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The time is 6 o'clock PM.

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It's called order.

And then you can your meetings out of that.

Oh, yeah, I'm sorry.

Okay.

Ah, the meeting is called to order.

Come on.

Oh, sorry, did you do this on the meeting is not called to order?

Oh, you did.

I'm so sorry.

Yeah.

Okay, great.

So roll call.

We have uh commissioners Liz Rush.

Present.

Commissioner Peter Ploxboomer.

Commissioner Lisa Martin, absent.

Excuse.

Commissioner James Martin.

Present.

And Commissioner Adrian Sancho.

Present.

Staff members, Jackie Kali Ia, present.

Dwayne Dolman.

Present.

Okay.

Um comment.

Public comments is up next.

Uh 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 to read into the record?

We do have public comment.

Okay.

Katie Connell, please come on up.

Hi.

Thank you.

Um, hi, I'm Katie Connell.

Um an artist in Alameda.

I've been living here since 2016, and I um currently in the process of starting an arts coalition in on the island.

Um I've been talking to lots of different arts organizations.

Um, and I'm trying to get some founding members right now, but I've been talking a lot to Radium Runway, um, West End Arts District, uh, Frank Bet Center, Rhythmics, um, as well as many other just independent artists, people who may not even work on the island, but artists who live on the island as well.

So the goal of this Arts Alliance coalition is really um communication and cooperation and um just to kind of hurt all the cats, right?

All the artists get everyone together, working together, getting all the same information, um, sharing resources, partnering, um, networking, all that good stuff to kind of amplify and boost all the great art efforts that are already happening in the city.

So I'm just introducing myself.

Hello, I'm here as kind of a nosy neighbor seeing what the art commission does and what it's all about, and um I'm happy you all are here, and I'm happy to see the work that's going on.

So thank you.

Thank you so much.

Is there anyone else who would like to uh provide public comment unrelated to an item on the agenda?

Let me check if I have any comments from Rachel.

I don't.

Okay, great.

Okay, next one next is yours.

Um actually um in the minutes I'd I'd like to make a motion to move 5A to the top of the regular agenda.

Anyone like to second that motion?

Okay, all in favor great so uh we will be moving 5A to the topic of the agenda all right all right 5a and that's an acknowledgement for commissioner Robert Ferguson if you would come on up we have a certificate to present to you to thank you for your for your four years on the commission the public art commission and um here you are this is a recognition of your of your time and we appreciate everything that you've done for the commission and uh we would like to invite you if you'd like to make comments and uh address your colleagues.

Well okay um I mean I was I'm very grateful for having the opportunity that I did I mean I came into this really cold didn't know exactly what I was doing four years ago at all and um everybody here was really kind to me and helped me understand you know how to make it work and I think I got my footing but you know still it was um it's been a great experience um and I just want to say to all the commissioners please continue the good work that you're doing to bring art into Alameda and uh we'll be looking around seeing how you're doing again many thanks for the time I had and good luck in the future for all of you.

Okay.

Thank you.

Thank you for your contribution appreciate it.

Oh you bet now I'm gonna be right into the sentence okay that brings us to uh minutes so item three a which is reviewing and approving the pack minutes from our October 20th meeting were there any any proposed edits or we any motions to accept motions accept second great second by second all right that brings us to the oh sorry yay that brings us to the regular agenda we're starting with um item four a which is a recommendation to adopt the public art commission meeting calendar for 2026 that seeks to avoid possible conflicts that inhibit the maximum participation uh so any comments or any motions questions go ahead commissioner plaster uh just one question if we need um a meeting closer uh uh in february slash march for the for the public programming review can take as well yes so we can absolutely schedule um as needed special meetings special meetings do have uh 12 day notice dates so as long as we have maybe two ish weeks in between to get that started but we have set up the calendar to account for reviewing all the applications so the grants open on January 29th they close on March 19th and we'll be meeting on April 27th to deliberate so that gives our team ample time to collect the applications review them to ensure that they're complete and then present them to you all to review in advance of the meeting will be deliberated.

Do we have a question that uh including this meeting that gives us four scheduled meetings.

Correct correct and and as needed we can add five and six meetings if you know we can add more sure okay thank you we have a motion to accept the calendar for 2026 our motion to accept the calendar for 2026.

All right wonderful.

So that brings us to item 4B, which is the presentation of making waves, the public art maquette for the storehouse lofts Public Art Requirement.

So if we can kind of scoot so we can bring the artist Jonah on up, and I also have a presentation.

Would you like me to bring that out or we can start with the with the maquette let's put it up here so sure in the background.

Wow.

Oh, yeah.

Very good.

Right on.

Yeah, I've got the video queued up.

Yeah.

And you have oh yeah, correct.

Um but do you want to do the video now or or present first with the clay?

Well, um it's your it's your call.

I just need to share screen.

Yeah, first let me introduce uh Deborah Samia, my sculpture partner.

And uh you guys haven't met her yet or uh so far, but uh we are collaborators on this uh project.

Uh also we are collaborators on the uh the most recent Edley sculpture that we unveiled in December and the previous Edley sculpture, which we unveiled in May of 2020 2.

Um, and we actually go back a long time in the sculpture studio together.

Um we are here to present the um clay model known as the MATCAT of the Making Waves sculpture, and we also have a couple of a handful of uh digitized images of the sculpture as well.

Um 3D digital program sculpture program called Zbrush, and uh we will be using the digital program to enlarge the sculpture to the full size, uh which will be just about twice the size of this.

Just kidding.

Uh to the full size, and then uh we will be uh initially carving it in foam, which is what it will be uh sort of milled out of in foam, and then we'll be adding clay, sort of adding clay, subtracting clay, uh carving the foam, and then we'll the finished surface will be it all in clay, and then we'll have the mold made of that uh the final large piece, and um where we are right now is you know a pretty good solid idea of what the piece looks like and uh we still have a handful of little tweaks that we'll make as we go into the very larger size piece, but this gives you guys an idea of where we are today or where we were actually a little while ago.

Um we had I think one cancellation in November, but uh this gives you an idea of where we are, and uh we just wanted to kind of present where we are because we're gonna after tonight.

We're gonna um proceed forward with enlarging the uh foam uh the file into the large foam piece uh and start working on the the sculpting of the final enlarged piece.

And uh if you have any questions, we'd be happy to answer any questions at this point.

These are these are some of the digital files uh images of the digital files.

Uh and um it will be it essentially will be the digital file that will be uh transferred to the uh to the company that's going to enlarge the file and and mail it out of phone.

Awesome.

Oh, let me share screen actually.

Oops.

Okay, okay.

Just as a reminder, everyone of the process, um, first clarifying questions, then we'll have some public comment, and then we'll close the public comment, and then the commissioners will discuss and give feedback.

So at this point, are there any clarifying questions?

I have a question.

Um was this taken from a photograph?

Yes, the the original concept came from a photograph.

Uh the original concept was from a series of photographs uh depicting uh several uh navy waves, but specifically, this is a Violet Falker, who uh was the uh the the most uh uh the person who they had most of the photographs of, or at least featured in many of the photographs.

And this is actually a photograph with the plane attached to it.

What they did was they took these photographs because they were using them as promotional material to promote the WAVES program.

And they were all taken in Jacksonville, Florida, I believe, at the Navy at the Navy Air Station, Navy Training Center.

And there's a variety of different photographs of her and the other women, kind of in the sort of getting to know training, you know, getting to know the aircraft, learning about how to maintain them and uh and operate them, and uh it's it's kind of a cute series that that really highlights uh the women as they're they're being educated and trained.

And maybe mention Maryland York.

Yeah.

Yes.

Now Maryland York was not at the training center in these photographs, so we have sort of blended together.

Um we sort of blended together the concept of of paying tribute to Maryland York and the original uh photograph of uh Violet Falker.

And I suppose if anybody thought that was completely strange, we could do the sculpture of Violet Falker because it's more historic, and we could just honor Maryland York, you know, through text or uh some other mechanism, uh, who is the local uh wave that people know here in Alameda.

Um but uh that that could be for a discussion if anybody has a strong opinion.

But for now, the portrait is of Maryland York.

Sherman, can I just add a bit of context?

Um, I'm Abby Cormine, I'm the director of Base Reduce and Economic Development.

So I just wanted to share a couple of things.

One is that the Waves building is in the footprint of the Reshape Support Housing Project and will be demolished for that project.

It's it's in really, it's the only building that was dedicated to women in the Navy, um, but it was really not kept up by the Navy.

It's a wood structure that was built in a rush during World War II, so it is gonna come down.

Um the reshape project, which is a block from storehouse lots, a long block, a long block, a one block.

Yes, but it was one long block, we'll have a Maryland York way, but it is, you know, just because that building does have to come down, and we had a walk with the historic advisory board in the city council in December where you know they were lamenting that we had to lose the building, and we told them this art piece may be coming, and then the road was going to be named.

So I just wanted to kind of give that additional context.

Another question.

Will this be a plaque on top up here?

Uh we we have been kind of um let me let me show you what this has here, but we have been sort of looking for different ways to kind of incorporate a little bit more uh information here.

Here's a here's a Maryland York quote that we got from the uh museum here.

It's critical that we act now to preserve the lessons of history for future generations of Americans.

Actually, right now it's a pretty good quote.

Um Maryland York in honor of the waves, women accepted for voluntary emergency services, uh remembering the service of the women in World War II and a little waves uh emblem here.

So we were thinking of different ways that we could go about this.

One thing we could do is sort of we I didn't really want to do, we didn't really want to do a whole nother big bronze plaque because then all of a sudden it's gonna be kind of like the two bronze features will be sort of competing a little bit.

But we were thinking maybe we could put it, maybe sort of make it like on top of here.

So if you're standing here, you can just look down, or perhaps maybe we will maybe we do do that, but we make it a little smaller and on this side, or maybe over on this side.

This would be probably the natural spot for it.

But we had we have been in the category of things that we were kind of just fine-tuning.

Uh, we're thinking about some stuff like this that could be um appropriate.

Another thing that we are considering as well is sorry, is uh we might we might make this the back of this thing of the uh engine the pro or the plane, which is also the engine.

We might make this solid, and so you're really looking at you're not looking at uh sort of air through the engine, you're looking at really more like what the front of the actual uh plane looks like.

And if it was solid, we might sort of reposition some of this information as kind of a plaque or kind of a relief sort of on the back of the uh the front of the uh the back of the uh the engine here.

So from this view, you would see a lot of the sculpture, but you'd also have something interesting to look at that frames the uh the back of the plane right there, so it doesn't look like it just quite sliced off a it's a little windy out there, you might want to have that keep that open so that the line doesn't catch it.

Turn the blade.

Yes, so that would be not cool.

Structurally to me, this looks a little heavy.

Uh huh.

Is that not?

Is that gonna be an issue?

Yeah.

We're gonna find out soon.

But we think we've got to find that out.

Well, we we've been told by the foundry that that uh he he believes that he's gonna be able to uh struct uh uh support this he in the bra inside the sculpture of the bronze, he's gonna run stainless steel up through the figure and then up through the propeller and on to the to support the upper part.

Yeah, it looks to me like this point right here would be a stressor.

Um from the umer of the foundry, he said no problem at all that he's he's put other things um that are so much more uh in weight that he's been able to put it up in the air, even if he you put a back back a back piece on it.

Yeah, I'm not I'm not sure that that um you know I'm not not sure if that's gonna make a big difference.

I think that it's gonna be um, you know, it's either gonna be you know plenty strong and it will work with the back or no back, or it's just gonna be uh a little bit of the wing.

I mean just a little bit of the propeller, but I'm pretty sure that it's going to uh be fine, or you know, or we might if worst case comes to worse, we might provide some kind of other type of support or something like that, and we'll be working with a structural engineer, yeah.

But he he's he's told us that he thinks it's gonna be it's gonna be fine and and solid.

Question how tall is the base?

Uh the base, yeah, 24 inches here.

Oh, so it's not huge.

And that could be, you know, that also could be 24, could be 30 inches, but we wanted it to not be you know absolutely huge where you're you know looking up like this.

We can just kind of step up over this platform.

It is such that that's really accessible, right?

It's pretty accessible, yeah.

I mean, that's why we're thinking you could we could put some of this text right here on top and just look right, you know, you'd be your eye level will be like right here, and you could just look right down onto it, uh, though it would not obscure the sculpture, you know.

Looking at it from a distance, you wouldn't see that really.

Um, so with a poly part of the structure, the pole.

No, well, theoretically it's the poles not going to be included.

Assuming that we we can make the structural components work the way that that guy is.

So I guess, yeah, in terms of my question about structural stability, it's like vision kids jumping up into the propeller.

Well, that's pretty high.

That's pretty high.

Uh this is this is already about uh six feet right here, almost six feet at this point in time, or eight feet.

Or because if we with the two feet, yeah.

But if somebody climbed up to here, it'd be another six feet to get up to there.

But you know, probably um I I uh I haven't seen many many kids climbing on pieces, but maybe you guys see it all the time.

Okay, oh yeah, yeah.

Yeah, go ahead.

Um you said this based on a the concept was based on a screen, but it's not a particular photo, like oh well, there is a very specific photo that it that it comes from.

Okay, so I'm new sculpture, so but I'm like come from like a legal line.

So I'm like wondering like how did that copyright process you can get if you need to get permission from the original estate of the photograph, guessing.

Well, this it was it was uh it's it's a navy.

It was it was it was shot by the Navy, it was it's part of the Navy Navy uh I think we can take it.

I think it's a I think we just go in there and take it, right?

What's that?

Is it the year from 50 or 100?

I don't know what it is.

I the truth is I I have no idea, but uh the Navy took it in 40 in 42 or 43, and uh, and I I doubt that they would come back and say, hey, you you made a sculpture based on our photograph, right?

And we have some rights to that, you know.

We have something, we have something there.

Um I would be really shocked if if the navy came back and said, Hey, you're you're making a sculpture to honor these waves, and you use you know you you based it on a photograph that we took in, you know, um 80 years ago, and uh we we have a bone to pick.

I doubt it, but just yeah, no, good good point.

It was not, but when one thing, one key thing is it was not a um it was not a private photographer.

You know, it was it was the name of the and the photographs are in the public domain, yeah.

Okay.

Um quick comment just for the sake of the public art ordinance which governs sort of on site art allocations.

We have to also have a city seal installed as part of this because it's officially part of the city's public art collection.

So we'll talk more about that, but it'll have to be made room for it somewhere on the plaque.

Um I think it really is the discretion of the artist.

We will have like a typical plaque that says like this is by Joanna.

Like it'll be the plaque for the artists, not necessarily the inspiration for the art itself, but the day was dedicated, that kind of thing, because that'll be part of it.

So anyway, we can talk offline and I can get the specifics about what's included in that.

Okay, okay.

Are there any public comments?

Doesn't look like it.

Okay, um, we're gonna close the public comment.

Uh commissioners, any discussion and feedback on this.

I don't think so.

Yes, commissioner thoughts on that.

Um a few things.

I'm not concerned, like, there's a reason by a structural engineers.

So we'll show you how to say it.

Um as someone who deals with sculptures who get finding on all the time.

Um I would not be concerned with this one at all.

Um I'm also not concerned about the copyright.

It's a photo in the public domain and it's from the Navy, it's one of 70 years old in this case, which is usually what we need to use for derivative art.

And you could be considering this transformative art since since it's now turned into 3D, especially with the change of the person into someone local.

So if you uh if you close that or not, it's up to you.

Uh we do not have a say in that.

Uh, this is uh uh a question what you what you feel like makes more sense visually.

The one thing that we have a say in is visibility.

I feel like this is very visible and looking forward to it, and I can see it's working very well in the place.

The question that we had last time was about lighting.

Um, since this is a bit similar, uh like we had a we had a case with another new art where we were very specific that they have to add lighting.

So I was just wondering how you were planning to um to light this up.

Is it just the street lights, or is are there any are there any spots or anything of email, which I don't think we have any plan for lighting at this point in time.

There's there's pretty decent lighting coming off of the building.

Um in the uh, but there's no sp there, we have not designed any specific lighting yet, um for uh to highlight the piece at night, like an icon would be I don't think it needs to be specific, but it would be nice to keep that in mind.

But it's the requirement that we can bolt on the belt.

Um, that would be the one thing that I think.

Okay, I think that closes that.

Love it.

All right, great.

Thank you.

Can we get a picture of it before they go?

We can just put a picture of it in our upcoming publishing.

Absolutely, sure.

Um, so I'll rotate it.

Yeah, the two you can stand behind the payout.

This is kind of the same.

That's a good that's a good shot, right?

What happens to me?

It's something like this from time to time, or there'd be another one.

There wasn't something originally planned to do that, but this is really cool.

With the model, yeah.

We can kind of tilting it just a chance to do it.

They put it in the library or something.

Okay, cool.

Alright, yeah.

That'd be really nice.

Okay, we're coming.

Alright, yes.

Smile artists, both of you, right?

Yeah, yeah.

Yeah, okay.

Uh two, three, public art.

Public art.

Thank you guys.

Appreciate it.

We are gonna take it now, but later you guys can uh display it someplace if you have a place for it.

Yeah, yeah, I feel like we should find it all the time.

Yeah, so yeah, let's just play.

Did you guys have any thoughts about the Maryland York versus Violet Falker?

Oh, Maryland.

Well, will anybody know that it's not her?

So just to just confirm this likeness here is not Maryland.

This is like it is more Maryland, yeah.

Oh, this is more based on Maryland.

Okay, so the final face will look more will look like Maryland.

So the inspiration photo was of a different wave.

Yeah, is that the idea?

Yeah, that's Violet Falker.

Oh, okay.

Yeah, so Violet Falker's original photo.

Yeah, you can share it.

Yeah, in fact, there's if you go if you go down, uh you'll see another.

If you can share that, so Violet's body and then Marilyn's face.

Oh, I see.

Oh, or Marilyn's body, you know.

Yeah, right.

Okay, I just think we tried to get a hold of Marilyn's family, but she didn't have any kids, and she had just it was a very kind of obscure uh thing.

But if anybody has a lead on getting hold of any of her relatives or family you know extended family, we certainly would be.

Or, yeah, we just don't have to sort of look like that.

I think I heard maybe like a nephew or a niece or yeah, there's a couple somewhere, but we don't know their last name.

Our former chairman is which we we tried contacting uh the, I think his name is Dennis.

That's asking.

Yeah, and he did not have very much information.

Historical society, maybe though for the unveiling, but that would be really nice.

This angle is what you have to do.

So this is this is it right here.

Oh, there's the I feel like it's fair that sculptures are built with models.

I think that's how you do it.

Yeah, but you what's that?

I mean, you use models to make sculptures.

Oh, that's how you do it.

Yeah, yeah, this is really exciting.

Okay, very cool.

Fantastic.

Alright, so we we will uh we will keep you guys posted on the uh the next thing we're gonna do is is to uh is to initiate the um the enlargement.

Yeah, fantastic.

And then what's the timeline?

Do you or forget?

We talked about this, it's on a paper somewhere that we signed a long time ago, but um, in terms of committing the the like doing the actual um sculpture at the site, uh well, it's it's probably what we had on paper plus a little bit at this point, um, but we should have the enlarged phone to work from in about six or seven weeks or something.

Oh, yes.

Then we should have a month or two working on the actual clay version of the thing, and then we should have another five months, maybe four if we try to pressure the foundry, but five months or so to um have it uh bronze, and in the meantime, uh we'll we'll work on our side at the building to prepare the pedestal.

Um but I think for sure we can unveil it in in 2026.

Cool.

We had been thinking maybe July 4th, but I think it's a lot too tight right now.

Um, I think it's we're probably looking more like the uh you know the late summer fall fleet week.

That'd be cool.

What is flea week?

October, right?

Um, around it.

My anniversary is always on that week.

Could be it could be a great, it would be great weather.

Great, yeah, nice time to do that in our day or summer.

And uh, and we hope to have a really nice uh public unveiling and invite a lot of people, and if you guys can think of anybody that you think would be uh interesting to invite, you know, we'll we'll host the thing and uh think it'll be Georgia.

That would be awesome.

This looks great.

Okay, well, thank you guys for your time.

Thank you, Jimmy.

Thank you.

Did you want to go first or I can go after whatever you want to do?

Because I do have a school communication, so you do have a couple, I do have any questions.

Yeah, thank you.

Can you help carry this out to the car?

It's on, yeah.

Oh, we got it, we got it.

We got it.

Okay, it was getting it in the car was the answer.

Yeah, we figured that out though.

Yes.

Thanks again.

Okay, you guys, you take care of you well, can I?

All right, that brings us to item five, which is staff communications.

Um, so I've got a few updates, but our biggest update is we have a new commissioner.

Hello, everyone.

Welcome, Adrian.

And um, um, so Adrian was just appointed on um the 6th of January, and uh Adrian, you want to take a moment to introduce yourself to your your new colleagues?

Sure.

Hi, I'm Adrian Sancho, um, resident of the island um uh I live on the west end.

Um my background is listening to performing arts, so I've done a better theater, both on stage and offstage behind the scenes.

Um I'm mostly a musician.

I basically growing up, changed to symbols, I was in the marching down to Ray Cal.

Um, just supported me a lot of travel as well, so that was fun.

Um, yeah, I just love supporting artists.

I wanted to go to law school to um be a sports and entertainment lawyer, did not go to law school because of the recession, so um, my day job is um in policy talking about free speech and tech.

So now, yeah, and hopefully um excited to um talk about art and accessibility and art.

Cool.

Welcome.

Thank you.

You're welcome.

So thank you.

And then I'm gonna give a couple of updates here.

We have a lot of really cool stuff happening.

Um, so our cultural art grants open on January 29th, and it's already up on our website, but the application itself doesn't open until that morning, basically.

Um, but the application will be open for seven weeks, so the deadline is March 19th, and um to prepare for that.

We're also we put we're putting on a grant writing for the arts webinar.

So um we are hosting this webinar on February 4th.

It's at 5 p.m.

We are recording it, it will be uploaded to the city's um website, or sorry, the city's YouTube page after.

So if folks are not able to attend that day, um, they can watch it after, and uh we have um Kimberly Asibo Arteche, who is the um executive director of Bravo Women for the Arts who is putting on the grant webinar, and basically it's an opportunity to learn about how to write grants, what to think about when you're telling your story and how to expand your funding opportunities.

So it's not necessarily just for City of Alameda application but for all grant opportunities in the Bay Area, which we're very lucky to be part of a lovely um ecosystem of um arts philanthropy here in the Bay.

And then the other piece of it is we do have an orientation specifically for our grant process, and that is on February 11th, also at 5 p.m.

And same thing, we're recording it so if folks are not able to attend in person, they can watch it, and that's where I walk them through how to apply, what are the documents that are required, what are the eligible programming, that kind of thing.

So that's more geared specifically towards our program, and then also we have what's called a special event permit grant program.

So I don't administer this program.

This is uh administered by my colleague Amanda Gurke, and um it is there's probably some overlap with folks who are applying to the cultural arts grants and folks who are applying for the special event permit grant, but essentially it's for large scale events.

I'm talking large events that do street closures.

So what it is is funding up to $20,000 to support things like um street closures, uh fire, police, um different types of permits that involve um city staff that have to get involved to execute the event.

So that is open until February 27th, and Amanda is hosting um a how-to on Tuesday.

Okay, I don't have the date right now, but I will share it.

Um, this was shared also in our recent public art updates email.

So if anyone listening or watching any wants this information, I'm happy to send it all an email to you.

But those are a couple of things to keep in mind.

We have a lot of cultural art and grant activities happening over the course of the next um eight weeks.

So that's that's my update.

Very good, very good.

Um, let's see.

So is your uh that was your written communications uh commission communications non-agenda?

Does anyone have anything they'd like to make?

Yes, I have uh uh a question.

Um a few meetings ago.

I was mentioning that the artwork chronicle management uh um got either damaged or replaced, like the box, the electric box is now unpainted, and I wanted to ask if there's an update on that.

I did send an email out, and now that you've reminded me, I realize I never got a response to that.

So I will follow up with them and give you an update about that.

What is that?

I don't remember that.

Um, street um um artwork that's consists of a mural and several painted uh transformation uh transformer boxes, okay.

And one of the boxes or two of the boxes are repainted in gray and don't have to the paper on it any longer.

Yeah, this is the picture you sent me.

So as part of the public art requirement, this was for uh a development, so this is technically on-site art.

Um, this was meant to be painted, and that looks like maybe they replaced it with a new box.

I'm not sure, but the artwork is gone, so they're required per the public art ordinance to maintain the art um for the for the life of it, which typically is like 25 years for these kind of things.

Even if it's replaced, not just yeah, it has to be if it if it gets replaced or removed, it has to be um one-to-one essentially.

That's the part of the ordinance.

So I you reminded me that I have to follow up with them because I had a right response.

That'd be nice, and then uh, is that we are all holding for it on the stars, but you can also look for arts organizations.

Oh, cool.

Um, it's nice to see which arts organizations are nominated.

And they're doing stuff.

Okay, not to people on the on Zoom.

So in back to the box, in that in that case, would that mean that the utility company would fund to have the artist repaint the replaced box?

No, this is a public art commitment for development, so the developer is responsible for replacing the art that's gone now.

Yeah, and they would communicate with the artist, or that would go through us, or no?

No, it doesn't go through us, so they would be responsible for they're responsible for administering and maintaining the art.

So essentially, in this instance, they're not maintaining the art, it needs to be um they need to redo it basically, and um and it's part of their on-site art requirement.

Can I answer?

Okay, I have some um uh communications that I'd like to share with everybody.

So um this is my thoughts for the PAC for this year.

I'm sad that Lisa's not with us, but um uh share it with all of you.

So um this uh I was appointed to the public arts commission in March 20, 2018.

This will be my last year.

Uh, served eight years on this commission, so there's a lot of history here.

Um, during that time, we've accomplished a great deal expanding art funding, refining the grant awarding process, and strengthening our support for artists and projects.

In 2023, we created the public arts master plan.

I hope you can find time to read that.

That's our title.

Yeah.

Establishing a really clear five-year strategy to guide our work.

We're currently in year three of that process.

It is important that we continue building on that momentum with intention and focus.

First and foremost, we should work together.

Each of us is here because we bring something unique and valuable to the table.

Speak up, ask questions, and share your perspective.

Your voice matters.

They dedicate a lot of support to us.

They're generous with their expertise and assistance, but they are not our full-time staff.

Respect their capacity, helps ensure strong productive relationships.

We should also this year we only have three meetings.

This is our fourth meeting.

This is our first meeting.

We have three after this.

So it's especially important to become prepared, use our time together intentionally so we can move forward working efficiently and meaningfully.

Lastly, when I tell people I serve on the public arts commission, I always say it's the best commission because we give money to the arts.

What could be better than that, right?

Supporting creativity and artists strengthens our community, and that's something that truly makes people happy.

So let's stay focused.

Let's work hard at each one of these meetings.

Let's not stall on anything, let's move this stuff forward, and I'm so happy to be working with all of you.

Welcome to the commission.

Thank you, everybody.

Thank you.

What's next?

Any oral communications with anyone?

Nope.

Okay.

Well, in that case, uh, this meeting is now adjourned at 6 44 p.m.