I would like to call to order the meeting of January 2, 2024.
So welcome everybody.
I have some announcements to read, effective October 17, 2023, public comments may be made
in person or in writing.
If you would like to view the meeting remotely, you may do so in one of the following ways.
YouTube Live Comcast Cable Channel 1028,
Rossmore Channel 26, Wave Channel 29,
AT&T U-verse Channel 99,
or Livestream Online on the city's website.
Would the Secretary please call the roll?
Thank you, Chair, and just for the record,
we are on January 22nd.
I think you may have said January 2nd, but that's okay.
I'm sorry. That's okay.
If you want to turn back clock, you want to stay on this commission as long as you can.
Mr. Meredith.
Here.
Mr. Lumille.
Here.
Mr. Clauber.
Here.
Mr. Balthazar.
Here.
Vice Chair Dresser.
Here.
And Chair Emanuel.
Here.
Thank you.
Okay, this is the public communications period.
This portion of the meeting is reserved for comment on items not on the agenda.
Under the Brown Act, the commission cannot act on items raised during public communications,
may respond briefly to statements made or questions posed, request clarification, or
refer the item to staff.
Are there any members of the public that wish to make public comment at this time?
Okay.
We'll move on to the consent calendar.
Next on the agenda is the consent calendar.
Does any commissioner have questions on any item on the consent calendar?
Okay.
All right.
So do I have a motion to approve each of the items on the consent calendar?
I can read those.
It's the approval of the Arts Commission regular minute meetings of October, approval of the
Art Commission's regular meeting date of April 15th, which was changed, and the Community
Arts Annual Report of fiscal year 23.
Do I hear a motion?
I hereby make a motion to approve all of the meeting minutes that were listed by Jane
Emanuel.
And I'll include them again.
Okay.
I thought there was one missing.
Oh, there was one missing?
Yeah, there was four.
Yeah.
No, there was four things.
Just three.
Arts Commission regular meeting minutes.
Arts Commission regular meeting schedule, annual report, and the Lesher Center for the
Arts Annual Report. You may be looking at a different agenda. You can just say so moved.
And we'll be good. Okay. So moved. I second it and thank you for changing the date of the next meeting.
Do we have a roll call on that? You're welcome, Vice Chair Gresser. Commissioner Cleaver? Yes.
Vice Chair Gresser? Yes. Commissioner Meredith? Yes. Commissioner Lemo? Yes. Commissioner Balsazar?
Yes.
And Chair Emanuel?
Yes.
Motion carries unanimous.
Thank you.
All right.
So I would like to invite staff to provide the presentations as listed on the agenda.
This is just, sorry, I don't have the agenda in front of me.
Yeah, this is it.
Yep.
No.
No.
Sorry.
Yeah, there's no actual presentation to share for this.
Yeah.
Sorry.
Good evening Arts Commissioners. At the last Arts Commission meeting in October, the Commission
approved the panel for the artist selection process for the public art requirement for
the Heather Farm Park project, which is set to begin in 2025. So there is no action at
this time, but last time it was to put together a panel which we have done and this is listed
on the agenda report the panelists. This panel just met on Friday, January 19th, and we went
over the requirements for this new public art project. The panelists reviewed information
on the park in the Aquatic and Community Center,
and we're given an overview to elements
to take into consideration when selecting artwork
such as accessibility, maintenance, safety, visibility,
and with the aim of being inclusive
and creating an equitable call for artists.
We, staff, collected a lot of information
from the panelists to help create an RFQ.
we have the aim to cast as wide in that as possible and the RFQ is now in its final stages
of being drafted and will be published in February. It will remain open for six weeks
with the hopes of having as many artists see it as possible and there is no action needed
at this time. So, that is it for that.
Let me just add, thank you Mariah, the staff wanted to provide this update to you because
as we move forward in this project, it's so significant. We want to keep the commission
informed throughout the course of the panel meetings. And then, of course, this is going
to come to you ultimately for your approval or consideration of artist location and concept,
Or it could be artists, plural, locations, and concepts, or it could be more than one.
So that's your update, but we do want to provide you an opportunity to ask us questions.
Commissioner Balthazar is on the panel.
She may be able to answer questions as well, if you'd like.
So with that, we're happy to turn it over to you, Chair, to ask for a question.
Okay.
Are there any questions of the Commission?
We start with, we usually start with questions.
Yeah, go ahead.
I have a question.
So I know that when the Public Arts Committee met, we talked about putting together a plan
for the artists so that the artists would know what the vision is before they decided
to answer the call.
So I think you may have that coming up in the February call for the artists, but I wanted
to emphasize that I want to see that beforehand.
I think we should all see what the vision for the expenditure
is before we give it to artists to decide what the vision is.
Or I think the staff should be able to come up
with a vision or us collectively,
rather than having artists decide what the vision for the city of Walnut Creek will be with a piece
as valuable as this one. So I'd like you to tell me if that's being taken into consideration.
Yeah, so when we talk about this at your last meeting, it was understood that that would be
something that staff folds into the RFQ. We're not planning on coming back to you in February.
I'm your next meetings in April. The panel will continue to meet throughout. And so what's likely
to be included in the RFQ is the mission statement for the public art program. I'll read it to you.
The mission of the city's public art program is to integrate art into the city's everyday
environment and build a dynamic, exciting, and engaging place to live, visit, and do business.
Through public art, the program aims
to make our public spaces more welcoming
and to create a dialogue between artists and the community that
honors our ideals, histories, and shared values.
So that'll be included in the RFQ.
What we're looking for is for the artist
to articulate what they see as a vision for this artwork.
And then the panel is going to say, OK, this
is consistent with where we feel like this is going to go or not.
And so there can be a dialogue there a little bit
as this process unfolds, rather than saying,
this is what you're going to do.
the vision and make that kind of boxing them in. We'd like to have this a little bit more inclusive
and more comprehensive as part of the conversation. So with that bold and big vision broadly defined,
we're looking to not limit artists and what they wish to present of their qualifications,
which is really what we're doing first, and then having a conversation as a panel
about who may be most qualified to be considered and presented to this group for your consideration.
I appreciate that. Thank you. It's not quite what I was imagining. I know that artists can
come up with ideas, but I think that there should be some sort of, like we should have our own
vision, our own, that is within this mission statement that you wrote, that you read out loud,
for artists to be able to have some direction. And I think that direction is more
focused on just a broad mission statement.
We could all agree with the mission statement,
but there is a place.
There is a place that has several options there.
So is it the building that's gonna get art?
Is it the front lawn?
Is it by the pool?
And I don't want to be the one who inspires artists,
but yeah, what is overall like,
or specific vision for their
without, of course, telling an artist what to do.
That's always the dilemma of any public art project
is not limiting their vision and their creativity
and their brilliance.
So that's why we're keeping this broad.
This will be included in the RFQ
and I think you'll be pleasantly surprised
by the responses that we get,
which I believe will be diverse
rather than having one stream of thought.
So we're still at the question time,
so I'm not sure if you asked a question
or if it was just a comment, but I responded.
That's great.
I'm happy to take other questions.
Our staff is, as you know, of course.
I have one more question.
So the invitation to artists, do we have a list
that we are going to use?
Or is it for any artist in the world?
Or how's that going to be done?
Yes.
It's for any artist to reply to.
So the request for qualifications,
this is just the first step where
We would like to see people who have an interest
in applying for this project.
And yeah, it is open to anyone.
So if there are people that you have in mind,
we would be happy for all of you to help support and share it
and so as many eyes are on this as possible.
Does that answer your question?
Yes, but it generates a different question.
Okay.
How are we equipped to answer all of the possible,
like, what if there's a thousand different artists
that come forward?
I mean, that would be a great problem to have.
Yeah, it would be a great problem to have
if we could see a thousand.
All right, do you want to talk about the process,
the selection panel will go through?
Yeah, so part of it, and we will be posting this on the RFQ
also, we will host a Q&A, not session,
And we will answer people's questions, so in order to make it equitable, so we will
have a survey that goes out to potential artists where they can ask us questions, and then
we will respond to them, and we'll have that posted.
So that will help, I think, artists decide if this is a project that they're interested
in doing, that they're capable of doing, and yes.
When, to answer your question,
when we do receive the statements of qualification
from the artists, staff will take an initial review of that.
There may be artists that are not qualified.
You know, they don't understand the project
or they think it's something completely different.
But essentially what we're going to do
is recommend probably a series of artists
for the panel to consider.
So there could be artists
that the staff think are most qualified,
artists that think are moderately qualified, et cetera.
We'll present that to the selection panel
for them to review.
And then the panel will determine
which of those artists will submit a proposal potentially,
and we're still working on what those details are,
but the panel's going to be intimately involved
in the process of determining who is gonna come
as recommended to this body.
So if we get 1,000, for sure, that'd be spectacular.
And when do you think we'll be able to see the artists
in their proposal and their vision?
Is that in the next year?
Yeah, so the goal is to publish the RFQ in February,
and then meet with the panel, the artist selection panel.
Shortly thereafter, well, it will be open for six weeks.
So ideally, we would be meeting and presenting
to the commission by, did we say summer?
by July would be ideal by the summer meeting.
And then that way we could invite those artists
to come back in the fall at the October meeting
to present the top, let's say two or three
or one artists present to you.
And then that would be voted on.
Okay, thank you.
May I clarify something?
That when in July, that's going to the panel, correct?
Not to us.
That would be going to you.
to the Arts Commission already in July?
That would be great, yes.
That's the goal.
As Mariah said, construction for this project
can start in 2025, next year.
So the earlier that we can get the artist involved
in the process, the better.
And so yes, if we can do it in July, great.
If it's October or some other time,
we may have to do that.
But we're trying to move this process along,
recognizing that we wanna be thoughtful
and we wanna be deliberate about this.
And so that's our intent and we'll see how that goes.
Yes, Commissioner Baltazar, please.
Great, oh, we're still on questions.
Yeah, we have questions.
Okay, no.
Does anybody else have any questions?
I have one.
Oh, go ahead, Anne.
For a lot of projects that go through
the city's planning process,
the Design Review Commission takes the lead
on selecting locations for art, public art.
I understand that the panel's going to be doing that
for this project or will the DRC,
particularly for the buildings,
they have any input into where the most appropriate
or where the most compatible or suitable artwork
go on a building.
So, staff's been thinking about that.
The way that we've envisioned the canvas is broad for this,
It could be that the artwork is integrated into the design of the building.
If so, we would follow the city's process, which is the DRC makes recommendations about
a location.
The Arts Commission approves it, right, but the DRC can make a recommendation like we
did with the Waymark.
It could be here.
It could be here.
It could be here.
If, however, or if in addition it's felt that the placement of the artwork can be within
the park broadly, not necessarily attached to the building or adjacent to the building,
be the prose commission. The park and rec and open space commission weighs in on here's
some suitable or ideal locations. So it's likely either through a public meeting at
this council chamber or a committee to get folks involved, we will likely engage others
in the recommendation about locations and then that'll ultimately come to you for your
purple. So yes.
other questions? I had one but I forget. Okay, all right, so now we'll open this
up for comments by the commissioners. Oh, okay, are there any public comments
first? All right, commissioners? I attended the meeting last Friday, that's
what day it is, yes, Friday. It was it was a really kind of interesting and diverse
group. And I think what came up multiple times was the actual process itself and
you know one of the artists, the Fountainhead artist, is actually on the
panel. He's quite fun and he had a lot of tension around an RFQ and then an RFP
and the nature in which the process itself can really limit an artist and
their creativity or the caliber of artists that will apply. And we toggled a
little bit like through the process and truly understanding you know if
something is publishing in February how much time does this body get to kind of
understand what we're setting up for what is the actual selection what is
this budget of money gonna look like should it be multiple grants or multiple
scopes of work for public art. We also discussed back and forth these areas that we could be
opportunity areas for art and grappled with this idea that we're kind of setting it up
to be one thing right now because that is the process that moves smoothly through the
city. But I would just be remiss to say even the public comment that we had is a lot about
how do we invite and collaborate?
And I don't feel that this is yet set up,
that it's going to yield that,
and I want us to be really mindful
of how we engage the community.
This is the part, this is one of the best parks
in the whole county, if not through the tunnel.
And there's multiple things happening with the city.
There's probably revenue streams
that are being thought of much broader
than the public art spaces,
but how can we bridge some of that information?
So we're looking at the big picture versus,
this is off limits because XXX,
even just a little bit more of the 50,000 foot view,
not even the 30,000 of what does that area look like
in 20 years from now and how does public art play a role?
So I wanted to make sure I voiced that
because they also brought up in this committee,
how will the commission react?
Will they vote on who we put forward?
And my role as a being part of that committee
is trying to relay as many pieces and elements
of this process as possible while following procedure
and policy could be very complicated.
So my comments are just,
I think that the group is really diverse.
I think there is still not clarity about
what are we asking artists for?
Requests for qualifications?
are we gonna go out with a budget first?
How much flexibility do we have after
to really just understand what this might look like?
And is the fast track important for construction,
which can be a competing priority,
but does it hinder some of the creative aspects
around collaboration?
All right, anybody else?
I'll just make a quick, repetitive statement.
I still think that we need additional information
for the folks who are going to be invited.
What Sarah just mentioned, maybe we should decide
whether we want to split up the hopai
and have five different artists.
And maybe we should have an input of what this art is,
where is it going to be?
Maybe we have a piece of that.
maybe we want to create an idea.
And then to have a thousand artists,
and that's not going, it doesn't appear
or it doesn't sound to me like that's going to be viable.
So are we really going to give a thousand artists
a whole quality of time for their work and their time?
Shouldn't we choose though,
shouldn't we like pare it down?
I don't think we have enough staff to go over
a thousand different proposals.
and within the timing that we are looking at here,
it just doesn't sound like it's gonna work out.
And also the caliber of the artists.
I think staff is well equipped to decide caliber
and then to put out the call for artists
depending on the caliber of the artists that they choose.
And it just seems to be,
and then we get to see who those artists are, right?
in terms of diversity and approval of the caliber
of the work too, if possible.
So I'll stop there, thanks.
So this is a conversation.
So would anybody like to comment
on what Commissioner Clauber has said?
So I'll comment on it a little bit.
My good friend Eric Mortensen, who's not here this evening,
has always told me,
remember, you get to approve the art,
not to choose the art.
It's a very hard thing to not have your hands on the pie.
So I understand what you're saying.
I think the only thing that I think that the commission
could weigh in on that I think would be a valid concern
as for a vision for the whole park development
would be in the area of,
Do we think that there should be one piece
or should it be the beginning of a sculpture garden
or something to that effect?
I don't know, we can't tell them to do this,
but we could, I think, present maybe a discussion
about would the panel consider these items,
not to say that we want it that way,
but to be sure that they consider something like that.
I don't know if that's general enough,
but otherwise, I think we won't get a thousand,
but it would be great if we did,
and I think that they can go through them
and present them to the panel,
and we'll get to see the top five or so at the end.
So that's the way it goes, that's what the panel's for.
Does anyone have any comments?
Does staff have any input on this issue?
Okay, so, does anybody else have comments
other than what we've just been talking about?
One more thing.
Mm-hmm.
It's, to that point of keeping it really broad and open,
so that we don't limit artists,
I think there's also just, what keeps coming up for me
is are we designing for it to be a part
of the structure right now and the immediate construction?
And if we are, let's be really open and direct about that
so that we don't have this,
we could transform the whole park
to be this walking dynamic public art experience.
It's actually aligned to the new buildings,
and we really want them to be in proximity to those spaces.
Right now in the RFQ or potentially RFQ RFP,
they don't identify kind of where you can put it.
There's maybe where not,
and this is what the new construction might look like.
So I do think designing with some constraints
for the artist to understand how free they can be
involves us describing it.
It's for these locations.
It's for potentially three more
and this is what they look like.
Or you can include all of these high traffic
public spaces in your thought process.
I'd like to see that level of detail at least
if we're just gonna kind of go through as planned,
I think that would be helpful.
So that gives me, I thought of my other question too,
but that gives me pause for thought
and could you talk a little bit
about what is actually going to be in the RFQ?
What topics, other than the mission
of the public art program, which of course is crucial
and the letterhead of it.
What else goes out?
Like do you talk about what the buildings,
where they will be and what they look like
and the various possibility of on a building
or on the ground or?
Yes, so in the RFQ we try to set the stage
as best we can for the artists,
imagining that not all artists who come across this call
will be familiar with Walnut Creek or Heather Farm Park.
So we definitely, in the RFQ,
there is also a description of the park
and how it is used in so many different ways
and how much foot traffic it receives.
There is a little bit of description
about the city of Walnut Creek
and what the environment is like here
because we're hoping that any artist
who has an interest in this project
will really take into consideration
the space that they're building for,
the community that they're building for,
conceiving a concept for,
and the surrounding environment.
So that is also all part of it.
And then, of course, a timeline in the budget
and letting the artists know who apply
that the budget is obviously,
it must encompass fabrication and installation
and all travel costs that are associated
if it's not a very local artist.
So these are all things that will be in the RFQ.
OK.
My other question was, where do you post this?
I know you have a pool, but where does it go beyond that?
So we use different artist call sites, like Call for Entry.
It's called Cafe.
CodaWorks is a really big one for public art.
And we share it with our artist networks.
I'm on NorCal Pan, which is Northern California
Public Art Administrators Network.
I'm also on, there's just a California Public Art
Administrators Network, and then there's also another one
that's a National Public Art Administrators Network,
so sharing it with all of those colleagues
across the country with hopes that they'll post it
and share it with their artists,
trying to get as many eyes on it as possible.
So those are some of the ways,
but then also looking to all of you,
if you know of people, obviously I think we all know
of certain artists that we would like to reach out to
and invite to at least let them know
this opportunity is coming up.
Okay.
Thank you.
Yes, Commissioner Lemo.
I have a question about the artists who apply.
So can these artists be from virtually anywhere?
Is that what you're saying?
Like if they're not local,
they could be from any part of California,
They could be from another state, even.
I know that's kind of pushing it, but is that possible?
Yeah, definitely.
They can be anywhere in the country.
I think that it's open to national, like, yeah.
U.S. citizens.
Okay, thank you. Yes, yes.
I think we're looking even more broad than that.
Are we?
They don't necessarily have to.
Oh, so they could be international.
Yeah, it could be international.
The idea is not to limit ourselves
on who might have qualifications to do this work,
so we're looking to make this head broad as possible,
for sure.
And then how do you plan out to reach,
how do you plan to reach out to and get,
spread this word about this new project
and get artists to know about it?
I mean, in addition to the different artist call sites
that we'll be posting it on social media,
I think that social media is a great place
for artists to look for opportunities
because then you really do open it up
to a complete worldwide search that way.
So if we post there and in the hopes of, you know, sharing it and having other people post, yeah.
Okay. Are there any other comments or ideas or proposals or, all right.
All right, then I think there's, I think, do you have anything else you'd like to add?
Thank you.
Now, we will continue to provide updates to the commission at your regular meeting in April.
I would expect by that point, we will be farther along, I know will be farther along
in Commissioner Balthazar will be able to provide updates as we come back to additional
staff because we'll know kind of where we are as far as the responses to the RFQs.
So we're excited about this process.
Thank you to Commissioner Balthazar for being part of this and for the commission for appointing
her.
And as we move forward, depending on who's on the public art committee in the next year,
those two members will also be part of this before it comes back to you as a body.
So, we're excited.
Okay, thank you.
Do you want to go on to your next subject?
Public art projects report.
Yes, so this is just a quick update
on some of the projects that have been completed recently.
So, the Crate and Barrel mural was completed.
This was an elective mural, but that is now done.
I don't know if you've seen that,
but it's up and by Casey O'Connell.
Also very recently completed just before the new year,
I believe they finally finished installing.
So John Muir Hospital,
the new outpatient medical center building
that has three new pieces in the new building.
I don't think the building is quite yet open to the public
on its way to being open to the public,
but they have three great works out there,
starting with a piece in the main lobby,
like the atrium, which has entrances
on either side of the building.
This is Nature's Experience by Talley Fisher,
and these are aluminum cut pieces
that are suspended from the ceiling
and powder coated with color.
They have the theme of regeneration and new growth,
and the clouds she used, the colors she saw
from a sunrise at Mount Diablo.
So she was inspired by her local environment for this piece.
And outside is a piece titled Uplifting by Joseph O'Connell.
This is installed directly into the cement wall
and it's kind of reaching up.
This is in a kind of a garden meditation area
outside of the building, right adjacent to it.
And at night, it's lit up.
So it has quite a presence at night as well
when you're leaving the area.
You can see it from the parking garage.
You can see it from all around.
And then the third piece that was installed there
is titled Regeneration by Barbara Grigudis.
And again, these themes are all tied together,
the healing and regeneration,
and this piece also lights up at night,
and it's definitely not too bright.
It's great because it offers color
and it's a wayfinding piece.
It definitely has an impact, but it's not too bright.
The other thing we have going on,
which is a project that I believe started a year ago
with is Nigel Sussman's mural,
which is almost completed.
He's had a lot of rain setbacks,
so he should be done by the end of this week,
if not next week, but he has been out there
working as many days as he can
in between all of these rainy days.
He's been having a great time interacting with the public
that happens to be in the area,
lots of questions from community.
People are really enjoying this mural
and including all the staff that works in the building.
There he is way up on the lift.
And up next, we have, this is an elective project.
I don't know if any of you have driven by on North Main
and the Broadway Plaza.
This is the old Crate and Barrel building
is now being taken over by pinstripes,
which is gonna be a bowling alley,
contemporary bowling alley.
They are electing to put artwork panels
outside of the building and this will have to go to the special projects committee for approval
so they are working on getting together final artist renderings so stay tuned with this.
And also Fountainhead which is set to be refurbished. This has been a long process
of trying to collect different proposals from art conservationists and get everything ready,
so this will be seeing a new refresh again a long time coming.
The other exciting thing that's happening right now is the mural matching grant is now open and
available online, so if you know local businesses or organizations that are seeking to do a mural,
They're welcome to visit our website and apply for this grant.
We have so far received one application from the coffee shop on locust called Rooted.
They have the wall that is in the parking lot so
we will be reviewing their proposal at the end of the month.
So that means another another mural will be coming
at some point this year, probably.
Okay.
And that is it.
Any questions?
Do we have any questions?
Yes?
You want to start?
I have one.
Okay. Thank you for that report.
Let's go start backwards with the mural matching program.
Where are we advertising mural matching the program?
Great question.
We have a press release written.
I don't believe it's gone out yet.
So that is one way, social media another.
And I believe those are the two ways that we've, yeah.
And when will you be posting it?
Probably this week we'll send out the press release.
It's ready to go, so.
So I'll be able to look on Facebook, Instagram,
and it'll be there?
Probably in the next couple of weeks.
what we can do is when it's when it's posted we can send that link to you so
then you can share with other folks if you'd like to also share with the Walnut
Creek downtown Chamber of Commerce so they can share with the businesses yes
as broad as we can yes I think that advertising this program will make a
huge difference yeah I saw on the slide with the fountain head that it said
refurbished and I believe and I I was against it again against replacing it
I was for refurbishing it. So which one are we doing? Are we refurbishing or replacing it?
Refurbishing. Yes. It seems that after receiving proposals that that is possible. I think that
initially it was thought that it would potentially be beyond repair and need to be replaced. And
since having different conservators come out and inspect it, at this point, yeah, it should just be
refurbished. Oh, that's very good news. Yes. Thank you. That's all I have.
Can you remind me of the program timeline for murals the budget for each year and and is it rolling the whole year
submissions until the money runs out? Correct. Yeah, so I believe that there's $30,000. Is that correct?
Yeah, $30,000 in the account. The mural matching grant is $5,000 per applicant. Up to five thousand matching.
correct and it's going to be rolling and open and correct until the money runs
out and then in the new fiscal year maybe we can examine it'll be interesting
to see how many applicants we get so it's like six to minimum maximum six if
you gave them the full five right right yeah are there any businesses that you
guys might know that are really good geographic location that you want to
invite into this process? We're definitely, I'm definitely open to that
idea. I haven't walked through or looked and it's not just downtown it could be
anywhere and any of the businesses in Walnut Creek or nonprofit organizations
so if you have ideas please let me know. Thank you.
Commissioner Lemo? Yes. For the matching mural grants, will those murals be put through the
special projects committee? Yes. Okay. Great question. Yes. So they will still need to be
reviewed. Correct. Vice Chair Dresser, did the Crate and Barrel mural by Casey O'Connell,
did it come before us for approval? I know it says it's an elective mural. That went to the
special projects committee. Okay thank you. Any other questions? Thank you. Okay
thank you. Any comments by any commissioners on this? Yes. I'm just
really excited for all of the new art that's going into Walnut Creek this year.
The pinstripes and all of that, the panels, I pass by that street all the
time so it's really great to see public art there. And then for Fountainhead I'm
so glad that it's being refurbished because I just I think it really needs
it. I appreciate your enthusiasm. Okay thank you very much. Thank you. And this
will be then the Leisure Center strategic plan update. You are rocking
and rolling. Yes we're moving this meeting along but really exciting things
from Lesher Center, so I'm Carolyn Jackson,
general manager at the Lesher Center,
and 2024 is gonna be a really big year
for our strategic plan.
First update I have for you
is our full-time marketing supervisor
has officially been with us almost two months,
it's very exciting.
So Randy Terradash has been a leading
Bay Area arts marketer for nearly three decades,
and in fact, his first job in the arts
was with the Lesher Center in the ticket office,
So he has a long history with us and a deep love
for our facility and our programming.
Randy went on to be part of the marketing department
at the Tony Award-winning American Conservatory Theater.
He instituted a number of new audience development
and engagement programs there,
as well as some new marketing initiatives,
and he was the recipient of an Emmy Award
for commercial producing.
Following ACT, he did some consulting
with various arts organizations.
And then in 2018, became the general manager
at Feinstein's at the Nico,
where he produced and worked along
some of the biggest names in Broadway and jazz.
So he's thrilled to be returning to us at the Lesher Center,
returning to his roots.
And he has been very busy absorbing
all the many things we do because his role is responsible
for the strategic enactment of all our marketing
for Bedford Center Rep and for Lesher Center.
So he has a big responsibility,
and he's been really trying to learn
all the nuances of that.
So next time that you're over at Lesher Center,
please take a moment to say hi to Randy.
We also kicked off 2024 with Headliners,
the Doo Wop Project, sold out amazing concerts.
So that was an exciting start to January.
And then just this last week,
we launched officially the Lesher Center
in Your Neighborhood Initiative,
where we're looking at different ways
that we're getting out and about in our community
and different outreach activities.
So Tanya Boyd-Cannon, who is a really stunning
jazz artist and kind of R&B soul.
She went to multiple locations as part of this initiative.
She visited Choice in Aging.
She visited Contra Costa School of Performing Arts,
and blanking on the other place that she was,
but she was somewhere else.
And she was really having that, oh, the Heritage Downtown,
having an opportunity to interact
with different constituents within our community
and their different needs and really bringing to them
her skill set as well as the healing power of music.
So we're really fortunate to start the program with that.
We have a number of additional artists in the Headliners
series who will be doing outreach events.
And we have the concert truck coming in March
where we actually are able to have them kind of pull up
anywhere and these two phenomenal musicians
can put on a full concert completely outside of our space.
So really big things and that's been an initiative
that I know we've all been excited about
and now it's like, ta-da, it's here.
Also, in addition to diversifying the voices on our stage
with Fiesta Cultural, which will be returning in July
in partnership with the Bedford Gallery team,
we're pulling together a couple of months long,
a series of programming that we're currently
titling Uplifting Native Voices.
So that's centered around Rediscovering Native America,
the Red Road Project exhibition
that will be at the gallery from April through June.
And we're adding programming around that,
not just workshops that'll happen in the gallery
and other special events,
but we're working with local producer Jackie Kellia,
who is the founder of Good Medicine,
which is an all-native comedy show.
So she'll be bringing that event
to the Lesher Center June 22nd.
And then we're working with her to pull together a panel
on contemporary native artists,
which will include Danielle Seawalker
from the Red Road Project,
Sterling Harjo, creator behind Reservation Dogs,
and Tommy Orange, who's a local author
that was nominated for a Pulitzer Prize.
And an opportunity for them to talk about
being a contemporary artist in these diverse mediums
and also the kind of impact
of contemporary indigenous culture.
So look for that whole package of things
to be rolling out soon.
We're just getting tickets on sale for some of those events.
But that's one of the ways we're looking at different models
for how we can theme some of our activity
without it being too kind of locked into like,
okay, this is the only week
where this activity can happen.
So we're gonna be playing with that
across the upcoming seasons.
Okay, those are my strategic plan updates.
I will pause before we move on to staff updates
for any questions or comments.
Any questions?
I do.
Can you explain the Lesher and your community again?
Yes, so Lesher Center in your neighborhood
is really looking at how are we getting
outside of the building.
So we're not saying you have to come here
to experience us, right?
we're going to people in the community.
So it can take many different forms.
And some of it might be like the outreach activities
that Tanya did where she's going
to a particular community organization or school
and working with folks directly.
It could be something more like the concert track
where they might roll up to Heather Farm Park, right?
And just put on a concert and whoever's there
is there to experience it.
So it's a range of possible activities
that we're kind of branding
under this leisure center in your neighborhood
that it's us out there where you are, not you coming to us.
Oh, interesting.
And is there a revenue associated with that?
They're not ticketed events.
We do have a number of donors and sponsors
that support those activities.
But it's typically free and something
that we're bringing to folks who might not
have the opportunity or have the means to come to us
at the Lesher Center.
Got it.
Thank you.
You're welcome.
Anybody else?
I have a question.
How about in the area of the more long-term projects,
like CenterRep and that sort of thing,
how are those ticket sales going?
So I'll tee up a little bit what's coming.
But CenterRep, the theater industry at large,
is really suffering.
I'm sure you've seen lots of headlines
about what's going on there.
We're really fortunate with the model that we have
at that we're not seeing that same impact.
You know, there's theaters
who are experiencing 40% audience return.
We are creeping closer and closer to pre-pandemic attendance,
but people's appetites have changed, right?
What they want to come out for has changed.
We have a new artistic director
who has to learn this community.
So there's a lot of kind of competing factors happening.
And, you know, I think we're in a positive place,
but that there's still certainly room to grow
in a different way than the success we're seeing
with the headliners,
just because it's a different market, right?
It's a different approach.
Right, that's good to hear.
Okay, any other comments or questions?
Yes.
Thank you for your report.
I really admire the extra push around diversity and equity
amongst your calendar of programming
and not couching it into the week of X Heritage Month.
I really love the native programming.
I've actually have lots of native friends in the area
and we are always looking for shows and going to Berkeley,
so it'll be nice to do something locally.
I think recently I saw the San Francisco Bay Area
Theater Company has a show about Betty Reed Soskin,
who is the first black family to move into Walnut Creek,
And I was just, you're just putting together
such beautiful things, and I would hope in the future,
stories like hers could be at the Lesher Center,
because I think they're so rich.
Yes, and I think that's definitely a focus for Matt,
who's our Artistic Director,
that he wants to route the programming
around our experience here,
and to find ways that it's not just diversifying the story
by bringing in something that's kinda unrelated
to our community, but finding things like that
where it's like, yeah, there's a direct tie-in
to the folks that are gonna be experiencing it.
Thank you.
You're welcome.
I have one more thing to say that I really appreciate
how the building is working together as a whole.
This is the first time in many, many years, maybe ever,
that the gallery and the other events in the center
have been integrated, and the richness shows,
and I appreciate it personally,
and as a Bedford gallery docent.
And so thank you for all the efforts in that area.
It's just great.
You're very welcome.
And I think Matt and Emily and I are really passionate
about continuing that forward and seeing the impact of that.
Because when we come together around our ideas
and our programming, it's such a deeper experience.
And the more that we do that, the more
that people are really invested in the center and what we do.
So there's win-win on all sides.
Plus, we just love working together, so.
Good, okay, thank you.
Okay, changing hats to staff updates.
Okay, so upcoming events, things you can come and do.
This is the last week for Every Brilliant Thing,
Santa Rep's current production.
It's a one-man show that deals with both the beautiful
things in life and the difficult things in life,
and kind of the grieving process when someone in your life
as a mental health crisis.
And the actor, William Thomas Hodgson's is amazing,
phenomenal, like you will leave just needing to talk about it
and talk about it and talk about it.
So if you haven't had a chance to go, please go.
It does close on Sunday.
And then next up for center up is Mystic Pizza,
the new musical and we're the Northern California premiere.
So it'll be down at La Mirada Theater.
And then literally they close there
and they pack up the truck and they get up to us.
So that's February 15th through the 25th.
Lots of really fun 80s and 90s hits
that are incorporated into the classic storyline
from the rom-com movie.
From Headliners, we've got next up Mountain Stage,
which is a public radio show
that does all live tapings of their content.
So they'll be live taping the Walnut Creek event.
There's five different artists who will perform,
And it's a cool way to then later on hear it on the radio
and know that you were there in the audience
for that live event.
And then we also have Sarah McKenzie,
an Australian jazz artist who's returning to us.
She's been a very good partner and friend over many years,
including helping to develop some content
during our COVID closure.
So we're glad to have Sarah back with us.
And then next week, we'll be announcing
that we are recruiting for theater technicians.
So if there's anyone in your life
who wants to work at the Lesher Center, do check that out.
We'll send that out through our email and social media
that we'll be looking for two new folks
to join our team as technicians.
While I wait for Emily to walk up for her presentation,
I'll give you an update for the Center for Community Arts.
Miley could not be here this evening,
but she sent me a text.
So you may have seen this in the social media
or other networks you may be on.
We have a summer camp fair coming up,
which is an opportunity for families
to check out our summer camp offerings
across our entire department.
So that's on January 27th, which is Saturday,
coming up from nine till noon over here in Civic Park.
That's one, two, our program called Arts After Dark.
You may have participated in it before.
It's in the evening, adults, 18 plus,
at the Shadelands Arts Campus.
That's Wednesday, February 21st from six to eight p.m.
And then lastly, Family Art Day at Shaitlands.
That's for all ages of course.
So that's in the spring,
Saturday, March 16th from 10 a.m. to 1 p.m.
You can find more information
at the Center for Community Arts website
or you could email Miley or me.
Thank you.
I'll have another brief update
after Emily's done with her update.
Now for my update.
Emily Enders, Curator at Bedford Gallery.
Good evening arts commissioners.
Okay, I have just a few things to go over.
So we opened California Clay last Saturday.
That was probably one of the best turnouts we've had
for an opening reception post-pandemic.
It was really, really wonderful.
19 ceramic artists, the majority of which are
from the Bay Area and a handful from down in LA.
And there's really something special about ceramics people
and that they build wonderful communities wherever they go.
A lot of that has to do with the technical aspects
of making ceramics, and they really openly share
that information with each other,
and they're just wonderful, wonderful people
because they work with the earth all day.
And so if you weren't there, which I know some of you were,
but if you weren't there, please come by and see it.
It's really beautiful, it's very peaceful,
a mix of aesthetic and functional art,
which is not always super easy to put together,
but my little team did a wonderful job,
and I'm very, very happy with the show.
So in relationship to that exhibition,
we have a couple of workshops.
We had one last Saturday with Nancy Selvin.
It was sold out.
And so that was at the Ceramics Studio.
And thank you, Brandon Light, wherever you are,
for your help.
And it had 40 students in it,
so Nancy did a whole presentation on her work,
which she has been a ceramic artist
for over 60 years in the Bay Area,
taught by Peter Volkis, so kind of a big deal.
And then she gave a demo on how to print on clay.
so it was really, really wonderful.
We have Cocktails and Conversation,
which is a series that we started this year
with Aaron Toole on Thursday, February 29th at 5.30.
First half hours for you to come and meet and greet,
and then he'll give an artist talk for about an hour.
And Aaron is a really amazingly interesting artist,
so probably not to be missed.
We have a third workshop on Sunday, March 10th,
led by, again, Brandon Light, our hero.
And so we'll be teaching a grandparent
or a parent-in-me workshop on how to make ornaments.
So kids will be able to make their own ornaments,
paint them with glaze, Brandon will fire them,
and then they can come and get them
in a couple of days after that.
So we're closing California Clay at the end of March,
and then we'll be closed for our customary two weeks
to open Rediscovering Native America,
Stories in Motion with the Red Road Project.
And we've been working on this exhibition
for a long, long, long, long time.
And we're super thrilled to have it open.
Danielle Seawalker and Carlotta Cadana
are the duo behind the group.
They are coming in mid-February
to do an artist residency in Walnut Creek,
where they will reach out to the local native communities
in our area and get stories from the community members
there, take their photographs, and then we will have a special exhibition space in our
gallery for the residency photographs.
So really looking forward to that partnership with them.
Red Road Project opens April 13th.
I'm giving you all of this because this happens all before your next Arts Commission meeting.
It opens April 13th, and we will have a cocktails and conversation event that morning with Danielle
Seawalker and Carlotta Cardona, who will give an exhibition tour at that time.
we try and spread that stuff out, but Carlotta lives in Italy. So we're trying to make her
trips back here as effective as possible. And I think that's it. Thank you.
Thank you. Any comments? Let's say one more thing, which is just a reminder. Once you're
done with your commissioner updates, staff will have a few words about your departing
commissioners, but let's do your regular updates. But I do want to mention on the
same line, there is recruitment open for new commissioners. You'll have two
vacancies. It closes at the end of this month of 31st. If you know of anyone who
might be interested in serving as your colleague on this commission, encourage
them to apply. There's one seat that can be a one-carik resident. There's one seat
that can be a non-resident, so it's kind of a nice balance.
It could be that we have two Walnut Creek residents
on the commission, which is fine,
but you could also have one from outside.
So it's an opportunity to have new voices here,
but we'll talk a little about the departing voices
before the end of this meeting.
But I do want to make sure that you're aware of that,
and if you know of anyone, please encourage them to apply.
Okay, at this time I'd like to call for a five-minute break,
and then we'll, okay, thank you.
Okay, we'll reconvene the meeting, and we'll start with Commissioner announcements and
brief reports on what you've been doing.
Several of the docents were treated to a tour of the Clay Arts Studio, and I just wanted
to mention what an amazing program they have there, and Brandon Leip is delightful and
hard working just really I mean it's his life and it's just wonderful all
kinds of things going on there both with wheel you know pots made on the wheel
and hand built they have they sometimes have 40 people in there at a time
working and it's just a great community activity that's very long-standing
standing project. And so I'm very glad that it's still, still going on. And still in that facility,
just terrific. They've got new kilns and it's great. So I just wanted to mention that you can
always stop by and go see what's going on. I gave the last public art walking tour of
2023 in November, we had phenomenal attendance, we split the group into two. So we had two groups
of 15 go tour and I took my group to Fountainhead and somebody actually said
why are you gonna refurbish it? It looks just fine. I thought that was very
interesting. It was a great group. I love that the walking tours continue to grow
and people tell their friends and we're starting to get groups to come. I think we've had
the best year ever. It was a great great year. I've also reached out to the art
teacher at Los Alamos and Skye has kind of helped me do that. Her name is Jessica
Juergens to talk about putting together a public art walking tour for the
advanced art students at Los Lomas and kind of catering to what they'd like to
see maybe you know we'll put a tour together Jane she's working with the
other art teacher on that and I've also mentioned to her that I really like her
to set up a tour for California Clay because that would totally go for her
3d art students so I know those tours fill up quickly and I've been emailing
And you're like, come on, Jessica.
Let's get yourself, get a class signed up.
But so far, nothing.
That said, the first tour for California Clay last Thursday
was eighth grade at Walnut Creek Intermediate.
It was an art class.
And that was a great way to open up this show
with art students who got it and were interested.
And I wish we had more older kids coming to this show
because so many of the students work with Clay
in their classrooms.
So it's a great show.
I highly encourage my fellow commissioners to come see it.
One of my favorite shows, I think,
that has been at the gallery.
Great.
Anybody else?
Okay.
All right, staff.
Hasn't been busy?
Well, yes.
You heard the staff updates on our regular goings on.
Staff wanted to take this time
to thank the two outgoing commissioners.
And typically, when I'm here at the dais,
I referred you as commissioner so-and-so or chair so-and-so,
I'll refer you at this point by first name.
So Ann, thank you for recognizing the balance
between staff and commission.
You have that in your background.
You also have an architecture background.
So you would be helpful and were helpful to all of us
with understanding the integration of art
into buildings and vice versa.
So that was helpful to us
who don't have an architecture background.
that was valuable. You were chaired during COVID. I think the start of COVID, you were
the chair, shortest chair-personship ever, but it didn't phase you. I think nothing
phases you, which is great. You were a sounding board, you were on the public art committee,
and staff always appreciates how much you support us, because you have that in your
background as well. So thank you for everything you did for this community, for this commission,
for staff. We appreciate you and all the work you did for us. Thank you. Jane, you know I've worked
together for a long time and I had a whole list of things that I will talk about but I decided not
to talk about all of them because I want to save room for others. I will just talk about kind of
the highlights which is you were a partner to me and staff on the public art master plan when we
when we first started that back in 2013.
It only took like four years to finish it, but we did.
You lasted all of your other friends
who were a part of that team.
You were integral to the project that you see around town.
You have been involved in them from the start,
and you made a difference in the work that we see today
versus what we saw initially, and so that's tremendous.
Public art in Walnut Creek and Jane Emanuel
are hard to separate.
Do you have a Jane Immanuel public art?
Well, we can call it the Jane Immanuel public art tour.
We can do it.
Because of your passion and your dedication
and your commitment to the public art program and the art
program in Walnut Creek.
And so on behalf of staff, we have a couple of gifts
for both of you that staff will bring up here.
And we just want you to both understand
how much we appreciate you as commissioners,
but more importantly as people, and how much
care for the arts in Walnut Creek, so thank you for that. So we have gifts for you, and Emily did
you want to say anything or you just want to hand out the gifts? Well, that's not it. Yes or no?
Hold on. Do you want them to open them now? That's a yes. I can't wait. While Emily's talking,
you can open them. While I'm talking, crying, yes. Yes. I just wanted to thank both of you
so much for all of the support that you've given me. I became the curator one week before COVID
happened, and I couldn't have asked for a more supportive group. And I'm very, very grateful
for not only the work that you do on the commission, but all of the liaison appointments you've had,
and all the support that you've given us, and being on the public art committee.
We couldn't have done the things that we've done without you, and I'm very, very grateful to both
of you. Jane, I know I'll see you. Still, you can't leave the Bedford as a docent
ever. And Anne, I hope that you come and see us at the gallery. I heard that we
have some docent availability, if you're interested in that. But truly, from the
bottom of my heart, I just I can't imagine having a better commission to
support everything we do, not just with the public art program, but for the
the Luscher Center, the Bedford,
and Center for Community Arts.
Thank you.
So while you're opening those gifts,
I just wanna, and then we'll have the commissioner speak.
I just wanna acknowledge Roger,
Emmanuel, and the audience for Roger.
How many meetings, Jane, you think you were on
in your tenure?
How many meetings you think you went to?
17.
17.
More than 17.
Roger's patience and support for,
Jane is appreciated because it means a lot of Mondays, you're not here. So you can hold up.
That's very cool. Great. Oh wow. Thank you. That is super nice. Very nice guys.
I like that. It's wonderful. Thank you. That's great. I want to start the commissioner comments
and Jane thank you very much for your time on this commission. Jane 12 years and eight years,
that's a lot of years, some very important art got approved and built on your commission.
What I would like to know from each of you is what do you think is your favorite piece that
you got approved and there's art coming that you approved that was approved before Sarah and I
we're all even on this commission that still has not opened.
So what do you think is your favorite art that you approved in your 12 years? Jane?
It's changed over the years. It's changed over the years because my favorites
change. So I think that one of my favorite ones, maybe my most, I don't know,
is the recent one. It's the B effect because I think that it engages people and the
And mirror quality of the finish brings you into the art.
You are a part of it when you see it.
It speaks to nature and maybe a little bit of the identification of Walnut Creek.
I think it just touches all the spots that public art can do it.
But I guess I have to say, though, my favorite, favorite piece in Walnut Creek is not one
And that we approved, well, I guess we approved the gift of it, but we were not involved in
it at all, which was bull man, bull dog.
And I think that sets us up for being a city that knows how to collect art, is really cool.
Thank you.
Well, again, we didn't have a commission, didn't have a lot to do with it.
Thank you.
I've always been so pleased to see and walk by the Benny Bofano.
I think that was just such an important piece, you know, regionally, San Francisco connection,
nationally, internationally, that we have that here.
And I go to the ceramic studio every week, and I walk past it, and it's just such a
special special thing that we have the real gift lucky so thank you thank you
both I wish you much success in your future endeavors and Jane that does mean
you have to stay at the Bedford forever thank you I also have some words I guess
I'm after you guys leave I'm the most seen on here and I can't believe it it's
time has flown, but there were, first, you know, I agree with Kevin and all your
references to your past profession, or your profession as an architect, designer,
have always been very interesting and helped us, definitely helped me because I,
when you know boundaries, I know none.
So it's been great and thank you for being a colleague and I wish you the
best and I do hope that you stick around for all the Walnut Creek art, being a
docent and whatnot, the more the merrier. And Anne, and Jane, you have been my
mentor here. You took me out for coffee, you explain how things get done. I thought that
was wonderful because even though we had some training from staff, it's always nice to know,
you know, you come in and this is sort of how you go about the business of being an
arts commissioner. I appreciate your your laughs, your view, your point of views. I
also enjoy that the fact that you don't just go with the grain and you are very
much someone who likes to speak for yourself. You're an original thinker and
I love it, and your sensibilities for the arts
has always been cool to observe
and to grow with your perspective.
So thank you.
Congrats, you made it to the term limit.
It's been really fun, it's been too short for me,
and I think what's been the most engaging
about this experience is I love the intergenerationalness
of everything.
I love being with Sky and being with folks
that are in different phases of their lives
and working together collaboratively
to create a vision to have our community be better.
So thank you so much for dedicating your time to that.
And I will definitely say both the business
and the community acumen you both brought
has really helped me understand this process
and how to be proactive.
So thank you so much.
The commissioners brought you a little something.
We heard you're not in the business
of collecting too many things these days,
but we hope that you all enjoy our gifts.
The fact makes up for so much.
Oh, how creative.
That's just great.
We have a great group.
Pretty amazing.
OK.
Yeah, pass it around.
That is amazing.
Guy.
So I've been here for about almost maybe two years now,
and probably the shortest out of all of you.
But you both were the first faces
that I saw when I joined the commission.
And it was a scary thing at first.
I didn't know what I was getting into.
But you both made me feel so, so welcomed,
and I really appreciate that.
first I met Commissioner Meredith and she was the person at my interview and
and then I met Commissioner Emmanuel and she helped kind of walk me through what
it was like being an Arts Commissioner and just watching you during meetings
and talking to you out of meetings you've just really inspired me I've
gotten to learn a lot from each of you a lot of valuable things and you just your
opinions and your contributions to the Commission are so valued and I just really hope you
know that.
So thank you so much for all that you've done on this Arts Commission and we will miss you
greatly.
Thank you.
Thank you.
Okay.
Anne, do you have some comments?
Well first I'd like to just say what an honor it's been on the Commission.
I've been in public service, worked for three cities,
and I think it's been almost 40 years,
but I think this last six years, six, seven years
on the commission have been real highlights of my career.
So I appreciate that very much.
I especially wanna thank staff.
I know what a hard job being staff is,
And I want to thank Kevin and Steve, Emily, Eric,
Matickular, Cindy and Monica.
It just, I just really appreciate your professionalism
and your grace.
And I just think you do a terrific job for the city.
So thank you.
I'd like to thank my past and present commissioners,
particularly Jane and Glynis.
I just learned so much from both of you,
and I know we miss Glynnis very much.
But both of you brought such dedication,
and I learned so much from you,
and I just really appreciate
how much you care about public art.
So thank you for that.
And then a couple of wishes.
Well, one regret.
I wish we weren't able to get a piece at the leisure,
that big piece at the leisure.
I think that was a real lost opportunity.
So I'm sorry that didn't happen.
But looking forward, I'd like to see,
there's been so much positive focus on the downtown,
but I think it would really be special
if we could start moving out,
and I think Heather Farms is gonna do that a lot.
I mean, Ignacio Valley has 60,000 vehicles trips every day,
And it just seems like that's a great opportunity for people to live in Walla Creek, but also
in the region to see what we have.
And so I hope Heather Farms really takes advantage of its location to Ignacio, but
I think another great opportunity is the Community Arts Building.
I mean, you go to classes there, you drive past it, that front lawn just is begging for
So I would like, that would be my one wish that we get something on that building.
So thank you everybody.
Thank you what I feel as well.
You guys have a budget.
You should be using your budget, thinking out of the box,
being able to really make some statements with that.
My wish has always been for a signature piece,
and I hope that that will come some time.
It's something pretty remarkable what Walnut Creek has done.
I have a lot of thank yous to give,
so let me get started on those.
But I guess I'll start with the City Council.
I was going to end with them,
but we would be nowhere without the City Council.
Cindy, I bet you're out there watching,
but I want you to know how much we appreciate everything that
the council does and has done and of the entire council.
We've never had such a strong group
that are proponents of public art.
And it's a remarkable thing that this city has done.
We're not only a leader in central Contra Costa,
but in the Bay Area, we hold a special place
that I don't think is repeated anywhere in the country.
And I guess I want to remind you that we are the shepherds,
or the shepherdesses, I don't know, of public art
in Walnut Creek, and I think we do an excellent job,
and I think that you are all in the throes
of something great that you don't realize
how much you've learned, and you'll be fine,
and be doing great things.
So I wanna thank Matt, if you're in there,
for making me look 20 years younger on TV.
All my friends tell me how great I look,
So thank you very much for that.
Susie Martinez, who's a city clerk
has always been so helpful to me.
Monica, you've just jumped right in
and taken Cindy's place and just do it with great cheer
and excellence, and so thank you for that.
Carol Fowler, you may be watching, I hope you are.
She taught me everything I taught you.
We had a brand new council assembled,
commission assembled in 2012.
And she was the only person with any experience on it.
And she's so brilliant and wonderful
that she just did a great job.
She's been terrific doing public art walking tours
and writing the docent notes for public art.
And she's become a good friend.
Steve Hus, he's now having a great time in my hometown
and I appreciated his great knowledge and gentleness
and it was a great, great time to work with him.
Carrie Letterer, the past curator of the gallery,
who gave it its depth and excellence
and has been a great friend to me and said,
Hey, why don't you apply to the Arts Commission?
And that was why I'm here for that.
And I also appreciate the fact
that she had the great foresight
to get one Emily Enders onto her staff.
It was terrific.
Eric, Eric is not here tonight,
but he's been my lightning rod,
keeps me based and honest and remind me,
I always already mentioned that earlier tonight,
He always reminded me now. I remember you can't get to pick the art you get to approve it
But he's a wise wise person. We've had a great friendship and wonderful conversations
Mariah, I'll be seeing a lot of you, but you're right into the swing of things, but I'm here anytime you need
Some something from me. I'll be ready to help you. I'll be seeing you a lot at the Bedford
it's great to have you in the building and
Emily, I don't know how you did it starting with the, you know, one week later the gallery closes
and it's really been quite a journey, but you've just come out of it in just full fashion and
you're doing such amazing things. These shows are so thoughtful and so spectacular one after another
and I appreciate how much you do for the docents,
how much you've supported me personally,
how you've been so willing to collaborate with me,
and okay, I'll stay around forever, I promise,
but thank you for all of that. My Arts Commissioners,
that you're devoted to this, you all bring different viewpoints.
I love, Skye, that you just jump right in with all of
of not too many old ladies here but and and really Sarah I'm getting to know you and all
the great ideas you have and Yasmina we've had our great coffee breaks arguing about art and
talking about what we wish we could do and you're my my senior member here and I've really
appreciated your contribution and the the background that you brought to it and your warmth
Thank you. Jill, we've been we've known each other since we became those sense
together. We were in the class of 2000. So I know you're going to be a great chair and and have a
wonderful few years here, many years, maybe 12, you never know. But anyway, things change and
happen and I know you'll be a great leader for it. So thank you. Kevin, it's been like,
Well, not mother and son, but I've watched you grow.
And you were appointed to this position
after I was already here, so I've watched you grow into it.
And it didn't take long at all.
You just jumped right in.
And you've helped me so much.
It's been a great partnership.
And you've put up with some of my things I want to do
and couldn't do.
But really, it's been wonderful.
I will miss it very, very much.
It's been a real honor to be here.
Roger, you've done pretty well with those dinners
on Monday nights, four Monday nights a year.
You had nice, quiet dinners.
That's about to end.
So I'm sorry for that, but he has a great eye for art.
And I'd start looking at the packet online
and he'd stand there over my shoulder looking at me
and he has opinions about it, and they were right.
They were really good ideas,
and so he's been a great partner in that,
as well as everything else in our life, sorry.
But if you think maybe you still want those dinners,
I think there's a couple commission openings
in other areas of the city.
I was thinking maybe it's time I moved.
All right, anyhow, thank you everybody.
This has been just an amazing thing.
I really do feel I've made a difference.
I really do, and I think I've brought a lot of things
to the foreground with Glynis, who was a great partner,
and we met on this commission.
We never knew each other.
We couldn't believe we didn't know each other
because it was just such a great match,
and we did really good things.
She did such beautiful work with the signature piece,
what am I trying to say, the strategic plan,
And of course, we've always talked about a signature piece.
I know we'll get one someday.
I want to be at the grand opening of it.
And I think that's everybody on my list.
And thank you for the opportunity.
And I hope to be a help in area of public art for the future.
So with that, I think we'll adjourn the meeting.