Okay, we're the only attendee right now.

Okay, great.

I love.

I don't like this.

Okay.

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That's all right.

The meeting is now called to order.

The time is 6 03 p.m.

All right, commissioners.

Commissioner Liz Rush.

Present.

Commissioner Robert Ferguson?

Present.

Commissioner Peter Platzkumer.

Alright.

Commissioner Lisa Martin.

Commissioner James Martin?

Here.

Staff, Jackie Kaliya, present.

Staff Dwayne Dahlman.

All right.

Public comment.

Okay, comments from the audience may concern matters either on or not on the agenda, but must deal with matters subject to the jurisdiction of the public arts commission.

Comments will be limited to three minutes.

Comments concerning matters on this evening's agenda will be heard when that item is called.

Do you have any items read into the record?

I do not.

Okay, raise your hand if you'd like to provide public comment unrelated to an item on the agenda.

Is there anyone out there?

There is.

Yes.

We have a comment from Rachel Campos.

Okay.

Okay.

And.

Hi, can you guys hear me?

I should all yes.

Hi, Rachel.

Hello, Commissioners.

Rachel Campos, de Ivanov from Radium Presents.

And I just wanted to um share a thank you and a reminder that Circus Bella is going to be joining us at Radium Runway this Saturday.

They have two performances at 1 p.m.

and 3 p.m.

And just wanted to say a huge thank you to the Public Arts Commission through our cultural programming grants.

This project is being made possible from your efforts.

So I really really appreciate it and hope to see some folks out there on Saturday.

Awesome.

Thank you for that reminder, Rachel.

Okay, so that brings us to the regular agenda and 3A, which is approving the draft meeting minutes from our meeting on June 30th.

Anybody wish to uh motion to approve if everybody agrees our motion to approve the uh meetings as okay seconded by James Martin.

And then do we have a vote across the board?

Do we have a dozen vote?

I say aye.

Aye.

That was five.

Thank you.

All right, and next is the regular agenda item, which is 4A.

Recommendation to review the draft physical art, sorry, physical public art request for qualifications.

And um that was all submitted to the group.

Um I can also pull it up on the screen if folks would like to review it.

Anyone?

Okay, one second.

Don't mind me, I will pull it up, but you guys can discuss it.

Okay.

I usually I have already done this and I don't know why I missed this.

Or you can wait until I pull it up.

Yeah, let's jog everybody's memory.

Sorry?

We could go through on the screen at least the three main share sections that we were requesting feedback on.

Gosh.

We have too many folders that look the same.

Which is seven.

Section two, four, and five.

Alright, we're just gonna throw it in this one.

Okay, give me two seconds.

I don't know why it's not in there.

Stand by.

Well, she's pulling that up.

Does anyone have any clarifying questions?

Okay, control.

Okay.

Mixed into comments.

Okay.

Is this uh I have one?

Is it is this all we're doing is defining a request for a physical art.

Is that correct?

This is just the old view.

This is a actually a request by someone to present some art.

Oh no, no, this is so this is for the for the forthcoming public art call for Washington Park.

So this is um just the first stage of it, which is the request.

Sure, sure.

No, it's okay.

It's just a request for qualifications.

So this would be this would be us disseminating this to the world, encouraging people to submit their qualifications, and then proceeding through the RFP process thereafter.

Um but we wanted the commissioners to review it and provide us any feedback or comments on it.

Um so we want to make sure when we do eventually um put this out that we've got everyone's comments and ideas and feedback in it.

Any other clarifying questions?

No.

Um, are there any public comments regarding the um the draft of the physical public art request for qualifications?

Let's see if I have any comments.

I do not usually think we comments.

Okay.

We're gonna close the public comment section then.

Um, thanks for your patience on this.

We have it up.

And let me go ahead and share my screen so the recording will have this up as well.

Oh come on.

Where is the share screen?

But they keep moving.

All right, we are sharing screen.

We're in business, okay.

Okay.

I'll start off here and we can keep going.

So in summary, we were we approved two spots.

Um, it's not even one, hold on.

Because he wasn't here.

Oh, you weren't, okay.

No, I I did I I I need to get information, so I actually have a review of the elements.

But I I actually I should have subverted maybe.

Is there a point in the meeting where I can talk about something that I like the question is answered?

Is it about this or something else?

Well, it's a it's a peripheral issue.

It's more like a conflict of interest issue.

So I don't know when that's appropriate.

Let's do that.

Um let's do that after we discuss this part, and then we can go to yours.

Okay.

Should have just done it when it's appropriate.

Okay, okay.

Okay, so here is the draft RFQ.

Obviously, we don't have any dates in there right now because that remains to be seen, but we're hoping to do this uh in the next couple months.

And if we scroll down, oops.

So we just stop you when we have some.

Yeah, we can do that.

We'll just kind of scroll through it and see if anyone has any comments about anything.

So we have the introduction and background, project overview, summary, a schedule.

We provide some guidance and information on what is to come if you are in fact selected, as some of you may know when it comes to applying for public funds.

Uh, the administration of that process can be a little onerous.

And so we want um any applicant to be aware of what's to come.

They're gonna have to have a business license, they're gonna have to have insurance, etc.

So that's all included here.

And uh we're going to include appendices, the service provider agreement, an example of what that looks like.

It's lengthy, it's a lot, uh, but again, that's part of doing business with the city, a sample certificate of insurance, and also additionally insured as well as the public art master plan, just so folks know where our public art program is.

Um, the introduction provides a little bit of information about the city of Alameda, talks about the scope of the services.

It indicates here that right now there are two sites within Washington Park for Future Physical Art, location one, which is near the um playground, location two, which is toward the entrance of uh the intersection of Central Avenue and Eighth Street, and it indicates that ultimately one of the two locations will be selected when we finally get to the point of actually proposing site uh a piece of art for the site.

And then here's a map, uh location one, location two.

We provide some background information about what the project goals are.

We want to enrich the park experience, um, provide inclusivity, belonging and play, and where appropriate and sorry, have an interactive element uh for the piece of art if possible, and also um to just celebrate the surrounding community culture and reference the park's history if possible in the resulting art.

Moving forward when we talk about the budget, this is something I also want to discuss with you as a group because uh we had last discussed 250,000 as a total.

So I did talk to my colleagues who have previously managed this program, and um we set aside $50,000 to hopefully cover everything.

So that would include site preparation.

As you know, those costs that we received from Matt Nolan from Reckon Park is we're looking at approximately 70,000 at the worst, 90,000 at the worst for the location number two, and um we're we're looking at covering the permit fees, the city.

Um permit fees will probably set us back about three to four thousand dollars, depending on the size and the scope and scale of the construction, and then we also would be wanting to put the artwork plaque um on the art and cover that cost, as well as any contingency.

So if there's anything that we discover in the process.

So I did talk with our colleagues, and there will be surprises, and so um the way we will account for that is if we do go over budget that we would have to come back to the public art commission to approve those additional costs, and that's what's been done in the past.

Uh, so for example, for rock spinners, um, there with the artists at coffin they had to come back a couple of times to confirm additional funds.

So I just want to set everyone's expectations now that that may happen when we're in the midst of this process.

So we have our idea, which is 200,000 for the overarching art piece, which will also include the artist fee, and 50,000 set aside for the site prep, the permits, the plaque, as well as any contingency, but we might have to come back depending on how that all unfolds.

Yeah, I am defining site prep.

Sorry.

Sure.

So uh site preparation, which we included in our last staff report is everything from the concrete pad, so installation of the pad, any footing that's necessary.

Um it also includes possibly elimination if we choose that that's a priority for this piece, it might not be.

Um, it also includes uh so that's a electrification essentially.

Uh it also includes um any modifications to the SOD.

We might have to take some grass out, might have to put some grass back in depending on how that process looks, and just the overall construction sites of installing the art and ensuring that the engineering is there to make sure it's installed safely and properly and will be able to withstand the lifetime of the artwork.

Okay, is there a interesting uh in these costs that is taken over by RSM art?

No.

Yes.

Or the number for site preparation.

Did they get is that just a number of just plugged in?

Or did you get any costing on that from say a contractor?

We did get costing.

So we spoke with Matt Nolan who handles he manages our park system for Wreck and Park, and he recently ran a concrete installation of a scoreboard at Estuary Park, and so we use some of those concrete estimates to set up our site preparation estimates.

And they're detailed in the last staff report, and it is extensive, it's a lot, but it's basically the worst case scenario.

So worst case scenario, we're looking at approximately 70,000 in site preparation fees.

So that's mostly concrete installation, uh electrification, and any possible irrigation issues.

They have a lot of sprinkler systems and they might have to get uh moved around.

So those are the best case estimates that we received from uh Reckon Park.

Okay, okay.

Any other questions on budget?

And then I can move, if not, move forward.

So, in terms of um submission requirements, we're asking that they submit their submittable, which is the same process that we use for our cultural arts grants, and that's the one the one and only way they can submit.

And uh we're asking for a letter of interest and experience so they tell us who they are, um, what their experience is and um what their um experience is in fabricating public art and what's going to be important for them to consider.

We're looking for a resume with a biography, and there is the possibility of more than one.

There could be a team that could apply, and we can keep that or cut it out.

We've only ever had individual artists um in the past, but that's not to say that we can't have maybe two or three people because I know some people like to collaborate.

Um, so there is an option built into this RFQ for that, and so we're asking for um photos and bios of everyone um involved, and then um next we're asking for them to include a portfolio of past artwork that they've done to give us information on the materials that were used for that, dimensions, the year that it was um built, and a brief description about the artwork, and the next part is we have the review process.

So can I just talk to you now?

Um I have two things.

I have um one for the paragraph before of the artistic community.

I don't understand why the are we're asking for a minimum of five years, that we're anyway using that as one of the criteria's later with experience.

Um I feel like it gives us a chance, but this isn't the large art piece comparatively, it doesn't have a common budget.

It feels like this is a chance for for less experienced artists through commodosculture, and then might be into this more interesting since we're already judging experience later in the subjection.

I would state that or have something like two years or whatever, you give people a chance to uh come in with less experience, yeah.

Um that's my first comment.

Uh my second comment, more specifically for the submission requirements.

I would uh you're only ready, please include up to 10, which is a fabricated work, I would put in a minimum tool, so maybe five.

Minimum of five, you think 10 is too many?

10, like out of experience.

Uh 10 is a lot.

That's a lot.

Yeah, that's their experience.

Like, I'm not sure if I like I know a bunch of friends of mine who really have problems getting enough quick photos of cards and 10.

Yeah, we've met out in a while, but I've got 12.

Yeah, so I would I would think 10 would be a lot.

Yeah, I I would put in a minimum and say they want to do 10 yay, but like minimum, so are we saying minimum of five for the portfolio?

Yeah, I yeah, it was kind of.

Okay.

And I mean with both those comments, we're I think our intention is to not limit it's limited.

Isn't it?

Both of those comments we're trying to not limit who's submitted.

Yeah, a lot of you don't want to shrink to pool down the same.

Exactly.

Well, I I also think like public art applications in general are a chance for younger artists, yeah.

I mean, try it out.

Yeah, especially in the CD, like here.

This is not San Francisco or they're only our truck.

This is for the experience, but I think this is a chance for us.

Yeah, just look at the back.

I think that's going over to San Francisco.

Yeah, that's your first large RPC.

Yeah, just one of the best.

So, and so we can definitely change the minimum of to five in their portfolio.

And then um, just to explain a little bit of the rationale behind the five years, is that yes, it would be great to have this be an opportunity for amateur artists, but I find that the navigating the city process in particular is the challenge.

So private organizations like Burning Man or others probably don't have the level of insurance requirements or the level of sort of oversight in terms of all of this.

So maybe I'm wrong.

Um but that's that's why I put in five years.

Like, let's make sure the person has some experience before um applying.

But I mean they have to do that anyway.

Like I mean, like at this point we're talking about an RQ.

We're not we're not we're not even close to insurance requirements.

I think at this point, we can open it up enough to get enough candidates and then and then is it really that there's gonna be a lot?

And I mean, an artist who's doing this for two years is already quite experienced, actually.

Like, is it realistic that the other ones that were picking?

Probably not, especially when the adjustment works, but it gives us a chance to see it.

There's someone who really feels like interesting.

I know.

Yeah, because at this point, we want to see more than less.

Yeah, this one.

Yeah, it's not like the one off person, yeah.

You know, you're gonna they're gonna have some body of work.

To Jackie's point, though, in the past, we have had an experiences where less experienced artists did apply for this sort of grant and really fell down on the job because they didn't have the experience to deal with all the fingers of the city that touch physical art, that is permanent.

So I agree with that, but then essentially 30% of our judgment is their experience.

Like, plus another 40 with the portfolio, and I would expect it to have someone with more experience.

Like that's two thirds of our points that are going into that.

I just don't see about the need to close the pools who are.

I very much agree to it, a figure has to, but who knows if you ask them if you're right.

Well, as long as the people who are choosing the art have the experience to say, hey, maybe this person can't really pull this together.

Well, you can't ask and I mean here's look at all the additional information you're asking for.

Like they gotta jump through a lot of hoops just to get this submission.

Yeah, so I don't think they're coming in naively.

I think they know that there's stuff you're gonna need, there's certificates in trouble, so that doesn't.

I mean, it's a process.

Everybody has to learn it.

Yeah, but and I would say anybody that's put together at least five bigger pieces of art as jump through usage.

Yeah.

Okay.

So we could, so we set the threshold at five years minimum experience, we could lower it.

I mean, I suggest it would be two years.

That's not that's not enough, like does still like that combined with what comes afterwards to kind of select them.

So it's like uh that's a little light.

Two years?

At least three.

I would do three, I'd go with three.

I would say three.

Because that gives them a chance to produce more of one work.

Two or two or three years might be fiscal.

Okay, I mean I'll agree with three.

Okay.

I mean, I feel like we'll have a good sense of their overall submission, regardless of how many years they have, right?

You'll be like this is a cooking or interview that needs to be right?

Well, actually, I'm sure not.

The panel will have a panel, as well they have to get by the panel first.

Which will have a member of the pack on it, yeah.

And that brings us to the next part.

Were there any questions else that you had to do?

Yeah, I'm not all for this section.

Okay, so moving on to the panel review process.

So they're we're putting together, we're convening a panel of subject matter experts.

Uh we would like a member from our public art commission, so we'll be reaching out to you to confirm who will that who that will be.

And then we also want a member from the Reckon Park uh commission.

We're actually on the agenda for their September meeting.

I will be presenting to the Wreck and Park Commission to give them an update about this project.

They are aware of it, but this will be like a formal um information sharing, and then also a request for a volunteer to participate in the panel.

And um, we're also gonna have a member from the recreation and parks department.

Obviously, they do a lot of execution of work there at the parks.

We want them to be part of it as well, and then up to two members from the neighboring um the neighbor the surrounding neighborhood basically of Washington Park.

It'd be great to find someone like right there within a few blocks just so we know that they're part of that neighborhood and participate in activities at the park and have a really good understanding of sort of uh what the community is looking for.

Um there was also a suggestion, and I would like to pitch it.

It what didn't make it into here, but to have a member from our Alameda County regional um public art administrators network.

Um Alamini County does run and commission their own uh public art projects, and I thought it'd be neat to not just have a city lens but also like a regional lens.

So if folks are okay with it, that would be a fifth and or sixth person, depending on how many neighborhood people we get to participate in the panel.

But we haven't sent an invitation yet.

I want to confirm that folks are on board with this process first.

What was the name of that?

It's so it's the Northern California um public art administrators network, and it's run by Alameda County.

And uh Rachel Osejima is the um public art commissioner.

Um I think she's the director of the public art commission, but she she has a team of folks that handle public art for the city, so we would want the person who does physical art installation.

They do a lot of cultural art stuff as well, but we want their uh contact to do as physical art.

So, how much authority does that panel have?

Is it still under our still overseeing that?

Well, yeah, they would make recommendations, but ultimately they would be selecting who the artists are.

So from the RFQ process, they would be reviewing all the applications.

And similar to how we deliberate cultural arts, would rank and get to a point where they select the top, I think possibly top three, top four, and then from there, those top applicants will be given a stipend and will be given uh two months to come up with a piece of art, like a a small um sort of sample of what it'll look like a model, and then from there, we will um be ultimately selecting who that final artist is and which site within the park they'll be developing that's that artwork.

So that's the process, but we also do because this is public art, this is public art dollars, we do have to engage the public.

So our intention and hope is that once we get to the point where we have the models, we bring them to the park, and we go one weekend at Washington Park and let people vote, and um do sort of like a tabling just to get some recommendations from the public about what they like and what they're interested in.

So that's a process that our our peers over at uh Berkeley do, and they find that it helps because sometimes the public is not too excited, or they're very excited, and it'd be a really good opportunity for us to figure that out.

Um but yes, ultimately they'll be breaking a recommendation and um we'll be moving forward with it at that point, which is why we have a member of the pack on it.

Um, but again, we've talked about this at our last meeting.

If there's something that folks don't like, or if we want to redo the RFQ process and cast the net again, we can also do that.

We wouldn't in any way be holding to the review panels decisions.

Um, recommendations or I think it would be I think the purpose of having a member from the pack, having a member from Wreck and Park is that ultimately we would move forward with those decisions.

I mean, if there are major concerns, I think it's why we have a member of the PAC on the panel.

Um, but I traditionally it's panel decides, it goes to the commissioners who see the finals.

You can get the final, yeah, the final four or five more.

Yeah, however many, yeah.

Okay.

Um, my my are we already in the comments section?

Yeah, we're talking we're talking about it, yeah.

Yeah, my only comment about this would be the um considering that we are literally elected to this.

I don't understand by talking why it's only one to pack.

Like my suggestion would be two, especially if we're adding someone from the account.

Um, I'm totally fine not being on it, but it also feels like with the background that we're having, and with the fact that parks and uh Rex and Park.

I like that one.

And to clarify, it would be one from the commission, one from staff.

I I would say the only I would like to have only a Peter will be not the only one.

Peter makes the ultimate decision.

Actually, I have to Peter's judge jury and uh Peter has to go to say that out loud.

Yeah, I think you're just a lot.

But at the end of today, I think Peter you're gonna get it.

I don't know.

I feel like I my suggestion would be uh I'm totally fine.

If staff or public car commission, I just feel like we should balance this more out and have from this group in it if if Rex and Park has too much.

Yeah, I mean at the end of today it's just a decision about it with our money.

Yeah, and I don't just want to nod about it.

I trust everyone in here enough to follow the decision, but it would be nice that one.

Yeah, this is the other one.

That being said, someone has to volunteer to do this.

Well, that's uh and it's gonna be a long process.

It's gonna be many, many months.

It's gonna be and I've done it before, so you're on it and you're in it.

I'll do it.

Locked and loaded.

I will do that.

Okay, good.

Then let me suggest to change the sentence to the panel and have up to two members, but up to.

Oh, of the of the city's public art commission?

Yeah, got it.

Okay.

And Peter has to be the one.

No, no, actually Lisa would be like, yes, actually.

Because you have a good, you have a good eye for things and you listen.

Yes, you're extremely good listener.

I I also think like we should balance emergency, you could use context.

Yeah, don't probably not one red deck's all you need, so you should be the other one.

Um my feeling is there makes a part of any comes with you guys.

I think it would be great to have two one who's been on the commission a bit longer and one of the best.

So, motion, as I say, we don't have to say, we don't have to say, we do not have to decide tonight.

Yeah, I would have getting there.

But I mean, I think.

I enjoyed that kind of process.

But I think this is good to start thinking about it.

We're gonna get to that point where where you guys vote on who those two members will be, so this is good to start that discussion.

That's fine for the RFQ.

I would call it, uh, up to two.

Okay.

Um, we can figure this out, but uh I feel like you'll give us a chance to uh yeah.

Um, to have an actual stable chance.

Sure.

Any other comments about the public art uh panel review process?

Uh well this actually, I have a comment about the map, which I know we already have.

Sure, here I can scoop back.

Let's go back to the map.

Oops.

This was my little ugly um the last time we talked about that.

I just feel like the stars and the squares don't quite do it for me.

I wish I think the as an artist applying, I would want to see more exactly where I can work, and so having some kind of shading that's a little more generous than I can see here because we could help for the areas.

Uh because those squares, at least in my memory, do not quite align with this basis where you're talking about.

Yeah, because when we went out for the site, this is changed a little bit.

So when we went out to the site that day, we all walked out and walked around.

Was it a way over this?

This I'm looking at time.

I'm going to do site number two.

Yeah, because the number one is to do the playground, correct?

Yeah, but I also thought number one is sort of more expensive.

So it feels like it constrains it more than it needs to.

I mean, we were in the right.

Clearly, number two is crossing the path in the red box, and that's not.

I mean, my suggestion this context would also be to have fooled from the side, not just from the ground.

So like an aerial and then like a um a side view.

Maybe yeah.

I mean, I'm hoping whoever applies actually takes the time to go.

My expectation is that they would do that.

I think that's gonna go out there.

Yeah, no, then too.

I would expect to run on necessarily.

So you don't really have to do that yet.

You don't have to.

But I think if you were excited about doing art there, I'd be like, yeah, let's go take a look.

What can I do?

What's my canvas?

You go first thing you do.

Yeah.

Um, I think with with site two, there was an idea that it could cross the path.

Like be like a archway, it could be anything.

It doesn't have to cross the path.

So instead of a square, maybe it could be like a tilted architect.

But I think it's a shape.

Yeah, exactly.

I think that would be as a troll, and you have to pay the toll, and that's how you get into Washington Park.

That's what I would do.

Yeah, troll.

I like it.

Sorry, was there anything else?

Yeah, was there anything else?

I might have interrupted you, sorry.

Yeah, I think the shading is nice.

Okay.

We could definitely do the shape.

Okay.

And the uh ground photos too.

Yeah, okay.

So let's talk a little bit about selection criteria.

Um, the goals of the city, the master plan, the public art commission, and then we have five points set aside for local preference bonus for anyone who's a resident of the city.

Um, so the letter of interest is 30 points.

That's the um compatibility of the artist, the project goals, experience is 30 points with a project of similar scope and scale, comparable professional experience to address the requirements of working with the pack uh with the public sector.

Again, I know that doesn't sound like it's a huge priority, but it can be because administratively this thing is gonna be a lot.

You're gonna have to constantly work with different departments within the city, rec, us, construction, etc.

So it is something that will it could make and break the process in terms of smoothness timeline, all of that.

So that's why for us it would be lovely to see that the applicants have experience working with the public sector and public funds.

Um the portfolio, 40 points, artistic excellence and originality is shown in the submitted images and previous work and image list, and then again the local preference points for residents of the city of Alameda.

Oops, skipped over, and then the selection process, um, the applicants will be screened by the review panel.

The panel will select the pool of qualified artists.

Again, we haven't identified how many, but we're hoping it's probably somewhere in the neighborhood of three to four.

Um, that folks want to move forward with the review, you know, keep going.

Um the review panel will submit the recommendations to the public art commission, and then here's a schedule.

This is by no means totally complete, but it's subject to change.

But for 2025, um, we want to launch this RFQ so this document will go out to the world um in November, no later, and uh we'll market it.

We will advertise it for um for many weeks prior to November.

We want to let folks know it's coming, and then applications will be open for eight weeks.

January is the deadline, then we'll in February have the RFQ reviewed shortlisted by the review panel.

So we'll be putting the packets together of all the applications, um, and then we will um give them eight weeks to develop a mock up.

So that's just the little model.

Either it could be play, it could be depending on what uh materials they're using.

They can they choose that as their discretion, and then that we'll receive that from the artist, we'll conduct outreach in the parks, showing folks what these artists statements look like, what their concepts are, what's the idea behind it, and then garner feedback um on the designs.

Review panel will select the grantee.

So this is where we say yes, we've decided artist A is gonna get this, and they're gonna get that two hundred thousand dollar grant, and um then they're actually gonna get into the development and fabrication, and the goal is for all this to be complete by April of 2027 with a ribbon cutting and then bailing.

We take photos, the mayor typically attends these events.

It was uh you've done this, so it's very fun, and it's a culmination of years of work, so it is exciting to celebrate when you finally get the permanent keys.

Yeah.

Um any questions at all about the timeline?

Yes, so we want to.

So we're just um actually, before we kind of can I go back to the selection criteria?

Sure.

Is that okay?

And did you have any comments on that?

I do have that one.

I'll go ahead and go first.

About the local preference five points.

I remember when we were doing the special arts program.

A few of us commissioners were saying oh it would be helpful to be able to have that not be a binary zero or five either or do a spectrum um there it's like organizations or the artists they're using for their programming that it was a little would have been helpful to be able to do like one, two, three, four, five here I'm not sure but it since it's just the artist there's not an organization well maybe it is more clear cut but I was hoping to hear from others if we maybe we could be open to not having to be binary I I do have a question.

It's actually true what if the artist doesn't live in the city of Albeda but the workshop isn't the city of Alpha there would be anything for it would be helpful that seems like a happens a lot who's done it would I live here so that I would still be here to be a little bit of work in the city.

Yeah a lot of people oh then you could just mean it it not many people live in a large in the same place.

Whether our studio is where they're creating is that but there's a is it a resident criteria.

Yeah that's what I would prefer you gotta live there you say.

Yeah.

So if you're a right if you live or work in Alameda then you get a five point local preference.

Yeah.

You know an optimally that may make no difference maybe nobody who applies lives or works here.

That's true.

And it's five points outside of the 100s.

Yeah it's a relatively simple no it does.

It could make a break yes it's a little over the top it got me well we can that's a table the non-binary question for maybe the next cultural arts grant where I think it does make more of a difference because you're dealing with more artists.

Yeah.

With many many artists typically yeah and an organization so it's just a more complex situation I think with that.

Yeah I think that's a good point we could definitely um discuss what we're getting towards the 2026 cultural arts applications which will be here before we know it because we released them in January.

So I know I haven't even gotten all my grantees under contract yet so it is it's a lot of work um okay so any other point did you have any other comments about that particular okay I'll scroll back down to the schedule oops there we go.

I have a few points um what I don't see in the schedule what I want to do to or not would be a call or an FAQ with artists um especially with the short listed one that feels like something uh would be part of a workshop um to do oh you know you mean like uh a Zoom call the Zoom call very like an orientation sort of like you didn't kind of like we did last last time for the yeah I I like a webinar.

I don't think we need to do this for the RQ for the panelists would be nice to do something like that.

Like the the top three or four that are selected like have an orientation about we have a short list okay yeah orientation for the short list.

Yeah.

And uh the fabrication time here is very short.

So time we're gonna get yeah that's that's it's a reasonable at any level yeah so we should push it out a few more months.

Yeah, you need I would three to four months for anybody to create really if it's large wouldn't design development how to flow?

No, we're talking about fabrication.

You can talk about literally big design at the start of May.

The problem with side development with a city is you have to go forward and backwards so many times because of the current building requirements and structural engineering, but like it's it's just tied.

Like, I mean, if you do the design development in August, there's not really a way that you have structural engineering ready at the end of August.

So it's gonna squeeze into September if you're unlucky October.

Um we're missing December in this, just saying, but like what I could see is that the actual fabrication time is September until February, and that January is actually not installation comments, but it's site preparation.

Yeah, yeah.

Because no one needs three months for for installation, like they need two or three weeks, but we might have a site preparation early because they're concrete and single early.

So I would replace January one of site preparation and would say March for installation.

Yeah, I would yeah, you could just say September to January, and then you would have then you would actually have September until February.

And December is kind of your month where you may or may not be able to give it the attention.

Yeah.

But then you get it, and then you got uh October's not in there, either.

So there's plenty of months to put in without really upsetting the whole overall.

So how would it change the overall um ribbon cutting on bail?

I think you're you'll keep it the same, just that it looks better, like call it September to February is the fabrication time, or January is nothing but site preparation from from the city.

Oh yeah, and then March is getting an installation time.

So yeah, yeah.

Sorry, what was March?

What was that?

March is just installation without kind of commands right and yeah, yeah.

So yeah, January, February, we can you do February, March with installation, that's enough.

If it's ready, it's set.

Yeah, I mean that's a week thing.

Yeah, I mean, unless it's one of those if they came out and they gotta build it on site.

We'll see.

Yeah, we have to see what um are.

Um that we've got and then what other uh more questions.

Um I have one question that doesn't really fit in here, but it doesn't really fit anywhere else.

Um I know I was one of which is cut the budget, but uh I'm also tempted to suggest that the shortlisted artists get a mini grant to make their more cards.

So it's uh it's in there.

A stipend.

Yeah, are we doing that?

Where's yeah, where's the money in our budget?

Um we haven't built it in, but last time they gave 1500 per artist, I would imagine just because of inflation.

That was 2017.

So I would imagine because of inflation, we're probably looking at like two thousand dollars per artist.

So we're essentially talking about ten thousand dollars more than we need to fit in our possibly for a craft.

Yeah, just to make sure that we have that disinformation in here.

So this would be like I think it's like that's a really good advertisement for you as a city when you're able to say in your RFQ that sometimes is the model.

That makes a huge difference.

Yeah, Google that I did that with Google.

Yeah, it's $5,000.

They have a bit more money, yeah.

Although not even more, but I mean two thousand is not bad for not at all.

You'd be given an artist something that would at least.

For their time too, and then the energy they're putting into it.

Yeah, um, and the materials, and yeah, that kind of thing.

Yeah, that's a ball point on that.

Um, it feels like we should we should just roll it to the increasing hour, but you can think in your case, increase from 250 to 260.

Yeah, which is I mean, it's 2000.

And 10 for the stipends is necessary.

Sorry, what's that?

Two, or we we want about that when uh when we get there.

When it's shortlisted, but I feel like this is outside of the 250 that it's just as fast.

Yeah, so I could I could add the so what I'll do then is if we scoop back to this section here, um, I can just add a that says um artist stipends, and then I can change the dollar amount to 60,000, but that would be 260.

Yeah, and then I would I would put uh I would mention the stipends in this because this is really like that might sound changes such a interest in terms of this.

Okay, so add that the city will be funding stipends for the for the selected artists.

Okay, so that does it does a bar anti, and it's and it potentially could grow so um are you done yeah or no go ahead not at all okay I just have a real small uh it's a semantic thing anyway um it's it's not a mocker it's a look at not a cat.

Yeah maquette M A C H E T T E.

Is the French word yes it's I just used our internal language from the previous time we did it yeah people and everybody knows what it is.

Okay we can add that in for sure any other comments on timeline or okay that's you spread that out now and that it gives people like how you start to know September November.

It's kind of hard to make that's going to be pretty that should be fairly hard and it's not going to be it.

So it says I did so under additional information we're just sharing with folks that eventually they'll need a business license they'll need to enter into a legal agreement with the city and um as well as provide certificate of insurance that meets the city's requirements.

I had a question again because uh the advantage is going to harm this is uh there's just uh insurance requirements as the city this is just a insurance for a business or as anything else oh sorry for the uh certificate of insurance yeah um it usually uh it's a requirement I think for their ability to fabricate that kind of thing so I have to double check it oh go ahead I'm sorry no no it's okay I have to double check but I'm working with the city attorney's office on reviewing the draft agreement right now and so we'll get to a point that's why it's not included because we're in the process of uh modifying it but there is going to be some stronger language in there that requires certain repairs to be done if they're within a first couple years of the art um that they'll be the responsibility of the artists there's a couple of pieces in there that we're gonna modify that we've run into trouble in the past with these agreements that's one that's not yeah okay that's not the insurance that's how we're insurance.

No that's different COIs are generally uh for art go right up to the point that the art is placed exactly and as soon as it's placed it becomes a city's art uh it becomes part of our collection at that point and that's usually just the idea insurance yeah that's all you need yeah they don't need auto because it's uh yeah they'll they'll have to request a waiver it's it's administratively it's a bit of a task but our risk management uh department requires wave waiver requests well since we're carrying your art we're gonna you're gonna have to put additional insured on there too yeah yes and that's all included as uh appendices to this document so they'll have exact examples of like this is what a certificate of insurance looks like this is what additionally insured endorsement reads and we have exact language for them for that so that way they're not surprised because we have included this for example for cultural arts and we've had a lot of people get surprised what do you mean I need auto insurance what do you mean I need to it's a even if we put it up there so that's something we can absolutely underscore during our orientation for those number of artists that are selected so they really understand sort of the unfortunately there's there's a lot of paperwork at that certain point so yeah and also we like myself I can give the if sitting in the orientation I can give them some sources for insurance companies that will cover art.

Right.

It's not an easy thing to find there's a couple of people that everybody knows yeah that's why you better shut up just because in general I would use insurance.

What did I do?

No no and then as an artist oh yeah yeah yeah just you get yeah it's got a low profile just uh and then there's the bot the bottom line there is just general questions they can reach out to me and then similar to what we did last time questions will be submitted to me and then I will upload them to the RFP page so that if anyone's looking, they can see all the responses.

Um, so they're all in the know about any outstanding questions.

So if you would do uh um a call and a review in that section.

Well, was that sorry?

Yeah, if you would do a call, and I suggest you can in this section.

Yeah, we can we can add that like there's going to be an orientation once we get to that point.

Yeah.

I have a lot of this is like too and that's on the cards.

Okay.

Any other comments on the RFQ?

Good refining on the stock.

Yeah, a lot of very good information.

My work cut out for me.

Yeah, that's great.

So I think are we at the end of the um discussion and feedback section?

I believe so.

Oh, wait, there's a there's a hand raised.

Hold on.

Hopefully, Rachel did not raise her hand for a long time because I just saw it.

Hi, Rachel.

Hi, um, super excited about this.

I'm now speaking as Rachel, the resident who lives around the corner from this park.

So yay, exciting.

Um, we have a when it comes time to helping to form the panel, there is a very active Burbank Portola neighborhood group.

And if I can be a resource in any way to publicize this to my neighbors who may potentially want to get involved, more than happy to be a resource.

Great, thank you.

That's fantastic.

Yeah, we're definitely um planning to do an open call and receive applications, letters of interest essentially from anyone who's interested, and then from there um they'll be selected for the for the panel.

That's right.

And I was hoping to like reach out to our like West End Arts District folks too to see like if any of their listservs can submit it so we get a good wide net.

But that could be very helpful.

We can definitely do that too.

Thanks, Rachel.

Awesome, awesome.

So, I bring us together.

We got it.

I think that concludes it.

Yeah, okay.

Does this um staff communication?

Do you want to go to that anything?

No, this is just review.

This is not a recommendation to accept or decline.

This is just reviewing.

So it was just kind of like a homework session.

Yeah.

Okay, uh, does the staff have any other items to communicate to the commission?

I do, yes.

Um, so just a bit of background for folks.

Um, our economic development department is partnering with Radium and the Alameda Chamber of Commerce to apply for the California Arts Council California Cultural Districts Grant Program.

So this is a $10,000 matching grant program over the course of two years, and it comes with a state designation.

It is a very competitive process, so we're gonna put our best foot forward, but we don't know what you know what the outcome will be.

Um but just some background.

City of Emoryville, for example, had a district that they submitted to the California Arts Council, and they received I think 5,000 for the first uh year, and then they got a much larger grant years later.

I think they got six hundred and seventy thousand dollars for that district thereafter.

So even though it's small um to start, there is the potential for it um being larger over time, um, and this would be specifically for um Alameda Point.

So considering applying for Alameda Point as a cultural art district, obviously um we have Radium Runway, we've got Beckin, and you know, part of the application process is sort of um calling out the existing inventory of arts um in the point and also any museums.

So, for example, Naval Air Museum would be included in that.

So just a heads up that that application is going out and it's due in August.

So we're collaborating with them on that process and um just submitting staff time, so we were not funding any of it, but um just a heads up on that.

So we'll let you know how that all goes.

Awesome.

And that's my update.

Oh, well, also go to um cultural go to the um circus bella on the 26th.

I mean, I know Rachel already mentioned it, but that's one of our cultural art grantees for this year as well.

In fact, another one is um um plain air paint out, fake bet that's from July 28th through August 2nd or 3rd, I can't remember right now.

That's also coming up another July event.

And um, what just happened was Radio Day by the Bay.

So those are our July cultural art grantees um that folks should check out if you're able to available, right?

Awesome.

Thank you.

Um, I remember that I had asked if it's possible to uh to add that to the uh public arts newsletters that go on to stays.

Mm-hmm.

Yeah, we sent one for the most recent July events.

Many of them are not coming up until like September, October.

So, but we got all the July ones in.

I don't know if you guys are are you guys are all hopefully signed up for it?

I don't think I am right.

Okay, well, let's get you signed all see it again I don't even know they have did you do you receive it?

Don't you go who doesn't receive it go to the website and put your name in.

Yeah I can I can sign you guys all up actually they have they promote a lot of the cohorts oh they do he's big on that yeah former former former chair former president of the public arts commission yeah that's a good idea Adam Joulette that's right okay that's my that's me for something okay um are now we're on to commission communications not agenda are there any commissioner communications I believe you said something well yeah it's it's a discussion and I'll make this short I just because I'm not clear I'm on the commission myself and I didn't happy to be here my wife is not but we we make art for all over this we have a piece over a free part right now we have pieces all over but are we uh because of my involvement here are we not allowed to apply for say something like this I don't know because she's you know it is us so that a true well to a certain extent she's mostly it but I need I you know but you know I don't want to get into some I mean I would I don't want to get into some some some shallow we're well if you think about it it's gotta go through a committee of a wider committee than us.

Oh yeah I don't even know if you make it through that well I don't know the legality you know or or if there's a I mean I can recuse myself that seems like a situation where you should apply and refuse yourself to me right but I don't know if that's I don't know if that's even fair.

Well sure it is you always would but you're local I mean we have like three artists there are local they will be set to looks very crazy.

Yeah this is true something you should be in okay but I need to I don't want to push it yeah unless I feel like there's it's something that's okay.

That's all that I I'm gonna have to touch bases with our city attorney's office just to be sure because I will say optically if a member of the public art commission is given a $200,000 grant.

Even if he refuses it not right through the three through the evaluation process you know we're all smoking cigars and let me ask let me find out I just would get it I'll ask me I don't want to I because I don't want that I no no I can take my we can go elsewhere we can go but I would love to put a piece here but I one of the one of the reasons I even hesitated to re update to this commission was because I wanted to one here and I you know eventually I would hope I could put one here or my my wife would put one right but I don't you know I didn't know at that point whether they would say it's okay forward committees I'll have to ask our city attorney's office and I'll I'll get back to you on okay that's yeah that's not there's a little critical path here it's just that's a good point I yeah that's a really because we have conflict of interest language for the cultural arts grants um but we don't to my knowledge anyway we we pulled a lot of this from our last RFQ so um to my knowledge we don't have that but I'll just double check and if it's if it's a no there's I'm not gonna let quite okay all right good thank you for a minute okay any other communications okay oral communications um are there any oral communications I don't have any no meeting then um this meeting is now adjourned at 6 59 yeah.