Alright, I'm gonna call the meeting to order at six or one.

Oh my phone.

Oh, I think that's all that's a little bit of a 601.

Wow, we're on time.

And this call to work.

Okay, Joe Medwin.

Susie Merhar, Lazy Rathbun.

Yep.

Vice Chair Bryant.

Yes.

And Chair Sickles.

Yes.

And absent.

Um excuses Chuchu Thompson.

And Stephanie Spade.

Yeah.

Yeah.

So next one.

Move the visual arts committee meeting minutes on April 8th and then 6.

I second that.

And then we will.

All in favor.

All in favor.

Yeah.

Yeah.

That's cool.

Sure.

Thank you.

And then next is oral communications from the public.

We have students.

No, raising their hand online.

There are four people online.

Two are in the Patreon conference and then the two two additional attendees.

And then five is upcoming agenda topics.

So that's for us too.

I was just wondering when we get the art code we need to like have that.

I'll pick you up.

Yeah, we'll have an update at the um at our update section later.

And then six unfinished business.

So then six two is visual arts committee fiscal year 2026-27 award plan.

No, we'll go through the CIP project updates first.

Okay, so just a few quick updates.

So Evelyn Park and Bill Chiquita Park is a both still going through um review and planning and engineering review.

So the artists are working closely with the public works project managers um to get their art projects fit.

And for the Shoreline boat house, uh the artist, Stephen Galloway, he just went and visited Shoreline with um the city's biologist and walked around and was able to talk about and learn about a different animals and plants around Shoreline to uh get his rendering started and uh start submitting that to the city.

So you've already seen Fernanda Martinez's mural, still looks beautiful.

Um that was done in March and then um of Seto.

Um we're still finalizing her schedule, but it sounds like it will be fall um of this year, potentially in September, but we'll have date once that's official.

And then the train depot, um public art project.

So we all know this has been done.

Um but we did have the celebration on June 11th and went really well.

Um was really hot though, you're called uh 97 degrees outside, but we had I think at least 50 people showed up and so it was really great attendance.

People were really excited about the project.

Um the artist was there, the mayor spoke, um we had multiple class workers there, uh BTA.

Um it was uh yeah, very fun.

Just quick update on the lobby gallery exhibitions at the CPA.

Um so um right now the Center for Performing Arts is kind of evaluating their public hours and so kind of as a compromise to being able to um allow people to go in and see the exhibits.

Um kind of get some special time with the art that's up on the walls.

We're gonna do one Monday evening for exhibit.

Um that's the the evenings that are most available at the center.

Um, and so we had our first open gallery hours with Wang on June 8th.

Um we saw about 30 people come for over the three hours that it was open, and um she had a ton of friends come and visit, which was really nice.

They did a little photo shoot in front of her art.

Um and then we'll have the next uh the next gallery exhibition or open gallery hours is going to be Monday, July 27th, uh 5 to 8 p.m.

with John Whitmarsh.

His art when you just look at it from the windows, it's huge, it looks stunning.

Uh oh yeah, he's already up.

Yeah, it's good.

I've been in there, it's it's nice.

So open gallery hours means the artist is there.

Yeah, um, so for well, it it'll it may depend, it may vary on the artists, but uh MC Shin Wang was there, John Whitworsh will be there.

Um, so we're scheduling um with the other artists uh for the future slots, but um, yeah, we're hoping that they can come and be there and just a chance to kind of casually meet with the artist and but it's not a speech by the artist.

No, it'll just be within the lobby.

Yeah, okay.

We are still working on plans for um uh two additional pilots um artist talks.

So at the second second stage, um, like we did with Don Hirschman.

Um, that'll be um, I think planning one for the fall and for early next year.

How are you advertising these?

Um, these the so the first one we had kind of a short run to get it started.

So we shared it out to our artist registry network, the public arts strategy subscribers to um our social media.

So a lot of it is online.

Um we're asking the artists to share it with their network.

We shared it with the visual arts committee to share with your network, um, and um for this.

I'm uh I'm I'm starting to send out um invitations to our local organizations to artist organizations, and we'll share it with the community school of music and arts, uh the freestyle academy, um all the yeah, all the different groups.

It'd be an idea to bring posters and maybe just distribute them on Castro.

The stores there.

People are walking down up and down there anyways.

Yeah, something else to look at.

Yeah.

Like one of those signs, right?

Yeah, or just you know, sometimes they have like post little posters in their windows, yeah.

So a lot of the businesses will um I have um books inc and um east and west that they have um specific apps for wires, community fires, and those are the um project updates that I have.

So are there any other questions or um any public comments?

No hamsteries online.

All right, then we go to visual arts committee fiscal year 26, 27.

Okay.

So we we um had a discussion about the work plan uh two months ago.

So this is um, you know, bringing back the workplace time for um official recommendations to bring to the city council for their approval this fall.

Um, here all the accomplishments that we had this uh fiscal year.

So we launched the public art strategy.

Um a huge um huge effort, and um a huge effort by the visual arts committee, and um, so we're really excited to have uh started that process.

And we selected the Visual Arts Committee selected 10 artist exhibits uh board the Mountain View Center for Book Hobby, the Rangstorp Park Mural by Bernanda Martinez was completed.

Um the VAC formed an ad hoc committee to support the selection of the train depot project.

Uh we got the bullards done, the Bullard Beautification Project.

There was the pilot artist reception with Don Hirschman in February.

Um we saw a 60% increase in exhibit applications for the lobby exhibits.

And I think that was through all of our partnerships and increasing our reach through different local organizations.

And then just digital growth.

So the work plan is the um is the same as it was presented last year.

The only addition highlighted is that we added the uh to recommend public art for the public safety building and for the Thompson Mini Park.

So those projects will be introduced to the visual arts community, the stall um public safety building should be coming to you in September, anticipating selection of the art next spring.

Um there's another um more specific project that's added to the DAC's 26-27 work plan.

Um there were no other changes.

I think our last discussion.

So on board's ongoing work items are you know recommending visual artists that's for the review center for performance lobby program, promoting this uh exhibit community, providing city council recommendations on the selection of art.

Um the two projects we have coming up are the public safety, and many parts, uh collaborating with other city advisory bodies, artists, businesses, and just preparing the annual work plan, then um the fiscal year 2627 work item is finalizing and it's initiating implementation of the art strategy.

Um, here for the key milestones, we kept it um pretty simple.

The city council needs to adopt a strategy before we can get into more specifics on um kind of what those key milestones look like.

But um, we included reviewing and providing input on the implementation plan.

And so once that's adopted, you know, we'll have questions and are there any questions?

I have some comments.

Um this is really focused on the fifth class, because of 2016.

And um we have one which we have up here, but given the uh forward stuff.

No, it's gonna things that we have.

Um, we have 17 um short-term projects.

So I would expect that in 2027, we have some um deadlines or plans to you with the committee, or for yourselves to be honest, um, and um loose and there, I mean by fall of 2026, um, which we have here, we'll expect some milestones along the way in 2027.

Yeah, yeah, so until the city council adopts the strategy, we uh we don't necessarily want to identify exactly what those milestones are because what we present to them, they may end up changing some of that the order of operations of things, and so once the strategy is adopted, then it doesn't mean we can't start those projects right away.

They can they will be started because once it's adopted, we'll be under that specific short mid-long term timeline.

Um but it as far as the work planes, it's not an adopted document at this point, and um so the um the work items for visual arts committee are to um initiate the implementation of the strategy.

Once that's adopted, your modest things include identifying opportunities to mark the strategy's completion, reviewing and providing input on the implementation plan and timeline.

And so I think that includes looking at those specific short-term action items that the council does adopt.

So that's why you don't want to now something in 2027.

Because it's not yeah.

If you want to vote into it, um well and this is just starting fall 2026 so this will start in fall 2026 and carry us through to the end of the fiscal year.

Right but you okay so it it's inclusive of 2027.

Right there's there's a date for 2027 seems like what I will plan going for.

So that's yeah I hear what you're saying and I think you know all of a lot of these I mean maybe we could say all 2026 to ongoing if that helps to kind of make it feel like it's stretching into 2027 but we're assuming that we will initiate the strategy implementation starting in fall 2026 and then implementation will continue through the work plan.

Yeah okay.

Yeah we'll be ready and eager to jump into that I'm sure what the document shows yeah but we move forward.

Yeah I think I think um I think that's good feedback and I think you can rest assured that from a staff perspective this is we initiated in fall and we continue through the end of the work plan yeah.

So we can add ongoing to that time yeah we should say in fall 2026-20 spring 2027 if it feels like that will capture error I think we just want to be careful that nothing is starting until council adoption yeah.

Anyone take any public comments yeah any comments from the public should we have any I still just kind of like let me okay.

No one's hands are raised on mine.

All right then we move on to six three review of draft public aspect two presentation packets um so the presentation package are large yeah we can follow it is it I think it goes up yeah it's kind of awkward that's the end okay like I think that could be just fine oh okay so I'm just going to run through the presentation afterwards we'll take questions like clarifying questions um see if there's public comments and then um a great recommendation we can go around I think is uh maybe have each committee member provide individual feedback to start uh and if you know if there's more feedback after that too if you have more thoughts we can continue on but it's not set about more okay and then just think just um a quick overview and this is going to be a little long discussion um so we'll go over the public art strategy development uh and talk about the just the label of contents how the strategy is uh outlined uh community outreach results uh the public art strategy findings uh vision mission, goals, recommendations and action um we'll talk through what you know how how to look at and read the implementation and plan um and our next steps.

Okay, so the strategy development.

So we initiated the project starting in June of 2025.

This included looking at all of the city's existing artworks, policies, funding mechanisms, analyzing the arts community, public art strategy that was started to develop, and we went into community outreach engagement, starting in September through February.

This included public outreach, we did online and paper surveys, community workshops, top of the tabling at a few different events, and um a few different focuses.

And then we received input from staff.

We work closely with all these colleagues to help look at the strategy in a way that made sure it met all of our various requirements and planning documents and got some really lovely one.

And then, you know, we've been working on drafting the narrative since March, taking all of our community feedback, the visual arts committees drafted strategy and all of our internal staff feedback and more involved, what we received.

Okay, so looking at the table of contents.

So the purpose of um kind of how or how we outlined everything is um to basically introduce the public art program today.

Um we outline um the different programs that we have, whether it runs through visual arts committee or it touches um comes from the community services department, their different student or adult classes and workshops throughout the year.

Um we talk about the process to develop the strategy, best practices around public art, and the community engagement process and results.

And all of that takes us into the findings, the vision, mission, and goals, the recommendations and actions, which are really the of the document.

Um but it really, you know, if someone picked up the document, they could look at it and say, okay, this is where the program was at today, or at the time they adopted this, and then here's where we're going.

And then the appendices contain all of the foundational documents.

It has our current policies, the public art inventory, the more details on the best practices in the different cities that we looked through to benchmark, and then our implementation.

Okay, so I'll quickly run through engagement because we have we've all talked through these numbers before, but it is really fun to see.

So we've got over 700 people to participate in this.

That included all of our uh surveys, people who joined our workshops, who stopped at the booths, people who engage with us through the focus groups.

Um, there was over 2800 vision board stickers, which was really fun, 306 surveys collected, 26 map pins, and then we did 10 total events.

Uh when people, this is part of our survey question.

So, what's the first thing that comes to your mind when you think of Mountain View?

Um so cultural, culturally diverse was um the biggest one, vibrant downtown, which if you walked through downtown before you came here, you could see how busy it is.

Um, innovation and technology, um, and then where would you like to see public art and cultural arts programs?

Um, downtown Mountain View.

Um, uh huge, huge amount of people wanted to see more art there, um, and then parks and trails and trance and stuff as well.

And then what type of art would you like to see?

Um murals was a big one, then sculptures and functional arts, um, what do you think of the role of public art in Mountain View should be providing opportunities for people to experience art that enriches their lives, bring a sense of whimsy and delight to everyday spaces, and then support the growth of article arts.

So this is another slide that you've seen before, just how this outlines how we put the strategy together again.

Um so taking all the community feedback and values, incorporating it with the visual arts committee, their vision that you created, and then thinking about the practical application of everything, and how you know just making sure that everything aligned with all of our requirements and things.

Okay, so for best practices, so this is just a little snapshot from the best practices section of the public art strategy.

You'll see in the implementation plan, or sorry, in the appendix, there's a larger best practices appendix that has much more detail for for more cities than this too.

But it just is helped show where we're at in comparison to our neighboring cities.

So we have, you know, we will have one full-time employee, one full-time staff member, and it seems like we're kind of in line with that with other cities.

We do have a higher percent for art in public projects, but where we're lacking is that percent for art and private development, and we're using those foundational policies for maintenance, a specific policy around gifts, um, gifts of art, and um deaccessioning.

Okay, so for the findings, um so this is where we really tried to outline um outline all the feedback and summarize all the feedback that we received.

So we broke it out into two sections and kind of broke it out based on the two goals, which we'll talk about um in a few slides.

But the first goal is really around expanding public art opportunities.

Um, so the different findings that we have, um is around public art collection.

Um so right now there are um 122 artworks, most of those are on private property.

Um this section really talks about going from um incidental um art placement, um just part of our CIP projects to more proactive strategic um selection, and then community priorities for location and typology.

So in this section, we talk about how um, you know, as you could see in the survey results, downtown Mountain View was a really big uh contender for where people want to see art, um art and drills and transit areas were too.

Um, but you know, in other conversations we heard um people want to see more like functional art in downtown.

We can have artistic bike racks or uh benches, but we have the shading structures and having more um diverse cultural themes as well.

And then um the next finding is around supporting the local creative economy.

So this is really focuses on the technical training, and this is something we heard in our artist focus group, was just providing more resources and support for the artist community, um, making sure that they are just helping them understand how they can work with the city, uh, what's the permitting processes?

They want to do art on private property, um, those different things.

Um we also heard that there's there is more demand for private murals or murals on private property, um, but people have um told us that the permitting complexities can kind of stop them from moving forward with that.

So um providing some some type of support with them, and then opportunities for downtown art activation.

So it's similar to number two, but we specifically heard from the downtown business association and from community members too, that there's interest in art in the alleyways and the mid-block through ways, um so there's more opportunity for those like art and unexpected places, kind of in downtown and creating more fun place making options like the bowlers provide.

Um, and then more proactive placemaking.

So, again, just going more towards that strategic um strategic art selection and curation.

So the second batch of findings is uh more focused on administration, funding, and policy.

So first um looking at policy and procedural modernization.

So as you saw in the best practices that table, and you know, as we all know, we're missing some of those foundational documents that help support uh more mature art programs.

So around maintenance, conservation, deaccessioning, art donations.

So just being able to standardize those types of policies, will help support support and modernize our program.

The second finding is around streamlined streamlining procurement processes.

Um so you know for lower risk projects like murals or temporary art or the Bullards Dollar Beautification Project, thinking of ways that those projects could be done, not through the same type of permitting process that may be a sculpture that requires engineering review or something has to be done.

So creating different levels of procurement processes for different types of projects and different types of this would also include looking at insurance requirements for different types of projects too.

And then the third is around centralized funding.

Um so this looks at or talks about shifting from more site specific funding, which is our current process through the council policy K5, all of the funding is for the specific project to more of a pool model, so creating a fund where you know maybe there's a project where it doesn't make sense to include art, but it is eligible, and so it does get that 2% funding, you could pool it and use it somewhere else in the city.

Um so looking at ways to do that, and then um thinking of how um yeah, and just being able to use it, then we could use our um use that pooled funding to place art in areas where there's more of a need or there isn't there's a lack of art.

Then the board finding is about um the prioritization of long-term stewardship.

So um again, you think about all of these different policies and and how we're looking at funding for the city, it's just helping support a more long-term sustainable program.

Okay, so the vision and mission.

Um, so I just want to note um so the visual arts committee vision was a little bit different than this, but um, and I think there was in the visual arts committee public arts strategy, there was there was no mission.

There was only one, so we took some of this, some of the same content um from the visual arts committee vision.

Um we got some specific feedback from the city council uh at um the study session study session that they held in October 2024.

Um and so the vision and mission that you see, it tries to encompass both um both of those things.

So the vision mountain view is an arts destination with public art that enriches the city's innovative and creative culture and enhances the vibrancy of our diverse community.

So this is where we're going.

The mission is to cultivate a public art ecosystem that enhances city livability, builds community, fosters a sense of belonging, placemaking that reflects our heritage and diversity.

This is the how do we get there.

Yeah, so I mean, really, both um the VAC vision and and what you see here, um, they just both share the belief that public art helps to enrich Mountain Views innovation and celebrate its community diversity.

And then we have two goals.

So I'll go through the first goal.

Um so I'm not going to read the entire thing, but um is really to help um so the VAC's goal I think there it was focused on or there was one specific goal.

So cultivating and growing public art and mountain view enhancing the city's livability fostering placemaking.

So you'll see that this is really all about expanding our diversity and and artists and mediums, our programming our branding that's that's the focus of goal one.

And we don't just touch on city art we also talk about publicly accessible on private properties.

And then the second goal is all about administration funding and policy so this is where we'll talk about staffing um how you know how we're how we paying for all of this the collections policies and um just making sure that the program can be sustainable long time.

Okay.

So the recommendations and actions um so as you look through the document you can see we have um action opportunities and then guiding strategies.

So the point of that is the action opportunities are supposed to be more just free um kind of check check the box action items you know as we look at creating a strategy it's a 10 year strategy you want some things to be done as you go through it but a lot of the things that we included in this document are just going to become part of our everyday work as staff and so these guiding strategies are things that we're going to have to consider.

They will end up being something that's part of the ongoing effort whether it's an everyday thing or just part of every call for artist um it won't be a check check the box type of type of action item but something that we'll we'll continue to do.

So just as you look at the as you look through the recommendations and actions that's the kind of meaning for them.

Okay so these are I I included every single thing these slides so I apologize for the wordiness but I just wanted to make sure you know as we're looking at this together we can just look at it all as one.

So a few of the slides might be broken out by the action opportunities or guiding strategies but um for the most part we just have each recommendation's more in one slide.

So the first recommendation is around diversity and equity the action opportunities these are our check off the check the box items so establishing new eligibility criteria to help diversify our collection um whether it's you know based on um an artist coming in and they can only apply for so many projects or within so many years or I'm looking at specific types of medium for different projects and then building review framework for evaluating how proposed art can expand our overall collection and developing temporary functional art program a toolkit with pre-approved locations and then for guiding strategies for recommendation one a we look at um focusing on activating high visibility sites either with big gateway pieces or small functional art pieces and then integrating community and and local historical organizations into the selection process.

So one B.

This is focused on kind of the natural environment or how art can play into the natural environment and our key locations that people want to see art.

So for action opportunities, you'll see first about the sidewalk studio program where people can see similarity costs was a really big one that we've heard from community members.

Mapping exact target sites or unexpected place making, so like the alleys or mid-block through ways or mini parks to help resolve geographic disparities, commissioning local artist-led pilot projects focused on environmental preservation.

And then guiding strategies, we look at uh blending functional art into city infrastructure, emphasizing eco-friendly fabrication standards and to our commissions, and celebrating both the city's uh tech innovation as well as its national heritage, so one C, um this is focused on empowering local artists and providing support to them.

So launching a public art 101 professional development course or series, and we did talk with community school of musical arts about this type of opportunity, and they were interested in um supporting that, producing clear and accessible application toolkits, uh, step-by-step instructions on how to get involved in city projects or how to apply for permits for public art, expanding rotating art exhibits out of the Mountain View Center, or looking for spaces in addition to the Mountain View Center for Performing Arts Lobby, and like in the City Hall uh Rotunda area, and then assessing the creation of a centralized um artist space.

And then for guiding strategies, um so some of the guiding strategies include um building direct mentor or mentee pipelines, and then um looking at um recruiting arts focused or funding um arts focused enterprises that are expanding and supporting them in finding space in the city.

So 1D, this is really focused on um branding and storytelling, education community, another thing we uh learned through our outreach is that people are seeing public art in the city, but they don't know how it got there or don't know much else.

And so um some of the action opportunities are to launch a unique brand for the public art program, um, upgrading our digital map uh to make it more interactive or downloadable or creating um individual PDFs for for different sites in the city like North Bay Shore or downtown to support people doing their own self-guided tours, and then creating more promotional items like stickers or coloring books.

Um, okay.

And I think we have our guiding strategies on the next page for this one.

So some of the guiding strategies include um inventing arts activities at city events.

Um so I know the community services department um does try to include different art activities at events, but we can support it through inviting local artists to help lead those projects or um and having more of those educational materials at events too.

And then focusing on uh using different city communication channels to help just educate the community more on our program.

So now we're getting into goal two, which is so this is all focused on the administration and policy and funding.

So our recommendation 2A talks about staffing and governance.

Um so this includes formalizing the public art administrator position and differentiating artist selection criteria by project complexity and budget, uh piloting diversified artist selection panel model, centralizing all public art policies on the city website, and for guiding strategies.

This includes working with other city advisory bodies, so including them in that artist selection process if you know it's a downtown project and we invite a downtown.

So 2B talks about innovative funding model.

So just how are we get how are we paying for public art?

So our action opportunities include establishing a consolidated public art fund.

So this is that pooling of resources using the council policy K5 dollars or potentially private contributions down the line.

And then for the guiding strategies, this talks about reviewing existing community benefit requirements for private developments, reviewing opportunities for that percent for art and private development requirement too, and um pursuing regional partnerships.

So I think our examples are Santa Clara Valley Transportation Authority who supported the train depot project, Santa Clara County, Valley Water, SV Creates and other agencies, just looking at expanding our public.

So two C this is on policies and kind of focuses on some of those best practices.

So action opportunities include uh developing an annual work plan.

So this will help uh support transparent tracking of funding, milestones, um, and all of our art projects, uh updating the council policy K-5 to support that citywide pool of funding.

Um right now, because the council policy K-5 says we can only use it for specific projects that wouldn't be updated, um, and adjusting the council policy K6, which talks generally about all of the gifts and policies or um how the city can accept gifts and art is one little word in there.

Um so updating that, removing art from that, um, and creating a specific policy around accepting art as a gift.

Um, adopting a comprehensive public art collection management policies.

This would include um talking about removal and deaccessioning, maintenance, um, all kind of the those broader pieces, the gift policy, then standardizing a maintenance plan template for all fabrications for all new art projects, so we can more clearly track um all the maintenance of each individual art piece.

Um some of the other pieces are enforcing a two-stage uh design review checkpoint.

So doing that um RFQ request for qualifications followed by the request for proposal process.

We might just invite a few people, pay them, uh compensate them to create designs before making a final selection.

Um, some others are um amending the zoning ordinance to clearly define where the mural is and um deviate that from our current general development permit process.

And there's lots more on policies, so we move down to the next slide.

Okay, so looking at the guiding strategies um around public art policies, so um this includes reviewing insurance.

Um so this is going to be just a constant thing that we'll have to kind of monitor and see how other cities are how they uh enforce insurance requirements for art projects and um and then facilitating closer collaboration between artists and and the capital improvement project managers and and contractors, like I ran really quickly for that.

Okay, we'll get into it during the session strategy so I'm just gonna kind of describe to you what the implementation plan looks like how to read it um so every single one of those action uh opportunities and guiding strategies is listed in the implementation plan and then for each item we've identified um what we envision the kind of timeline to be for that that thing um what the um estimated cost could be um and potential um community or even city department partners um so for timeline we have um short term which is one to two years midterm three to five long term five plus years um I will say like what you see in the appendix um um we we had to go through it once you know a lot of things seem like they could be short term but then you have 50 short term items that you can't get all of those done in one to two years so we had to be really strategic and thoughtful and had to go back and update um all of them a few times uh to make sure that it was truly realistic and and how we can get it done.

And so if you see something and you're like this can be done in a year we hopefully thought about that and um and had to kind of reevaluate based on kind of some things we'll need to get done before we can do other things.

So there's a little bit of kind of order of operations.

And then estimated cost so one dollar signs um under 10 grand two is between 10 and 50 three is over 50k or 5000 um this was another one where you know some projects if it's a single bike rack might cost under 10 grand potentially but um if the action item says we want to see a bike rack or a giant sculpture then it could be anywhere from 10 to over 5000.

So some of these you'll see a range and um and it will will really just depend um on kind of what we're able to get done and how we're able to get the funding for the projects and then potential partners um I know we probably are not fully inclusive of all the the list of of groups and organizations that we could work with but we really tried to focus on um including all of our internal department so that when they see this document they know you know we've identified you as a partner we will need your support on this and so we'll also need to work closely with them to make sure that it can fit in in their schedules as well.

And then we tried to make sure we could include um you know just different arts organizations local organizations that um we thought could be a good partner but it doesn't mean that's the end all be all um we can add more people or it can be changed up as we move forward.

And then this slide so I just wanted to quickly note um so the document that was attached to the agenda tonight um that is mostly just written narrative um so we are completing the design now there will be lots of pretty pictures in there and really great examples so we'll do kind of a healthy mix of local examples um and um statewide nationwide um from all over the place so we want to make sure we can point to things and and kind of give examples of things I know when we um presented the draft narrative to some of our uh colleagues they had questions on what's eco art what does that look like and so we'll be able to have those photos in there to show this is what it could be it doesn't have to be this but um here's here's a good example so this is just a little uh snapshot so you you got some of the appendix um the mostly final appendix uh pages and a little snapshot of the uh the actual of the document um as it's in progress.

That's kind of the way that the captions will look.

Um we're gonna continue to use the coloring that you see here on the right and the left with the um and and that that kind of size of fonts so keeping in mind both printed and screen um, and then um I already talked about the appendix, but just um reminding um so all of these documents are just kind of standing documents, the visual arts committee draft strategies, what was last presented to the committee, um council policy K5s are our existing policies, the public art inventory shows what we have today.

Um we would be sure to include the city council study session as we reference it early in the documents and um we have the benchmarking cities, this goes into a lot more detail on um the staffing, um the level of um percent or different requirements for present for art in public and private development.

Um, and then there's a lot of um details about different programs that cities have too different um some different funding, right?

Um and then the community feedback.

Um so we we do um we summarize a lot of the community feedback in the in the strategy narrative.

Um this community feedback appendix just goes into a lot more detail.

Um it includes every single written response um from in the survey.

Um so we're making sure people see that they, you know, we we heard all of their feedback.

We um and making it known and being very transparent, and then we'll obviously have the implementation plan um as part of the projects as well.

Okay, so just before we get into questions, um just quick look at next steps.

So um July through September, um, after tonight, we'll finish the um finalizing the design of the public art strategy um by October first.

Um we intend to have the strategy posted on Collaborate MV for public comment and review, and then um we'll take the draft to uh City Council for review and feedback, hopefully adoption October 27th, um, and then after we go on.

Okay.

So I did fly through that.

Um before we take public comment.

Do are there any clarifying questions about process or just anything we can so the city council can then still change things?

We'll say we want this first or not first.

Yeah, yeah.

So they'll um I think it'll technically, well, it'll be a new business item, I think, um, for the council meeting in October.

Um, but they're uh I anticipate discussion and um they yeah, they can provide feedback on how things are worded or how things are organized, whether to include any action items, um, you planning a study session um council is the last.

Um yeah, but we got a lot of feedback in the from the study session in the fall, so yeah, you know, everyone's really eager for us to get to adoption.

So it'll be but but as Kirsten said, you know, we are anticipating a robust discussion, there's a lot of interest.

Um department directors reviewed, so you know, level staff definitely has reviewed the so to be able to communicate with you know informed and council will get the same document, like with all the appendixes and they'll have the full design, yeah.

They'll have with the full design, yeah.

The beautiful and I mean as Kirsten said it's out currently for public, you know, public feedback, so there will be a you know it'll there'll be a lot of time for people to absorb and provide public comments, yeah.

And in a way, this is the first time it's public, right?

Because people are following our meeting tonight, and that will be package ticket.

Yeah, so exactly, yeah.

Yeah, we did share um all of our public art strategy subscribers, which I think has gotten to over 600 people.

So, yeah, that's a big step.

Yeah, it is a lot of interesting parties.

Right.

Okay.

So we sent out an email last week to all the that subscription list, um, just letting them know we're talking about this tonight.

Uh I'm good.

Some of that high-level overview of the feedback again and um see if there's any public comment.

Um question, like uh is there a timeline on my comment?

Obviously, like it was like two minutes, three minutes, whatever.

So um yeah, I think we we a few minutes if that's okay.

Yeah, okay.

Well, yeah, like uh that's why I wanted to uh we're gonna have that.

But first of all, I love what you guys do here um because honestly, like you know, congratulations on 600 uh subscribers because 6,000 in a year.

Because what you guys do here develops the solar in the heart of the community.

So what and I love how not to be able to post this on that.

Um uh on that note, well, like uh I don't know if there could be something within your guys's like you know, uh strategic art plan to develop maybe a Mountain View Museum Art kind of that they have in San Jose.

We have a San Jose, I know that's you know, something parked out in the budget as a big undertaking project, but it's just just an idea to uh put out there and also um I know you guys have a lot of uh outreach projects for non-artists, like you have like workshops of the open city workshop and then the thing that's gonna come up on which is like you know that the way you invite other artists and look through some of the nonprofits to um spotlight folks for professional artists, but what about outreach to folks who aren't conditionally artists, like for example, folks who work in healthcare, folks who work as policemen or military and so on and so forth.

But it would be a good way to uh you know outreach to those uh professions and people to get them to entice a creative mindset.

Um you can implement that in your strategy.

And finally, when you guys said uh the sidewalk studio, I immediately thought you guys meant individually sidewalk, not the uh the public like you know uh cubes.

I think that would be a good idea if you guys explore kind of like how we have uh a lot of public art in some of the larger cities or less Hollywood, more like you know, Brooklyn, where you actually have sidewalks that are painted that rather than like you know the community.

Like where you have like you know, individual like you know, blocks on sidewalk where it's like hey, this looks like a school.

This looks like you know uh a park and you can have a city build that or you can like we guys have the private public partnership where you actually work with companies or even just children, just like you know, on the sidewalk and just like you know, establish art that's converted.

And that's another drawing effect to the city.

So just a couple thoughts.

Thank you.

You have one hand raised online too.

Go ahead and see if your comments hi.

Hey Jesse, Jesse.

Hey, how you know, what's up, the AC.

So um yeah, thanks for getting it to this stage and just have a few uh additional comments.

So I wanted to support um removing barriers to public art, including permit fees, um, and um just just permits in general that seem to pop up unexpectedly.

We've had um opportunities in the past to have cool public art that were kind of derailed by permits um or at least delayed.

Um so for example, you're all aware of the uh additional structural engineering permit required by the cool tall butterfly sculpture going up uh Evelyn Park, and that's just seems kind of wrong for me to say hey uh congratulations, you're hired by the city.

We're telling the artists we're gonna pay you to do this sculpture, but first you have to pay us a bunch of money for this permit that you didn't know that you would need it that we made no mention of before.

Um so I also support a percent for public art um for private development, that would be great.

The public art fund that can carry over from year to year.

Um, finishing at the end of the year would be really helpful to build up for those kind of big gateway pieces, those iconic pieces of art.

Um you already discussed a lot of uh the percent for art funding to be used in other parts of the city, so that's great.

I think that's important.

And pooling all the funding together would help.

And um I support pursuing additional funding through grants.

Maybe having some actual grant writing done by our new public art manager or city staff.

Because I think the only grant I can think of recently that has resulted in public art is uh through Anita Rosen doing all that work kind of on behalf of the city.

And I think now there's lots of public money out there we can we can write those grants too.

Yeah I'll talk again at the city council meeting but um thank you good luck and I hope this goes through thank you thanks Jesse no one else online okay so then we can yeah you want to start commenting.

So Cliff suggested we just all just go around give feedback go around um yeah I think Jesse brought up a uh a good point with the um with the permits you know it's like it's a bureaucratic you have to fill out the forms and then the cost I think if we can maybe even waive the costs for art permits that will be great which is another subsidy maybe to the artist but you know I mean they get the start you know paid for the project and then they have to I don't know how much the the comments are but how building permits can costly and pay a thousand dollars for a structural permit.

I'm gonna want to respond to all of you thing I will say um I'll let you talk but um on the murals I will say we just got a pro city council to create a bureau specific permit um that is um 300 so it's covering staff time to review it to make sure that it um doesn't um conflict with any of our um um rules on signage and advertisement and um so that's reducing it from I think it was 1100 um down to 300 so we were able to do that but it's fun to say that but I like that you all continue talking start maybe and um and just as a note I mean I I think we want to hear from you about you know obviously any questions but are the action items and the guiding strategies the right ones you know that's a perfect example of one that's in this it's in the strategy and we'll we'll be come back to um the C with recommendations go into implementation.

So we want to we really want to make sure though that what's in the strategy reflects your goals and priorities and what you hope to see and make sure are we missing things have we approached something in a way a different way than we should um there things that you feel should be prioritized.

I think that kind of feedback will be really helpful um you know uh the part of creating this special meeting was to make sure we had plenty of time to take your feedback in and that we would have time to make modifications with what we did.

So we're totally on the the same page and that all the better for us but you know um we really want to use this as a working meeting to make sure that we're getting that we are we are aligned with the strategy that we're yeah so just as a a note.

I also feel a little bit that's the part of supporting artists in a way that studio space or gallery but a gallery here like well I don't know exhibition uh commercial exhibition uh space we have the the following arts like to put you know like a real gallery but there is a private one now that's brand new yeah it's right next to that architect on the beginning of castro, and design surprising no it's a beautiful space, it's beautiful.

Oh, it's here.

He's in there now.

The owner or or what's in there now?

An artist, yeah, but that's gonna be changing.

Yeah, it'll be rotating when it's in there.

Yeah, but it's a gallery, yeah.

Castro that I think is nice.

Three on and they're gonna have an opening.

Corner of like two down from Lamon.

In the like an art of girls from Luke Expedis, I don't know.

But it lives here.

Oh good.

But I'm sorry you have a question for Reginia.

That is are you uh are you talking specifically?

Um I'm just talking about prioritizing that more.

It's in here.

I know it's in here that's great.

That's what I'm asking.

City sponsored space or city sponsored space and connected to that maybe sort of I'm I'm seeing more like something like the Center for Creativity in Redwood City.

So, you know, sort of studio slash show, studio.

Studio space, the one jumping on.

You know, like sort of an odd odd hub or art space.

Yeah, not gallery specific, no.

You're talking about like a full, yeah, it's like a little you know, show gallery show, but then vocal, studios, you know, like an art space.

And then I have can I piggyback on that?

Why do we let Regina?

All right.

I mean, this is in here, and that's great.

I just want to, you know, push that forward.

Yeah, that's super how in the uh chain.

Yeah, I think so.

Oh no, so I I I completely want to jump on that and support that with the studio space.

I mean, I've heard so much input from the downtown Mountain View.

That's been the one main thing that I've heard over and over again besides murals.

And uh to bring up what was just shared.

Uh I was just in Slovenia, and that they had a exhibit that was art and health, and so healthcare workers were in doing art and the thread that comes through the connection of art and health, and so there are health workers in there, and it was like an incredible experience that could be in the studio space, bringing in like the police force, just like it brings in this subtle connection that we all have that's not really um made available, and I think that could be something really cool, and that could be part of that if there was a studio space or a public space.

So you can and you can have kids come in, so there could be different drawing in from our community and and integrating our community in addition to just artists, you know, that aren't they don't have you don't have to be an artist to be an artist, like to experience connection through art, and I watched what happened was it was incredible.

Like these people were like came up, a lot of connection through the staff, you know, that they don't get to have that connection, so to provide that ability to connect through art in our community to me would be a really uh super cool thing to do.

Where was the example from that you mentioned?

I was in Slovenia, yeah, yeah.

And they actually recruited an artist from the UK who's a textile artist, and she there were a bunch of healthcare workers that came together and explored just it was mostly intentional mending and how that actually mends like it creates a lot of healing, and then they sort of stuff would come up and then they discuss it, and so and then these people left like closer than when they came.

Yeah, really was I was like cool.

And it's this is not new.

This is going on all over Europe, by the way.

So it we don't do a lot of it here, but it it art is art isn't non-negotiable in most of the world my thing.

Oh boy.

Sure.

I guess I'll just quickly plus one more collaborative space.

Um, I just had a few, I don't know if I had anything like a boost or to change priority on, but maybe just had a few clarifications or things like more clear to me at least reading if that would be helpful.

But um I think a couple different places we the document refers to maintenance as well as conservation and I read it clearly enough to say that conservation wasn't you know in the like sustainability sense.

So are those terms clear to everyone else because I guess it was just a little I didn't understand why we're using one versus the other in certain contexts.

We can provide definition in there just because it might that you're right that maybe that was just like a miss on our end in the sense of um being public art you know nerds over here.

So um but typically those definitions are in a policy so when the policies develop you can look at other cities policies it'll say the definition of public art definition of what an artist is definition of maintenance definition.

So you know that would likely end up being in something uh developed down the line but in regards to this specific narrative perhaps we should do that um as when we mention maintenance this is what we're referring to I'm sure this is what we this is it's right yeah and again yeah I understand there's different technical lingo for the core policies versus the communication external communication on the so we'll think about that um maybe provide just a high level yeah so maintenance would be like um say uh okay so for example uh if you go to downtown San Jose and you see the ground the people with the groundworks and they have like their trash can and they if they see something on um like a soda's a stain on on a statue and they've already been communicated with the city person who works in public art you can use this type of cloth and quick that's maintenance quick maintenance conservation is going in bringing in a conservationist to really review say an artwork that's part of the city's collection and understand the material that has been used you know uh is it instilled is it still in good condition what is the cost that it was when it originally was installed and what is the cost now if it were needing to be um needing to be uh you know fixed in some way right and so they really determine should this continue to still be part of the collection and give kind of a a um analysis on the artwork to the public art director and and share you know I would recommend maybe this in the collection because it may cost more so it really is more in-depth more in depth um a short term long term oh well today I don't know um I thought it was in this is more just a comment but I thought it was interesting that they were depending on how you count to like four or five items that were just about um like setting different criteria for selection which um I don't know I guess I like that I think certainly I was thinking you know when we were voting on our 10 things that and some sort of criteria would be nice and I assume it's obviously more broad than that but like it would stood out to me a bit.

And then there's one other minor comment uh oneb dot four I think was basically the one saying something along the lines of having you know people like towards or some such basically to promote uh taking people around to promote the art and talk about it.

Um I think the word framework is in there for like how that would work and but um I think specifically it'd be great if there was you know like a script you could follow essentially or like a resource for part of that being a resource people to just like know what to say about things.

Because that sounds really exciting by hand I assume even you know us on the committee wouldn't know what all the interesting tidbits about such things.

Yeah I think that's hi.

Well this is huge first of all and I applaud so much of it um I love the pooling of the funding because I think that's been definitely missing piece for a long time and um I would definitely piggyback on the uh studio space and kind of cult, you know, communities community art center that could draw different um groups and generations and backgrounds to an art collaborative, you know, um activities in a studio slash community center slash gallery space, like they're doing in Redwood City.

Um one question I kind of have is well uh they're kind of related.

Um I did notice that uh the community picked downtown as definitely a prime area for putting art, but I also understand that uh focus Mountain V's focuses to be equitable with its placement of art.

So I I know you can't develop everything in this document right now, or maybe the one that you're developing will be more um have more steps, but like how just a thought, and you don't have to answer this right now, like how who and how are you going to come to terms with um what the public wants, which seems to be you know, downtown parks, transit hubs, which I I totally get, um, but also um spreading the art out into different communities um throughout Mountain View is our mechanism for that decision making.

Um secondly, kind of related, it's so there's so much going on, and I I get that it's a 10 year timeline.

Have you thought about because I know you have included the public in so much of this and you would want to do that going forward?

Have you thought about um how you measure your rate of success with all this and show that publicly?

Because so much of what we do is about marketing ourselves and you know, showing that we are are meeting what our promises are.

Um so that's that's a question, you know.

How how do you share um is there an ongoing way to share your successes, your ongoing successes with with the public?

And um, because uh if you did that then people would start to, I mean, you can't do everything all at once, right?

And I I know that Kristen talked about that with the timeline, but even even with the timeline, there are certain things that are gonna get done before other things, and so it would be nice to be able to see that in in real time, like, you know, these are done.

And we, you know, so just thoughts about how you're gonna share that.

And then um, yeah, I think that that's mostly the thoughts I had.

I really the pooling is so important.

Are we expecting so is city council gonna go through and like say yes yes, like these discrete things, or are they how are they gonna do we know?

Um that's not clear to me exactly how they will discuss.

I think it can they like redline this, you know, like can they like not one D, you know.4 but 1D point five kind of thing.

Can they be that specific?

Um they can be as specific as they would like to be, although they will be approving the document as a whole, but there could be, you know, we're approving the document with the mo with the modify modification to 1D, as it might be.

So we anticipate the discussion will could get into some great detail, but you know, the recommendation will be ideally having them recommend strategy with maybe some changes or modifications.

It is completely within the purview to of the council to send it back to um to staff for further refinement with direction.

So, you know, they are empowered to approve or not approve or approve with direction or changes, um, you know, staff's recommendation will be approving of the document, but um council it is within their power to take an alternate.

If it all or take it part or take the based on the study session that we had last fall, you know, this is we had we got a lot of great feedback from them at that time.

So, you know, I I think we're optimistic that the strategy will be if it will be reflective of their common.

Yeah, yeah.

Okay, yeah.

And I think as you get into it, like my guess is that some of it is gonna be like um as you go, you might have to develop, like, you know, um subsets, sub steps to some of this stuff, and I assume that there'll be a mechanism for that.

Yeah, yeah, and I can answer both your questions or give more context to it.

So the sharing metrics, um, what we've done with the economic vitality strategy, we have a similar implementation plan, but they were all built in as just check the box items and we've realized that most of them have become ongoing work.

Um and so that's kind of part of the decision and creating those differentiation in those action items.

Um, and so we've taken annual updates to the council.

Um we just were on our year two update.

So we'll um we'll do the same thing with the public art strategy.

So there will be updates to the visual arts committee, updates to the city council um on our progress.

So we'll you know we'll let you know where we've started to make progress, whether it's just you know, we've made a little step, but we have begun to we have begun this one action item or we've already checked this off or um so we'll be giving progress updates so that'll all be public.

And that's with the within the committee setting.

Yeah, and it's a city accessible to the public if they tune in.

Yeah, yeah.

And available online and yeah, yeah, and so that same the um we have that public art strategy subscription list too, and so we'll continue to use that for all public art updates.

Um, and so we can use that same um subscription list too.

I've already told us they're interested in hearing about public art updates.

Um, continue to get news.

You know, I'll just say, you know, one for the economic vitality strategy.

We do report out on in progress.

So we have, you know, something that may not be completed, but we note that we're working on it.

So there's different language and labels that we use to communicate various ways that we're working on things.

And then to your point, all the sub steps.

We've tried to really roll these up into you know higher level points, but obviously when we jump into any of these action items, we're gonna have to create a whole plan and subset.

Like each of those will require a little mini work plan for each action item.

Um and so we'll be staff will be responsible for putting together a little mini work plan, soliciting feedback, um, engaging stakeholders.

I mean, each of those will will be a little project in their own.

And I mean, just like we have the capital improvement project, um, monthly updates, um, we can do, you know, we'll do similar things like that, whether it's bringing a full agenda item to the committee to talk through whatever, you know, creating a policy or whatever it is, or um just providing updates on, you know, we've started looking into this, um, and we're, you know, we're figuring out where to go from here, or kind of here's our work plan moving forward on the different items.

So you'll get up, you'll get updates along the way, but we'll also have a more um robust annual update.

Yeah.

And then you had the question on the, I think it was like balancing community interest for location and equitable distribution of art.

Um so we have a few action items that talk about um prioritizing areas in the city.

Um, so a lot of like where we put art depends on the funding that we have.

So there's so many things that come into play.

Um, there are a lot of grants available for downtown because we're close to transit, there's a main street, there's more funding opportunity for downtown, which then would help answer our community needs, but then there's the small parks that still need art that don't have it.

Um, when we have that pool funding and start developing that um the resource pool, then we'll have more money to be able to work through that priority list and being able to create more distribution.

Got it.

I was just gonna mention there is there is um you know the educating the public, right?

And through a great marketing and development of the you know campaign of of what this program is, and I think that's gonna be big as well.

You know, really get eyes from you know um uh Instagram and Facebook, all of those as well as emails, I think it's gonna be huge too to let them know the updates and got it.

And they have a the city has a great relationship with Silicon Valley Creates, I'm sure you see can just know and Silicon Valley Creates is has content magazine underneath their belt and contents, you know, they really push out what's happening in different cities throughout the county.

So we have other ways to go about it.

First of all, thank you so much.

This is amazing, amazing.

I mean, Redina and I had the opportunity to see it like a couple of weeks ago because we were engaged in the VAC strategy, and I think it reflects that really well, and there's so many, and there's so much more to it.

Um, and I think it's really it's really really great to see it.

It's so exciting that we're we're getting there.

Um I have three comments on the different action uh items.

I mean what I already said, and thanks so much for already implementing the some of the things we discussed.

Um, but I thought because I had mentioned one thing that I had mentioned, um that's one D, create a signature event because for Mountain Uh, like something art related that is us, uh, because we had that in the original VAC strategy, and that's something I had mentioned, and now that everybody's saying, like we're craving something, like we want an art space, we want the something happening, a pop-up event or a like almost everybody said that so far.

I just wanted to iterate that one more time.

I think I think what we're all craving is maybe also to mark the art strategy implementation, like that we have something on our own.

That could be a museum.

I I don't mean like a signature event that that might that exactly what needs to happen, it could be an event, could be a space, like a new space that we don't have yet, or a pop-up event that keeps coming that has art, collaborate.

Like you said, collaborative art in mind, um, that we are we are the city who does something highly collaborative, for example, or or or make a maker event.

Maybe we're more the makers' crafters, explorer city, but just that we ex that we have an action item that maybe spells that out a little bit that we're exploring gonna explore uh something something we knew that for the city of Mountain is art related that we really hope to develop some.

Um and then um Lacey and I had a feedback from a community member, and she said she read through the because it was public, right?

She read through the strategy, and she said she would like to see more integration with music dance, theater, poetry readings, and then I saw which and she said that in in relation to 2AA engage other city advisory bodies because that related to us as an advisory body to collaborate with other advisory bodies, but when she said that, what made me think is what maybe not enough reflected in the strategy yet, is what the art coordinator's role gonna be because what she what she's kind of alluding to is maybe talk to visa, right?

From the CPA, like but that wouldn't be us, right?

That would be the art coordinator might get together, has ongoing meetings with her.

How can we you know how can can uh visual art in mountain collaborate with performing arts?

But that's wouldn't be the advisory body.

So what's here is is correct, right?

Like we would we would coordinate other advisory bodies, but what's missing because we don't have one yet, or just have one yet.

What's the gonna be the role of the visual arts coordinator, right?

That could be because we had in our strategy a bit more spelled out collaboration was a bit more spelled out because we had less, so there was a whole block on just collaboration, marketing and outreach, and I thought maybe collaboration because that's what that's what I'm hoping would be one of the big roles of the art coordinator, could maybe already be baked in in the strategy because we can do that.

There's a lot of things that one staff member who has a lot of other things to do, and we as an advisory body can do.

But maybe we should we should foresee already what the art coordinator can do, right?

And have maybe some of the action items more also relate to that.

Like what would that person do?

Would that person have monthly meetings that uh CPA or with other city, another city entities and things like that?

And then the only other action item feedback I have, which I had mentioned already, is because we're saying on conduct a comprehensive and review an update of City Council Policy K5 to transition to um to the dedicated fund.

And I was hoping because we have because we have that cap in the in the K5 right now, that it could the wording could a bit more also say, because it says review and update the K5 policy, that's the right direction, but then it says to transition.

And what I would actually would like to say, like, can we review the whole thing?

Because maybe it is not appropriate for our art strategy anymore.

I don't know if I can express that correctly because it sounds like we only review and update it to transition it to an art fund.

But to me, it feels what I would want to say is let's just review and update.

Like just we have the whole strategy now.

Um is what we have doing have been doing so far.

Is that still thinking of the cap, for example?

Like just kind of saying, yes, we need to review and update, review the K5 policy to see if it fits the strategy, not just to transition to the any updates would come back to the visual arts committee.

So the the modifications to the K5 policy, we would get the DAC's feedback on before bringing it to City Council.

So I think it doesn't have to be um just transitioning to the fund, um, when we have that discussion.

Exactly.

Um perhaps um funding cap would look like, and I think as part of um the staff the staff's person role in bringing that to the PC and council would be doing some analysis on what our neighbors doing and so I think we might not want to include a member in there now, but it can be part of that or yeah, yeah.

I wouldn't want to spell it out at all, but not just simply tie it to the transition, just say we want to review it.

Maybe it's just the strategies, or just kind of going back to that specific item in the same reviewing K5 policy.

We can look at ways to broaden the language.

It just yeah, or say or or we keep the folding and just put in front of it, such as the language, or so it's included or so that's what not let's see.

And then the only other comment I have is is on the implementation.

I quickly checked like uh is the you know is the the explore expansion of public art opportunities in private development, what what uh tag that has, and it's it says a lot a lot a long-term project, and I just want to give the feedback maybe that hopefully that's not long-term project, mid-term or short term, and maybe also is that something that the community can vary in like I mean, this will all be public, um, you know, when like what I just did, right?

I'm hoping this might be more of a priority than in a long-term project.

Are you seeking input from the community on that particular thing?

What should be done first, right?

Because part of why we wanted a closer look on the art strategy was to kind of see what what are our priorities?

We have only limited time.

What are we gonna do first?

What is the most important thing to us?

And I haven't really had time to look through all like is it short-term, mid-term, or long term, but hopefully that's something we can all look at together again and again, and maybe also get community feedback that people tell us, oh my god, I want this first, I want this first, like that we get a bit more of a sense of what our community wants.

There's something we've I mean with the economic vitality strategy, we've seen you know some things have come up sooner that have been a long-term item, and it is uh you know, we've been able to get it done sooner being just um because of uh other circumstances.

Um for the person for our own private development, that is marked as long term because we will need to bring on a consultant to do some sort of um a nexus study.

Um it's considered an impact fee, and so adding uh an additional fee uh to private developers will have to complete a study on that.

Um we'll have to engage with developers and property members and um talk to them about what that actually looks like.

Get their feedback, um, so that it's a lot of money um to hire a consultant, and it's going to be a big time commitment too.

Um so as part of that nexus study is part of um the outreach, there will be um opportunity for the public to engage with that, but there are um there's a number of steps that are required.

Yeah, no, no, I totally understand.

And I'm sure you thought about it, how it just felt like that might be a very valuable community feedback.

Let us know what that is really pressing for the buttons, I suppose.

And we certainly got a lot of feedback during the outreach strategy.

I mean, in creating the implementation plan, we took in all the public, you know, all the public community engagement, you know, what we heard from you uh in the draft strategy and and that we've heard along the way, input from council during um uh during the study session, and then we as Kirsten said, there was a lot of internal discussion with staff as we really look, you know, if we look at that Venn diagram, the practical application staff came in and real provided, you know, realistically um their feedback about how things could move forward because one of the things we have to be cognizant of is that every department has different strategies that they're moving forward and they've been assigned different priorities.

I mean, our team of three has three strategies that we're moving forward, and so it is a bit of a balancing act as we try and you know all of these pieces forward.

So we are looking at the practical application and balancing out capacity and resources and um and community feedback.

So all of that gets got sort of pulled into how we approach the implementation plan.

Certainly, you know, that's part of the feedback we want from you all, is things we should prioritize further.

And we can look and see realistically how how much we can move things up.

Yeah, sounds good.

Thank you so much.

Thank you.

So overall I found it beautifully written document, really clear, just beautifully written.

Um, and I think it marks a beautiful transition to a new paradigm from I think the document talks about we're in a reactive mode now, only to see or as an asset to the city that's managed in a proactive way as a dramatic shift, and uh starts really well.

Um, such a big change.

Um, a little bit of what says that we all need to talk to talk about how you're going to monitor success um in other major um strategies that have come council like on the parks and bike or the artists, and in the biodiversity, they've adopted a language called adaptive management for a um which was used um on the salt pond restoration where you're basically taking steps along the way and learn what works and what doesn't work and then rebalance.

You don't have to have everything perfect at the beginning, but you take steps along the way.

No, you're gonna take steps along the way to learn from them and uh change um rules based on what you've learned.

Were you're able to step forward?

Um, and you might I I would add to the document how you're going to gauge success, making strategy on implementing the strategy.

Just just describe a framework so that you can report back to the public set on what you've had success and this is what we now are going to be doing so it's uh because um uh it's such a big change.

And we want and we all want it to be successful, but um it's okay to start going forward.

We know we're gonna start forward going forward, we know we're gonna make this, we're gonna learn something that we step forward, we're gonna need to change, and that will do change, we're gonna be brought back, and I would in here that you're gonna report back like every year, but just and and and you mentioned it verbally to us, but I would put it as a document so people see it.

Um I have a lot of I have a lot of feedback.

Um, I will page my page, so if you're so some of it is minor, but some of it is real and substantial.

Okay, if you have the patients, bear with me.

Okay, so on H3, you use the word modernize and use it 14 times in time.

And I do not know what you mean by water, which you mean best practice, on cities, and you can't define what it is with the city modern.

You're gonna modernize it.

What does that mean?

I think I know what it means, maybe make them a little bus, because you might make it more like the horrid-looking city style, but modernize modern.

I think I don't know what it means on um page 13.

Um, we alluded to before you had the FT.

Um, um, the way it's presenting the document, it looks like we've had the FTE, but we don't, and you might put in put in a note that the FTE starts in September or something, or or or whenever.

And it's it's something new, but in we when you were we're comparing it to the other cities, the way the document shows um states that it shows like we've had an FTE all the law, and it's and you know we have a big change.

But I I I would just um uh note that that is really interesting.

On um page 17, um, you mentioned uh business owners, but really the uh uh and you mentioned other parts parts of the document, it's the property owners that's uh sometimes a blocking issue.

And I know that the city um chamber went with downtown committee to contact the property owners and discovered that the property owners one don't live here, um, don't know even what Mountain View is because it's an investment for them, and their fear of doing changes to the property is that it changes the assessed value of property, hence increasing their taxes, and so that gets a conflict between what business owner wants and the property owner wants.

But I I I would add in the property owners uh as an issue or the uh as a topic too uh one explore.

Um, um H E te you mentioned that the samples have it um preference for light, which uh I was kind of surprised at, but you later in the document you're talking about kinetic art, and that might be better.

He's kinetic, yeah, kinetic.

Um, um light um it it's not sounded like it was kind of a cool factor for what was uh presented and people have seen that before, that gravity new, but it might um the uh issues around light pollution and all that stuff, the word kinetic, you might be it might be better on um pages 19 and 20.

Um, where you can utilize the art in the city.

Um, I would really recommend that you uh talk about using city buildings.

The buildings are in the downtown, you got a big one, and outside City Hall on Castle Street, on Mercy Street, huge walls that can be used for murals.

So he owns it, you don't have property issues, but our property for the property owner and um use that as a campus for moving other roads out through the city, so use the city city's own buildings as um to add that as a as a site for the neighborhoods and work.

Um and I sent you as you mentioned on page 58, um respondents wanted to see art in the city plaza.

So I I I would we've definitely been that we're going to activate the city city proper city hall um as uh as a uh based through our on um just a learning of 23 is the best national best practices, like you know, national best practices.

Yeah, we talked about that now.

Um, 23 um uh you mentioned innovative funding, and I don't know what innovative funding is.

Um I look at innovative funding and I think you know you're seeing bitcoins in cryptocurrency.

Well, what you're what are you doing?

So I would I would uh clarify the box.

Um, 25 when you get on strategy 1AG, um again, this is um using the facade to be called is as I I would add that into one BG because you can see it can what a wonderful way to show the record cities of the rurals of the city residents on the um that's so that we could add to strategy one A G.

Um you mentioned on page page 27 the Silicon Valley identity and um so which is more I think more into the tech world, but we're um ice of multiple cultures and over 100 years old as we have on the training, but I would say we didn't the multiplicity of cultures into the discussion.

Um so you um you mentioned the uh camp or one of the align art into new developments, which is obvious because that's when the money's going to occur.

But we have a problem with um that then uh puts it into places isolated on the rest of the community and kind of goes against spreading out um uh art in the rest of the city as opposed to pockets where there's going to be a development with the Swiss men.

Um we have the question before you know where people in now get art into Rainsdorf into Cresta, Mello, Montaloma, not just where developers are going to come in.

Developers also come from the outside, and as we saw in San Antonio, they think they're coming from great place and so they go in the street innovation way.

Well, that doesn't mean a bad thing to us as residents, but we need to have a card called where people live, not just where there's going to be future development.

Um, that's around page 27.

Um I would also then um ask each neighborhood association to create an identity, an artist neighborhood.

We've got um leads into neighborhood associations.

I would reach out to them, engage them, say what art would define your neighborhood um and identify your neighborhood.

And put it into your park so that you're activating showing that we're reaching out to the community, aging well, and the neighborhood associations could I think a good way to um uh work with residents, um and also I would work with school boards uh because school boards reach into young kids and it gets into all um um all sectors of the society of the society and sometimes as neighborhood associations are necessarily where um some people live like so are probably instructions and they're such a neighborhood association working through the school board will reach out to the parents and certainly the kids also it's a way to show work with the school we have these issues in the past conflict with the superintendent city at the times this opportunity to perhaps to show collaboration with with school or um pull in um parents who may not um readily associate with the regular association or other activities.

And on 28 with action on C5 um I would really really really like to see an event um that's kind of unique that's that's celebrates Mountain View onto itself like a paint a plain air event invite people artists to come out and do plain air painting in shoreline or Roger's son at San Antonio have examples and naphales where they do this as a city event um and I can do it I can redo that that's a wonderful way to celebrate art and celebrate the pure D and you can do this.

And it would be something that's marketable and it would track um folks and uh contribute to the what's unique about on page 28 um again again um I would add in the property owners um along with the business owners um um on page 33 you're you talk about activating the public trails and sidewalks and bordering corporate headquarters and um so that's basically puts it out to where there's um we work big shore where the big companies are at as opposed to where residents live so um i would look to is there a way to bring art where residents live and we have percentage of the speech budget and donate and up for art for pedestrians were where parents um uh walking their babies um so that uh not just focusing on the corporate world and uh sidewalks where the workers work but we're finding ways to bring art people in and if um can we use and in order to do that can we use uh part of the budget that already exists for um street maintenance there's an active transportation uh activities that goes on in the city and we piggyback on that in order to um uh as ways to unify the trails or bicycles or for pedestrians and um find out where both pockets will have mostly impact um so basically can we use some of the active transportation funds in order to add some good wait fair again into the into the neighborhoods.

Um and we're and also kind of emphasize what we think I think the document talks about this a bit, really part two where people gather.

Obviously that's that's who was the patronist of uh the downtown is sure, but it's also um year part, it's also the movie parts, etc.

Um, we want to bring it into those areas as well.

Um, the uh implementation plan, um you define um um yeah, 17 short-term projects and um that's a lot.

Um is there a way for you to um you take a short-term project?

What are the you break down this uh 17 into first priority, second priority, short-term short or what what's the priority would be just so it says that and actually accomplish something because that's 17 is a lot.

Um getting in my mind getting the what you mentioned in 2A1 or priority wording or paper is gonna be a real key to the success of the whole program, and that needs that's um rising file by successful hire.

Um also I saw um some things were in which you can do this in the term, but I think we're gonna need some for public safety group.

Um so um like one's one C1, 2A2, 2C9, 2C10, C11, right?

Some of these things are gonna be sort of public safety map.

Um, C1.

One C one two A on page three.

Um this is all the uh sponsor will be taken by on page six and then two A2, page eight, two c high, two c heading to C11.

Um also I would add into the document that you had that here is the definitions of I uh makeup but we did see it written in the document.

Yeah, this implementation plan is uh not the final version, so there will be yeah, a clear definition.

Yeah, I I'm just gonna be what I was I was looking for.

Yeah, it'll be on the bottom of each page for the just so you so that as somebody look at it like they know through each page we said if it's at the top.

Good, good, good.

So that's so that's it, but overall, um so these are more thorough finds, but overall it's a fantastic awesome.

What uh change, what a change from where we have started seven years ago where we were just kind of responding to a part coming on in and thinking that we have to uh um focus on this one little issue, a little broad perspective at all, you know, trying to do this job and shifting dialogue, shifting the mindset, beautiful, couldn't be happier.

And again, beautifully written document, just beautifully clear so congratulations.

Really, really well done, so I'm I'm hopeful that the city council will get behind it and deal with the funding issues.

Um that's gonna be obviously critical.

Well, the fact that they supported any hiring somebody midterm is fabulous.

Just it's just I'm I'm not I've not seen that book before.

That's just one instrument.

So I hope you will have gotten somebody.

Didn't even say what I was gonna say, which is very short, but may I?

Sure.

So uh for and I you might have written this in there.

I'm super brain dead right now.

I apologize, and I just am wondering if we did mention the putting in the built-in opportunities to collaborate and strategize with other committees, namely performing arts, just because even the downtown committee, like with the way the chairs are and the aesthetics, I've gotten so many comments from people, and they think it's us, and I'm like our decision because I mean when you see something that's visually not appealing, your head goes to oh, that's the art, that's the people, and I'm like, we don't have anything say, but it'd be really nice to be in relationship with these committees, maybe biannually, quarterly, I don't know, but just so we can kind of people don't think about things.

It's like things are unconscious and they're not decided.

These things aren't they don't make an opinion and decision.

They just don't think about them.

So it's brought up.

Did you think about this, or did you notice this in terms of an aesthetic, or is this practical and what can we do to integrate both?

And I know we've discussed this in our past meetings.

Like, oh, that's a bench, that's the that committee.

Oh, but if we integrated it into both, like it could be aesthetic and a bench and serve periods of purposes, and that's even written, you know, in the public.

So I just think that that's important.

I don't remember if it's written in there.

I think it was brought up, but just I I that that would be something I think would be really helpful, and then um it was mentioned like to bring up project up that was specific to Mountain View.

I second, third, whatever that, and I was just up in San Mateo.

They have a mural that just went up.

It was a pilot project, and so I met what's the equivalent of your position, the the woman who she's like worker, her name's Amy, she's in oh, she's new there, yes.

Yeah, yeah, I know.

I spoke um at length with her.

So they had a pilot project from the new um public art director.

Yes, uh, and then so she worked with basically all the committees came together, and they would it wouldn't have happened had the committees not come together.

It was this huge project, and it was a pilot, so they can now learn from it and they're gonna continue it.

And basically, artists were invited, their experience was irrelevant to come and paint.

I think they had some sides, so it's a certain portion uh painting that was then going to be turned into a mural, and then the public was out watching it and they chose the person.

So what happened was this person was chosen, incredible artist.

He'd never painted a mural before, like a huge wall.

So uh someone stepped up and was his mentor, and we went to the the um whatever the ribbon cutting, and I know this artist actually, he was the one that was in here earlier today.

Okay, that's he came in and he's phenomenal.

So another teacher who's painted mirrors all over the world was his mentor, and he did most of it, but just in terms of the size.

So what they decided was, and I think I heard this kind of pop up in these discussions tonight, that next time they're gonna have a muralist, and then that muralist is gonna agree to mentor the person that's selected, so it will be a lot smoother because in any way again it's a integrating, you know, bringing in opportunity and community, and then people see that and it spoke highly of like just San Mateo's philosophy and integrating diversity.

So um, I just thought it was a really interesting pilot project in that what they've learned and how they're gonna move forward, so yeah.

Can I just add one real quick thing just uh on the to piggyback off cliff?

Um a particular word choice that just uh stood out to me um on page 26.

Uh, recommendation one B says utilize public art to enhance the user experience.

So I realize, or I assume I gather the the thrust of that is about the kind of the functional aspect finding wayfinding and such, but I don't know, maybe this is just me because I'm trained professionally a user experience designer, and I feel like that word choice strikes me as not entirely correct.

It isn't just like I don't know, something about how visitors are experiencing, how someone about the town is experiencing.

I think it's like it's a per using referring to the person as a user seems a little strange, even though I understand that they are interacting with these pieces of art in that context.

In that regard, maybe the difference between art and design.

So I think we also have to just really be clear, you know, what the I don't have a specific recommendation we do it or we do it not or or how that, but we need to be aware that are two different things and what what is what is in in our area of you know and is somebody else in the city because that's what Lacey's alluding a little bit to right like is somebody else uh responsible for design for the overall design and the branding.

And one idea I had for this event was uh what we talked before was uh an artist residency or like have a city artist for a year that would be the new city artist and and that person would put up events or would do something like a public mural for everybody, or depending on the artist, this artist will do uh word art or reading for everybody.

That it would be up to an artist that we invite things things for us, uh during that year because my um Paulo has the coverly probably art studios and they make their artists do stuff, right?

In in return for um subsidized rent, and they give classes, they do the open houses, they give talks, like alongside that line.

Maybe we don't have studios to offer right away, but we could maybe invite one artist every year to be things like that.

That's okay.

If funds were an issue that could even be integrated with performing arts, because we're, you know, it could be a visual, could be music, could be reading, could be, but if it's under the art umbrella and it that was something that might not even be a visual artist.

Yeah, I mean, just to because that's what happens too with artists in residency.

Um you can be an artist, you know, again, a performing artist, uh she all those things, but it that under the art umbrella and the richness and and uh that we have a interest in thinking along those lines and a great searching for something, yeah.

So that's like why it might be nice to like have a meeting with performing arts, you know, just to kind of percolate some things so we're all working together for that.

We're not sub, I mean, arts are.

Yeah, the um the Center for Performing Arts was mentioned a few times and um, I want to be mindful that they're they're a rental facility, they don't plan their own events and they don't put on their own instrument series, so they operate solely as a rental facility.

Um we do work with them quite a bit, um, tech showcase every year, the exhibits consistently throughout the year.

Um and you know we work with personally, but on the done um person artist talk, which are some part of the salary course and stuff, but they do have kind of limited capacity as they're currently operating and I mean it's gonna be that's true.

But the current director is really great, and I think she would be open to the question I go.

I think I noticed a couple of public add in.

Um mentioned on two and three.

Um, um implementation, our professionals.

What is that?

Who are they?

Page six, two eighty three.

Page 32 if you're on that.

Or potential partial uh partners, arts professionals.

So that's not the question.

I I I don't know what that is because um you want to speak to what that yeah, can you read the whole thing to me?

Sure, it's um use a pilot program to evaluate diversified art selection process, which is fine.

Um, but then venture partners public works department and in the uh um our department advisory bodies, arts professionals, community.

Oh, we could put like such as yeah, you know, um public art administrator.

Yeah, exactly.

So we could put like in in parentheses with um yeah, yeah.

I just didn't know what I don't have a public art directory because we haven't had a public art administrator.

Um how do they know the art question?

With um the um members, um well, I guess my comments are with advisory bodies.

Um I was gonna add in the uh RC use advisory, um, but I'll bring that up when we talk about um about public safety building.

But I guess when you would as you have an advisory body, so it's basically every button.

Right.

Yeah, so scrap there.

And that's in the partnership column you're talking about.

Yeah, exactly.

And also in 10.

Again, um we can point on page four.

Uh uh, this is one D3.

Um, material activities for events.

I I would also suggest you would uh school boards or engaging the uh in in the partner.

Yeah, what's that?

Okay, um, still it's still recording on there, okay.

With a two-hour battery, yeah.

Our laptops would not survive for them.

So let's just pause for a second.

I just want to make sure we're capturing this.

Let's just have the stick.

Is it just added as it?

Oh yeah, it has all the participants.

Okay, actually, I think okay.

Jesse's still on and it says we're still recording.

Okay.

Are there other comments or perhaps a motion?

Yes.

So we've got a motion.

I motion to do we motion.

Yeah, we could what do what do you want us to motion about?

Um, we had a little boxing do you need from us?

Because we just had a bunch of so I think we would like a uh recommendation to move this forward to the city council.

Um, with with the um after you've reviewed our comments and the changes on the future.

Yeah, can we just globally say that you're gonna review uh and adjust as is the appropriate yeah so recommendation to move public art strategy forward to city council after reviewing the C comments, yeah.

And public comments, changes that's move forward.

To bring to recommend this the feedback and comments to be provided as needed to document and then bring that to city council second.

All in favor.

What a huge milestone.

Congratulations.

Beautiful to see.

Huge feedback.

It's beautiful.

Thanks for all our many comments and feedback.

And you know, I do want to send a special shout out to Kirsten, you know, who has really been behind the scenes moving this big holder along.

I mean, she's been really uh made this happen for for our community, which is a little bit of a feature.

Yeah, thank you all for your partnership with this.

She's also been really easy to work with as a you know consultant company.

I just have to say that that's a really big deal for us.

And I'm so glad you you joined again.

Oh thank you.

Me too.

We get so much more information this time around.

So yeah, thank you to BC.

They've been amazing partners.

Yeah, yeah.

I I'm yeah.

I was thinking, I love seeing the other.

Okay, Wednesday.

The artist selection pilot procedure.

Okay, um, so you just all just got the chance to go through the whole strategy and see that this is a big part of that.

Um we have, I think we've um identified creating some sort of artist selection panel in a few different spots in the document and talk about it as a best practice.

Um we talk about um including that process the RFQ and RFP um asking for qualifications and doing a short list of comments and artists um for proposals um as part of the process.

So um this isn't the official update or presentation or um introduction to the public safety building, but um that will be coming in September, and before we um before we do that formal introduction to the project, we want to um ask your your feedback and um and agreement to move forward with this uh artist selection panel as a pilot so we can test it out, see how it works, and um and then when we have this art administrator on, we can get more feedback from them too and and see um you know how we can change things move forward, um, but just looking at what an artist selection panel is, um so it would be project specific.

Um so the uh selection panel for the public safety building will be different for a park, will be different for downtown or whatever project, um maybe even the exhibitions um and uh the purpose is to um help um just bring the community in and um create more education and awareness around public art, um have buy-in on the types of art that's selected, uh more community feedback on that, um and um and adding more adding professional oversight too.

So um the different um possibilities for an artist selection panel, so art professional.

So that could be a public art administrator, an artist, um it could be um someone from Silicon Valley Creates, um from open value open Silicon Valley Open Studios.

Um I you know, I think for this pilot, ideally we'd have another public art professional or administrator um from a different municipality come in and give feedback, someone who has experience kind of working through the selection process.

Um so I think we can change it up for different projects too.

Um we've already talked with the public safety teams, um, with police and fire about having representation from both their departments and um and then inviting community stakeholders, so downtown committee because of the proximity to downtown or in downtown um or uh downtown business association members.

Um so we couldn't have a variety of people.

Um how this can go.

Uh so uh the artist selection panel would be invited to participate in the review of um the request for qualification responses, so it would be helping narrow down creating that short list of artists to then invite to prepare design proposals.

Um so we could for this first pilot invite the artist selection panel to just attend visual arts committee meetings, so um attend that introduction meeting in September, um, and then follow alongside you as you all review the qualifications.

Um so it would be the whole visual arts committee, plus this artist selection panel reviewing qualifications and helping create that short list, and then um, and then they would be updated along the way, but that would essentially be their role is is helping um with that initial feedback and review, and then the visual arts committee would then um you provide the feedback and recommendation once you receive those uh from the short list and then make the recommendation to move forward to city council.

Um I think that was a little bit of a change.

We were going to talk about this last month, and um I think in that memo I'd I had written um that the artist selection panel would just review the qualifications.

I got some feedback from that, and um, it sounded like maybe there's some hesitancy around um giving the a different panel full capability to review that.

Um, and so we can keep you know, we can just kind of keep it as it is and invite this other community group in to help review alternative or alternatively, we could um create another ad hoc subcommittee, and it could be you know one or two people from the visual arts committee um participating in the artist selection panel um so that not all of you have to go through that full um review of all the qualifications initially.

Um so I guess I'd open it up to feedback on kind of those one or two options, and um, and then if you have specific feedback on um people to invite to participate in the artist selection panel.

Um we'll be doing outreach um in the coming months to uh make sure people can have the time to join the visual arts committee meeting to um take time to review the qualifications, knowing that we can get 20, we can get 10, we can get 100.

So it's hard to know.

Um and um so yeah, we'll be doing the outreach and confirming what people questions.

Can you remind me what RFQ is an RFP?

Request for qualifications, um, would be RFQ.

So that would just be asking artists to tell us what work have you done, um, what's your experience with what is your experience with public art, particularly related to um the call that we um have and any criteria that we've set, and then the RFP, the request for proposals, that would be the artists asking um the artist to create uh an actual rendering or something, a design proposal to bring forward to the committee.

So I don't think I've ever been here with one of the beginning of this kind of thing, and so um it's not a general call, it's not a call.

We we investigate people and ask them.

We typically, so I think there's been maybe only one project to correct me if I'm wrong because some of you have been here a lot longer than me.

Oh, the RFQs, what we you've done so far on the platform.

And you don't pull the audience.

Well, this is for specifically for the public safety building though, not not just like 10.

RFQ would be open to anyone who wants to apply.

So we would get a big big potential.

Let's say we get 50 people, and then the panel would narrow it down and say we're bringing these five artists to create proposals for this one project or this one project.

Got it.

Okay, yeah.

It's sort of a two-stage process.

Yeah, for some projects we have asked people.

We don't have a specific medium yet.

No, some location.

Where is it?

Oh but we're not sure what we're gonna do with this.

No, no, no, no, no, no.

It's it's I don't know.

It'll be it's it's on um villa and uh between Franklin and Oak.

Is the uh asbestos um late building where the police station is.

Okay, and you're gonna tear down the um forest of uh redwoods there and put a new building uh in place.

Big thing they've been talking about it for years, and now they're probably doing it's a huge huge huge project.

So I mean you want to make this the budget, building out all the redwoods that are there, build a new building and then turn the old building into a basic question.

So you'll you'll get September an overview of the project and more information about where public art could go.

Right now we're just talking about the procedure that we would apply to the project, yeah.

Do you want feedback on is there any public comment?

There's no one online, does he still have a little one?

So yeah, please so regarding outreach, which I think is great.

Um, really wonderful.

I would add though because it's public safety.

I would add the rent on the HRC.

The HRC deals with relationships, and um human relations.

They deal with um sensitivity towards uh um public safety, especially when we had ice and other and all that.

I would also, I would also uh suggest you somebody from the provisory committee because they're also have to be tamed.

And so we have runs in one of us also because of where it's located, I would also suggest you reach out to OpenA, Mountain View, association, Robert Cox is the current chair, because it's located within the uh the neighborhood of that neighborhood, it's located within Ulta and reaching out to the residents way to engage folks who live by it all the time.

The others bring the other um I'd like to or I sort of like to make bring it back to September since September.

Have a definition from somebody.

What is public safety?

What is the theme of public safety?

What do you because that we can give them to artists?

What is public safety?

Is it a community, holding hands, protecting each other?

Is it an ice agent?

Meeting somebody down, is it um statute to a policeman?

I mean, what what does public safety mean to what the city want to image that it wants to portray, portray public safety?

With that theme, we'd be our two that goes out and give that to artists, say can you portray community protecting itself?

How would you do that?

And that that'll kind of use that to gauge how good the artists are.

Well, that would go into phase two though.

Right, but first, but first when I I we can have that ready for the I mean, just as a because of the sensitivity and the expense of this thing.

I've never seen anything like that big.

And because of public safety and the political times are in, we have to be conscious of what image we want to have.

We want to portray, etc.

So if they can think about the city can think about that.

That'll be really harmful for us when we go up to the arc.

Is that okay?

I think what you're saying is correct.

I think it'll be helpful for qualifications because they can say I'm a qualified artist because I've done work that actually responds to this type of theme.

Absolutely.

And these are these are some of like my examples.

So they send them the portfolio.

You get serious artists.

It's usually what RFQs were, but yeah, yeah, yeah.

And um and then we can also can direct them to this is what we mean by um public safety, not this.

But big again, because it's such a sensitive issue.

No, I think that's good.

And this is a big, big, big project.

So it would be difficult for the artist without some direction, right?

So where do I go with this?

I mean, it just clarifies it's uh takes the stress out of the situation.

Right, right, right, right.

Yeah, we'll we will bring we'll bring a lot more information on at the introduction.

Early tonight, it's talking about the um the selection panel process, but we will we'll have um yeah, a lot of background and this will be a slow project though, right?

I mean, this building, it's gonna take five years to get it built, I think.

I mean, that it's not gonna be in the next year or so.

We'll provide a tentative timeline in September.

But it's time to engage um you know public safety people uh and reach out in front of admitting them, right?

Well, yeah, we are working within a we're working within a timeline.

So I'm the uh I think as you saw in the work plan um recommendation to city council and getting their approval is um we're we're scheduling that for next spring, spring of 2027.

Um so that's that's the timeline that we need to work within.

So um I think this this um timeline here is a little bit of a uh little tentatives of like opening the RFQ fall 2026.

Um we'd like to open that after the visual arts committee because it's not a project introduction, um, and then phase two, so um inviting the inviting the short list of artists to prepare that design would be early, um by early 2027, if not.

So you wanted guidance on how to um formulate the selection committee with either the full visual arts committee plus the plus the um artist selection panel or an ad hoc small small subset of this committee plus that artist selection panel is that what you yeah, exactly.

Yeah, so there's a preference to just invite the selection panel to join the committee meeting and if I were to participate together, all the selection the process was that you assembled all of the um the calls that came in, and we got on to that website that I can't remember the name of right now, studio for entry.

Yeah, call for tree, and we rated things, and then you pick the top like 10 and I thought it was a pretty straightforward process the last time we did it actually, not a lot of discussion.

Um, so the question is how does having more or fewer people benefit that process?

And I don't I don't really know.

Yeah, that's the other question.

And people would be on the artist selection panel.

Would you we have like seven people?

Yeah, it would be upwards of upwards of seven.

Um if we're just using these three groups, maybe maybe four.

Um, two, one police, one fire rep, downtown committee, and professionals.

Um, yeah, plus the visual arts committee.

And so um, I mean, the I guess what your question is, you know, benefit uh to have more people or fewer people, I don't I don't really know.

I mean, there'd be we didn't discuss that much last time.

We yeah, we looked at the top 10 and you might do top five this time or something, yeah.

The average it's uh, there may be multiple locations for art.

There's there's a little bit more to consider these CIP projects.

Um, yeah, so the I suppose guidance in how to rate the selections would be good.

I think at least within our this committee, like I feel like everybody has a slightly different way that they rate, like some people do like all or nothing, hoping that you know if they give everything to their top 10 and their top 10 will make it, and some other people do it slightly differently.

I don't know, I I don't know if we should all have the same system or not, but if for the introduction in September, I mean, or uh yeah, I think before the RFQ goes out and before those before the jurying happens, we can create that criteria, right?

Yeah.

So it sounds like maybe for this first pilot, we just have the digital arts committee participate as you normally would, um invite the artist selection to join in on that jurying for the first for the request for qualifications, and and they would be a part of that discussion.

So let's let me um um we've had problems meeting the subbody can um would be um can this thing can this go forward if we can't meet that's a body.

We can't get um report who need four people, we can't get four if three people are available or two people are able, can this thing still meet or you need uh all of us if it becomes a full body activity, and it has to be a with the core, brown act public meeting.

And so I do yeah, I think you're raising a good point, and I would also you know it could with the recommendations of the various committees you may want on there to Kristen's point, the art selection panel could be seven people, you're also uh seven body.

I mean, that means 14 people have to come together and and do the part the reconciling of how you set it uh it up.

So it it could potentially be challenging.

Um to Kirsten's point, we are operating on a on a set timeline, so we don't have the flexibility to not be able to.

I mean, so it's something for you to keep in mind is how do we how do we move continue to move this along?

And an ad hoc committee could be a good middle ground because you have representation from your committee who gets direct exposure and input.

And again, no the final art will be decided by this body.

This is really looking at qualifications.

So this is the work to see does the person have the expertise?

Have they worked on projects like this before?

Can they, you know, are they demonstrating that they can that they can effectively respond to the call?

So this is not looking at art.

This isn't the rating.

You're looking at you're essentially looking at a resume more or less of this is the work I've done, this is what I'm capable of.

It will not be looking at exact art proposals at this stage.

So they are not picking the five, they will they will create a short list, they'll they'll pick the artist to do it, and then those artists will render what they think.

But come back to looking at the it's kind of like what we don't know with the uh transit center.

So they're looking at examples of the experience.

Look at the qualifications of the experience because a lot of it has to do also with the ability to work with a budget like this, right?

And so that's a huge that's it in all honesty.

There's not very many artists.

Um in this area that can do that on their own.

They usually have a team or they find a team, so then they have to bring them on and pay them.

So for some artists, that's a hard thing to do.

They're local.

When I say local, I mean regional, um, and for others it's not.

So and I think the other thing too is you want this whole committee to spend hours on looking at people's qualifications that are.

I mean, honestly, not qualified, but they're applying anyways, because that's what artists like to do, and you know, when you can have this committee that's only going to be part of it for a very short amount of time, like all of you who are you know part of this arts committee, to give no this person definitely does not these qualifications, put them on that pile.

Yes, definitely.

I'm wondering if the middle ground could be that you know that that the artists are a bit more vetted than usually because we get usually just who clearly squarely doesn't qualify, and then we need to look at everybody, but I feel like only have like then have the selection panel already narrowing down to only five people, and that's the first time we see those artists.

That is a huge break to from what we've done so far, and we have a lot of experience with both RFQs and RFPs, and we are in contact with the residents, we know what kind of art model we already have.

We have a lot to bring to the table as well, right?

And so I feel like we should definitely be maybe not the whole committee, but and I don't even think it might need to be like particular people, could at least always be three of us, like in the in the selection panel or two of us, but yeah, those are the two options, so either working with the whole committee or having an ad hoc.

That could be one thing, but the other one.

What I wanted to refer to is maybe just narrow down much more than usually, but have the whole VAC still see maybe instead of just five artists that already developed an RFP, say we see 20 people, or like get the input of the whole BAC at some point in between, right?

Between phase one and two, like have the because what happened to talk further about that when we do the introduction, because at that time you'll see the different locations, uh and we'll talk about kind of cost distribution, the um the money we're paying the artists for the design proposal will come out of the 400k budget, and so you know, if we're paying 20 artists, how you know how much are we paying?

And so that you that you see that the RFQs, um, or that there's a one phase in between, not 20 RFPs that instead say like a hundred people apply, you are like per normal criteria, you can only lead out like five because they're not in the area, or but that the the selection panel would say okay from those hundred people because we need to look at uh diversity, we need to look at can people do this really.

What like just uh like a bunch of criteria that panel has and says now we're down to 20 or 50 or 30 or and we want to bring this to the VAC, tell them these are the artists, and we're thinking of those five people.

We wanna do an RFP give us feedback, like let us know what you think, because that would be the point where we come in with our experience, right?

And also the art we know in Mountain New, the people tell us stuff that we could say, this is the narrowed down list out of these 30 people.

We want to pick five feedback from you guys, but the panel would still pick the five, but like have like an extra kind of background.

I mean, as a pilot, because it's such a huge break from so far, we've been trusted for good or for better or for worse to do the whole thing.

I feel like what can we do to kind of harness both strengths, right?

Because I think a selection panel is a very good idea, and it's important to get other people in.

And for the panel, I hope really hope it's very well balanced that there is enough artist representation in there, and not just stakeholders, right?

So we did this for with the murals in um store, we had already select we we did a similar process where we had the what we had chosen the artists we asked them to go and talk to the who would be most impacted at the AC and the senior people so that they could form the art based upon feedback that they got from the but we had already selected the artists here you're kind of reverse kind of reversing it you're asking public to select the artists not what the artists are going to produce not what not evaluate or to the artists qualify.

Which um is the going to note that I mean we would have visual arts committee representatives on there and um we intend to invite a public or administrator um who's been working in the field and so but you know and we'll have staff on board who have an archetype to but but the the feedback from the recent police guy or the fire guy or the HRC person would they most important selecting the artist or what the artist is going to create.

So would you rather the VC that's quite quite quite a question is is are they this we want this process is the larger committee um evaluating piece that's going to occur being built or they only evaluating the artists they're narrowing down the the reviewing the qualifications and so so so then so so they're not giving feedback on is this a good art piece it's more it's a good artist yeah yeah um so a blind devil's advocate is a cop able to evaluate whether it's a good artist yeah I mean so I have I participated in um this very similar process in Sunnyvale and um for their community center and they had um you know a number of different community members with little to no experience in public art but have relationship with the community center or the neighborhood or um a city or um you know a city organization or related organization and um I mean what they provided was what do they want to feel when they look at these examples of art you know how how does it make them feel when they're at the community center do they when they um enjoy the community center do they want shade do they want this so they're they're seeing it from that sorry user experience but um but we got the so that was before you chose the artist or that was as part of the qualification review so we saw um you know the artist resume they provided um pictures their website um you know we were going to get a deep dive just like you all do during the are you coming back together I'm just curious like do we all do is it like a big committee decision where you like present the website and everybody votes in the moment or or do people have a list of yeah everyone would vote on the own time everybody knows so it's just like with so you've experienced the uh voting for the exhibition yeah um it would be just like that everyone um every I see okay applications on their own time and then scores everything one out of seven or whatever okay I understand now but it seems to me like there's some things that are subjective about this and there's some things that are very objective like does this person has this person ever dealt with a 400 thousand dollar budget yeah and we can create quite so we can create you know um look how many years have they been how many years of experience do they have like on this number like does does this meet the the vision and mission of like does their work examples meet the vision and mission of the public safety poly I'm just throwing things out there for the like that the artist election panel can that would be helpful have a you know three things or something that they look at to help we can't do that in cafe then but we can use a different system right we need that for non-visual people be very very clear on what criteria is then to evaluate the artists can have to be Chris Chris button could yeah that's just like we're saying you you people that aren't artists like they're not deciding on something they don't even know what to decide on so it just has to be very clear yeah like you have to explain it and not just assume that's and so I'd like to just sort of put you on the spot a little bit so I I think we're building this off of best practice and experience that Kirsten has had in other places but Amanda can you speak to I mean this is kind of building off of conversations we've had around recommendations around what other how other jurisdictions approach this and we're we're testing out a concept based on best practices we're seeing so this is not a new process that we're creating we're basing it off of what we've seen done in other places.

Yeah and I've been a part of them as well as um Chris and similar example and I've been a part of it for the city of San Jose for public art on a fire station.

And we had a police we had a police person on the panel and a fire station or fireman on the panel.

And their comments are very much I don't know art.

I don't know art and but I'm here because I'm gonna use this space and um we you know we came each of us came with our um notes um based off of what we looked at on our own time so just like what you said use your own time write your notes why you scored that um the public art administrator went through each each artwork and um kind of shared a little bit of who that artist was with us and this was all through online this is all not in person um and um you know what ended up happening was sometimes the it was oh I changed my score now and that was fine because that was part of the conversation in that group of eight people now we had there was two people there was one person from the city of San Jose does it differently they have a cultural they have a they have an arts commission and then a subcommittee public art subcommittee and so they had one person from the arts commission one person from their um from their public art uh subcommittee and then they had myself they had another um an artist they had like I said the city department people and I think a community member so it really was this kind of bigger conversation like you're saying you have to spell it out because some know and some don't and then I'm not knowing what the firefighters needs are right and so I it's the same thing right and uh experience that for the city of San Jose experience that with the city of Palo Alto as well I was on one of their panels they do a very similar process um they spend a little bit more time that we came back twice um they'd be a part of a online conversation as panel members uh to have a deeper dive uh and agree to give it to the arts commission as a recommendation of these are the artists that we recommend to move forward so it is it is very much common practice and um not just in our state but um simultaneously we worked on the Scottsdale Public Art plan very uh very conservative community um and yeah and um so we were present for the selection they let they let us be present for the selection as a community member and there was people on that that panel did not work in the arts and it was very important to the public art staff to have that representation I think another thing that we haven't talked about is um uh the the importance of that artist knowing how to go into community that they've never been a part of before and when you look at the qualifications that they provide you can ask that of them how have you worked in community to make sure that that community reflects the art that you've created right and so for example I did a project with the city of Newark work with an artist you don't really know anything about Newark but what she did was she did her research she went into community talked to them presented us with um a proposal she ended up getting selected and a lot of things I believe was because of the research she did on her own to create artwork.

So it's just I think based on all this, I think it could be an ad hoc group.

I think 14's too many.

Yeah.

I really do.

I I think representatives would be fine.

You know, for the stage.

The other thing though I would uh ask is when we come down to selecting an art, I like that these same people buy into the art that's selected, help evaluate it, so not just be part of the preliminary, the artists when the artists produce the because they the police guy is gonna live with this piece.

So he should be part of the maybe he comes back in at the very end or not sitting through us all discussing a couple to Google, but so he selected the board for sure.

That's huge, that's more important than anything.

Yeah, that was part of the early conversations that myself and Barbara had with Amanda um in regards to selection panels and kind of changing it up because we brought that to the attention to for the uh as a recommendation in the strategy.

And um a lot of it was the fact that I think it also came out of we didn't have a lot of people at the community meeting.

And so how do we make sure people are informed about what is happening here?

Because it's not just this group that needs to know, it's the entire community, not just people who live here but who work here.

Um and the having a diverse panel depending on the project is incredibly important for that reason as well.

So and I I would what Lady said make it clear what the criteria is for the non-artists participating, and I would ask the same members continue on through the process.

When we come down to finalizing the art, they're there, they are too.

And yeah, I can live with that.

Because then it'll kind of complete circle.

But to your to your your earlier point, I would second what's that Stephanie says, I'd say from from this, I would do it at ad hoc.

I mean, I want to make a banda set, right?

That the example should be shooting, you don't want to have this giant forum here.

That's a problem.

No, no, I mean my feedback was really about like I think the VAC needs to still all along be involved, but that doesn't mean it needs to be the whole thing.

That's just we're just talking about the selection.

I think even yeah, there as well.

I think we need to be sorry, where we we can provide along the way, and I think but I think again to Clip's point earlier, we would be relying on it on the whole committee getting together and and not no no.

What I mean is, yeah, we should be involved, but we can be part of the selection panel, some of us.

Yeah, yeah, I mean, that's what I mean, yeah.

And that's what but I mean, but from face one on from phase one on, yeah, everybody's gonna have a say, just not on the initial step.

Because as an advisory body, our role is really representing citizens, so it's good that we'd have different approaches to this process, right?

I think that shouldn't get lost.

Is there a recommendation from anyone specific to just so I'm just so I'm clear?

What we're talking about is having a um an ad hoc group of panel join this um uh selection panel selection panel, the phase one the phase, phase one and then phase two, the whole c is here.

Is that what you're saying?

That's what I thought.

Yeah, I'm just clarifying that, and then maybe maybe the VACs together without the public, because then we can all convene and update, and then at the final part we bring back in that public uh public person for like okay, this is the finalists or two finalists, and we can discuss it with them.

But there's a visual arts committee can't have a non-public meeting.

So it would have to be, yeah.

So the the artist selection panel plus uh an ad hoc committee of up to three visual arts committee members.

Um we can have a separate meeting um to discuss the the RFQ um and all the jurying and scoring.

So we'll do that.

Um, and then you know, we'll provide updates to the committee in between the issuing that RFP and inviting that short list of artists to your proposals, prepared proposals.

For for um just um um we have an ad hoc committee, three people who panel here does it have to be always the same three people.

No, this would be project specific.

And can it be?

It always have to be the same three people or does it can it?

Okay.

But there would only be one meeting, if you one meeting, people would participate.

So there wouldn't and then it would come back to the one meeting.

I think there's gonna have to because of the timeline.

When is that meeting?

Do we have a first of all though?

Is there a date for it?

We won't be going back and forth.

Um we're we're working on a um a relatively tight timeline for a big project, and so we it's either you know, coming to the visual arts committee meeting or holding this separate ad hoc.

Um and so we have the September 9th is our project introduction meeting, yeah.

And then when you're saying fall, would that one be in October or November, or do we know yet?

You know, we would intend to issue the RFP, you know, as soon as as we can after the introduction to the committee.

So there's RFQ, sorry, sorry.

So the RFP would go out with so the RP would be issued with clarifications, and then it's the panel would meet to once you uh evaluate.

Well, we so we would invite the panel to join that introduction meeting.

So the whole VAC will get the introduction.

It wouldn't just be the ad hoc committee, the whole visual arts committee will get that introduction in September.

We'll invite the artist selection panel to that so they get the same information that everyone else is getting.

We'll issue the request for proposals once that for qualifications request for qualifications, um, and uh once that you know that deadline hits the artist selection panel, the visual arts committee, ad hoc committee, the up to three members, um we'll review and jury, and then we'll have getting time once the once everyone's done jurying.

So that means by October that one.

Um probably yeah, but I'd yeah, we we will need to work out the timeline a little bit so and then once the RFPs come back, then the whole visual arts committee sees that, including if we want to invite the selection committee.

So would the um arts then the final approval?

Let's say we so I understand what you're saying is that the panel, including the three ad hoc here, would be to uh evaluate the artists and a reply and select up to five artists to um to um move forward with uh sample start piece.

Um in those five, would that come back to the full VAC to basically be modified?

These are the five people who are gonna be and you you all agree that this is the five.

No, I think they're gonna come back with a proposal.

We're gonna come back and we'll see the proposal.

Yeah, so the the who that short list, who yeah, people who are invited to create a proposal, um if we're going with you know what we're talking about, the process that we're talking about now, the artist selection panel, including the VAC ad hoc, um would make that selection.

Five artists we would give an update to the VAC at that point, and then you'd see the proposals once those are done, and then make a recommendation based on those proposals, proposed art pieces, and we'll make a recommendation with the panel that was available and select the artists, yeah.

They could be uh yeah, I think they should.

I think they should.

It's the expectation that the selection panel makes a recommendation, like they get five RFPs.

And they are Q, sorry.

R no RFPs, and and then they then there's five RFPs come to us, but they come with a recommendation to election panel would like artists number three.

Brought forward to the council.

I know I thought we would then evaluate the pieces that that'll come full committee, right?

And jury the proposals, we'll jury the the final.

And it'll only be five.

So I think that's an R.

I think we're sticking on a number and not even sure.

Yeah, yeah, yeah.

It's not gonna be hundreds.

It's not gonna be hundreds.

It's just it's gonna be a short amount.

Right.

Yeah, yeah.

So I I still want to bring it back.

Would it would ever put you guys see value in that we get an update before it's narrowed down to five people?

I think this is a timeline thing again, honestly.

I think that we can provide that update.

Um, getting the feedback, November, December, and the RP by invitation is early 27.

So there would be a meeting that we have where the panel, for example, could could say we're at this stage right now.

We have narrowed it down to only this many people.

Like just get the give a report, and if we have feedback, we have feedback, and if you don't, I mean, here's here's a I question.

I would assume that as soon as the RFQ is made, that you're gonna send that back to those five or whatever artists, and they're gonna get started on their RFPs.

That's the hope.

That's the hope.

And then and then early 2027, we're gonna see the final RFPs.

It's not that the RFP is gonna go, you can send them time to develop.

Yeah, it's gonna take them time.

So I think ultimately no the final selection, and so in spring.

So let's just I think give it we've looked at the timeline.

This is what we have capacity for.

Is a RFQ and and time for is an RFQ process.

And I agree, you meet several times, but there will be there needs to be time for jury, there needs to be time for discussion, and then given the tight timeline, we need to jump to RFP process because artists are gonna need time to develop a concept.

So, so I think this is the the recommendation that staff is bringing forward is an RFQ process that either has a full committee or the ad hoc, and to Amanda's point, you know, this sort of multi-phased RFQ process is not something we've seen done in other communities, and so staff has not had an opportunity to vet that as an option, given that we don't have good examples of anyone taking that approach, and so I would caution you to not send us into art uncharted territory with such a tight timeline.

But that would be staff's recommendation.

Is the artist selection panel is only meeting once, right?

So the meeting once looking through the artist selection, which is the same process at the visual arts committee, and that's what we select five people or however many.

All down in one meeting.

And I've done this, I don't know if you have it for you, but like there's somewhere I've done where I had to spend two separate days to review them because I you know, like early going for the meeting by yourself.

Yes, because it's it's like yeah, it's I had to review like 20 between 20 and 30.

Can't remember exactly the exact number, but I know it's definitely at that 20, and they're submitting their you know, a couple of examples that you have to read their statement, look at their qualifications, and then you're scoring them.

So you're really spending quality time, but when you come back with your panel, and the panels, you know, if somebody has say I gave a score of five, and this person gave a score of 10, and then the staff says, okay, do you want to explain why you gave the 10 and give us a little bit of your reasons?

Because most people score five.

That can affect, you know, the final decision.

Those are the kind of conversations that are important to have.

That's why there's that's why you don't want to do that middle one, because it'll really slow it down.

That that singular one, you're coming back with all that homework you did.

I think that's incredibly important to take into consideration the amount of time that's gonna be spent on the panelists' own time.

So what I've heard I'll say is we would recommend ad hoc.

And then as you move forward, bring it back to as we have our schedule meetings and report what's what's the status.

Provide an update.

Right, but not have a in any case, it's our own people coming back from the selection panel.

Just give a quick update.

Yeah, like you guys, how is it?

I think an update is totally feasible.

Bringing it back for further discussion and deliberation is not that is not realistic.

Yeah, yeah.

Because you want to move, yeah.

Yeah, but an update, absolutely.

It I mean, as Kristen had said, we want to ensure along the way, as she does at every meeting, is she's providing updates on these CAP projects.

So an update is reasonable, further deliberation is is not feasible.

So do you want to nominate people to be on the committee?

Or is that what your seeking person is nominations?

I'll I'll volunteer.

Does he want to?

I'm on so many committees.

We'll the other guys, no, go ahead and you guys do it.

I would do it, but I think it's also valuable.

I could be backup.

I'm I've got my mom who's I just I can't tell how I'm gonna be around.

Joe, do you want to?

Uh sure, yeah.

Okay, so do we want to do oh I guess let me just sorry just to clarify one detail it isn't followed?

Will this be during our normal meeting or this be a separate meeting?

It would be a separate meeting.

Okay, I'm just gonna be out for a week in October, but other than that, I'll be there.

Um I'm not I we can have we can have two or or three.

I'll be a backup.

I'm gone from September.

I'll go leaving after the VAC meeting in September.

I'll be back October 8.

Yeah, might not be around early September.

That's a good point.

Thank you.

But it's October, right?

What is it?

Sounds like it's more October, November.

I'm gonna be out um three weeks from last of September to mid-October.

When when is when is the so we could have like alternates likely?

I don't know yet.

I'll do it if I just say we issue them to it.

Then we can, I mean, can we decide finally on the September meeting?

Our day, September 9.

We issue the request for qualifications mid-September if you know, say we issue it a week after the visual arts committee meets.

Um, and then about the month, right?

We'd probably be late October.

So earliest mid-October is the earliest, so if you'd be asking them to sit to send your their qualifications within a certain amount of time, then you have to gather all those and then you send them to everybody to review.

So you really wouldn't be meeting until a little maybe early November, but at the earliest late October.

In this process, we'll look into you overview.

Umes that are clearly not appropriate.

Yes, yeah.

Yeah, we will uh we will let them all first.

Um we're working really closely with the uh employees and fire chiefs too, and so if there's any immediate concerns from them, um, you know, we'll be working with them.

Um I mean, could you the RFP with the architects and the RFP will have qualifications have you work on such and such and such?

And so when they apply and they clearly don't meet those, you'll just you'll just won't even come to the panel.

Yeah, exactly.

So you do some pre-pre-schanny.

Screening, yeah, yeah.

I'd like to do it as an alternate.

I mean, I'd like to do it.

So if someone doesn't want to do it or isn't around, then put me on.

Yeah, so it sounds like the Sri Yabas are the most likely you can do it, but I can do I can do it from here.

I just don't know.

Kind of be somebody who's I'm available, so yeah.

I think that's good.

No, that's all.

No, I haven't.

Well, whatever.

So you want to just I mean, I think you guys are good.

So I just I'd like to do it.

Yeah, noting like so, Susie.

Um, as members and then PC Stephanie alternates if someone's not available.

Yeah, let's talk about it.

Yeah, sounds good.

Maybe we can buy a motion to that.

Do you want to make a motion?

Okay, yes, let's go, go, go, go.

Go go.

We had established the ad hoc committee, and uh three people.

Yes.

The ad hoc committee be part additionally to the artist selection panel for the RFQ.

Phase one.

And uh we will provide three members from the visual arts committee.

That's my motion.

Second.

L in paper.

Okay.

Oh.

Okay.

You did it.

You have another item.

We have another item.

It's great.

Item number.

I mean, I don't know if it's a number of questions.

And the missile.

I'll just provide a quick update about um with a little PowerPoint.

No, okay.

You know, the city's really been prioritizing the recruitment, and we are in the recruitment process, um, hoping to have an update that we can bring to you at the next meeting.

But I can tell you we've been we have we uh candidate pool um the application process closed and we are moving forward with evaluating candidates.

Good candidate, we received a lot of applications um and really high quality candidates.

It was a really uh excellent application applicant pool.

Yeah, but I'm sorry, just to clarify that's the same person that we were just talking about in the plan, right?

Yes, the title is public art administrator.

Oh, public artistrator, okay, yeah.

Um it is a position that we based off of some sort of uh regional other you know, other regional positions.

That's how we we look to our neighbors to build out the job description, um, and you know we had to kind of place it in the city organization since it's a brand new position, so it to kind of you worked through the HR process.

We did and the process and all of that.

We got a chance to look at it because it was a recommendation that we that should be done.

Yeah, yeah.

That's great.

I said we're actually yes, okay.

Send us some of your thoughts.

Right, great, great.

So exciting.

Any other comments or questions?

Oh, I have um because we talked about interesting art events.

Um the Anderson collection uh on Stanford campus, they have in they had an artist in residence for a year, and the artist um got groups of two people together, and they um discussed what connects them and what bondings, and while they did that, they formed a ceramic vessel.

So they both they made uh clay vessel, and it's a room when you come in, and they're all free, right?

The the counter arts and the Anderson collection and it's a temporary exhibit.

I think it closes in August, so it's closes fairly soon.

And the whole room is filled with small vessels, and they all have a chip underneath, so you can pick up the vessel that speaks to you, put it on a console, and then you can hear the conversation those two people had when they made the vessel together.

I thought we also have interesting art things around.

So I wanted to just tell you maybe you wanna experience that.

Wow, we should go.

So that's so that's a decanter.

Uh the Anderson Collect is right next to the counter.

It's their brand, that's fairly new spilled comparary art.

Okay, all right.

Okay, anything else?

No.

So we should be on the meeting as well.

Okay.