[0:03] This is the Arts and Culture Advisory Commission meeting August 5th, 2020-6.

[0:11] All right, welcome everyone. I want to call this meeting to order, and let's go ahead and start with the roll call.

[0:18] And we'll call it from the display, my name is the sign of the soul.

[0:21] Capricorn Envy, Dr. Charlotte Bullonz, Susan D. Young,

[0:25] Kermen Force, and we have Margaret Lou and Crystal

[0:31] Cover, missing today.

[0:35] So, let's get started with the pledge of allegiance.

[0:42] Five questions to the flag of the United States of America,

[0:47] and to the Republic for which it stands,

[0:49] one nation under God, individual, with liberty and justice for our

[0:58] country.

[0:59] Just trying to push your officers.

[1:00] I have a support on the floor today.

[1:04] Okay, so let's get started with staff reports.

[1:07] Do we have any staff reports?

[1:23] Yes, we have many staff reports and more coming soon on public RFR.

[1:28] So, competency is about 90% finished with installation.

[1:34] Construction finishing up with a few finishing details along with the same site of the new arts and arts and culture.

[1:43] This is the Community Center, the Surprise Community and Resource Center.

[1:50] We're both the top and bottom artworks are going to be installed.

[1:55] This bottom is a wrap of the Black areas, as we know, are transparent.

[2:02] So, you've seen these these works, but they're coming to life and then we have coming in soon,

[2:09] our traffic cabinet voting has completed. So we have a final design that artists will be moving forward

[2:16] with soon, and they will be here to present to you. And we also are back into events season soon.

[2:29] It's definitely some stuff coming up.

[2:33] I hope to see all it's on the same day,

[2:35] which will be the season open there.

[2:38] Those personally will show that I'm most excited about,

[2:41] because these musicians are phenomenal.

[2:44] Please say it's voices.

[2:46] It's all binding.

[2:48] It is after our retreat, so you can hang out with me all day.

[2:53] We can all go to dinner together and have a bath.

[2:55] Um, but very good show, um, we're also bringing back on speaker series, I have a slightly

[3:02] new name on your section of speaker series, and there are actually going to be the Bista

[3:06] on Saturday mornings. Um, so a little bit more accessible. We'll come to a different kind of coffee

[3:11] hour. Um, Danica and Ali got a really cute, like, make your own coffee station that we'll put,

[3:17] it'll be in the Playhouse of Laesta. So, um, there's four really cool topics that Ali curated for

[3:23] this year. And live this on days coming back. First one of those Thomas James Band. Who was

[3:31] at the Player Way of the Park? Susan, you were at Player Way of the Park with the Battle of

[3:36] the Bands, right? Oh, yes, are you there? No. Okay. Well, this band was really good. They were at

[3:42] Player Way of the Park because they didn't win the Player Way of the Park because it was an audience

[3:47] go winter, but they weren't very good.

[3:50] Let's punish James Band.

[3:52] And then, yeah, so we have some events coming up.

[3:55] We're getting back into the last swing of things.

[3:58] We've got a lot going on.

[4:02] Yeah, let me know if you need any information

[4:03] about any stuff as we get closer.

[4:05] Can I ask your question, you are retreating

[4:07] is on the 19th, right?

[4:11] The 26th.

[4:12] Oh, I have it on the 9th of the 9th of the 9th of the 9th.

[4:18] Well, I've really had 26, but I have it on a 19.

[4:21] Let me check.

[4:23] I think there was someone who wasn't available on the 19.

[4:26] I needed to get there.

[4:28] Yep.

[4:28] I'm here at treat.

[4:29] I am the three.

[4:31] With the 26.

[4:33] There was a 19.

[4:35] Oh, I'll try my bill.

[4:36] And then it changed.

[4:38] I want to share it for me.

[4:43] I don't remember who got somebody who was not available on the 19.

[4:46] I do have some important dates for you all, but I have one more question going to last

[4:54] long. Where in the list is that the skincare series? Yes. This will be in the playhouse,

[5:01] so it's like the solid lecture hall.

[5:08] You're going to let us in it 11 o'clock in the morning?

[5:13] Yeah, damn so well, yeah, I'm gonna go now. We'll be letting you know

[5:18] No, it'll be you'll still go you'll have to go see like the gate together. We'll have signs of a week

[5:23] Okay, we did on the Saturday. Oh, Saturday morning my question is important

[5:29] Oh, like during school

[5:31] How many people and they're on the same morning?

[5:35] That is a good question. They would not let us do that

[5:38] I didn't think so

[5:39] Yeah, Saturday mornings. I'm going to try that out. Okay, so important dates for you all on

[5:46] Danica mentioned look to art pieces. We have that are going to be a surprise community and resource

[5:51] center. I think you guys have an email of the ribbon cutting. It isn't the morning on a 30s day.

[6:00] But I think that's where you like 300 people and we'll have a really cool art activity that

[6:05] to the art pieces and hopefully the artists are going to be there as well but this

[6:11] community center who's been there can be seen it okay it is awesome I'm so excited for

[6:18] the so open it's going to be so good for the community as a resource center and just like a

[6:23] gathering I feel like we don't our city buildings that we have currently aren't the best for

[6:28] gathering and workshops and like I don't know I think it's going to be really good for the

[6:33] products and firms that we are doing to have that, and obviously it's doing way more than arts and culture things.

[6:40] But for our context, it's going to be really helpful. It's a beautiful building.

[6:45] We will actually be doing one of the story artists for the list of good code.

[6:50] They're going to do a swing, electric swing class.

[6:53] Had the Kanyei set. It's aren't all the way in may, but the heart shaped live music, and you know, so you're fun.

[7:02] Hey, hey, hey, hey, hey, hey.

[7:05] Yeah, it's not always weird.

[7:06] It's not like a twinkleτι.

[7:10] Like,

[7:11] 10 this is the ten o'clock.

[7:13] The ribbon cutting?

[7:13] Yeah. Like in the twelfth.

[7:16] Oh, yeah.

[7:16] I think they're, I'll have to check.

[7:18] I have a few different things something something.

[7:20] They're starting in line, but I'm a very, very, very Lawrenceie.

[7:22] I just kind of like...

[7:23] Those would be like in tiny clock is like mayor river. I've been cutting some stuff, but if you can make it, please let me

[7:30] No, because we, if we have, especially for the artists who there we want to do something at the feature, it's going to be hot, so then we can all get one time, let's go around and take the picture together, then I can sign it.

[7:45] So please let me know if you're planning to come so I can coordinate that with communications to get that photo together.

[7:49] So it's time which we want us to be there if we do.

[7:52] Let me know if you're coming and then I'll try and get on communication schedule or we will

[8:00] have our marketing manager come and take our photo and I'll give it to communication so

[8:04] we can we can live on our own terms and yes we are also having some welcome back things

[8:15] that are not public but we would love to see you at I don't have time for these yet so I'll

[8:22] you when the times are solidified but they will be in the evenings so we're having a volunteer

[8:27] appreciation event with all the volunteers that you're also welcome to come to it as also

[8:33] volunteers that we appreciate very much and to meet with the other people that we're trying to

[8:38] make it all the volunteers to understand what surprises and cultures really about so the more you

[8:43] can mingle with their foot others that would be awesome. We'll be doing like giveaways and a lot of

[8:49] are kind of fun things there. And then also our members will be having a welcome event

[8:55] at the VISTA that is really like people that signed up to become members of surprise arts

[9:01] they'll be getting like the goody bags and like doing a tour of the VISTA and things like that.

[9:06] So we would love to see what that as well. Those are both being like after 5 pm I probably

[9:11] five or five, 30 piano on those days.

[9:14] Do we have a lot of members?

[9:16] We do.

[9:18] I don't know, can you do this about 15?

[9:19] 15, don't forget.

[9:21] And hoping that continued growing that with,

[9:24] as we have more members, only events, you know,

[9:27] kind of being like the common duties.

[9:30] Sort of like, remember only special things you get together.

[9:33] I've been describing it more as like a way to like,

[9:36] have a fun meet-up with friends that also care about art,

[9:39] because not everything's going to be at events or shows,

[9:41] like, um, I don't know, like, looking at, like, doing a wine tasting at Cooper's Hawk and it's

[9:47] like, getting together with all the members and stuff like that. So there's like fun bonuses

[9:51] and just build a little bit of a community with it. Um, and then here you take. Don't forget that one.

[9:59] This is very important that we do it together. Um, there's some things that will just, like, really

[10:05] set the tone for the next two years of, like, everything we do. So, okay. Yeah, I'm really

[10:11] retreating here. I have this kind of for the best stuff right now. Also because it's on show

[10:17] day and then I can be there and put these free.

[10:26] That's all the stuff reports.

[10:27] Thank you. Do we need to go do it? I'm gonna, the first thing I have to do is pick a chair and

[10:35] Okay, all right, so first agenda item is discussion and action pertaining to the selection of the arts and culture, if I have any permission to share.

[10:50] So, um, also as Kerwin's first care, my share voting, we have to do every year, first meeting of the new fiscal year.

[11:01] um we will do um we'll start with chair and you can put an nomination for someone to

[11:08] be chair and we can always make people as you want you can not make yourself and then

[11:13] you will write down who you would like to look for and hand it over to me. You ready?

[11:19] I'm ready. I would like to know when you can sound.

[11:23] Seconds will. No.

[11:27] Amazing. Do we have any other nominations? No. Do we need to write these down? Maybe we can.

[11:36] What do we put someone like to make a motion to represent?

[11:40] To accept his acclamation.

[11:43] Approved.

[11:44] I got a second.

[11:47] A second.

[11:48] A second.

[11:49] And on favor I.

[11:51] I.

[11:52] Nice.

[11:54] You guys really just continue your role.

[11:59] We didn't have any help.

[12:02] Yeah, everything will happen.

[12:03] Back in the audience.

[12:05] I saw him continue what you have been doing this meeting.

[12:09] As I was here, congratulations.

[12:11] I was like, thank everybody.

[12:12] Thank you.

[12:16] Pressure.

[12:17] All right.

[12:18] So, I did not have number two.

[12:21] discussion action pertaining to the selection of arts and cultural

[12:25] advisory division vice chair.

[12:29] I like to nominate Catherine.

[12:33] I would like to second you.

[12:36] Any other nominations?

[12:37] I don't.

[12:40] All right, all in favor, all the eyes.

[12:44] Any means?

[12:48] I guess you should be saying that,

[12:52] sorry.

[12:52] So we actually did someone make like the full lot, I make a motion to approve

[12:58] I make a motion to approve Catherine

[13:02] done the

[13:03] as

[13:04] and then we have a second

[13:09] So the motion is

[13:13] approve

[13:14] Welcome Catherine to the bar by actually. Now

[13:25] we got that behind us

[13:28] What's next? So

[13:34] Consideration and action for changing to the June 3rd Arts and Cultural meeting minutes.

[13:40] Do you have everybody had a chance to review the meeting minutes?

[13:43] Yes, thank you.

[13:45] Is there any questions on this again?

[13:47] Second.

[13:49] All right.

[13:51] So,

[13:53] the meeting minutes have been approved for June 3rd.

[13:56] That's okay.

[13:58] All of our favour?

[13:59] Hi.

[14:00] And I need other questions.

[14:02] First time.

[14:04] It's a good idea.

[14:05] But the minute it's like the fix.

[14:08] Yes, I think it's.

[14:11] All right, there you go.

[14:12] The meetings have been approved.

[14:15] Let's see what we have next.

[14:21] So, next time my agenda is a presentation and discussion pertaining to the policies and procedures for the

[14:28] sectioning city bond artwork.

[14:32] Hello.

[14:34] This was actually from our marketing and like that cancel.

[14:37] So we're going to put it back.

[14:39] We've got to give it a little context.

[14:42] At our marketing meeting, we had been getting some public requests

[14:45] for these sessioning of a certain artwork.

[14:48] I just wanted you all to be aware of the process in case you ever get

[14:51] anyone that comes up to you and you can point them in the right direction

[14:54] because there is a way that it can happen.

[14:57] Yeah.

[14:58] I don't know.

[14:59] Okay, go ahead.

[15:00] All right, there's a lot of information that comes with the assessing of work, essentially the assessing and our work is a formal process, and it is a permanent removal from our public recollection.

[15:13] Would you mind if anything to the next slide?

[15:16] The goal isn't just to get rid of the artwork, it's to maintain safety, high quality, relevant, and a collection that's sustainable for maintenance, which is a huge component for us.

[15:31] And to usher, of course, that the work reflects the community values, the spaces in, and

[15:36] the needs.

[15:37] These might evolve over time, so we revisit.

[15:42] And then, protecting the collection and integrity and public trust is another thing.

[15:47] Something that's really important that I think that we'll circle back to in a future commission

[15:52] meeting would be our rights and our rights essentially covers the rights of the artists.

[15:59] So even though the city has essentially purchased the work,

[16:05] the work belongs to the city,

[16:07] but ownership does not erase the artist's legal rights.

[16:11] So that's kind of the core of our rights.

[16:15] There are four main components of our rights

[16:18] and I'm just gonna touch on them quickly.

[16:23] For revisit in the future,

[16:24] but essentially the artist has the right

[16:26] to be recognized as the creator of the work.

[16:29] If the work wherever to be altered in any way

[16:32] that was not approved by the artist,

[16:34] they have the right to not be recognized

[16:36] as the creator of the work.

[16:38] And then artists have the right to object

[16:40] to modifications or distortions of the work.

[16:43] So that's our responsibility to say

[16:45] is something's changing.

[16:47] And artists have the right of protection

[16:49] against destruction.

[16:50] So when it's ever coming up to the discussion,

[16:54] Then we involve the artists in the discussion and we'll talk about next steps.

[16:59] So guiding principles are we want to take our time and be thoughtful of course with

[17:04] any of these processes, especially a permanent removal from the collection.

[17:11] We want to respect intent and this is important.

[17:16] There's this really unique debate in the art world about intent of the creator and I find

[17:22] interesting. So I'll say, but sometimes the question is who gets to decide what not work means.

[17:29] And in this case, we refer back to the artist. Of course, arts open for interpretation,

[17:35] but we refer back to the artist on this. And of course, checking that with all the other pieces that come in.

[17:45] We do prioritize public benefit. That's what a public art collection is for. So we balance all of these

[17:51] things, and consider legal, ethical, and contractual obligations.

[17:57] So legal is consulted throughout this process.

[18:01] OK, why would we de-assession a work?

[18:05] And these are the core reasons.

[18:08] Mainly irreparable damage or deterioration.

[18:12] Art is the public art is hopefully made to stand the test of time,

[18:17] But things happen and sometimes when we take assessment,

[18:22] it's maybe going to be more costly to maintain or restore

[18:27] than the work is valued at.

[18:30] Excessive maintenance or unsafe conditions,

[18:34] specifically on safety is looking like a risk.

[18:39] You can live being legal and risk departments

[18:41] with the city that might be something we consider.

[18:44] The site is no longer appropriate or accessible. Our city changes all the time. The landscape, the buildings that are there.

[18:52] A site might be out of the public area suddenly, maybe it's behind a wall where it once wasn't.

[19:00] So that would be a case where we might want to look at something.

[19:03] significant changes impacting integrity or relevance, speak for yourself, fraud,

[19:12] forgery or lack of authenticity, artwork rarely displayed, so if not,

[19:17] is not out in the public eye for a long period of time. We might want to call it

[19:21] a question and sustain public objection. We do hear sometimes, of course, like

[19:29] mentioned feedback from the community. It would 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

[19:44] that we gather and we store no matter how many we receive. So everything that we hear, we file it away

[19:50] and we ask if it's verbal, you know, can you write this down? Can you send this to us so that we can

[19:55] that document. We do want it. And then over a period of time, if there's a large amount that we're

[20:03] hearing about it, then we would absolutely want to take a look. And the collection direction

[20:10] has evolved. So if there's a major shift in our identity as a city, or what we want from public art,

[20:19] Yeah, that's kind of open for interpretation case by case, but there we go.

[20:24] Hi, I don't want to out there.

[20:27] Generally, we don't want to be in the business if we're mentioning our work.

[20:30] We want our work to take granted notice on our favorite.

[20:34] It always tells you something about place, history, time and 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.

[20:45] Yes,

[20:49] all right, so essentially we review our collection every five years and this was recently done by RLA conservation as well with the third party to look at all of our collection and say here's how they stand and what maintenance is needed.

[21:08] This is helpful if there's something that we need to know in terms of irreparable damage.

[21:17] On that line, there's stuff, sorry.

[21:27] Can I follow this on?

[21:29] Yeah, it was nice.

[21:29] And part of that review is also your input.

[21:33] Because I think you were all here.

[21:34] When we reviewed that book, her one wasn't.

[21:37] And so, we took their review and then we brought it to the commission and the commission

[21:43] raided.

[21:43] Thought our works in order like curatorial importance, so even if it was going to cost a lot

[21:48] to repair, but it was really important, then we were like, let's put it forward, but if it

[21:54] was like, it's going to cost a lot and it's not super important.

[21:58] So there was many factors that the commission really weighed on how to, it wasn't just like,

[22:06] review as well.

[22:11] So the collection has reviewed. The artist is notified and we prepare a

[22:17] deaccession report internally. The reason we want to bring the artist into the

[22:22] discussion is so that there were, if it were something along the lines of community

[22:27] complaint, they would have the opportunity.

[22:30] Again, to talk more about intent and have agency in that conversation, and then a panel would come together.

[22:39] And this panel is very similar to the panels that we have for public or other review processes.

[22:45] 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 or attorney advisors, throughout course we are considering 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 for you on this.

[23:18] we could sell, trade, donate, exchange, or destroy, that's last case scenario.

[23:25] We really don't want to be in the business of destroying our work.

[23:30] And so there might be ways that we can first reach out to the artist and offer them to the artwork.

[23:40] And a few different avenues.

[23:42] We could approach a donor or donor areas that might be interested in acquiring the work.

[23:47] and purchasing it. We could sell or trade independently or professionally with other organizations

[23:57] or museums or programs, and it could be donated.

[24:04] And then destruction is really reserved for

[24:06] work that is beyond repair. So bottom line we don't want to be destroying our 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 mirror.

[24:19] Like a mirror.

[24:20] Really?

[24:21] He's really hard to move them out.

[24:24] Yes, it is.

[24:25] It's the same way difficult.

[24:27] I don't know.

[24:28] Are there any art that sounds...

[24:31] Maybe to discuss right now for this?

[24:34] Yes.

[24:36] What will it be spoken about during the past discussion?

[24:41] Is that what we want?

[24:42] What's your about?

[24:44] So, if there was a word to come forward for deaccession, it would have to come to the commission.

[24:52] Whether it's a larger panel and one of you is a representative of them.

[24:55] Friends, it's back to everyone.

[24:56] Like, here's what it was talked about.

[24:59] It stillings like commission and put on it.

[25:04] What would you want to...

[25:06] Like, if you were talking to a resident who didn't like an artwork,

[25:09] How do you advise them of their next steps? That's like, I just want to make sure you guys know what to do.

[25:15] You don't have an answer to articulate and writing what the problem is for them.

[25:22] Yeah, we have a quite important sense of weird, but we do have like a full process.

[25:28] So if you, if you do an encounter, someone has an issue.

[25:32] Like we just direct them to Banda by myself and then we can help them prepare the documentation needed to bring it to you all.

[25:39] I have how people go for them when I show them all the adoption and teach them.

[25:43] And I think they're like, oh whatever, I don't care that much.

[25:46] So that's a good gauge of how important is this.

[25:50] And then we don't just, it opinions of one person.

[25:54] It would kind of, you know, and like something that was like, okay, well then we'll put like a

[25:57] Call of the public out for the whole community to see like,

[26:01] if people have other sides, you know, so it's some,

[26:05] I guess we want to make if something is coming forward that way,

[26:08] It's not just one person's voice, but everyone gets a place to give input on it.

[26:13] If someone deals strongly at the bottom, I want to keep it, and someone goes strongly that they don't, and what makes it harder than we talk here.

[26:21] Yeah, I thought she was like...

[26:22] But we don't have one right now, I thought you said that this one is being discussed.

[26:29] We get so many, I get a lot of things that people are like, I don't like this thing.

[26:33] Oh, well, that's not really a referral thing.

[26:35] Yes, there's something 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] It's right, right.

[26:42] So they mean the like, well, why?

[26:44] Who will be sad?

[26:46] Yeah, I gotta get, you know, we can have a public meeting.

[26:49] Could you help me organize that?

[26:51] I'm crying about that.

[26:52] Yeah, yeah.

[26:54] We're going to carry it.

[26:55] To express themselves, but I don't like it.

[26:57] It isn't really the other reasons.

[26:59] Yeah.

[27:00] And then I think anything else that we do have will come up to you.

[27:04] Just like how we did with the, I think we, you all had voted to de-assession some of murals that are in the survey that we're working on now.

[27:12] So things like that that is like, this is going to be disturbed, something that just can't exist anymore, then we'll be just bringing those to you in those cases.

[27:24] So, yeah.

[27:25] Yeah, okay, and if we were to sell a worker missed this point. I just like to touch it. If we did sell a work

[27:33] It would go into the municipal arts fund. So that's what we would do with the money

[27:40] I happen to be just sell public art. It's really hard. They're also like made for us

[27:46] But when it's like

[27:49] Visual arts like some people have visual art collection of a store and that's a little more applicable

[27:55] or like their other cities have in their city hall like art on the 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 center and things like that.

[28:08] And in the city hall and then tonight. Oh yeah and we have the mask at city hall and wind in the wilderness.

[28:14] Yeah so we have things like could be for could be if they had to go away what would we do with them.

[28:19] Right, does the artist have anything to say about, so is there a piece of art?

[28:28] Um, yes, they're offered it first, they're offered, they are always first.

[28:33] Is it what we pay for it?

[28:36] Hmm, it doesn't, it does appreciate, it does appreciate your deep up to you.

[28:42] Yeah, what does one decide though?

[28:44] We actually did an assessment as part of the RLA review of the value of all the public art pieces

[28:52] in that collection.

[28:56] And this would tell me this part where we've all had an input but this might

[29:00] come to you all as well as like okay that artists didn't want it do we want? It's a studio

[29:06] price and I'd be a good donation that its purpose could continue on of serving public good

[29:12] or I think it would really depend on the type of art for the exact art piece. I think and I don't

[29:19] But I think that it's probably more likely to be a donation a lot of cases large objects are very hard to play

[29:28] So it's a problem a lot of artists actually run into is they make a big thing and they don't have a home for it

[29:34] So my recommendation is always to make it small and get a commission and make it big

[29:40] But yeah, okay

[29:42] You have a crush.

[29:44] You feel prepared, I feel.

[29:46] It's a special thing.

[29:48] It's a special thing.

[29:49] It's a special thing.

[29:51] Yeah, I mean, I want to be here with people.

[29:53] I like something as well.

[29:56] Yeah, but I'm a genuinely curious.

[29:58] I will not be.

[30:00] All right. The feedbacks. All right. All right. All right. Okay. Well, some, oh, sorry. Any other questions for me?

[30:18] All right. All right. So let's move on to the nice agenda item, which is the presentation and discussion pertaining to fiscal year 26 pre-qualified mirror this roster.

[30:27] kind of view and watch their dishes.

[30:31] You can tap the next slide. I don't know why I was doing that.

[30:36] All right. Yes, we did have a panel selection that displays on the 20th set.

[30:45] And there were artists that were added to our pre-qualified muralist list.

[30:50] Some initial things about the pre-qualified list. This is a good muralist list.

[30:54] this is a two-year eligibility. So after two years, artists are invited to reapply for a couple

[31:02] reasons. First off, we're refreshing and people move out of state, things change, their direction

[31:09] of work might change. They might have new work samples that they want to put in for consideration.

[31:13] Maybe it's for Christ or for Christ or Christ. So we are excited to have this age

[31:19] is doing the roster. I really do want to take a moment and define murals because

[31:26] that's something we found ourselves defining for this selection. I'm pleased that there were

[31:32] actually some multi-media artists that applied. A mural is essentially an artwork that's created

[31:39] on a flat plane, this could be a additive work, like a music, or it could be a reductive

[31:49] work, like, say, a metal sheet that's been plasma cut, right? Like, those were classifying

[31:56] for this case as a mirror. So we've had eight artists on the, I'm going to show you just

[32:03] little intro, so each of them wrote some introductions for their work. And yeah,

[32:12] I don't know how that's the current one for anything, but yeah, it all was like taking

[32:17] a bath. I don't know. I know it's been a while. Also, how many are we turning it?

[32:24] Um, I wish I had a bath. Is it nine? Okay, one has moved out of state.

[32:32] So, that will be, that will be published soon though.

[32:36] Sorry, I don't have the number.

[32:39] How did the panel go?

[32:42] Oh, from your perspective.

[32:43] The panel was actually great.

[32:47] With a lot of different slash similar opinions of things.

[32:52] It was nice.

[32:55] I'm not sure exactly what she's known,

[32:58] but they made me pick a good selection of panel of artwork

[33:01] that was not our work, but artists that can very well do the job that we had to do and they've

[33:09] all accomplished and what they're doing. Thank you. Thank you for being panelists. How many

[33:15] applied?

[33:18] Pricissary team. Sorry guys. It was a nice amount of numbers. At the top one could be a

[33:25] older. Yeah, if it was something else, but in some Europe.

[33:33] I believe there were 19 or that

[33:35] had applied. Then we do two phases with these selections, so the initial phase, all the

[33:40] panelists, reviewed individually and then we came together and the panelists decided on

[33:48] those who were qualified. All right, so I'm just going to run through these artists, so you

[33:54] You can see a sneak peek of their work, and this is a public list, this is a public resource.

[34:00] So anybody that we've been looking to acquire or have a mural painted, this would be something you could direct them to with a city to say, go look at the pre-qualified list.

[34:11] All right, so Melissa, a man is a illustrator and mural artist, uses some extreme movement and site-specific design.

[34:22] Oliveario, the bus, bus, buses. He is very multi-disciplinary artist and inspired by his

[34:32] culture and historical themes. He's a very colorful work. And then focuses on community

[34:40] identity and collaboration. I will say that Mosaic artists are sometimes rare and

[34:50] and you'll see another one on here too.

[34:54] So please help that.

[34:56] Thanks.

[34:56] That's it.

[34:58] Lisa Bernal Breathore.

[35:02] Breath home.

[35:04] It's very different.

[35:07] Nurella's Bletham was a laser cut metal panels.

[35:11] So a wide breath of practice,

[35:14] touching on sculptural techniques used in the flat plane,

[35:17] which I appreciate.

[35:20] and makes narrative community artwork.

[35:27] Alright, we've got Krista or Dreambox art

[35:32] and Krista creates a cheerful community focus murals.

[35:37] It's part of a travel and cultural experiences.

[35:41] Emphasizes thoughtful, positive impact.

[35:45] Okay, Lauren Lee, and this is an artist you might recognize because she's done a traffic

[35:51] or a cabinet for us.

[35:53] The one on cactus and parable, so she is basically a doctor.

[36:00] Oh yeah.

[36:02] This is just what I draw by every day.

[36:05] Snorren does her inspired artist known for large botanicals and geometric color, softness, structure,

[36:11] and desert imagery.

[36:12] I would also say there's a lot of pattern in your artwork, page research, page is a large

[36:23] film muralist that uses bold color realism and narrative, values, collaboration on

[36:29] their old projects, who's done a lot of collaborations throughout the valley, and great

[36:35] cheerful colors.

[36:36] I love the colors, I love the colors.

[36:40] Okay, Robert Panzer, you'll also recognize this name for half,

[36:45] because Robert has done a traffic cabinet as well,

[36:47] the one on Bell, and which one is that one?

[36:52] He'll recognize the work.

[36:55] He's also not one good year.

[36:56] Yes, he's a good year.

[36:59] I think he's actually done 11, 11.

[37:01] Wow, there's a rod in this.

[37:05] So he focuses on Arizona landscapes, very tight specific, you just color and storytelling,

[37:13] and a lot of times it's good at reflecting community identity.

[37:17] And we've got this review last one of the prime after prime, the great name, combines portraits,

[37:26] It doesn't really need to give some plants and a lot of light.

[37:30] Dramatic lighting, I would say. So, you can review their full write-ups in your package, and welcome to us to those artists.

[37:43] So, just a reminder, qualification, last for two years, and then I ran through all this stuff early. So, it will open back up annually though.

[37:54] So, even though it lasts for two years, we open it annually for more artists to apply.

[38:00] So, I don't know if all of our artists have, I mean, that's just, these mirrors, like, how often,

[38:06] or how many get pooped. Like, here we are.

[38:09] How many get selected?

[38:10] Yes, like that's right.

[38:11] There's no number to it.

[38:13] 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 recall if I've

[38:30] based on the criteria that we provide. And so that is, I'm sorry, I got that part.

[38:37] Okay, so maybe I have to question one. Yes. So we have a pool of artists, but I have many.

[38:43] Just a little bit forward. Our works throughout the year. Thank you for clarifying.

[38:47] It depends on the how many artworks are up for jobs, and that's why we also want it as a public resource to the artists

[38:54] could have more opportunities that are without the city if it's like a slow year for murals.

[39:00] Yeah, and artists also might be selective for things that are not necessarily murals.

[39:06] Their skills qualify as like flat surfaces, right, designers sometimes.

[39:11] So there are some other projects they might qualify for or be pre-qualified for because they are on this list.

[39:19] Is the police department?

[39:23] Yeah, would that be chosen from like a list of these guys?

[39:26] Or would we have like an open call?

[39:27] That's open call. It's currently open. It closes the end of the month.

[39:31] And that call is open nationwide.

[39:35] Oh wow.

[39:35] So this is the qualified list. It's only eligible to Arizona based artists.

[39:39] So, let's say from our last criminal that exists, same list, they might only like two of them

[39:45] that did not even get some sort of commission because almost all of them were able to be

[39:50] sent invited to make proposals for things. So, like the gym, the basketball court hero

[39:57] had three of them that made proposals. The gym wall that's kind of going to give me a

[40:02] And I had three that made proposals.

[40:06] Oh, the library on the side of here is an artist on that list.

[40:10] And I'm going to give you how many things that are kind of in the pipeline that would pull from this list.

[40:17] Yes.

[40:20] We have the roots of creation, festival, upcoming.

[40:24] That's a designer, flat surface type of work.

[40:27] That pulls from these types of skillsets.

[40:29] So, some of these artists would be qualified for that and will be pursuing other murals.

[40:40] I mean, we have things on the horizon.

[40:42] I don't know that I want to like call them out quite yet.

[40:46] But, of course, we have the mural that is being de-assessioned.

[40:51] And so that will be a place that we're looking for future mural.

[40:55] we have the artwork coming to the original town site community and that is kind of

[41:02] wide open for defining which areas are going to be activated with that

[41:07] project. So that's a potential for a mural. Any of the projects there could be

[41:12] potential to explore a mural. But those are the main ones.

[41:17] Did I miss anything?

[41:19] Okay.

[41:20] Awesome.

[41:21] Well that's my updates.

[41:25] So, oh I forgot to have this.

[41:27] Let me.

[41:33] You got me.

[41:34] Oh, is this it?

[41:35] We're done.

[41:38] Is it my own?

[41:39] I just want to do some work.

[41:41] I mean, no one's hard at it.

[41:43] I think I'm talking about it.

[41:45] I think the additional questions were presented.

[41:47] No, I think the selection was wonderful.

[41:49] I love that art worker families, we're just amazing colors, you know.

[41:55] It's good to see names that we're doing.

[41:58] Okay, onto the next agenda item is, call to the public, do we have any?

[42:05] So, what is it?

[42:06] Do you have any lowly disabilities?

[42:10] Okay.

[42:10] All right, next agenda item is other business and future agenda items.

[42:15] Do we have anything to add?

[42:16] I do.

[42:18] I've got to some point put on the agenda. It's not for September the October to learn

[42:24] more about the plans for Elm Street and the South Not and what other art you're planning

[42:30] for there.

[42:42] On the future, I don't know if anyone has any requests for topics for our retreat.

[42:47] That's something I start building that out.

[42:56] You can email me if you ask a thing.

[42:59] Often it retreats, we go over some of our rules, regulations, policy, percentage, things and people don't know about.

[43:11] Do you want those?

[43:13] Not yes.

[43:16] I look happy that we can very quickly go and find them, so...

[43:20] I mean, I don't know.

[43:21] No, I don't know what you mean.

[43:22] No, we could do like an overview of some more meaningful things.

[43:26] Can we do a field trip to see some around the area?

[43:31] or something like that.

[43:33] I like her field check, I'll take it and be there.

[43:37] I'll be, get us up now, doing our tour.

[43:40] Yeah, is it?

[43:41] Wait, is that?

[43:41] I don't like that.

[43:42] I don't like that.

[43:43] I can say, oh, I didn't know that was there, then it's one day.

[43:48] I mean, if they found a girl around, like, because I know you see, like, city signers

[43:51] on the book, go around, like, the OTS movies, I hope they'll be interesting, because they're

[43:56] like, such as hidden and, you know, trash, little areas that you don't drive by.

[44:00] right. Cool, but then as a fun.

[44:08] Daniel, I have plenty of things, but I just want to make sure you

[44:10] could also keep a box on stuff so don't forget. If you think of anything else, just let us know

[44:16] and we can have it in there. We're doing team building activities. And we will give you a sneak peak of

[44:24] something. There's a process that we like to use in the art world for giving feedback on art.

[44:32] Call the critical response process. I think it would be really good for you all that are giving feedback to our artists when they come to show

[44:39] work and then you can also use it in other

[44:43] factors, so even we'll talk to you guys about our plans for the upcoming year and it's like a process to give us feedback on

[44:52] The plan. So we'll do that. I think it was actually a team building exercise

[44:57] We'll probably eat some weird food and analyze it

[45:07] We'll also be thinking about the FY20 public art and also goals for the season of events for FY20-8. So I'd be like more vision, vision stuff.

[45:22] Yeah, well, that's why we're fun and about to see a percentage.

[45:25] I mean, I'm happy that we can do it.

[45:28] Let me know if you want.

[45:30] I mean, we shouldn't do it.

[45:31] This isn't okay. Like, we're like, why are we by loss?

[45:35] We're not by loss.

[45:37] We're good.

[45:38] We're not by loss.

[45:40] It's like a mission.

[45:41] Powers and duty.

[45:43] It's just happy to go over it.

[45:50] I think we spent a whole year

[45:54] creating the mission powers and dubious, so we're probably a little tired of it by now but yeah

[46:01] thank you all thanks for hearing it. I love the ideas that were there. Thank you guys. I'm

[46:07] off to the next current events and reports. Charlotte what have you been up to?

[46:17] I've never spent a long time just trying to recover.

[46:25] I did do one thing. Okay

[46:28] And we're doing the opening at HQ.

[46:31] Oh, really? Yes.

[46:34] That's it.

[46:35] It was fine.

[46:36] It was very crowded.

[46:37] That's a good thing.

[46:38] It's like a problem.

[46:40] Yes.

[46:40] We're very crowded.

[46:42] Which was very, very nice.

[46:44] And it's a good show.

[46:45] What is it?

[46:47] It's a...

[46:52] It's like a grass.

[46:53] I don't know.

[46:54] Interesting.

[46:55] That's such a cool.

[46:57] That's interesting.

[46:59] So we wanted to change this part, so when you do your reports, we want to see what you learned

[47:06] at your current event and what you can bring back to the commission.

[47:12] I don't know if you're having trouble walking, don't go to a crowded event.

[47:19] We just said work, it's called what you learned, we do love.

[47:24] I'm not sure if I'm going to let our events we should make sure it is comfortable pathways for people that we might

[47:30] more as a little walkways and see them.

[47:33] But I'm just happy that it was crowded.

[47:39] Anybody else?

[47:43] All right.

[47:44] So that covers the meeting agenda.

[47:48] Is there a motion to turn the meeting?

[47:52] Motion to adjourn?

[47:54] Do I have a second?

[47:55] I'll say, all right.

[47:56] So,

[48:01] you want to...

[48:03] Wow!

[48:04] I don't like you think that.

[48:05] All the favourites are there.

[48:07] All the favourites are during the meetings.

[48:09] They are in a maze.

[48:12] Alright, so the meeting is so adjourned.

[48:17] Thanks for being with me.

[48:18] I'm gonna be with you.

[48:22] I'm gonna be with you.

[48:23] I'm just kidding you.

[48:24] I'm not kidding you.

[48:24] I'm just kidding you.

[48:25] You were just fucking, yes.

Arts and Cultural Advisory Commission

Agenda

Transcript