actually
was
in
the
collection
and
where
some
of
it
is
some
things
have
been
moved
around.
Some
things
are
apparently
stashed
behind
city
hall
and
we'll
have
to
go.
Take
a
look
again,
but
it's
really
our
responsibility
to
the
city
to
be
able
to
account
for
millions
of
dollars
worth
of
art
and,
as
we
all
know,
a
number
of
pieces
that
are
in
bad
condition,
partly
because
of
the
climate,
partly
because
of
you
know,
they've
been
hit
by
cars.
A
I
A
But
the
whole
idea
is
to
get
the
information
somehow
from
the
piece
of
sculpture
to
the
public.
That's
looking
at
it
in
a
way,
that's
meaningful,
especially
as
you
know
you
see
increasingly
some
of
the
subject
matter
or
just
the
pieces
of
art
are
controversial.
They
they
in
they
encourage
discussion
about
some
of
these
things,
including
desert
x.
Really,
I
think,
wants
people
to
engage
with
the
art
and
ask
questions
about
it,
and
so
this
is
a
way
to
facilitate
that
on
an
ongoing
basis,
not
just
for
desert
x,.
F
F
So
I
think,
having
someone
with
this
kind
of
knowledge
and
expertise
to
help
us
give
us
all
the
information,
so
we
can
make
informed
decisions
about
the
collection
is
really
really
important,
because
I
think
you
know
we
have
a
lot
of
information,
but
it's
kind
of
incomplete
and
we
just
haven't
been
able
to
move
forward.
I
know
on
a
few
conservation
works
that
we
know
we
want
to
conserve
or
aren't
sure
if
we
should.
F
I
also
think
the
integration
with
our
website
or
with
our
social
media
is
very
interesting,
and
I
would
love
to
at
some
point
hear
more
about
what
those
options
are.
But
I
do
have
two
questions
for
alicia,
which
is
one.
Is
there
a
separate
cost
for
the
collections
management
system
itself,
or
is
she
building
something
that
the
public
art
commission,
the
city
can
use
in
perpetuity?
F
F
Like
can
it
be
exported
into
like
an
excel
document
that
can
be
used
in
the
future?
I
just
know
technologies
become
outdated
people
decide
they
don't
want
to
do
this
work
anymore.
You
know
people
move
on,
and
so
I'm
just
you
know
if
we
do
invest
in
this,
I
would
want
to
make
sure
that
all
of
this
work
that's
done
is
available
to
us.
F
D
Okay,
so
in
answer
to
your
first
question,
I
would
not
be
building
something
from
scratch.
I
would
recommend
a
product
database,
that's
simple
to
use,
but
has
enough
flexibility
to
do
the
kinds
of
things
you
want.
I
understand
if
you
want
qr
codes
or
perhaps
even
interviews
with
artists
attached
to
them
or
embedded
in
them,
you'd
need
something
that
could
handle
media
files
of
different
kinds.
D
D
Exports
to
other
software
packages
like
excel
more
than
likely
or
might
have
its
own
reporting
functionality,
some
of
the
more
sophisticated
and
expensive
products
do
have
their
own
reporting
functionality.
I
don't
think
that
the
city
needs
something
like
that,
but
you
would
be
making
that
decision.
Just
based
on
information
that
I
gather.
F
C
F
D
Values:
okay,
yeah,
absolutely
anyone
who's
given
permission
to
have
the
access
by
you
will
have
the
access
and
then,
of
course,
you'll
want
to
limit
the
kinds
of
data
that
you
actually
put
out
in
the
public
domain,
but
that
it
will
serve
as
a
storage
system,
electronic
storage
system.
It
will
probably
be
backed
by
the
cloud.
I
might
not
suggest
a
fully
cloud-based
program,
they're
getting
you
know
more
common
now,
but
once
you
have
a
cloud-based
program
in
your
internet,
then
you
can't
you
can't
update
their
access
to
anything.
A
A
H
A
H
H
I
mean
not
that
anyone
could
access
our
site
and
type
stuff
in
about
things,
but
the
idea
of
you
know
that
somebody
could
go
to
our
site
and
look
up
a
piece
and
see
that
it
was
cleaned
six
months
ago
or
see
that
it's
going
to
be
cleaned
or
something
I
don't
know,
but
I
mean
just
like
I
don't
I'm
kind
of
you
know,
let's
just
put
it
all
out
there
for
the
public.
You
know
I
mean,
if
that's
possible,
I
guess
that's
this
idea.
H
A
D
H
C
G
A
We
all
know
that
this
commission's
going
to
turn
over
quite
a
bit
at
the
end
of
june,
and
I
hope
we
can
leave
the
new
commission
all
this
technical
capability
to
do.
You
know
all
kinds
of
new
new
programs,
new
ideas,
so
great
all
right
well
and
if
anyone
else
would
like
to
work
on
this
so-called
committee
to
help
flesh
this
out.
Just
just
you
know,
drop
me
a
text
and
we'll
we
can.
A
C
C
A
If
yeah,
if
we
can,
you
know
if
people
don't
mind
putting
in
the
time
and
study
sessions,
are,
are
it's
easier
to
cover
a
lot
of
material
because
we're
not
you
know,
we
have
a
little
more
flexibility,
so
we
can
go
into
one
topic.
If
that's
what
we
want
to
do
very
good,
okay,
the
last
thing
on
the
agenda
for
discussion
is
the
traffic
box
project
which
I'm
going
to
ask
shonda
to
bring
us
up
to
date
on.
A
A
A
I
The
boxes
are
located
on
palm
canyon
and
then
we
put
the
additional
boxes
also
on
indian
canyon,
coinciding
so
the
streets
are
starting
from
gateway.
San
rafael,
racket,
club,
tamaris
tahava.
I
don't
know
if
I'm
saying
that
right
sativa,
thank
you,
alejo
amato
and
taqwish,
so
this
is
so
far
of
the
the
plans.
The
preliminary
plans
for
the
boxes.
I
I
There
are
a
few
late,
straggling
submissions
that
may
come
in
by
tomorrow,
because
communications
with
another
person
was
because
of
covid.
It
was
so
they're
getting
it
tomorrow,
past
the
deadline,
so
these
are
the
boxes.
That's
the
database
so
far
that
we
have
with
all
this
admissions,
and
this
is
what
we're
proposing
to
do
these
utility
boxes.
Each
intersection
has
a
utility
box.
I
I
I
hope
you
guys
like
the
database
so
far
and
if
there
are
any
additional
streets
I
have
reached
out
to
1ps,
so,
whatever
boxes
that
are
in
these
neighborhoods
I'll
be
reaching
out
to
that
community,
I've
also
reached
out
to
desert
highland
gateway
estates.
Community
action
committee,
they've
they've,
formed
a
subcommittee
which
is
our
public
arts
subcommittee.
I
I
A
C
A
A
We
have
these
submissions.
We
have
a
process
where
some
more
of
the
stakeholders
can
vote
on
on
their
preferences.
For
example,
for
main
street.
We
had
some
of
the
business
owners
for
this
one
shonda's
talking
to
various
1ps
groups,
depending
on
what
neighborhood
it
is.
We
put
together
sort
of
an
order
of
preferences,
and
then
a
group
sits
down
and
decides
which,
which
artwork
ought
to
go
on
which
box.
A
I
Has
also
agreed
on
one
1pds
communications.
We've
also
agreed
to
that
we
can
put
the
boxes
that
are
narrowed
down
on
their
instagram
site,
so
even
more
people
will
be
able
to
join
in
virtually
and
we're
trying
to
make
a
collaboration
just
so
the
city
is
abreast
of
it,
and
also
it
gets
more
buzz
and
more
talking
about
the
wonderful
things
that
the
art
commission
is
doing.
The
other
boxes
that
ann
was
talking
about.
It
looks
like
they
have
some
kind
of
gauge
on
them.
C
C
H
H
You
know
you
know,
so
it's
like
stop
in
the
name
of
love
with
the
stop
lights
right
I
mean
that
I
guess
that's
the
connection
and
then
so
I
guess
I
just
you
know
one
of
the
ways
I
think
like
how
a
lot
of
the
benches
they
have.
The
arts,
commission,
hashtag
and
stuff
like
that.
So
I
just
was
curious
like
to
help
people
understand
that
it's
all
they're
part
of
this
bigger
project
right,
like
I
don't
know,
so
I'm
just
curious.
I
I
So
I
wanted
to
incorporate
those
two
items
in
some
of
the
artwork
shows
that
and
some
of
it
doesn't
I'm
hoping
that
as
this
progresses,
that
we
can
get
more
themes
out
there
of
of
all
the
great
buzzwords
that
we
heard
in
all
the
the
speeches
today,
so
we're
all
on
the
same
place.
So
when
you're
driving
down
palm
canyon
or
india,
canyon
you'll
see
a
box
that
are
like.
Oh
that's,
a
beautiful
box
and
has
a
it
has
love
on
it.
I
Then
the
next
one
has
you
know
some
kind
of
messaging
of
unity
and
the
next
one
has.
So
as
you
go
through
the
city
that
it's
just
that
vibey
good
feeling.
So
when
you
get
to
downtown
it's
just
a
big
or
orchestra
of
beautiful
artwork
everywhere
you
look
so
I
was
going
to
use
a
word,
but
I
didn't
think.
A
Someone
wanted
to
see
how
this
fit
into
the
whole
the
whole
scheme,
if
you're
at
one
box,
you
know
if
you,
if
you
want
to
see
what
else
there
is
all
the
way
down
palm
canyon,
you
know
you
might
be
able
to
find
it
on
our
website
or
whatever.
So
that's
that's
a
good
place
to
maybe
try
out
the
idea
of
a
qr
code
or
something
or
at
least
a
hashtag,
okay.
Well,
this
is
going
to
be
a
very
busy
month
around
here.
B
I
Thank
you
russell
for
inspiring
me
with
the
benches
and
the
keep
on
keeping
on
and
the
whole
art
commission
and
coming
together
I
mean
everybody's,
adding
their
beautiful
splash
of
paint
on
this
canvas
and
when
we're
done
palm
springs
is
going
to
be
beautiful.
It's
beautiful
now,
but
she's
going
to
look
like
she's
had
good
work
done.
I
A
A
And
the
other
thing
is
I'm
very
proud
of
the
fact
that
I
think
to
date,
we've
paid
60
artists.
You
know
not
not
a
lot,
but
we
are.
We
are
making
work
for
artists
in
in
the
midst
of
this
period
of
you
know
when
it's
been
so
difficult
for
businesses
and-
and
I
pointed
out
the
other
day-
I
saw
an
article
that
pointed
out
that
all
the
talk
about
how
gig
workers
are
so
important
to
the
economy
and
whether
they
should
be
paid
as
employees
or
independent
contractors
or
whatever.
A
A
A
H
Recap
so
just
to
let
everyone
know
that
the
art
collective
finally
has
a
purchase
order
and
they
are
now
finally
able
to
keep
to
go
back
to
work
again.
So
so
they
are
continuing.
They
have
been
working
on
inputting
some
of
that
information
from
before,
but,
as
you
know,
they
had
been
sort
of
prevented
from
doing
any
further
work
in
terms
of
maintenance
and
things,
so
they
have
their
business
license.
They
have
their
contract,
they
have
a
purchase
order,
so
now
they
can
start
billing.
H
So,
as
ann
mentioned
earlier,
there
is,
are
a
few
works
that
they
weren't
able
to
find.
I
don't
think
it's
too,
I
think
we'll
we'll
either
figure
them
out
or
we'll
you
know
they'll
just
I
think
they'll
turn
off,
I'm
not
that
worried
about
it
and
that's
one
thing
that
maybe
some
of
the
other
commissioners.
We
could
sort
of
do
a
little
scout
around
and
check
on
some
of
these
and
then,
but
they
will
continue
just
so.
Everyone
knows
now
that
they
have
the
contract.
H
They
will
continue
working
on
those
pieces
that
we
approved
back
in
the
summer.
The
31
pieces
for
continued
maintenance,
the
ones
that
they
had
started
last
year,
so
the
and
sort
of
continuing
on
there
so
that
they
are
able
to
do,
and
they
will
start
doing
now.
So
that's
finally
back
in
action
and
then
in
terms
of
going
forward.
It's
you
know
now
now
we'll
be
back
on
track
with
kind
of
looking
at
future,
the
next
tranche
of
pieces
to
be.
You
know
that
need
attention
and
things
like
that.
H
A
Thank
you
and
then
the
other
piece.
The
other
report
that
was
attached
to
the
agenda
is
the
phase
three
benches
are
underway.
We
have
a
contract
with
the
chamber
of
commerce
this
time
to
pay
the
artists.
I
think
russell
you
can
tell
me,
but
I
think
two
or
three
there's
two
or
three
that
have
started.
B
Who
is
the
manager
of
the
convention
center
and
his
husband
came
along
while
I
was
chatting
with
it,
goes
by
andy,
andy
barry
and
he
was
thrilled
with
his
bench
and
bra
was
absolutely
thrilled
that
they
made
the
decision
to
move
the
benches
there.
So
it's
just
a
wonderful
addition
to
the
phase
three
bench
program.
H
G
H
At
walking
past
the
convention
center
and
it's
a
gorgeous-
I
mean
it's
so
beautiful
I
mean
just
I
mean
it
was
like
it
looked
gorgeous
already
and
it
wasn't
even
finished
so
yeah.
So
it's
I
don't
know.
That's
to
me.
That's
part
of
the
fun
too
is
like
actually
encountering
the
artists.
You
know
working
on
them
and
stuff,
so
it
was
it's
just.
I
was
really
happy
to
see
it.
So
it's
a
really
nice
one,
and
so
so
I
was
glad
you
were
able
to
get
those
in
yeah.
B
H
B
The
pleasures
about
doing
this
project
because-
and
we
have
to
give
a
huge
shout
out
to
tyson
because
he
does
so
much
work
in
this
project-
that
he
burns
every
time
of
his
contract-
that
I
touch
base
with
him
on
what
artist
is
working
where
and
I
make
a
point
to
go
down
and
meet
them
and
talk
to
them.
And
it's
just
it's
a
brilliant
process.
A
And
we
have
great
photos
of
the
process
of
them
working
and
the
final
product.
I
I
should
just
mention
that
russell
suggested
that
we
do
two
benches
on
chocolates
near
palm
canyon,
right
that
that
turn
out
to
belong
every
now
and
then
we
we
either
we're
about
to
paint
a
bench
and
the
city
moves
it
or
we
find
out.
A
Going
to
maintain
these
benches,
and
I
explained
that
we've
had
a
number
of
cases
already,
where
there's
been
some
damage
to
a
bench,
either
graffiti
or
just
the
skate
guards
didn't
work
well
enough
or
whatever,
and
that
we've
been
either
getting
the
original
artist
or
tyson
to
go
out
and
and
fix
them,
and
that
we
would
be
happy
to
do
that
for
these
two
benches.
But
if
we
didn't
do
them,
they
would
be
the
only
two
benches
on
the
block
that
weren't
painted.
A
So
but
they
were,
they
were
really
excited
to
be
included
in
this.
So
it's
nice,
because
two
years
ago
we
tried
to
do
something
with
desert
x
and
sunline
to
keep
those
bus
shelters
in
the
city,
and
it's
just
you
know
it's
too
big
a
bureaucracy
to
sort
of
move
quickly
on
something
like
that
anyway.
Last
thing
is:
are
there
any
other
requests
or
comments
from
commissioners.