[This transcript was generated automatically from audio using AI and hasn't been reviewed by a person -- it can contain mistakes, including plausible-sounding sentences that were never actually said. Treat it as a starting point, not a verbatim record.]

[0:03] This is the Arts and Culture Advisory Commission meeting August 5th, 2026.
[0:11] Alright, welcome everyone. We want to call this meeting to order, and let's go ahead and get started with the roll call.
[0:18] And we'll go around this way. My name is Hasan Rasul.
[0:21] Katherine Denpy.
[0:22] Dr. Charlotte Pullins.
[0:23] Suzanne.
[0:24] Kerwin Force.
[0:27] And we have Margaret Liu and Crystal Kupfer missing today.
[0:34] So let's get started with the Pledge of Allegiance.
[0:42] Pledge of Allegiance to the flag of the United States of America, and to the republic for which it stands, one nation, under God, indivisible, with liberty and justice for all.
[0:59] Just trying to push your answers.
[1:00] I know.
[1:01] I'm a supporter of haunted.
[1:04] Okay so let's get started with staff reports. Do we have any staff reports?
[1:22] Yes we have many staff reports and more coming soon and on public art front.
[1:28] So Confluencia is about 90% finished with installation.
[1:34] Construction is finishing up with a few finishing details along with that on the same site of the new art and
[1:42] This is the community center, the Surprise Community and Resource Center, where both
[1:51] the top and bottom artworks are going to be installed.
[1:55] This bottom is a wrap.
[1:57] All of the black areas as we know are transparent.
[2:02] So you've seen these works, but they are coming to life, and then we have coming
[2:08] in soon our traffic cabinet voting has completed so we have final design the
[2:14] artists will be moving forward with soon and they will be here to present to you
[2:20] and we also are back into event season soon. I'm putting some stuff coming up. I hope to
[2:33] to see all the sons of Saren Dick, which will be the season opener. Those personally will
[2:39] show that I'm most excited about because these musicians are phenomenal. The lead singer's
[2:44] voice is like, well-binding. It is after our retreat, so you can hang out with me all
[2:50] day.
[2:53] Maybe we'll go out to dinner together and then come back.
[2:56] Wow.
[2:57] But very good show. We're also bringing back the Speak Your Series. It has a slightly
[3:02] new name of Intersection Speaker Series and they're actually going to be at the Vista
[3:06] on Saturday mornings. It's a little bit more accessible. If you want to come to our
[3:11] coffee hour, Danica and Allie got a really cute, like, make-your-old coffee station that
[3:17] we'll put. It'll be in the Playhouse at the Vista. So there's four really cool
[3:21] topics that Allie curated for this year. And Live Nassande is coming back.
[3:30] First
[3:31] Who was at the Play Your Way to the Park? Susan, you were at Play Your Way to the Park with the Battle of the Bands, right?
[3:37] Oh, yes. Are you there? No. No? Okay. Well, this band was really good. They were at Play Your Way to the Park.
[3:43] They didn't win for Play Your Way to the Park because it was a vote. It was an audience vote winner, but they were very good.
[3:50] This is Thomas James Band. And then, um, yeah. So we had some events coming up. We're getting back into the swing of things.
[3:58] We've got a lot going on.
[4:01] Yeah, let me know if you need information about any stuff as we get close there.
[4:05] Can I ask your question? Our retreat is on the 19th, right?
[4:11] The 26th.
[4:12] Oh, I have it on the 19th.
[4:18] Well, I've read the 26th, but I have it on the 19th.
[4:21] Let me check. I think there was someone who wasn't available on the 19th.
[4:26] I need to do that.
[4:27] Yeah, commissioner retreat, 9 a.m. to 3 p.m. to 26 p.m. is what I had.
[4:33] There was a 19th a long time ago, and then it changed to the 26 p.m.
[4:43] I don't remember
[4:44] who, but somebody was not available on the 19th, so it was, but I do have some important
[4:51] dates for you all.
[4:52] But I have one more question from the last line. Where in the mista is that?
[4:58] The speaker series. Yes. This will be in the playhouse. It's like the smaller lecture hall.
[5:07] They're gonna let us in at
[5:11] 11 o'clock in the morning. Yeah, Danica. Well, yeah, Danica and Ally will be letting you in.
[5:18] No, it'll be, you'll still go, you'll have to go through like the gate to get in. We'll have signs up.
[5:22] Is it a weekday?
[5:24] On a Saturday morning, my question is important.
[5:29] Oh, like during school.
[5:31] They're going to have a bunch of people on Wednesday morning.
[5:35] That is a good question.
[5:36] They would not let us do that.
[5:38] I didn't think so.
[5:40] Yeah, Saturday mornings.
[5:42] I'm going to try that out.
[5:43] Okay, so important dates for you all.
[5:46] Danica mentioned the two art pieces we have
[5:49] that are going to be at the surprise
[5:50] community and resource center. I think I sent you guys an email of the ribbon
[5:55] cutting. It is in the morning on a Thursday, but I think there's like 300
[6:02] people and we'll have a really cool art activity that connects us to the art
[6:06] pieces and hopefully the artists are going to be there as well. But this
[6:11] community center, who's been there? Okay it is awesome. I'm so excited for
[6:18] that's so open, it's going to be so good for the community.
[6:21] As a resource center and just like a gathering,
[6:24] I feel like we don't,
[6:25] our city buildings that we have currently
[6:26] aren't the best for like gathering in workshops
[6:30] and like, I don't know,
[6:31] I think it's going to be really good for the projects
[6:33] and firms that we are doing to have that
[6:35] and just obviously it's doing way more
[6:38] than arts and culture things.
[6:40] But for our context, it's going to be really helpful
[6:42] as a beautiful building.
[6:45] We will actually be doing one of the choreo artists for the Vista, Good Co, they're gonna
[6:50] do a swing, electro swing class at the communities that are all the way in May, but they'll
[6:57] have like live music and do a swing class.
[6:59] What?
[6:59] Oh, we're fun.
[7:02] Do you know what that is?
[7:05] Oh, a swing.
[7:06] The time is the greatest.
[7:07] Like swing dancing?
[7:08] Is that it?
[7:09] Oh.
[7:09] I like dancing.
[7:10] 10 is the... 10 o'clock.
[7:12] Oh, the ribbon cutting?
[7:13] Yeah, like 10 to 12.
[7:15] Yeah, I think they're... I'll have to check. I have a few different things.
[7:19] Some things are starting at 9, but I have to verify what those are.
[7:22] I think those would be like... 9 o'clock is like mayor ribbon cuttings and stuff,
[7:28] but if you can make it, please let me know because if we have...
[7:32] Especially if the artists are there, we want to do something at the feature.
[7:35] it's going to be hot so I'll get one time like let's go run out take the
[7:40] picture together and then run back inside. So please let me know if you're
[7:45] planning to come so I can coordinate that with communications to get that
[7:48] photo together. So which time would you want us to be there if we did? Let me
[7:53] know if you're coming and then I'll try and get on communication schedule or
[7:59] we will have our marketing manager come and take our photo and I give it
[8:03] communication so we can we can live on our own terms and yes we are also having
[8:13] some welcome back things that are not public but we would love to see you at
[8:19] I don't have time for these yet so I'll update you when the times are
[8:23] solidified but they will be in the evening so we're having a volunteer
[8:27] appreciation event with all of the volunteers that you're also welcome to
[8:31] come to as also volunteers that we appreciate very much and to like meet with the other
[8:37] people that we're trying to get all the volunteers to understand what surprise arts and culture
[8:41] is really about. So the more you can mingle with others that would be awesome. We do
[8:47] like giveaways and a lot of other kind of fun things there. And then also our members
[8:52] will be having a welcome event at the Vista that is really like people that signed up
[8:58] to become members of Surprise Arts. They'll be getting like the goodie bags and like doing
[9:03] a tour of the Vista and things like that. So we would love to see you at that as well.
[9:08] Those will both be like after 5 p.m. like probably 5 or 5 30 p.m. on those days.
[9:14] Do we have a lot of members?
[9:16] We do. I don't know. Can you move on? 50?
[9:19] 50, I'll put it.
[9:20] Yeah. And hoping to continue growing that with as we have more member only events,
[9:26] you know, kind of being like, come and do these sort of like, member-only special things to get
[9:33] together. I've been describing it more as like a way to like, have a fun meet-up with friends that
[9:37] also care about arts, because not everything's gonna be at events or shows like, I don't know,
[9:43] like looking at like, doing a wine tasting at Cooper's Hawk and it's like, get together with
[9:48] all the members and stuff like that. So there's like fun bonuses to just build a little
[9:52] bit of a community with it. And then your retreat. Don't forget that one. This is very important
[10:00] that we do it together. There's some things that will just like really set the tone for
[10:05] the next two years of like everything we do. So yeah, we're retreating here. I have it
[10:13] scheduled for the Vista for now. Also because it's on show day and then I can be there
[10:24] Okay, that's all the staff reports.
[10:27] Thank you so much.
[10:30] I'm going to do the agenda.
[10:32] The first thing I have to do is pick a chair and vice chair.
[10:36] Okay.
[10:37] All right.
[10:40] So first agenda item is discussion and action pertaining to the selection of the arts and
[10:45] culture advisory commission chair.
[10:51] So, this is Kerwin's first chair, Vice Chair Voting.
[10:56] We have to do it every year.
[10:58] First meeting of the new fiscal year.
[11:02] We will do, we'll start with chair.
[11:05] And you can put in a nomination for someone to be chair.
[11:09] And we can nominate as many people as we want.
[11:11] You can nominate yourself.
[11:12] And then you will write down who you would like to look for
[11:16] and hand it over to me.
[11:17] Are you ready? I'm ready. I would like to nominate Hassan. Second. No.
[11:27] Amazing. Do we have any other nominations? No. Do we need to write these down? Maybe we can, um, what do we, would someone like to make a motion to, for Hassan? Motion to accept his acclamation. Approved.
[11:43] Can I get a second?
[11:46] Second.
[11:47] Second.
[11:49] And all in favor, aye.
[11:51] Aye.
[11:52] Congratulations.
[11:55] Continue your role.
[12:00] We didn't have any,
[12:01] yes, we didn't have to.
[12:03] Not chaotic.
[12:05] Hasan, continue what you have been doing
[12:08] this meeting as I'm your chair.
[12:10] Congratulations.
[12:11] Thank everybody.
[12:11] All right, so agenda item number two, discussion and action pertaining to the selection of
[12:24] arts and cultural advisory commission vice chair.
[12:29] I would like to nominate Catherine.
[12:33] I would like to second you.
[12:36] Any other nominations before we?
[12:38] All right.
[12:39] All right, all in favor? All the ayes?
[12:43] Aye.
[12:44] Any nays?
[12:48] I guess you should be saying that, sorry.
[12:49] It's on.
[12:50] It's okay.
[12:52] So, what did I say?
[12:54] Sorry, actually did someone make like a full, I make a motion to approve?
[12:58] That's lost.
[12:59] I make a motion to approve Catherine Dunphy as Vice-Chief.
[13:06] And then we have a last second.
[13:08] Thank you.
[13:09] So the motion is approved.
[13:13] Welcome, Catherine, to the Vice Chair of the Commission.
[13:25] Now we got that behind us.
[13:28] What's next?
[13:30] So,
[13:33] consideration and action pertaining
[13:35] to the June 3rd Arts and Cultural Meeting Minutes.
[13:40] Has everybody had a chance to review the meeting minutes?
[13:42] Yeah.
[13:44] Is everybody approved?
[13:46] Second.
[13:48] All right.
[13:49] So,
[13:53] the meeting minutes have been approved for June 3rd.
[13:56] So that's about all in favor.
[13:58] All in favor.
[13:59] Aye.
[14:00] Aye.
[14:00] Aye.
[14:00] Aye.
[14:00] Aye.
[14:00] Aye.
[14:01] Aye.
[14:01] Aye.
[14:02] Aye.
[14:04] Aye.
[14:04] Aye.
[14:05] Aye.
[14:05] Aye.
[14:16] Aye.
[14:16] what we have next.
[14:21] So, next on my agenda is a presentation and discussion pertaining to the
[14:27] policies and procedures for the Ascensioning City on Artwork.
[14:31] Oh, this is new. This was actually from our March meeting that got canceled, so we're
[14:37] bringing it back to give a little context. At our March meeting we had been getting some
[14:44] public requests for the Ascensioning of a Certain Artwork, so I just wanted you all
[14:49] to be aware of the process in case you ever get anyone that
[14:52] comes up to you and you can point them in the right direction
[14:54] because there is a way that it can happen.
[14:59] OK, go ahead.
[15:00] All right. There's a lot of information that comes with deaccessioning at work.
[15:05] Essentially, deaccessioning and artwork is a formal process and it is a permanent removal
[15:10] from our public art collection. Would you mind advancing to the next slide?
[15:16] The goal isn't just to get rid of an artwork. It's to maintain safety, high quality, relevant
[15:24] and a collection that's sustainable for maintenance,
[15:27] which is a huge component for us.
[15:31] And to assure, of course,
[15:33] that the work reflects the community values,
[15:35] the space it's in, and the needs.
[15:37] These might evolve over time, so we revisit.
[15:42] And then protecting the collection,
[15:43] integrity and public trust is another major thing.
[15:47] Something that's really important that I think
[15:49] that we'll circle back to
[15:50] in a future commission meeting
[15:52] would be our rights and our rights essentially covers the rights of the
[15:58] artist so even though the city has essentially purchased the work the the
[16:06] work belongs to the city but ownership does not erase the art the artist's
[16:10] legal rights so that's kind of the core of our rights there are four main
[16:16] components of our rights and I'm just going to touch on them quickly for
[16:23] revisit in the future but essentially the artist has the right to be recognized
[16:27] as the creator of the work. If the work were ever to be altered in any way that
[16:33] was not approved by the artist they have the right to not be recognized as
[16:36] the creator of the work and then artists have the right to object to
[16:41] modifications or distortions of the work so that's our responsibility to
[16:44] say if something's changing and artists have the right of protection against
[16:49] destruction. So when it's ever coming up to discussion we involve the artist in
[16:56] the discussion and we'll talk about next steps. So guiding principles are we
[17:01] want to take our time and be thoughtful of course with any of these processes
[17:06] especially a permanent removal from the collection. We want to respect
[17:12] intent. And this is important. There's this really unique debate in the art world
[17:18] about intent of the creator. And I find it interesting, so I'll say. But sometimes
[17:25] the question is who gets to decide what an artwork means. And in this case, we
[17:31] refer back to the artist. Of course, art's open for interpretation, but we
[17:36] refer back to the artist on this. And of course, checking that with all the
[17:42] other pieces that come in. We do prioritize public benefit. That's what a public art
[17:48] collection is for. So we balance all of these things and consider legal, ethical,
[17:54] and contractual obligations. So legal is consulted throughout this process. Okay,
[18:01] why would we deaccession a work? And these are the core reasons. Mainly
[18:09] irreparable damage or deterioration. Public art is hopefully made to
[18:15] stand the test of time but things happen and sometimes when we take assessment
[18:21] it's maybe going to be more costly to maintain or restore than the work is
[18:29] valued at. Excessive maintenance or unsafe conditions specifically on
[18:34] safety, if there is, it's looking like a risk. Again, looping in legal and risk
[18:41] departments with the city, that might be something that we consider. The site is
[18:45] no longer appropriate or accessible. Our city changes all the time. The
[18:49] landscape, the buildings that are there. A site might be out of the public
[18:54] area suddenly. Maybe it's behind a wall where it once wasn't, so that
[19:00] would be a case where we might want to look at something. Significant
[19:04] changes impacting integrity or relevance speaks for itself. Fraud, forgery or lack of authenticity.
[19:14] Artwork rarely displayed so if an artwork is not out in the public eye for a long period of time
[19:20] we might want to call it a question and sustain public objection. We do hear sometimes of course
[19:29] Like Julie mentioned, feedback from the community for an artwork to be removed, it needs to be
[19:36] sustained and there needs to be documented feedback from the community as well. These are things that
[19:44] we gather and we store no matter how many we receive. So everything that we hear, we file it
[19:49] away and we ask if it's verbal, you know, can you write this down, can you send this to us
[19:54] so that we can have that documented.
[19:56] We do want it.
[19:58] And then over a period of time,
[20:01] if there's a large amount that we're hearing about it,
[20:04] then we would absolutely want to take a look.
[20:08] And the collection direction has evolved.
[20:11] So if there's a major shift in our identity as a city
[20:15] or what we want from public art,
[20:19] yeah, that's kind of open for interpretation
[20:21] case by case, but there we go.
[20:24] Can I have a lot down there?
[20:26] Generally, we don't want to be in the business of commissioning our work.
[20:30] We want our work to stay ground, even if it's not our favorite.
[20:34] No one tells you something about place, history, time, in some way.
[20:38] So we definitely try and avoid this as much as possible in all cases.
[20:43] So that's why there's this cumbersome process.
[20:46] Yes.
[20:48] All right.
[20:49] So essentially we review our collection every five years and this was recently
[20:55] done by RLA Conservation as well with the third party to look at all of our
[21:02] collection and say here's how they stand and what maintenance is needed. This is
[21:09] helpful if there's something that we need to know in terms of like
[21:13] irreparable damage.
[21:16] On that line, we, there's the, stop, sorry. Can
[21:26] I have all my thoughts on that?
[21:29] And part of that review is also your input, so because I think you were all here when we reviewed
[21:35] that, but her one wasn't. So we took their review and then we brought it to the commission,
[21:41] and the commission rated the artworks in order,
[21:44] like, curatorial important.
[21:46] So even if it was going to cost a lot to repair,
[21:49] but it was really important, then we were like,
[21:51] let's put it forward.
[21:53] But if it was like, it's going to cost a lot
[21:55] and it's not super important.
[21:58] So there was many factors that the commission really
[22:00] weighed in on how it wasn't just like,
[22:02] well, it's going to cost a lot by.
[22:03] Yeah, so you all are part of that review as well.
[22:08] All right.
[22:11] So the collection is reviewed.
[22:13] The artist is notified and we prepare a deaccession report internally.
[22:20] The reason we want to bring the artist into the discussion is so that they're aware if
[22:24] it were something along the lines of community complaint, they would have the opportunity
[22:30] again to talk more about intent and have agency in that conversation.
[22:36] And then a panel would come together.
[22:38] And this panel is very similar to the panels that we have for public art or other review
[22:44] processes.
[22:44] So one of you would be on the panel, the community, and then stakeholders.
[22:51] There would be a thorough review.
[22:57] The panel reviews, city attorney advises throughout, of course, and we are considering
[23:03] all the things we've already discussed.
[23:06] There's an approval or denial at the end of the day and that leads to a final action.
[23:14] And there's actually a few different avenues to pursue on this.
[23:18] We could sell, trade, donate, exchange, or destroy.
[23:23] That's the last case scenario. We really don't want to be in the business of destroying our work.
[23:29] And so there might be ways that we can first reach out to the artist
[23:34] and offer them to the artwork in a few different avenues.
[23:42] We could approach a donor or donor errors that might be interested in acquiring the work
[23:47] and purchasing it.
[23:51] We could sell or trade independently or professionally with other organizations or museums or programs
[23:59] and it could be donated.
[24:03] And then destruction is really reserved for work that is beyond repair.
[24:08] So, bottom line, we don't want to be destroying art.
[24:12] There is a home for it.
[24:13] It can be hard to find homes for art, so it's a long process.
[24:18] Like a mural.
[24:19] Like a mural.
[24:20] Really hard to, really hard to move a mural.
[24:23] Yes, it is mainly difficult on a mural.
[24:27] Are there any art that's being discussed right now for this?
[24:34] Yes.
[24:35] Will it be spoken about during the panel discussion?
[24:41] Is that what we'll hear about?
[24:44] So if there was a work to come forward for deaccession,
[24:48] it would have to come to the commission,
[24:52] whether it's a larger panel and one of you
[24:53] is a representative and then brings it back to everyone
[24:56] of like here's what was talked about um it still seems like commission input on it um what what would
[25:05] you all like if you were talking to a resident who didn't like an artwork how do you advise them of
[25:11] their next steps that's why I just want to make sure you guys know what to do you don't you have
[25:16] an answer to articulate in writing what the problem is for them yeah we have a complaint form
[25:24] that sounds so weird but we do have like a full process so if you if you do
[25:30] encounter someone that has an issue like please just direct them to Danica or
[25:33] myself and then we can help them prepare the documentation needed to bring it to
[25:38] you all. I have had people before and then when I show them all the
[25:42] documentation I need they're like oh whatever I don't care that much so
[25:47] that's a good gauge of like how important is this and then we don't
[25:51] on just the opinions of one person it would kind of you know in like somebody's
[25:55] I was like okay well then we'll put like a call to the public out for the whole
[25:59] community to see like if people have other sides you know so it's um I guess
[26:06] we want to make if something is coming forward that way that it's not just
[26:09] one person's voice but everyone gets a place to give input on it if someone
[26:13] feels strongly about where I want to keep it and someone feels strongly that
[26:17] they don't, then that's what makes us...
[26:19] What kind of art are we talking about?
[26:21] Yeah, that's what I was just thinking.
[26:22] But we don't have one right now.
[26:23] I thought you said there was one that's being discussed.
[26:28] We get so many... I get a lot of things with people that are like,
[26:31] I don't like this thing, and it doesn't really move forward.
[26:35] There's some that we talked about in the meeting.
[26:37] Well, we did, but I don't like it is not a good reason to...
[26:41] Right, so they need the cool wine, who else said it.
[26:46] Yeah, you got to get, you know, we could have a public meeting, could you help me organize that?
[26:51] I'm crying out that.
[26:52] Yeah.
[26:53] For my marriage.
[26:55] To express themselves, but I don't like it isn't really the only reason.
[26:59] Yeah.
[27:00] And then I think anything else that we do have will come up to you all just like how we did with the,
[27:05] I think we, you all have voted to deaccession some of murals that are in disrepair that we're working on now.
[27:12] So things like that that is like, this is going to be destroyed, something that just can't
[27:17] exist anymore, then we'll be just bringing those to you in those cases.
[27:23] So, yeah.
[27:25] Yeah.
[27:28] Okay.
[27:28] And if we were to sell a work, I missed this point, so I just want to touch on it.
[27:32] If we did sell a work, it would go into the Municipal Arts Fund.
[27:36] So that's what we would do with the money.
[27:40] Is it happening or are you looking to people to sell public art?
[27:43] It's really hard, they're also like made for us, you know, it can be hard, but when it's
[27:48] like visual arts, like some people have visual art collection that they store and it's a
[27:54] little more applicable, or like other cities have in their city hall like art on the
[27:59] walls and stuff like that.
[28:02] So if we had things like, we have a few things on the wall, like at the senior
[28:05] center and things like that.
[28:07] And then City Halls.
[28:09] And then City Halls.
[28:10] Oh yeah, Ian, we have the mask at City Halls.
[28:12] And Wind in the Wilderness.
[28:14] Yeah, so we have things that could be,
[28:16] if they had to go away, what would we do with them?
[28:20] Does the artist have anything to say about
[28:23] selling their piece of art?
[28:29] Yes, they're offered it first.
[28:31] They're offered the artwork always first.
[28:33] Is it what we paid for it?
[28:36] Or does art do appreciate it?
[28:40] It does appreciate your deep attention, yeah.
[28:42] I was one to decide, though.
[28:44] We actually did an assessment as part of the RLA review
[28:49] of the value of all the public art pieces in our collection.
[28:56] And this would probably, this part would
[28:58] revolve a lot of input, but this might come to you all
[29:02] as well of like, OK, the artist didn't want it.
[29:05] Do we want it?
[29:06] Do we know partners that might be a good donation that
[29:08] its purpose could continue on of serving public good or I think it would really
[29:14] depend on the type of art or the exact art piece. I think and I I don't know
[29:20] but I would I think that it's probably more likely to be a donation. A lot of
[29:24] cases large objects are very hard to place it's a problem a lot of artists
[29:29] actually run into is they make a big thing and they don't have a home for
[29:32] it so my recommendation is always to make it small and get a commission to
[29:38] make it big. But yeah. Okay. Any other questions?
[29:44] Do you feel prepared if you are asked?
[29:46] Absolutely. Well, it's good to know that there's a process behind it.
[29:51] Yeah, I mean, we want to hear when people don't like something as well.
[29:55] Yeah, I'm genuinely curious. I will not be offended.
[30:00] With the feedbacks. All right.
[30:05] Okay. Well, some, oh, sorry. Any other questions?
[30:15] We're all getting used to it. All right, so let's move on to the next agenda item, which is the
[30:21] presentation and discussion pertaining to fiscal year 26, pre-qualified muralish roster
[30:27] or channel review, and lots of additions.
[30:31] You can talk to the next slide.
[30:34] I don't know why I was doing that.
[30:36] All right.
[30:37] Yes, we did have a panel selection
[30:40] that took place on the 25th.
[30:45] And there were eight artists that were
[30:47] added to our pre-qualified mirror list list.
[30:50] Some initial things about the pre-qualified list,
[30:53] specifically the mirror list list,
[30:54] is this is a two-year eligibility.
[30:58] So after two years, artists are invited
[31:00] to reapply for a couple of reasons.
[31:03] First off, we're refreshing and people move out of state.
[31:07] Things change.
[31:08] Their direction of work might change.
[31:10] They might have new work samples
[31:11] that they want to put in for consideration.
[31:13] Maybe it's for crest or progress or ground.
[31:16] So we are excited to have those eight artists
[31:19] joining the roster.
[31:20] I really do want to take a moment and define murals because that's something we found
[31:27] or self-defining for this selection.
[31:30] I'm pleased that there were actually some multimedia artists that applied.
[31:36] A mural is essentially an artwork that's created on a flat plane.
[31:41] This could be an additive work, like a mosaic, or it could be a reductive work, like
[31:49] say a metal sheet that's been plasma cut, right? Those were classifying for this case as a mural.
[31:58] So we've had eight artists. I'm going to show you just their little intros, so each of them wrote
[32:07] introductions to their work.
[32:11] Do you want to pass it to Kerwin for anything?
[32:14] than the other panel was thinking about.
[32:17] Thank you, Josh and William.
[32:18] We can remember back to June.
[32:19] I know.
[32:20] It's been a while.
[32:21] Also, how many are returning?
[32:23] Um, I wish I had nine.
[32:26] Is it nine?
[32:27] I guess nine.
[32:28] Okay.
[32:29] Yeah.
[32:30] One has moved out of state, so that will be published soon, though.
[32:36] Sorry.
[32:36] I don't have the number.
[32:37] I'll stop my hand.
[32:40] How did the panel go?
[32:42] Oh.
[32:42] From your perspective.
[32:43] So the panel was actually great with a lot of differing
[32:49] slash similar opinions of things.
[32:52] It was nice.
[32:55] I'm not sure exactly what she needs to know.
[32:57] But I think we picked a good selection of artwork that was,
[33:02] not artwork, but artists that can very well
[33:06] do the job that we had to do.
[33:08] And they've all accomplished what they're doing.
[33:13] Thank you. Thank you for being a panelist.
[33:15] How many applied?
[33:18] 16 or 18.
[33:19] Sorry guys.
[33:21] It was a lot of numbers.
[33:23] The top one could be a calder,
[33:26] if it was
[33:28] something else, but in some mural.
[33:32] I believe there were
[33:33] 19 that had applied.
[33:36] Then we do two phases with these
[33:38] selections. So the initial phase,
[33:40] all the panelists
[33:40] reviewed individually and then we came together
[33:44] and the panelists decided on those who were qualified.
[33:50] All right, so I'm just going to run through these artists.
[33:53] So you can see a sneak peek of their work.
[33:56] And this is a public list.
[33:58] This is a public resource.
[34:00] So anybody that would be looking to acquire or have a mural painted,
[34:04] this would be something you could direct them to with the city to say,
[34:08] go look at the pre-qualified list.
[34:10] Alright, so Melissa Amon is an illustrator and mural artist, uses symmetry, movement,
[34:16] and site-specific design.
[34:24] Oluvario Bossels, he is a very multidisciplinary artist, inspired by his culture and historical
[34:33] themes.
[34:34] can do very colorful work, and then focuses on community identity and collaboration.
[34:43] I will say that mosaic artists are sometimes rare, and you'll see another one in here too.
[34:52] So, please help that.
[34:55] Thanks.
[34:56] Oh yeah, this guy.
[34:58] Lisa Bernal Brethor.
[35:02] Brethor?
[35:04] That's where it's from.
[35:07] Neuralist Lithomosaic Laser Cut Metal Panels.
[35:11] So, a wide breadth of practice,
[35:14] touching on sculptural techniques used in the flat playing,
[35:17] which I appreciate.
[35:18] and makes narrative community artwork.
[35:26] Alright, we've got Krista or Dreambox
[35:30] art and Krista creates cheerful community-focused murals inspired by travel
[35:37] and cultural experiences. Emphasizes thoughtful positive impact.
[35:45] Okay, Lauren
[35:46] Lee and this is an artist you might recognize because she's done a traffic
[35:51] our cabinet for us the one on cactus and Perryville so she is a snow every day
[36:00] for a year oh yeah this work I drive by every day snoring desert inspired
[36:06] artists known for large botanicals and geometric color softness structure and
[36:11] desert imagery. I would also say there's a lot of pattern in everyone's work.
[36:17] Page Reaser. Page is a large-scale muralist that uses bold color, realism, and
[36:25] narrative. Values, collaboration on mural projects. He's done a lot of
[36:30] collaborations throughout the Valley. And bright cheerful colors.
[36:39] I love the
[36:41] Robert Panzer, you'll also recognize this name perhaps, because Robert has done a traffic
[36:46] cabinet as well, the one on Bell, and which one is it?
[36:51] Oh, I mean, he would recognize the work.
[36:54] He's also done one in Goodyear.
[36:56] Yes, and in Goodyear.
[36:59] I think he's actually done 11.
[37:01] Wow!
[37:02] It's for Robert.
[37:03] So he focuses on Arizona landscapes, very site-specific.
[37:09] which is color and storytelling and a lot of times is good at reflecting community identity.
[37:17] And then we've got this one here, last one, this is prime after prime, the great name,
[37:25] combines portraits, desert landscapes and plants and a lot of like dramatic lighting,
[37:31] I would say. So you can review their full write-ups in your packets
[37:39] And welcome to List, to those artists.
[37:42] So just a reminder, qualification lasts for two years.
[37:47] And I ran through all this stuff early.
[37:50] So it will open back up annually though.
[37:54] So even though it lasts for two years,
[37:56] we open it annually for more artists to apply.
[38:00] So out of all art we have, I mean, actually it's mirrorless.
[38:05] like how often or how many get booked, like every year.
[38:09] How many get selected? Yeah, selected, I'm sure.
[38:11] There's no number to it. So we could have, you know, we could have 20, 30 artists apply
[38:20] and really that's the, the panel needs to define what makes an artist pre-qualified based
[38:30] on the criteria that we provide. And so that is... I'm sorry, I got that part.
[38:37] I'm sorry, maybe I have a question on this. Yeah. So we have a pool of artists, like how many
[38:43] get selected for art. For our works throughout the year. Ah, thank you for clarifying.
[38:48] It depends on the how many artworks are up for jobs. And that's why we also want to,
[38:52] as a public resource, so that artists could have more opportunities that are without the city
[38:56] if it's like a slow year for murals. Yeah. And artists also might be selected for things
[39:03] that are not necessarily murals. Their skills qualify as like flat surfaces, right? Designers
[39:11] sometimes. So there are some other projects they might qualify for or be pre-qualified
[39:17] for because they are on this list.
[39:19] Is the police department, yeah, would that like be chosen from like a list of these
[39:26] guys or will we have like an open call? That's an open call. It's currently open. It closes
[39:29] the end of the month and that call is open nationwide. So this pre-qualified list is
[39:36] only eligible to Arizona-based artists. I'm saying from our last, from the existing
[39:41] list, there might only like two of them that didn't at least get some sort of
[39:47] commission because almost all of them are at least invited to make proposals
[39:51] proposals for things. So like the gym, the basketball court hero had three of them that
[39:58] made proposals. The gym wall that's going to get a new community center had three that
[40:03] made proposals. Oh, the library one that's going up here was an artist on that list.
[40:10] And then, Danica, do you have any things that are kind of in the pipeline that would
[40:15] pull-from list list? Yes, we have the Roots of Creation Festival
[40:23] upcoming. That's a designer flat surface type of work that pulls from these type
[40:28] of skill sets. So some of these artists would be qualified for that and will be
[40:35] pursuing other murals. I mean we have things on the horizon. I don't know
[40:42] that I want to call them out quite yet. But of course we have the mural that is being deaccessioned
[40:50] and so that will be a place that we're looking for a future mural. We have the artwork coming to
[40:58] the original town site community and that is kind of wide open for defining which areas
[41:06] are going to be activated with that project. So that's a potential for a mural.
[41:09] any of the projects there could be potential to explore a mural, but those
[41:15] are the main ones. Do I miss anything? Okay. Awesome. Well that's that's my
[41:22] updates.
[41:25] So, oh I forgot I have this. Let me,
[41:30] oh sorry.
[41:31] How's it going? You're good. Do you know what you're doing?
[41:34] Oh, is this it? We're done. We're done.
[41:38] Is it my only other question? Do you want to do some more?
[41:41] I mean, you're done. I'm done and the commission can talk for a little bit.
[41:45] Any additional questions for Danica? No, I think the selection was wonderful.
[41:49] Yeah. I love the artwork, everything was
[41:51] I wonder if there's some amazing colors.
[41:54] It's good to see names that I recognize.
[41:58] OK, on to the next agenda item is call to the public.
[42:03] Do we have any?
[42:04] Come on in.
[42:06] There's ever been a lot of disarray on this.
[42:08] The cat's way.
[42:10] All right.
[42:11] Next agenda item is other business and future agenda
[42:14] items.
[42:15] Do we have anything to add?
[42:16] I do.
[42:18] I'd like to, at some point, put on the agenda.
[42:20] and it's not for September, maybe October,
[42:23] to learn more about the plans for Elm Street
[42:26] and moving top-not and what other arch of planning for there.
[42:42] Future agenda items, does anyone have any requests
[42:45] for topics for our retreat?
[42:47] That's the one I can start building that out.
[42:56] Can email me if you can.
[42:59] Often at retreats we go over
[43:03] some of our rules, regulations,
[43:05] policies, policies, things that people don't know about.
[43:11] Do you want those?
[43:13] Not necessarily.
[43:16] I'm happy that we can bring legal and finance down if you want.
[43:20] No, I mean...
[43:21] I can see what you mean, though.
[43:22] We could do an overview of some more meaningful things.
[43:26] Can we do a field trip to see some around the area that we haven't seen?
[43:31] Or something like that?
[43:33] I like a field trip, that's a good idea.
[43:36] Maybe get us up and out, do an art tour.
[43:40] And then we can say, I don't like that.
[43:43] You can say, oh, I didn't know that was there. That is wonderful.
[43:48] I mean, it could be fun to go around, because I know you see city signings all go around like the OTS.
[43:53] It could be interesting because there's stuff just hidden
[43:57] in the trip, little areas that you don't drive by.
[44:00] Right.
[44:01] Cool.
[44:02] But as I thought,
[44:07] Dan and I have plenty of things, but I just want to make sure you could
[44:10] also kick our thoughts on stuff.
[44:13] So yeah, if you think of anything else, just let us know and we can add it in there.
[44:18] We're doing team building activities.
[44:22] We will give you a sneak peek at some things.
[44:26] There's a process that we like to use in the arts world for giving feedback on art called
[44:32] the critical response process, so I think it'll be really good for you all that are giving
[44:36] feedback to our artists when they come to show work, and then you can also use it in
[44:42] other factors, so like even, you know, we'll talk to you guys about like our plans for
[44:47] the upcoming year, and it's like a process to give us feedback on the plan, so we'll
[44:53] do that.
[44:54] I think it is actually a team building exercise.
[44:57] We'll probably eat some weird food and analyze it.
[45:02] Yeah, some coffee. I'll tell you about that after this. We'll also be thinking about the FY28
[45:10] public art and also goals for the season of events for FY28. So it'll be more vision stuff.
[45:25] I mean, I'm happy that we can do it, but let me know if you want it and we can do it.
[45:31] Susan don't feel like, what are our bylaws?
[45:34] We're not bylaws.
[45:36] We could.
[45:38] Well, not bylaws, that's true.
[45:40] It's like a mission, powers and duty, four powers and duty, so I'm happy to go over that.
[45:50] I think forever we spent like we spent a whole year recreating the mission powers and duties
[45:56] so we're probably a little tired of it by now but yeah thank you all thanks for
[46:02] giving it love the ideas that were there thank you guys on to the next current
[46:08] events and reports Charlotte what have you been up to
[46:16] Wait a minute,
[46:19] I've spent a long time just trying to recover.
[46:25] I did do one thing, I went to the opening at HQ, that's it, it was fine, it was very
[46:36] crowded.
[46:37] That's a good thing, it's a good problem to have.
[46:40] Yes, it was very crowded, which was very, very nice and it's a good show.
[46:45] What did you say?
[46:46] What is it?
[46:58] So we wanted to change this part so when you do your reports we want to see
[47:04] like what you learned at your current event and what you could bring back to
[47:11] the commission. I learned if you're having trouble walking don't go to a
[47:19] We do set work, it's called what did you learn, what did you love?
[47:24] I'm going to translate it all out.
[47:25] At our events, we should make sure there's comfortable pathways for people that make
[47:30] more accessible walkways and seating.
[47:33] But I was happy that it was crowded.
[47:39] Anybody else?
[47:43] Alright, so that covers the meeting agenda.
[47:47] Is there a motion to adjourn the meeting?
[47:52] Motion to adjourn?
[47:54] Do I have a second?
[47:55] I'll second.
[47:56] All right.
[47:56] So you
[48:01] want to...
[48:04] All in favor, that's all good.
[48:07] All in favor to adjourn the meeting?
[48:08] Say aye.
[48:09] Aye.
[48:10] Any nays?
[48:11] All right.
[48:12] So the meeting is so adjourned.
[48:17] Next meeting will be the last meeting.
[48:18] No.
[48:19] That was hard.
[48:20] We'll be doing this right.
[48:22] I was going to get used to it.
[48:23] I don't know how you're doing that, just listen to me.
[48:25] He was just talking, yes.