 another minute before opening up our meeting today. Thank you guys for being on time. No, it wasn't at last meetings, but I did see the update to the roof of Sawa fountain, which was exciting. And then the presentation that Judy did to that's, that's really cool. So there's two really cool and new and exciting. I don't know what the results are new, but the, every time we get an update in a pro, you know, some progress on it. It's, it's exciting. All right, well, I'm going to go ahead and call our meeting to order in a few minutes in. So hopefully Jess and Nathan will join us while we have our conversation going. So great. Hello, everyone, and welcome to the October 4th, 2021, meeting. I would like to call this meeting into order. At this time, I'd like to do a little housekeeping before we start the meeting. Just a friendly reminder to committee members and attendees, keep your audio on mute unless you are speaking. And that is during our staff presentations. And so not to talk over each other. All right, moving on next pursuant to the government. As the agenda is now on the agenda for the meeting. We have a meeting on October 4, 9, 5, 3, E and the recommendation of the health officer of Sonoma County, the art and public places committee will be participating in this zoom, sorry, in this meeting via zoom webinar. Members of the public may view and listen to the meeting as noted on the city's website and as noted on the agenda. Our recording secretary, will you please walk us through how the Members of the public wishing to speak during item three, public comment or during our public hearing items will be able to do so by utilizing the raise hand feature or pressing star nine on their phone. Then they will be given the ability to address the committee. Thank you. Great. Wonderful moving on to item two roll call. Will our recording secretary please take roll call. Chair keeper. Here. Vice chair Jones Carter. Here. Note that member adhering is not currently on the call member bound Gardner. Here. Are noting that member Nathanson is not yet on the call and number point is here. Thank you. Item three is public comments. This is the time when any person may address matters not listed on this agenda but are within the subject matter of the jurisdiction. Please raise your hand on agenda items when the item is called. If you wish to make a comment, please raise your hand. If you are dialing on telephone, please dial nine star nine. At this time, each speaker is allowed three minutes. Eileen, do we have any public comments? We have no public comment at this time. All right, moving along. We will go to item four. Our approval of minutes. We will be reviewing two meeting minutes for approval. We've got minutes from the June 7th and the August 2nd, 2021 meetings. You all have copies of the meetings. Are there any changes or corrections that you would like to bring up? At this time. Seeing none. I would like to ask the committee. Would someone like to make a motion to approve the agendas as written. I can make it a motion to approve the June 7th, 2021. Minutes. I cannot do the August 2nd because I was not there. But I will make a motion to approve the June 7th. Thanks, Lisa. Can I get a second for the June 7th meeting minutes? Quick. Great. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you. Thank you for your second meeting minutes. I think go ahead and get a vote on that first motion. Just for simplicity. All right. We are voting on approving the June 7th meeting minutes. All those in favor. Raise your hand. Great. Thank you. The meetings are accepted and received by unanimous vote. Now moving on to the August 2nd, 2021, meeting minutes. Go ahead and get a vote on this. Great. Can I get a second? A second. Thanks, Ann. All right. We are now looking at the August 2nd, 2021 meeting minutes. All members in agreement to accept the minutes. Please raise your hand. Great. Thank you. Eileen, please note that the meetings are accepted. And received as voted. Thank you. Thank you. The meeting is expected to be held at 6-point-1. We have the fifth street parking garage public art project. At this time, staff will present the recommended artists as identified by the project selection panel. The presentation will include background and information on project development, goals, timeline, budget, the selection process, selection criteria, and the community engagement associated with this project. presenting the artist along with specific feedback about the design. At this time I'll hand the meeting over to David for a presentation. Thank you chair keifer. For those in the audience that I don't know. My name is David Ward I'm the public art project manager for the fifth street parking garage public art project that I will be presenting to you today. Let me go to the next slide, please. So a little bit about the background and the site. This public art opportunity is for an artist or artist team to design and execute a site specific public art piece for the southwest exterior wall facing Orchard Street and Fifth Street of the Fifth Street parking garage in downtown Santa Rosa at 735 Fifth Street Santa Rosa. The fifth Street garage serves the northeast section of downtown Santa Rosa. The garage has five floors dedicated to parking and contains a total of 708 vehicle spaces. The quote canvas for this project is to be contained within the exterior wall space with an approximate maximum dimension of 901 square feet of which 670 square feet is concrete surface. And 231 square feet is open to the pub to the parking on each floor to the materials such as painted murals or other flat applications are more encouraged. However, 3D materials including light based installations were considered with proper engineering and mounting installation. The public art artwork should consider the existing landscape and hardscape and lighting and viewers perspective. Next slide please. The development of the project and the goals. The goal of this completed project is to draw positive attention and increase the visibility of the Fifth Street garage, which even regular visitors to the downtown often do not know exists. The artwork will distinguish the garage from nearby structures serve as way finding element through through identification and distinguish the garage from, excuse me, and draw people to the site. The artwork will improve the aesthetics of the garage as seen from the street and by pedestrians. The parking division and public art program work together to secure funding for this project and create these identified goals. The project budget was a total of $25,000 of approved budget $20,000 of the budget was for the selected artists, which was the all inclusive design and construction. Balance of the of approved budget for city costs such as honorariums marketing and outreach community engagement site prep and contingency where that was also included. The source of funding is the public art fund which was $10,000, which is 1% of the construction from private development paid as in lieu fees required to meet the city's public art in private development ordinance. This source of funding can only be used for public art. The other funding source for this was the parking division, which was a total of $15,000. Looking at the timeline. This project started in January of this year. And we had our first deadline for artists to submit their qualifications on March 15 through the rest of March and into the beginning of April we had the selection process part one where we identified three finalists, and they, they were notified. We had a public art fund site project orientation on April 14 for the finalists on May 26, the, that was the deadline for finalists to submit their, their proposals which they were given criteria additional criteria for their RFP. May 30 through August 31 we ran the public display of these artwork proposals and we did a public engagement survey. August to September 13 was selection process round two out of the three finalist proposals. And then that brings us to today, October 4, which we will hopefully be, well, the selection panel recommendation to the art and public places committee will be made and hopefully approved, and then looking forward October to November we will if approved today we will finalize the artist services agreement with the selected artist, and we will solidify a final design, and then hopefully by February of 2022 the artwork will be installed and complete. Next slide please. A little bit about the request for qualifications. The eligibility for this project was open only to applicants of in Northern California out of the 38 applications, almost half of them were from Sonoma County and about a quarter of them were from Santa Rosa. Other submissions came from places like Auburn, Truckee, Danville, Emeryville, Oakland, Concord, just name a few. Also we use submitable for the project as an online portal for submissions which really helped streamline the application process and the review process. Next slide. A little bit about our community engagement. The primary community engagement component for this project was incorporated with the finalist proposals which was inviting the public to view and provide feedback about how each proposal address the outline project goals through a survey. The survey was conducted online via Survey Monkey. Additionally, posts about the project status and updates were posted in social media and on the city's website. There was also a press Democrat article and then also using the city connections newsletter. Next slide. Our selection process. The selection panel. Compiled for this project consisted of two members from the Art and Public Places Committee, two arts professionals, and two members from stakeholder groups which were from the Downtown Action Organization and from the parking division. The finalists that served on the selection panel were Kristin Kiefer, Arts and Architecture Planner and APPC member. Jennifer Bethke, Professor of Art History at Sonoma State University. Who's the founder and president of The Engine is Red. Pauline Block, Marketing and Development Coordinator with the cornerstone properties, and Baumgartner, Arts, Artists and Arts Education and APPC member. And then finally Kim Nado, Parking Division Manager with City of Santa Rosa. Next slide please. So the selection criteria for the artist qualifications looked at artistic excellence, originality and innovation as evidenced by representations of past work, appropriateness of the artist medium and style for the project, experience with projects of a similar scope and scale or comparable professional experience to handle the requirements of working in the public sector. And finally, availability to participate in the design approval and implementation of project and complete installation by the deadline. Next slide please. Which brings us to our three selected finalists. Our first finalists was L Street Art from Sebastopol, California proposing their proposals, entitled bouquet. Next slide. From Oakland, California, Matthew Floriani proposing an original work called Dragon Dance. Next slide. And then finally, from Santa Rosa, California rough edge collective which is MJ Linda lawyer and Joshua lawyer and their proposals entitled help each other grow. Next slide. A little bit about the public engagement survey. The public engagement survey ran for about three months and received plenty of feedback. The goal and the intent of the survey was to provide information to the public about the submitted proposals, the selection process and the overall projects mission and goals. After closing the survey, the public feedback was provided to panelists to consider while scoring finalist proposals. Next slide. A little bit about the public engagement results. The survey was hosted online via survey monkey asking the public to rate which proposals addressed goals of the project best through multiple choice questions, and also had an optional six question where survey respondents could provide comment about their favorite proposal. Next slide. And then the selection criteria. The proposal was looking at appropriateness of the artists proposed medium style and project concepts demonstrated understanding and incorporation to the stated goals to the project proposed artwork was to be suitable for permanent outdoor placement and address durability maintenance and public safety concerns. The work was to address an effective balance of size and scope of design and choice of materials to ensure that the final the finished installation is of sufficient prominence to capture the positive attention to the public. And finally was to consider the survey results. Next slide. Which this brings us to the recommended artist, which is the, the rough edge collective which is MJ Linda lawyer and Joshua lawyer, and their original work entitled help each other grow. And then about them rough edge collective is a Santa Rosa based married team couple MJ and Joshua, the selection panel chose this team for various reasons including their connection to an investment in Santa Rosa as local residents. They're also emerging artists that are young and expanding their portfolio, and their prior quality of work in and around the Bay Area and beyond, and vibrant content and designs that represent approachable and accessible themes to the community. People want to just just read a little bit about their artist statement which they included in their, in their proposal which is to quote, help each other grow was inspired by the young tree parked in front of the wall designated for the fifth street parking garage mural, imagining the tree growing over time we wanted to create a design that could play off of the future that future growth. We also created the vision to use the tree interacting with the main figure on the wall who's providing the tree with sunlight and water. The design is a positive message where the tree metaphorically represents a second figure and how small well intention actions can create immense growth. In addition to the narrative we wanted to focus on a color palette that will both draw attention to the wall and create a sense of calming. While designing the mural we wanted to pair a highly rendered figure with a graphic and somewhat abstract background, the contrast between the two artistic styles will draw attention. First through its bright colors and graphic patterns, drawing people closer to the mural to take to then take a look into the details of the highly rendered figure. We wrap the design around the pillars to utilize the surface and space making the mural visible from multiple directions and angles. The selection panel has provided some feedback that if approved the artist team should consider in their final design including the following. First is that the artist should consider activating the negative space on the upper third of the project canvas around the sun. The artist should also consider strengthening the color palette to bring background elements to life. And then finally they recommended the artist should consider lightening the color palette in the bottom corner of the design near the stairwell for concerns of vandalism. Next slide please. This is just a couple snapshots of the past works that they submitted in their RFQ. And this is the couple is growing as a presence here in the Bay Area and has done murals or exhibited work both individually and together across the Bay Area in Oregon, Florida, New York, Colorado, and also has done work here in Santa Rosa as well. Next slide. The project timeline and next step so again to reiterate today is October 4 we're looking today we're we're presenting the recommendation to approve rough edge collectives design as the for the Fifth Street project. Next steps if approved today would be through the rest of the month of October and into November we'd finalize the artist services agreement with them, if approved, and then by February of next year we would have the artwork in installed and completed. So project will be complete. Next slide. And then to reiterate the recommendation is to approve the recommended artists for the Fifth Street parking garage public art project. The final design feedback from selection panel should consider should be considered upon approval as I mentioned prior. Next slide. And, unless there are any questions that all I have for you today thank you so much for having me. Thank you David for that very informative and colorful presentation today. Next move to committee members and see if there are any questions for staff at this time. Member point days. Yes, I would like to hear from you, Kristen and and what I love love this design and but I just want to hear what made you choose this design over the out of the three panelists and what was the issue with the other two if you had any or, you know, just give me your personal opinions and how you came up with this. Sure. Tara at this time is this something that we can discuss during the questions to staff part or does this need to be part of our committee discussion. After we make a motion. Yeah, this is technically the time for committee members to ask staff clarifying questions and then once there's a motion on the table there can be a little bit more open back and forth discussion. So, if we could try to answer any questions at this point, David or I, then, I think it would be great to revisit Lisa's question. I didn't want to cut you off if you wanted to clarify. No, no, no, that's perfect. And please, can I ask a question of a staff. Did you present this feedback to the artists already, and did they have a response or is this going to be coming to them after this meeting. No, we, this was not the feedback from the selection panel was not. We did not let the artists know yet we are waiting for a recommendation. Super that's helpful thank you approval of the recommendation. Great do we have any other clarifying questions for staff at this time. Seeing none I'll ask our recording secretary do we have any public comments on this item. We have no raise hands at this time nor do we have any voicemails or emails for this item. Okay, and in order to move forward with a committee discussion, I would ask one of our committee members to make a motion. And this motion can be a little flexible but we we need to have a motion on the table before we have a discussion as a committee. So, Melanie, you're on mute. So the motion is to approve this artist, or the motion is to. So once the motion is made and is approved. That's it. The motion that the order of operations here that the committee is is following is that the recommended motion is usually made. Unless a committee member wants to make an alternate motion than what's recommended on the agenda. And then there's a second, and then there's an open to discussion. So there's no vote taken on the motion until there's a discussion. Got it. Got it. Jeff, do you have a comment or. Yeah, I'll make the motion. I move that the art and public places committee approve the selection panels. Recommendation for the fifth suite parking garage project. Great. Can I get a second on this. A second. Great. Thanks, Lisa. And now we can move to committee discussion. And I would be happy to describe a little bit of the results that we got from the community survey and then our committees or our selection panel process. There were three artists proposals that we were evaluating and there was serious consideration given to the public input. And the results from the survey. Our team also felt that it was good information to understand who was responding to our survey as we went forward with our discussions. In my experience, we had some very, very heartfelt and hard discussions about which piece we actually thought would work best in that space to achieve the goals of the project. Some of the bright colors that were put forward in the dragon dance that that light pink lilac was really thought to activate the space while and draw attention to it. At the end of the day, the committee was a little concerned about this, the selection panel wasn't as impressed with the artwork that was put forward by L street art with with the focus on a bouquet or a still life here. I was happy to see that there was focus on a human experience and relation to a community with the rough edge collectives piece and so it did go back and forth quite a bit in terms of how our selection panel wanted to approach our recommendation and really thinking about what what achieved the goals of this project and also there was quite a bit of subjective thought as well of what we thought worked well in that space but wanting to tie it back again to the to the goals of the project. What else you wanted to add. I would just add that we did also look at how the artists were engaging the specific space. L street art is a really highly regarded artists and it was really intriguing to think about working with someone that was doing that kind of worldwide work and had the portfolio that she has and placing it in our city. And yet we felt she was engaging the side of the building, which was really covered with the redwood tree. So that was disappointing, because really when you look at what's defined as a space and David had a slide about that. The majority of her artwork is well out of that space. And that's a great idea and I think the public responded of course to that amazing bouquet, but that was going to really be unavailable for most people to see. Even if trees were pruned those are large trees and it's inside it's not the facade the front just so that was a big thing with that and very disappointing to not you know because people submit what they submit and then you're dealing with what is there in front of you. And we talked a bit about a cultural appropriation with the dragon and that was concerning. Not going at the motive of it, but the reality of it in this place in this time. Because we really did love Matthews work and his portfolio is really exciting and how he engages space around Oakland and large buildings and he really has a way with space. And again, that was became a stumbling place we couldn't go up so sometimes you just end up narrowing down through things you can't do. That makes sense. And I'm not, and I did want to say also, we did love the, the collective, the two of their work and the motivation behind that too with some specific artistic direction, we were giving some strong feedback with those three. Very carefully worded, we don't want to trample over them, but we just felt it needed to elevate a bit on the sort of aesthetic realm. That do you agree with that person is that absolutely and in terms of the comments also just, yeah, focusing on there being very dark colors at the base of the garage and wrapping around the corner that goes underneath the set of stairs that that was potentially concerning for that color palette there. So we did want to provide some comments. It wasn't just a let's go forward with this as it is it was kind of a let let does this committee or does this panel have opportunity to influence the design a little bit as we go forward. So, but yeah, there was quite a bit of conversation about social or cultural appropriation that I didn't expect would necessarily come up until I thought about the the dragon statue that is on the Prince Memorial Greenway and understanding how there was the vandalism of that piece and how it's a sensitive topic when you're, you know, finalizing what type of piece should go in a public sphere, and our committee thought or our panel panelists were very conscious of that. Is the figure that's depicted Native American in the mural. It wasn't specifically stated or noted it was to be representative of our community of color, and I don't think that it, at least in my mind I didn't identify a specific population group with that so. So it looks that way. So I'm that that's my only concern. I would hate to offend someone. I was wondering the same. And regarding all the other questions I had that questions I had previously I it's obviously you did really. This was well thought out on the why you chose this over the other two and you made some really good points both you and and, and I definitely appreciate that but going back to Melanie's question. That was something I was questioning to, but yeah. If it is intended to be a Native American person, I'd rather that it that that's clear, not just. You know, I don't want to, I don't want it to be like, oh, this is a bad representation of the Native American person, or is this just supposed to be a generic person. I don't. I can't tell. And that that could. That's where I'm, I'm where I am looking at this is that I just don't want it to be perceived as someone doing a bad attempt at a Native American person. But I think I can chime in here and just say that I think I staff David and I can. When when we talk to the artists about the other design considerations, if this is approved obviously that that's something that we can clarify and we can identify a way to address any kind of identification that needs to take place through a plaque that will be on the site. But you know, I think first finding out what their intention was there would be a starting point because they do not recall anything clearly described in their proposal about the identity of the, of the person so that can definitely be clarified and addressed through the final design process. Can I, can I see this slide just one more time. David, if you could. I have something you can pull up again Eileen for us. Eileen, are you able to put up the presentation again. All right, I was on mute. Yes, I'm pulling it up right now. Thank you. All right for the delay. Yeah, I just, you know, either it is or it isn't so. And if it is going to be it just needs to be clearer, but not so ambiguous. Yeah, I think Melanie brings up a really good point and it would be good to know if the artists intended this to be culturally ambiguous, or if they perhaps used a model who was made of American or, you know, of whatever background. I was involved with working with an individual who considered himself to be generically ethnic, because he was an extra race, which was really interesting a lot of artists like to use him as as a model or for photography because you could kind of read them in any direction, but that was, I even admitted that he thought it was a little bit of a cop out and that people weren't actually addressing the issues of race and ethnicity in the community in in a straightforward way. It's certainly useful, perhaps not during this meeting but to talk about what this committee's views might be and what our role is in making determinations for public artworks and the relationship they have to cultural appropriation as well as others who might represent specific racial or ethnic identities. Melanie brought up a really important question, I appreciate it. When I say something I, when I'm looking back on how we, we got to meet each of the artists you know we zoomed with them, and my understanding was that MJ and Joshua were both of Latin Hispanic descent. And I just assumed in meeting them early on that this was a person that that they had just chosen out of their own cultural background but we did not talk to them about that nor did they write about it. Specifically this figure, so I think that would be really interesting to hear more. I agree with Anne we did that wasn't part of our selection panel conversation or interview with our artist team. It was very, I found it to be very interesting and worthwhile to hear from them about the, the design and the composition. And we did not get into the, the intent behind the model. The only other thing that I can add as I know that on MJ's website and through her past work I've seen her refer to one of the themes in her work is portraying multi multi cultural women in her in her work. So, I don't think it's a stretch to just to go to that next step and say we would like to know kind of the intention of the identity, you know the cultural identity of the figure in this mural and how best to identify, or make that clear to the public viewing it, I think that we can, we can clearly work on that with them. So, another question about the selection process. So, I'm just kind of curious I guess about the, the overall pool of applicants, what the proposals, what kind of range you were looking at, and if there's any. What about the selection of the three finalists that might be helpful to us in understanding how you arrived at this, this recommendation. So I guess that's to Christina and since we were there. I'll start. Absolutely. So the selection panel was very intentional about considering artists and reviewing artists that were representative of the Bay Area and our final three were two local to Sonoma County and one artist in Oakland. And that also had influence when we were looking at the budget and not to say that that kind of swayed our hand but it was something that we were wanting to be very conscious of. And in our evaluation of the survey responses of who was actually participating in the survey. So we did find that a number of community member, a number of respondents to the survey were outside of our community and we wrestled with that topic as well. Who should be really the. Anyway, who, who, who are the voices that have the most weight and salience in this kind of conversation, and we. It was, it was very important, at least for me to think about an emerging artist who is a local representative from our community. Jeff, what I feel like I hear you ask is just the bigger question though like how do we get to the three from what we had to coming in the front end. And we had like almost 30 some people was David is it like 35 or. Yeah, 38 yeah, yeah 38 like a ton. I mean that felt like a lot of people that really met the credit the basic criteria for putting a budget in and all the slides and getting at it you know just like you could really look at them. And some immediately fell away with just not having the experience of working on something this big and working with a boom or working with just just kind of questionable whether they could even really do this work, or not having the language around. And so we had to talk about something on this scale, whereas there was a fair amount of people that we all scored and some people that maybe like I really like wasn't even on the finals, eight, because no one else voted for them. So that sort of stratified it pretty quickly, I don't even understand how exactly how statistics work. I mean math wise I'm not a mathematician type person but all to say is like some people I would have liked to see in that we're not even in the final discussion because we had them on their top eight. So it was interesting, these three, there was actually four or five that actually did make it up to the top part it seemed like that we all talked about. And we did some negotiating we talked I mean there was one person we actually pulled back up because by score alone they didn't make it, but we all agree that was a person who wanted to see a little bit more fun. It was encouraging that we were not just going by numbers, we were really talking about it. Different people had different perspectives on it, but L was by far that she just she knocked in the most folks, I mean, like everyone was like whoa, this person should be in the top something. And that was my memory at least. But as for the other ones we were kind of negotiating around and talking about it and I think it did come to listening to each other, what others felt were really important in the does that help at all. Yeah, and just to clarify to the, the, the 38 who applied applied with, you know, their, their examples of past work their references, but no proposals. So there was no review of additional proposals they the selection panel only received three from those finalists that were identified. Right. Got it. Thank you. That's really helpful. So the next steps that we're looking at accomplishing today is getting a consensus or a vote from this committee and then working with staff as they make the negotiations with the artist in the next steps if this artist team is approved at our meeting this afternoon. Right, so there's a motion on the table to approve the recommended artist. And, and there was a second so if there's, it's still open to have more discussion if there's any more discussion to be had. Otherwise, Kristen you can call for a vote on that motion. Or if anyone wants to make a friendly amendment to that motion or propose an alternate motion those are the choices here. Just a, I guess a point of order or clarification since I made the motion. Should the motion include the name of the artist collective, just for the record. That would be fine to add that the recommended language is just to approve the recommended artist as was presented to you today so I think for our records that's fine but if you'd like to reword it, that's okay too. And if you'd like to add anything regarding the notes from the selection panel or the additional notes discussed today that that can be incorporated into the final design conversation that staff will be having with the artists that those are all allow allowable actions for you to take as the motion maker or Yeah, I wouldn't want to do anything to add or or revise the motion other than have it state that this that we accept the recommendation of the selection committee for this specific project. It's rough edge collective, rough edge collective. Yes. Thank you. I still am I muted. No, I'm not. I still have. I understand this. So the process would be moving forward. If we approve this artists, then staff would take the concerns or questions that we have raised to the artists, but this artist is selected. So, Yeah, okay. I just, I don't know. Sorry. Do you have a comment. Yeah, I my feeling is that since this is a city funded project it represents the way that a polity seeks to be seen and and to represent itself. And to the extent that there's a gesture towards addressing the harms of settler colonialism or, you know, seeking to shift cultures. You know, or Santa Rosa's relationship with the land that it sits on and the people whose land that belongs to you know is those gestures need to be very explicit in the way that, you know, Siqueiros or Orosco or, you know, like, kind of mid century Mexican muralists are very explicit about the political content of that gesture and what it means in relation to the space that it occupies and what makes you run into problems when when things are not when things are big. That's my feeling. That's an interesting point, Nathan. This is a public artwork, and it's in a very prominent location. So it's not as though it's a painting that's exhibited in a private home or even in a gallery that has public access. The floor is in a location that if you could have some gallery it might be very easy to put some information on the wall that you would be able to read about what the artist's intent is or whatever information is deemed pertinent by the curator whoever assembles the exhibition that you might see it in. But this is a public artwork. So, if it's going to prompt public response, then I agree with that. If there is something that is specifically cultural, then it should be specific. And if it's the artist's intent that it was designed to be open ended or invite interpretation, then is there a way to contextualize that for the viewer. So, I'm, you know, I'm, I'm all about, you know, promoting diversity in Santa Rosa so I I don't want to be a knucklehead here but I just feel like I can't support it until we figure personally me just until we figure out more about the intent of the artist. I mean, you know, I, that's just my personal viewpoint so so my understanding is because I've seen this, this person's art before and she does use a lot of, she does represent a lot of women of color and a lot of her art. And I, you know, because my question also was would she portraying, you know, an Indigenous person, Indigenous to this area, which correct me if I'm wrong, I'm pretty sure it's Southern Pomo, which would be that area. And if so, would that be something that would be noted on there. And if not, give an explanation for that. And this is the project that was chosen and I know there's some other questions to that we have for that project that haven't been, you know, that haven't been asked from that artist yet, which are going to be asked, but basically so we are approving once we do and we do vote and if we do approve those are questions that can be attached or we can amend the approval, you know, the motion with that, that there's clarification on the representation of this mural. But we don't get that information. So, I mean, it's just, it's done. Well, we can get that information that the problem and we could ask and request that information that the problem is simply do not approve it right now then we have to wait a whole another month before anything else is done and then if they do clarify it. And then it's, it's something that is, it's simply, you know, simply clarified, then, you know, we still have that extra month that we have to wait, I don't know. This is something probably that Tara needs to say, you know, clarify, but yes, definitely, I am also questioning, you know, what you had a question and what were all a few of us are questioning on this. I can clarify that there's a couple options here I think that I hear the question being asked and the concern surrounding that question. And the committee wanting to know that know the answer to that before a decision is made. It sounds like that's kind of where some of the members are at so you know the the vote can be taken on the motion. And that can be, you know, not in favor it cannot pass. And then the direction to staff could be to work with the artists and bring back the answers that the committee is asking. We could hopefully do that within a two week time frame instead of waiting a whole month we could call a special meeting for mid October. And that if that is, we can try to make that happen at least. And then essentially be presenting the project again for approval but with the additional information that the committee has requested. So if that is kind of the direction that it feels like some of you are wanting to go then that is an option but the motion is still on the table so about those have to be taken on that original motion. If that original motion passes today, then we would still be doing what we're talking about we would David and I would still be working on addressing this issue, we can report back to the committee, but the committee would not necessarily take any other action, we would think the committee would be approving the recommendation to work with this artist we would be working with that artist on these topics on these issues, and bring it we can bring back updates to the committee that that those kind of are the two choices at this point. I'd like to suggest a variation on your first choice, Tara, if I may, and that is to table the motion, handing the receipt of additional requested information. I understood what you just said you were suggesting we would vote on it, and then it possibly wouldn't pass. Which doesn't sound to me really what our intention is I think I, I agree with with this thought that we should really know what the artist intent was and what we're looking at and then have an idea of how it would be represented to the public. So we approve and go approve the project in it and moves forward, but I think I, I'm hesitant to vote on it today, not knowing what the answer to those questions are. So I'd rather, I'd rather convene for a brief special meeting in two weeks and just know what the information is before voting. So I'd like to table the motion. Or I would or I would withdraw the motion. And then we can revisit and then we can just move again at a special meeting. I think, given my unfamiliarity with how we're what what actions were able to take as a committee to follow the rules, we need to follow here. I think withdrawing your motion is probably the better option. I don't actually know what steps are to table it. Maybe Eileen can chime in, since she has experienced supporting other city boards and commissions and committees, in terms of how that process works. So we have tabling it is an option, and then we would continue the item on to the special meeting with the date of that meeting to be determined. If that's what you want to take, or we could withdraw it or do the other options as well. Thank you. Thank you for clarifying. Also had a quick question about appropriateness and then also if this is the preference but if I can get MJ and Joshua on to this call, would that be helpful or would we rather wait. I would prefer to have us talk with them first and be prepared in order to what to what to present. I don't feel like that would be fair to put them on the spot like that. Thank you. So to clarify Tara though the these steps that are being talked about in terms of the discussion with the artist that would happen regardless of our vote today. Yeah, the the items that the selection panel brought up in terms of the color palette. This committee's discussion today would also add on further need to articulate, you know, the direction behind the subject of the of the piece. Yes, that's what I'm hearing from the committee as a direction to staff to pursue that and to get that clarified. If, if you want to make a formal motion that does that you can but I, I, you know, yes, we would be doing those things. I have a question about the process for continuing the vote to another meeting. To clarify this, does that require a motion or simple consensus of the committee. There would need to be a vote saying that the if you were to direct that you would say that the motion would be to table the item and continue it to a special meeting with the date to be determined. And then everyone, there was someone would need to second that and then the committee would need to vote on that. As the creator of the original motion and am I able to move to table this motion or does it have to be. Okay, so moved. I second it. All right, we'll take a vote. Unless there is any other conversation at this point is, we do need to take a vote on the original motion before. No, no, no, we're tabling it. Okay. It'll be continued until we until the. Yeah, so essentially I mean, suggestion is, I'll just say it, I moved to table this to table the motion regarding the fifth street parking garage selection, pending information from the artists. And the book then, and to be considered at a future special meeting time to be determined, or something like that. That does cover it. Thank you. And Melanie seconded already. So if there's no more discussion then yes, you can call the vote. In terms of discussion that I would like to keep having is how this could potentially impact the calendar or the schedule that we have is is, does it seem likely that a meeting can be a special meeting can be held later this month. Depending everyone's availability so as you know it can be hard getting people together on the same date and time, but I'm looking at my calendar and we could look at, let's see, to October 18. It's a possible time we'd have we'd have enough time to prepare for that I feel and bring back all of the information that's being requested. So that would really be the only determining factor at that point is the availability of the committee members to attend. Okay, I just wanted to ask that question before we move forward with about available. That also tentatively works for me at this time. So, you too. I'm traveling but I think I can get on. So, yes. Okay, then at this time I'll move forward with a vote. The motion. Does anyone need a repeat of that or are we clear on what the motion on the table is to table today's conversation pending further information from the artist team as coordinated by Tara and David. At this time please vote. If you are in favor of passing this motion, raise your hand. All right, the motion passes that we will be tabling this item for a future meeting to be coordinated. Please respond when we get those email notifications. Thank you for the opportunity and, and, you know, it's always fun to stumble through a few processes that we haven't done before. So thanks for your patience. And thank you, Eileen. All right, great. Next we're moving on to scheduled item 5.2. Today we'll be hearing an update for public art and private developments. I will provide an update on the public art projects installed by commercial development and in lieu fees received since March of 2019. So, I will hand it over to Tara to Tara for a presentation about private public art and private developments. Thank you. Thank you, Eileen for getting the presentation up. So I am presenting today an update on the projects that have occurred over the last two-ish year period for public art and private development. The last time, next slide, please. The last time I presented to the committee was in March of 2019. So it has been a while. Obviously we had a pandemic in the middle there that kind of rearranged our schedules and priorities for a while. So I wanted to take this opportunity to finally come back to the committee with an update on the projects that have happened since then and just give a little bit of a history and recap of the ordinance that we have here in Santa Rosa. So the ordinance itself was adopted in 2006 and took a full effect in 2007. The ordinance encourages the placement of public art on site of a private development with the understanding that public art helps to enliven the city and make public areas more welcoming. The requirement applies to private commercial development with construction budgets of $500,000 and greater, and it excludes residential projects and industrial projects. The ordinance requirement can be fulfilled by placing artwork on site of the development project, or in some cases on an alternate site owned by the developer, or by contributing in lieu to the city's public art fund. Next slide, please. This is a summary of the years since the ordinance was in full effect, showing each year, and these are fiscal years so July 1 through June 30 each year, showing the amount of in lieu contributions that came in in that year, and the value of the art that was placed on site by developments that opted to install art. I don't see the kind of, I don't know, I think chaos or randomness of, you know, what what happens in a given year, it's very determined by kind of what's going on economically what the market is like in terms of building costs and demand for the types of commercial projects that this applies to a lot of people ask me what, you know, in general, is it more are there more projects that pay in lieu or more projects and still on site. It obviously goes back and forth, and I'm not sure that there's really a clear pattern, but we've got all the data we've got all the numbers. It was just an overview of that. So as you can see back in our latest full year before I presented, or when I presented to you last time I should say it was quite quite heavy on the art on site with over $500,000 value of art installed on site. Okay, next slide please. So this slide shows the developments that have happened since I last presented or right about about then. So July one 2019 through June 30 2020. And it shows which developments that happened during this timeframe opted to do the in lieu versus place artwork on their, on their sites. And in this case, more projects opted to do the in lieu. So, yeah, it's, it's kind of, you never really know how it's going to work out. Next slide please. So it shows the last our latest year that we just completed. So July one 2020 through June 30 2021. And again, heavier on the, well, I should say, conversely heavier now on the art on site versus in lieu so it kind of ebbs and flows. So here that you'll see listed on these two slides, I will be showing you some examples of those being installed on site in just a minute but I wanted to just show you kind of a list of the breakdown in terms of in lieu versus art on site first. Okay, next slide. So some of the projects that opted to install on site. This is the Schultz museum education building. They actually built the education wing, just west of their main museum building, but due to security concerns of placing the artwork. They moved it to West deal lane, or in the unprotected area. They sought approval and got approval to place the artwork actually on their original museum building. And so you'll see this it's up on a balcony, right along West deal lane that you can see driving. And from West deal lane looking up at the balcony. And it's a bronze of two peanuts characters reading books, it's called book buddies, and there's a plaque. Obviously can't read it but it's that little black rectangle on the side of the wall that describes the artwork. Next slide. This was completed in 2020 the car wash itself just opened I believe sometime earlier this year, but the artwork was installed in 2020 it's by Patrick Amio and it's at the easy breezy car wash. It's on Mendocino Avenue right across from San Rosa High School, and the artwork itself is Patrick's kind of traditional junk art style, but they're all bugs insects and leafs and flowers that are kind of crawling down this vine that goes from the barn structure itself to, you know, to kind of closer to the sidewalk. This is a very, very large mural what's like five stories tall. It is by Martha Wade a local muralist and it's on the Memorial Hospital parking garage structure which was built last year. And it was installed in panels the artist actually painted it on a material in her studio and then it was installed in sections on to the parking garage structure California poppies and lupins I believe. Okay, next slide. This is the AC Marriott Hotel we've had a couple new hotels open in San Rosa recently. Hotel art is always a little bit tricky because the artwork has to be unique and permanently affixed to the property in order to qualify for meeting the ordinance. And so the artwork that met the requirements for this project were things that were done uniquely by an artist and that were more permanently installed than just an art, like a frame picture hanging on a wall. So while they have lots of art in the hotel, some of it didn't meet the criteria so like the screen that's attached architecturally the sculpture that's hanging up in the front window there are things like that that met the requirement. Also, all the pieces have to be publicly accessible. They can be indoors like they are in this case but they have to be an open to the public spaces they can't be in private meeting rooms or private guest rooms to meet the requirements of this. So these are all very various artists that they worked with they had an art consultant work with them to select all of them, and the hotel opened last year. Next slide please. This is a steel piece in front of spark which is a cannabis dispensary on North Dutton or Dutton right at college. It's made out of Sean O'Hara, and it's made out of steel. It's actually the, what is it the scientific the cellular structure of THC cannabis and so it's an abstract version of that. I thought that was kind of interesting. So there's a plaque there that talks about what it is, and who the artist is and it's installed right near their parking lot as you drive up on Dutton Avenue. Okay, next slide. This is the flamingo hotel while they didn't isn't it's not a new hotel they did extensive renovations over the last year and reopened in 2021 earlier this spring. And worked with various artists to do a variety of permanent installations for the hotel there's a mural in the lobby. They worked with an artist who made very interesting chandelier like structures that are in several rooms. They worked with an artist who did this outdoor sculpture near their pool area. Again, these all have to be accessible by the public they can be in private areas so all of these met the criteria. There are a few more images, or a few more pieces that they counted towards this requirement that I don't have great pictures of but this gives you an idea. And if you go, you know, hang out in the lobby or go visit the flamingo you'll see more of them in person. Okay, next slide. This is the last one I have to share today this is Sonoma Clean Power. They renovated a building on East Street and hired Sayori Edie and Jonathan Russell to do this really wonderful sculptural piece that has course solar lighting for the evening hours so it lights up and is out in front of their building you can see it from East Street as you're as you're driving by their building. So those are the projects that have been installed recently and I'm happy to answer any questions. Great. Thank you Tara. So reminder for this committee are our charge today is it's for information and discussion for these project updates that we received this afternoon. Does anyone have any questions for staff about our public art policy or how these pieces came to be as they are today. Stephanie Thinsen. Yeah, thanks. Pardon my ignorance but I just really interested in knowing about the process through which let's say a hotel that has multiple pieces by various artists or some other project where it may not be put out to an RFP but that there might be another process through which the art is selected and then how is what I guess what role staff has in approval and determination of whether it meets the criteria or not. I'm just, I just don't know exactly what the process is and I'm curious to know. Yeah, thanks for asking. So the process the by design the way that ordinance was written. It is a staff decision to approve the proposals for artwork on site, as long as they meet the criteria that's listed in the ordinance. So it there it the way that was written on purpose avoids or excludes any presentations being needed to the art and public places committee art and public places committee does not have a role in approving these projects. So what that means is, we have, we have an application system where the developer has to decide early on, usually and hopefully before they submit their building permit application to the city, whether or not they're going to pay the work on site. So they need to make that determination early on in their process usually it's right after they're kind of done with planning and and are are starting the process for for their building permit. That then allows us to either simply add the appropriate fee to their building permit once it comes in so that it's essentially charged to them and they pay it with all their other fees that are due for their building permit. Or if they fill out the form indicating they're going to be placing artwork on site we know that then they have the full application to be completed and sent into us which includes a full proposal, showing where on the project site the artworks will be going who the artists are they'd have to submit artists resumes artists statements they have to show the artwork designs that are proposed for each piece. And they have to show that the total budget includes eligible expenditures and not an eligible expenditures towards art, as well as that it meets it equals the correct amount for their 1% requirement. So all of that is submitted to me and I check all of that. Sometimes I bring in other staff to review if there's questions about how it meets the ordinance or if there's questions related to where they're posing it go within their project. And if it's a safe location for art, and then essentially it's approved or not approved if it's not approved we work with them on fixing what that issue is, and having them resubmit and hopefully getting to a point where where they can move very rarely I would say do they say oh well then we can't do it and we're just going to pay the fee but that is an option for them at that point if they can't meet the needs of the ordinance or the requirements. So that's the kind of thumbs up how how it works. Okay, thank you. I just want to comment and I have a question to because I saw like in the you had the summary of the 2007 and 2019 summary that you have been Lou and art on site and especially from the 2018 2019. There is a lot where, you know, they did art on site instead of taking instead of just allowing and just giving the funds up. And so for me is that meaning that they're realizing the positive impact that art can make on you know that the site to their building their company or whatever it may be. And if that's the case and if people are realizing that that directly affects us and what funds that we receive. And, you know, it's great. And I love that if they're realizing how much art makes I want to impact art can make. But also, if that continues, I mean, that means we are going to have less and less funds to distribute on other projects and stuff that we'd like to do for the city. There's a there's a fine balance there, but but obviously it's at the discretion of the developer which which way they want to go with their project we really can't control that. Some cities have written kind of an incentive into their ordinance which gives them a discount, like about half of a percent if they pay the in loop be rather than place artwork. The way that ours is written in the way that it was written back when it was developed in prior to 2006 really was to put it in the hands of the developer to make the decision on how they want to spend their money. So, I would say that, yes, some developments very clearly see the benefit of using the artwork on site as a way to bring attention to their business to give work to local artists there's a variety of reasons why I think some folks choose to do that, and see those positive benefits. But I mean, to be honest, I also think that a lot of folks want the control over how their funds are spent if they have to spend the money that they want to do it the way that they want. Otherwise, if they're paying the in loop fee, they know that the money's going into the public art fund and then we are using it for public art projects and other expenses related to running the program, which doesn't bother people. Some people other people really want to control, you know, how their funds are being spent. So, I think that there's not. There's not a clear pattern I don't necessarily think that like the next few years we're only going to get artwork on site projects I actually know. I'm looking forward to projects that are happening right now there's two more large hotels that have opted to pay the in loop fee that'll bring in quite a bit of in loop fees for the fund. And, you know, I don't know every year you just kind of look and you see what's happening and you can kind of gauge well it's probably going to be a slower year for our in loop fees this year but then it usually bounces out because there was a year prior or the next year is is kind of the reverse of that so. Yeah, it's some, I don't see any trend necessarily that's like worrisome in terms of the health financial health of the public art program as a whole. I think it's just interesting to see how different projects value what what their values are and what decisions they make related to fulfilling this requirement. Got it. Thank you. Tara for our committee's information. So, steps wise, during the original building permit. That is when a developer is asked to make the decision about providing on site or paying into in lieu, and then there is a second permit application to finalize that piecework. And then I wouldn't quite categorize it like that I would say that the timeline for when we have to have decisions made or the decision points the timing of the decision points related to this requirement is before their building permit can be issued. They have to tell us which way they're going with this they have to fill out that preliminary that preliminary thing. Oh, sorry, I'm sorry, before they apply for their building permit they need to decide on which way they're going with it because they cannot get their building permit issued and start construction, until they either pay the fee where they have their proposed are on site proposal approved. So, there's steps along the line that it really will hold up a development project if they, if they don't decide, or if they don't make steps to complete the requirement. That is when that they want their occupancy when they're done with construction they want to move in and open their business. That is when the installation of the artwork has to be completed, however, we have a deferral agreement available, so that if they need more time to install the artwork we can do a deferral of when that has to be done. Thank you for clarifying Melanie, you're on mute. I will always. What's the word I'm trying to think exempt. Yes, thank you. Yes. That's interesting. That's interesting because a lot of industrial parks do or facilities do some kind of artwork to. Yeah, I'm not sure what the thought was on exempting that by the folks who wrote, wrote and passed the ordinance. I, I wasn't here when that happened. I don't know exactly why I can understand residential. But yeah, I'm not exactly sure about industrial. Yeah. And then for tenant improvement projects that is often, or the threshold for that is considered based on the valuation of the project. All projects. Yeah. So it can be a complete new construction or it can be remodel tenant improvements. All of those are treated the same. So the requirement applies to them all the same way and that it would only apply if they're commercial, and they have valuations of $500 and $500,000. Wouldn't that be nice $500. Yes, please. Yeah, I have, I have another question and that is, if you have a project that they have a notion that they want to do something on site and actually utilize art but they have no clue as to how to go about doing that. Do you encourage them, are there art consultants to who are. Yes, I usually, I usually encourage them to hire an art consultant and I send them to creative snowmas website there's kind of a few places where you can list who you are and what services you offer I try to send them to people, local people who who could help them with that. I can't make any recommendations for who they work with artists or our consultants, but we can send them to places where there are resources for them. Yeah, that's good. I kind of assumed that you couldn't actually tell them who to work with that. Just curious how that work. Okay, very good. Thank you. Great. Thank you guys. Great presentation on project updates and third or clarification of our policy and how it's implemented and how we, how we, how the city works with developers to achieve these goals and what our, what our products get to look like. So, great information. At this point I'd like to move on to item 6.1 or committee. Sorry to interrupt it just make sure I don't think there are any but just call for any public comments on this item before we move on. Thanks. Right. Eileen at this point do we have any public comments on the project updates item. We do not have any public comment at this time. Okay, then I will move forward on to item 6.1 committee reports. This is the opportunity on our agenda for our ad hoc task force reports and discussion. Do any of the APC members have report outs ready for the ad hoc task forces. We have the division equity inclusion and access group community engagement and project development. Lisa, please. Yes. I met with spoke with three different groups. Sorry, which, which task force you are representing. I am the outreach. Community engagement. Yes. Great. Thank you. And so, no, no, no, you and Ann are on diversity equity and inclusion. Yes. Which is. Yeah. Okay, sorry. Melanie and I are community. They're connected. Maybe we should. Yeah, that's what I was just because I'm always like, you know, I'm doing a community outreach here. I'm reaching out to, you know, the certain groups and stuff, but yeah, it is kind of so. But that's where my head is at to reach out to these individuals and tell them what we're doing. So I did meet with Kirsten Madsen that Ann and I did from creative snow mat and we just told her exactly what we're doing how we're trying to change the APPC. We have this strategic plan, this four year strategic plan and what we're trying to create a set of specific, you know, criteria related to diversity and inclusion and how we as a group can reach out to these to the underserved, you know, to reach out to the underserved communities and organizations out there and support people in Santa Rosa. And she gave us a really good advice on how we go about doing it. I mean, we really just need to get our name out there and really show people and a lot of people that our door is open we want to help we want to support people before they never felt that they could approach the art and public places committee that wasn't they didn't think nobody thought that was an option. And so when I did, you know, speak with Kristen, you know she was excited and we're excited about it. And then from there I went and talked to Isabel Lopez and she is from right is this collective and we had a wonderful conversation with her and she was also really excited to hear that how we are completely going about and doing what we do differently and she now knows our door is open and she, and she can ask questions she can come to us and we then we can, you know, whatever questions we have we can go to Tara, but we're here and we want to support and we want to see what we can do to be that support. It was, it was really eye opening and she was just glad to know that, you know, that we're actually, she can actually reach out to the city, and there is, you know, these possibilities of us working together. I also spoke to we'll see in and told them, you know, kind of gave them the download what we're doing, and then also made them know we need representation for district one, and there's nobody there and needs a moment to put their application in to go online. And so every, I think the last three email blasts that they have put out there have included, you know, the board opening for the art and public places committee for district one and they're reaching out to people to let them know that that position is opening, and they need to contact that representative, you know, putting their application and contact their representative to be able to be placed in that position, or be considered for that position. So, yeah, that's it anybody have any questions for me. I've had some really fruitful conversations for some conversations that that again open up the door to future coordination and I think that's really meaningful. Well thank you for reaching out again about the district one representation on this board I know that that is an ongoing thing that our committee is working towards so, or to be more representative of all of the, all of the spaces in town. That's the district one. That's Rosalind. Oh, yeah. And we don't have anybody that we need to have someone to represent that area, or desperately and need. It's Rosalind and South Park, and at the Alvarez is the council member for one and has not yet appointed someone to our public places so that's kind of what we're waiting. And I did reach out to him to but I haven't heard back. I mean, he reached out to him as well, and didn't hear back in the Ernesto all of ours who is on our board reached out to him and copied me and still haven't heard back so I'm not sure what. You know, you know council member Alvarez has been in the news a lot. He's been busy that we should you know we should probably. Maybe we really should coordinate our efforts through our two task forces, because we definitely have many of the same people. We are talking to, and or who we are to speak with. Okay, yes, that would be great. We should. Okay, just to add to that I have. I have answered a few people's inquiries about how we get someone appointed when a council member hasn't done it yet, and just so everyone knows in order to be considered through kind of the internal process that we have an application file in our system so if you know anyone who's in district one who really would like to be serving and and can do so then I would encourage them encourage you to encourage them to go ahead and submit an application so it's in the system because what we do periodically is the clerk's office working with the staff liaisons for the committees will send that council member a list of those people who are in our system. Yeah, and I made that clear to listen to I told them put that make sure they just put the application on there and go online. It's up on the art and public places committee just to click on there. And once it's on there then give us the heads up and then we can go ahead and go from there. And just to clarify, while collaborative work on on these topics the task forces is definitely encouraged we do have to be careful because if four members of this committee get together. It would be a violation of the Brown act so while we can all chat now in a public meeting during these status updates. If there's a desire to have a joint task force meeting we would have to publicly notice it and have it be open to the public just wanted to make Not to put a damper on anything so anyone else. Go ahead. We don't have an update. That's, there's a brief update Melanie. Okay, our schedule to meet tomorrow. In two weeks. Oh, in a week. In a week from tomorrow. And I didn't look at it closely. Anyway, I think it's the, I think it's the 12th right. Okay, got it. But anyway, yeah, we are. We're planning to meet. We just couldn't get it together for this meeting. Thank you. I'll give a quick report out for the project development task force. Nathan and I had met with Tara. Not last week, but the week before, and we talked about some more of the goals of how we want our task force to interact with city staff or city staff consultants for preparing the general plan update. And we got a status update on where we are with the general plan update. They previously were at the phase where, or when we had been reached out to as a, as a, as a committee. That was part of the visioning phase for the document and now that that step has been. They, they wrapped up the visioning phase and are working on the project alternatives. It is timely for an artist opportunity to be planned into the general plan update. And our, our working currently is to recommend a budget amount for what this project or for what this could entail and coming up with ideas for how an artist could be involved with the general plan update, whether it's engagement, which can take many forms as part of lectures workshops, hands on art experiences, community events, but a budget price tag would need to be allocated from our team in order to sponsor those types of events. So that's where we're at as our, our project development team to, to take the ideas and then put boots on the ground actually to make that work happen. Nathan was there anything else you wanted to add. Just because there are, there's a lecture that's sort of on deck still. And I was wondering if the protocols around city sponsored lecture, or just city sponsored events that shifted since the sort of last COVID regulations were in effect. I don't know if that's been updated or not. The city can now host community or open to the public I should say events, but the restrictions are quite considerable so I can send you the list of the things that we would have to do in order to host our own event in the community because outdoor is still kind of the preferred method, or, or venue I should say, but, but I can, I can definitely provide that information so that you can take a look at it and see what might be feasible to start thinking about, in relation to what that's what what your task force is working on. Yeah, well we've made some arrangements with people who are willing to do pro bono events just to get the ball rolling and I think that was would be good. So I'm thinking we can formalize that proposal in time for our next meeting and, you know, sort of set some concrete dates and try it out. Great. So those were updates today from our ad hoc task forces under the art and public places committee. Our next meeting, our next scheduled item is 7.1 future agenda items. We have a running list here but I did want to just provide the context of just feel strongly about discussing any of these items in depth that we will need to schedule them on a future meeting agenda. And so this committee would need to make a motion in order to put this item on a future agenda. So just to keep in the back of your mind while we're going over our ongoing list of items. And Kristen I'm sorry to interrupt you I just realized and sorry I didn't catch it earlier that we skipped over 5.3 project updates. So if you want to do that after you do item seven before we adjourn that's fine I just wanted to make sure we got a chance to give you a few updates on other project. Thank you. Quickly, I'll keep going with item 7.1 our ongoing list includes private partnerships with commercial real estate and local artists commercial real estate developers or managers and local artists. Another topic was how can the art and public places committee support community programs or events. We were looking to again have communication with creative Sonoma about the art strategy update. And then our task force was also where youth representation on the art and public places committee. Our last item is the fire commemoration memorial project. Melanie Hi, hope you're on mute Melanie. Okay, I'd like to make a motion that we schedule the youth representation on art and public places committee for future discussion. I know Tara has done some research on it, and it's going to be a bugaboo but we need to talk about it. All right great we'll take a vote. Please raise your hand if you are interested in hearing about youth representation on the art and public places committee at a future agenda. Great. Thank you everyone. The motion passes unanimously. We'll hear about youth representation on a PPC at a future meeting. And then at this time I will go back to item 5.3 project updates. Unless there was a question or clarification. Yeah, I just had a question so on that one on what we're talking about in seven the ongoing list and it's for future agenda so the were we only selecting one and the one that Melanie suggested or all of these in consideration and we will be discussing all of them are no. The idea with that list is to keep a record of the ideas that are generated during this item on each discussion. And as we do address them, they would then disappear from the list so okay. Yeah, so the idea is in order to actually have a discussion about any of those, they have to be on the agenda as a discussion item and so that was the motion that Melanie made was to make sure that at a next or upcoming meeting we actually have that item on the discussion on the agenda for discussion. Okay, and so this will be coming on all those the list will be, they will not be removed they will be something for an option for us to vote on and pick again. Correct. Okay. Got it. Thank you. And if there's any additions each meeting that's also possible to like I think last time at the last meeting, we added that that fire commemoration item so there's. We're going to add more ideas or topics that that may be considered for discussion in the future. Okay, great. Jeff. Yeah, and just, I'm thinking about that fire commemoration memorial topic. Because I think, I think we're going to have to address that sometime in the not too distant future I know I've been approached I'm not sure if Tara or others have but about getting some kind of project going and I know that there's, there's there's a number of people who have been talking about various projects at various sites, probably the most significantly at the site of where the round barn burned out. But I'm not sure if this is an appropriate time to ask that if you put on the agenda or not but I guess the protocol is I would have to move to make that an agenda item in the future. Yes, that's the case. Okay, then I move to put the fire commemoration memorial project discussion on future agenda. And I think it's trying to second. We need a vote on that. All right, we'll take a vote please raise your hand if you would like to have the fire commemoration memorial project featured on an upcoming agenda. Great, thank you everyone. And so, I continuing on with this list of topics. I know that we Tara offline had spoken about your communication with creative Sonoma, if we want to receive an update about that is that something that we need to request and make a motion on. You know, I think that that's one that I mean, to be honest, I'm working on getting that scheduled with Kristen so I think that that's going to happen regardless it's it's more a matter of getting her on a future agenda just to present to the committee so that one will will happen at some point. If you don't even if you don't make a motion. Okay, good to know. Okay, we'll we'll circle around to this list and we always have the opportunity to reach out to you in between meetings and know that we will have a special meeting later on this month. Hopefully we'll have a special meeting later on this month. So at this time, can we agendize future items as well as it becomes more relevant or or when there's no the special the special meeting needs to be explicit for the purpose of addressing the issue that we're calling the meeting for. So in this case, I think we would only have the, the tabled motion coming back regarding the district parking garage project it would probably be a very streamlined agenda with no other items on it. Okay. Does this committee have any other items that they would like to bring up for a future agenda item or to put on to our ongoing list. Nathan. Hi. At some later date I think it would be good to talk about establishing a budget for visiting artists events talks workshops, etc. So I would like to submit that as a proposal. Food for thought on that one we usually incorporate the budget around the themes of what we're implementing for that next year so for instance if it's about. I don't know that the public art audit that's on our work this year for instance and there was a need to do a public workshop as part of that it's already would have already been included in that budget so I guess my question to you would be. Are you interested in the idea of starting a public events and lecture series that the art and public places committee focuses on or hosts that would be a separate program, rather than something related so maybe that would be more of the item that then would be up for discussion. Is that so is that clear to everyone as a. Yeah, okay. Okay, we can add that to the list. Thanks, thank you. We'll move back to item 5.3 Thank you Tara for letting us know that we had skipped over that project updates for looking for staff to present updates on current projects that are in in the pipeline. I'll have David start us off with a brief update about imagine art in courthouse square. Thanks Tara. Yeah, so the current item that we're on with the courthouse square project is that we've closed the community engagement survey that we were using to collect phrases and words from from community members. And so that has closed and we are organizing the data with the artist blessing Hancock and her her public engagement coordinator Angela. And so we're working together to present those to present the words that we've selected through this process to our community advisory group, and they will help us find which words that we will be using to translate into other languages to include onto the sculpture so that's kind of where we're at right now working with the two of them to help us organize the data a little bit more. And then on the other side of things to we are working with the California Indian Museum and Cultural Center to to create. We've created draft language for the land acknowledgement that will also accompany the artwork on courthouse square so we're waiting to hear back on their comments and feedback. So I think those are the two main items that we're kind of at unless Tara would like to add anything for courthouse square but that's all I have for you today. Great thanks David I don't have anything to add on courthouse square other than we are hoping to bring the final recommended list of words and phrases and languages to the art and public places committee by the next meeting on November 1. Kind of tip time. I can give a few other brief updates though. Thank you David. Just in terms of maintenance and conservation I don't have much to report on the Asawa fountain since last time we are still confirming the available funding that could go towards that project. We don't have anything confirmed or anything really to report there. The foundry is still working on the tests tests that they were doing to create molds a couple different ways one from the traditional mold making process. The other from doing 3D scanning to make a mold, and the sample casts to compare how those two look side by side, and then the engineering is still continuing for how we're mounting the panels on to the fountain. So that's really all that's been going on with that so it's still still working still moving forward but no no final confirmation yet on the funding opportunities we think we might have for funding some of that. In terms of other maintenance we are looking at our list of works in our collection and prioritizing which ones need maintenance and this next round as we're working with our conservators. There are a couple pieces along the Prince Memorial Greenway that sustained heavy damage from homeless encampments that were down there in the recent past. And so we're working on scheduling the work for those. There's also an opportunity probably not with not not within the next year probably a little further out to kind of reimagine one of the pieces that is along the Prince Memorial Greenway where the Joe Trail connects with it. It's a circular sound wall kind of area the pieces a mosaic piece called soundscape. And it's right on it's actually on smart own property right where they're going to be putting a pedestrian access path that goes to Third Street and connecting to the new development. And, and that that will be over in that railroad square area. So, there, there may be an opportunity to work with art start to reconfigure it so the whole piece isn't destroyed but there will be kind of like a pathway cut through it and then there's an opportunity to potentially add some design features along the reconfigured walkway. So those are the types of maintenance and conservation projects that we've been working on. And then just very briefly, we have, while these aren't traditional public art projects they're projects that are related to the program that we are working on. This is the kind of reimagining of the out there San Rosa program now that it's kind of been consolidated under my management along with the public art program. Lisa and I have been working with a new creative thought partner on how to reimagine the website for out there San Rosa our brand, how it can include public art, and how that it can really serve as a public facing website for the public art program, separate from the city's site which can still have our kind of business needs on the back end. And so, so that is an exciting project we're looking to launch a new website and kind of new branding new social media presence for both out there San Jose and the public art program merged together early next year. So hopefully I'll have more to report on that at another meeting but that's just a brief update. We are also working on race at Raphael Rivera who's our economic development specialist and myself are working with the same third plateau consultants who helped us do the public art strategic plan on an economic development division strategic plan and so we are getting getting somewhere exciting. Finally, with that, with that project. And we have some draft mission and vision statements that we're hoping to continue to fine tune and get kind of buy in from our stakeholder groups and, and we'll be presenting how that kind of overlaps with the public art program strategy at a future meeting but I wanted to let you know that that is in the works. And then lastly quickly. This is probably something that is not very known to this committee but the Community Promotions Fund is a city council line item in the budget. Under the city council's budget that funds nonprofit community events that are open to the public in San Rosa so some of the events that have traditionally received this funding are things like the Wednesday night market and the rose parade. The pride parade and festival that when it moved to downtown San Rosa, the human race and a handful of others. But essentially, we are now after coming out of coven having the funds be suspended and the whole program be suspended for two years going on two years now. It's an opportunity to reimagine how that funding program works and have it be consolidated under under kind of my area of what I do, because it relates to the event permits that I also am responsible for. It's an opportunity to really look at leveraging the funds that are set aside each year for that program, and then adding potentially tourism funds and public art funds so that we can expand what kinds of events can be supported through that program so it's really actually an exciting opportunity to reimagine that. So when we know more about what that looks like and what that revised program and policy will look like I'll be bring back up a full report on that as well, but those are some of the other things that are in the works and I wanted to let you all know what, what's been going on. So. Thank you and answering the questions. That was called community, what again that program community promotions fund, community promotion. Thank you. And did you have a question I thought I saw your hand go up a minute ago. No question it's just touching my hair. Okay. I was, I was actually just thinking. Pretty soon you're just going to be running the city. Didn't you know I applied for the city manager position. No, just kidding. Absolutely not. I'm really satisfied though to be able to combine programs see connections be able to look at where things align and have the support of Risa and others in our department and in the city to really see kind of the hidden. The hidden web of connections that we can really make here in the city and not be constrained to oh no you're in the public art program you just do your thing versus let's think a little bit more expansively about how we can connect work together. Make programs work better fun funding for more people more programs helping the community. Anyway, there's a lot of things that are exciting when we can be a little bit more expansive like that. But for our information does the community program site the community promotions fund, does use of those dollars need to be approved by the city council. Yes. Okay. Yeah, so there. Yeah, it's completely up in the air right now exactly how we would change the kind of functionality of how the funds are set aside and approved so when we are as we're starting to configure that policy and the procedures related to it that'll be a little bit more clear but but currently the funds are set aside. In the city council's budget a certain amount each year, then there's a process where events apply for those funds there's a review process and then those the review panel essentially recommends the funding allocations for those events to the city council and it's approved through the process so it's, it goes through that whole, you know the city's whole budget review and keep budget hearings in June each year. So as the consolidation of these programs and making connections to provide more flexibility for events and opportunities. Was that something that came out of the economic development strategic planning process, or was that. Well, that was raised meet me meet me essentially and raise a brainstorming about how we could fix something that doesn't work very well, and, and make it better. So, I mean the idea really is that selfishly the community promotions fund has always been problematic because of how it makes a separate kind of class of events, then other events through the permitting process. The city makes a separate group of events the city sponsored events they get in kind services but then it ends up costing the city the city ends up gifting many more dollars than we were actually giving because the cost of actual services doesn't equal what the grant or the funding was was and so it's always been a problematic issue and so not to go too deep into the weeds this this this idea of reconfiguring it started with how can we address that issue, and then it was like well, there's still a need the public art program, the tourism fund and the out there Santa Rosa program has always wanted more flexibility in what kinds of projects and things in the community we're able to support and so why not have this also be an opportunity to expand it in that way as well so I think it was it was a combination of those kinds of thoughts that got us there. Very neat. Well, it's, it's awesome to hear that that is something that we will hear more information about but that that's in the works. Thanks for the update. All right, at this time it looks like our meeting. We've gone through all of our agenda items, unless I've missed anything else. Unless there's anything else that someone would like to bring up or advertise to this group, we will be meeting again on our next next regularly scheduled meeting on November 1. So without anything else to pipe in. If not, I will adjourn this meeting. Thanks everyone. Hi.