Welcome to the January 2026 Arts Commission regular meeting, 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,
live, Comcast cable channel 28, Rossmore channel 26, Astound channel 31, and
AT&T U-verse channel 99 or live stream online on the city's website. Roll call.
Roll call. Commissioner Perelman. Here. Commissioner Dresser. Here. Commissioner
Clouder? Here. Commissioner Tesve? Here. Vice-chair Magnani? Here. And chair Balthazar? Here.
I'd also like to acknowledge you got to meet her, but Chris Farrow, our new department director,
is also in the audience tonight. Welcome, Chris. Move on to public communications. 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 but may respond briefly
to statements made or questions posed request clarification or refer the item
to staff. Do we have any public comment tonight? No comment? Moving right along to
the consent calendar it's the next item on the agenda. Does any commissioner have
questions on any item on the consent calendar? I think not. If there's no
Commissioner questions or comments. Do we have a motion? Is there any public
comment? Okay then next we just need a motion. I move that we approve the
consent calendar as reported in our from October 2025 and we have to accept the
community arts group annual report at the same time and accept the community arts annual
report for year-end 2025 at the same time.
And I second that.
Okay roll call.
Commissioner Dresser.
Yes.
Commissioner Clobber.
Yes.
Commissioner Perelman.
Yes.
Commissioner Tesfaye.
Yes.
Vice Chair, Magnani.
Yes.
And Chair Baltazar.
Yes.
Motion carries.
Great.
Great consideration.
Next on the agenda is an item for commission consideration.
It is item 4A, consideration of the Heather Farm Park Aquatic
and Community Center, revised public art site locations
and selection panel.
Good evening, arts commissioners.
I'm Ryan Elson, Public Art Manager.
Nice to see you all, happy new year.
As you'll recall at our last meeting,
which was October, 2025,
the commission approved the re-issuance
of the request for proposals for public art projects
for the required public art project
in association with the new construction
Heather Farm Park of the new aquatic and community center. Since the initial
request for proposals was first published in October 2024, there have
been changes that have occurred regarding viable art sites and staff now
needs approval for a modified list of viable art sites for proposals from
artists. Additionally, in October 2023, an artist selection panel was formed to review
and recommend artist proposals for the Heather Farm Public Art Project. And due to the extended
period of time, it's now been two and a half years, or a little bit more, a new selection
of panelists is required for this revised public art proposal RFP to go out.
So we'll need that.
So that's on, oops, let's see, that's the next.
So here are the Arts Commission recommended actions for the evening, as was stated, review
and approve revised potential site locations for public art at the new Heather Farm Aquatic
and community center and the surrounding park areas
as recommended by staff and the public art committee.
And for the public who is not familiar,
the public art committee is comprised
of two arts commissioners.
And also approve a new recommended panelist
with alternates for the Heather Farm, pardon me,
park public art project.
So we'll do a quick overview.
I think this might look familiar to you.
Here is the site that we'll be discussing tonight.
So we've already approved one project,
which you're familiar with.
That is Hoda-Suza's Poppy,
which will be inside the new atrium of the new building.
So that is moving forward.
We're in contracting with them.
And this is taking up part of the required budget.
Here is the site that we will be focusing on tonight.
So this is aerial view of primary art sites one and two.
The way that staff and the arts public art committee
would like to draft the RFP is to suggest in the RFP
that there is one primary location for public art.
And the primary location would be either it's marked there,
it's hard to see, one or two.
So one is the lawn at the northwest corner of North San
Carlos Drive at Heather Drive, right there on the corner.
It's an approximate hexagon shape,
which could support one large project or a series
of smaller works on the lawn.
The site that was also determined at our meeting
was site number two there on the screen.
It's the landscaped area that abuts the tennis courts
on the southwest corner of Heather Drive and North San
Carlos Drive. So it's right there. We did have Public Works come out and we had
Traffic and Engineering come out to determine the viability of these sites.
Site 1 does have some irrigation that will have to be like moved a little bit
to accommodate. However, I believe they're already doing some moving of the
irrigation due to other movement that's going to be taking place at this park
with the new swimming pools that are being put in
and the picnic sites that are going to be moved.
If you look at the top two left picnic stations,
those two are going to have to be moved to closer
to the parking lot and the street, Heather Drive.
So there will be some work taking place there
to accommodate for the two swimming pools
that are being brought in.
and site number two, which we'll go into further,
is there is some underground power there
that would have to be moved.
Again, some irrigation, but those are doable projects.
So here's a different view of primary site number one.
You can see there's trees that line it,
kind of dotted with trees, but in the space,
it's actually a decent space for art.
And here's an aerial view of that.
The traffic sight lines are in red.
And then this is the site across the way
that we just walked out to with the Public Art Committee.
And this is a slightest little knoll area
that's right at the back of the tennis courts.
And here is an aerial view of that space.
And another view of it from here.
You can see the flags that came out.
So these flags, the red ones indicate
red is for electrical underground
and the white is for the irrigation.
So now that we've covered the outdoor sites,
another, these are the, this is the building.
These are the plans for the new building.
And as you'll see in the center,
inside the building is a planned project
for Hoda Sousa's Poppy, which is moving forward.
And the exterior site that was approved
at one of the earlier meetings for site approval
that still it's here and we're asking for re-approval
after going through all of the other viable sites.
This is still a great contender.
We would like this to be listed as a secondary site.
So for the RFP, to make it clear for the artists,
the outdoor sites would be the primary locations
propose art, so one or the other of those two,
this is a secondary and optional site.
And here is a rendering from the architect,
and this is the wall.
If you'll remember, this is the wall where it would go.
It's the exterior wall to the changing rooms.
It's a very long wall, which could support
a great public art project.
So the windows face this, but then what
you can't see from this rendering
is where it wraps around.
so like where the people are walking,
that's a whole long wall, yeah.
So I'm gonna go back.
There's more not, whoops.
I don't know how to use this thing.
Okay.
So does anybody have any questions
for clarification on the sites?
Can you talk about the red site lines
on both pieces of property,
site location two and site location one?
So this is just site location two.
This is the one that is right up against the tennis courts.
Right.
Can you go back where you have the red triangles drawn
to understand what that means for sight lines?
I imagine traffic.
Did traffic put those in?
Yes.
So traffic put these red sight lines in.
So this is just, it'll show you where the,
if there were art proposed there,
it could not go to the very, very corner where the street sign
is.
And that is just so that for cars turning right.
And would you go back to the other primary site location,
then get to the one?
Yes, yeah.
So this cuts into a little bit of the hexagon-ish area.
Right.
Right, you're in the park.
You're on North San Carlos.
And you're heading out to Ignatia Valley Road.
So this is so the tennis court is in the bottom, yeah, across.
And then the ball fields are to the right.
and then to the left is the all abilities playground.
So this is like if you're driving off Ignacio Valley Road,
you turn left onto North San Carlos,
and this is what you'll be looking at.
And if you turned left onto the street, Heather Drive,
that's what takes you to the tennis courts
and the little, and the parking lot for the,
right, and for the swimming pool
and the all abilities playground, correct.
Right now, right, that was just recently renovated.
Correct.
Not too far from here.
Yep.
It's much, so it's right at the intersection of where Heather Drive meets the parking lot
to the swimming pool and all abilities playground, so it's closer to that end.
So in the reconstruction, yes, it won't be affected by the construction at all.
It's close enough to this side, this end of the park, so there's no conflict there.
Perhaps that could be a future consideration
as moving that piece to a more prominent location
somewhere else in the city,
which was a discussion that came up
when we met with the Public Art Committee representatives.
So, but yeah, it'll be staying there for the time being.
So those sight lines that are kind of marked in red,
that doesn't mean like those trees
are gonna have to be moved in order.
No, no, they just don't want any large scale artwork
in that area.
the triangle again. Correct. Okay. So it eats into a little bit. Staff had gone out, measured,
and that was what we had determined as a viable site with regards to landscaping and space and
maintenance. But then when traffic went out, they informed us that a little bit of that would be
eaten up. It still leaves a really great size to support a public art project.
So are we tonight then deciding between this space right here and the one, the diamond
one right next to the tennis court?
Is one or the other or both?
It could, well, I think that that's going to be up to the artist, but I think the way
we would like to draft the RFP would be these are the primary locations.
It's one of these exterior lawn areas or the landscaped area.
And we would leave that up to the artist to decide how or where they would like to propose.
And then an optional secondary location would be that long exterior wall on the building.
So what we are trying to avoid is having an artist propose just the long exterior wall
on the building, because we have a budget of approximately $716,000, and we don't know
what they would propose that would meet that budget requirement.
So we would rather see a primary piece or multiple pieces out here.
But how is an artist supposed to read that?
If it were me, I'd think, well, it looks like the wall is a losing proposition, so forget
about that.
what do you call it, secondary.
I mean, I think that, yeah, it's hard to know what an artist
would, it's like in our mind, they
could do a prominent piece here that doesn't eat up
the whole entire budget, and then maybe something
that echoes that piece on the wall.
It could be a 3D sculpture of some sort,
and it really depends on the material they're using
and the size they create their work in.
and is that if they're gonna propose something
for the wall, you would also expect
that they would propose something
for one of the other two sites.
Correct, correct, yeah.
I think we were using that terminology
when we were out there as a companion piece,
that the wall would be a companion piece potentially
to one of these sites, or the artists could decide,
I wanna put a piece on both of these corners, right,
that go with each other, and not do anything
with the wall and the wall could be eventually a mural
down the road with our mural funds, so.
Correct.
So editorializing priority sites as external
with the wall as secondary,
given the artist pool that you know you're going back to,
we're still sticking with that.
Am I getting too far ahead?
No.
because a lot of those eight of the 10 finalists,
there's at least five that work
in really expensive fabrication mediums.
So I don't, I can't imagine them coming back
and saying, I'm gonna do a sculpture and a wall.
But I guess we'll just find out when we get there.
Right.
Well, are any of those eight even muralists?
Not muralists, but if you look at all of their sites,
They all have experience with doing free-standing sculpture
as well as work that has been mounted
onto walls in buildings.
So I think that from the list of eligible artists,
they're all fully qualified and able to do both kinds of work.
It's just a matter of what they choose to do.
Photo of site two, just so we can
see how much is left for the art.
Okay, I really think that's great,
but what did the city say, city works say?
How much of that space can be used for art?
Like where would the art piece be?
Like on top of where the plants are now?
Yeah, it seems like where the plants are.
Yeah, so plant, whoops, that's a good one.
So yes, these plants would have to be potentially removed.
Yeah.
And then there are underground power lines
that connect to all those lights.
And there is irrigation also.
So this would eat into our budget a little bit
because we would have to pay to potentially move
some of those things.
And it's unknown how much that would be at this point.
The other question I have is, with regard to site number one,
I don't know if you guys have been
able to look into how much that corner is used
by people who picnic there and who
use it with their friends, family, lots of kids.
I see going there.
So can you talk about that?
Sure.
I think, yes.
So the park is super, super well used,
as everybody knows, whether it's birthday parties
or community gatherings, sporting events.
It's hard to, I couldn't find any photos recently.
I think it's a little bit different
in the use since our last meeting.
It's not quite as busy at that corner and intersection
as it might be in the summertime when
people are picnicking outside.
A lot of the activity takes place closer to the picnic
tables, which you can kind of see where they are.
And we wouldn't want to, I mean, this is definitely something
that we would include in the RFP so that the proposing
artist would understand the use of the space.
And who knows what they may propose.
It could be something that doesn't take up
a huge footprint, but rather goes up high.
Or maybe it could be something that provides shade.
We are not art directors, so we don't really
want to tell them what to propose,
but I think that the more information
the artist has, the better a proposal they can give.
But it's hard.
Yeah.
I don't.
Mm-hmm.
Yeah.
Cool.
Thank you.
Mm-hmm.
Go ahead.
Is there any irrigation or trees or plants
we'd have to move at Site 1?
Good question.
Yeah, so there is irrigation there.
No plants would need to be removed, no trees.
but they will be reconfiguring some of the irrigation there
already so that won't eat into our budget
because it's part of a bigger project
that's going to be taking place
with other structures that are moving.
And will those picnic tables stay
or are they up for change also?
The picnic, these picnic tables right here,
I have not heard of them moving.
I think they're gonna stay.
It's those larger picnic stations
that have those big umbrellas.
They're about 20 feet in circumference.
Two of those will be moving closer to on the other side
of the playground.
Mariah.
So what you're saying is that public works and transportation
is good with what might have to happen here if art goes here.
Yes.
Number one.
Two, we're talking about no trees
needed to be removed from this primary estate location one.
But could some of these trees be pruned a little bit?
We saw them with no leaves on them.
And you can see how much they cover,
even as part of your trapezoid here,
is that what I'm gonna grab at this location is,
if we like the art that's gonna potentially go here,
can we recommend that these trees be pruned back
a little bit to give this art a little bit more visibility?
Yes, we have a good working relationship
with our maintenance team.
And we can definitely recommend that trees be pruned.
Obviously, we defer to them and their expertise.
And we would want to ensure that the trees are healthy
and keep going.
We wouldn't want to cut them back so far that it would risk
something happening to the tree.
I think it will be equally important for the artist
to know that there are these trees here
and that they lose their leaves so that whatever
they're proposing can handle all the leaf litter that's going to come down.
Yeah, that's a great idea. In this next iteration of the RFP, how are you, I
really think the three sites is really important to these people potentially
throwing their hat back in, given how much time we've already spent with them.
Why are we not being more prescriptive or engaging community to tell us what
these corners of the park mean to them? Because if I was an artist in in those
shoes I would want to know at this point, okay, what happened? Why am I
being asked to come back? Why are these the sites versus the previous sites? How
does community feel about these sites? And in order to design for this area, for
example, knowing that, you know, you could see a couple different seasons of photos
to see how the space is used so that people aren't plopping down rinse and
repeat art. That's like a part of the body of their work, but truly designing
something for Walnut Creek. I know we, I know we err on the side of like open,
everyone come with your huge ideas but is it time now to start to redirect
people to the things that we think our community needs? I think it's a great
conversation to have and I think that the more information we can provide in
the RFP would be helpful. At this point I don't know that we would go out to the
community like we did for example with Nigel's mural out at Tice Valley. I think
It's a little ship has sailed kind of vibes.
OK.
Well, I mean, even the survey that we took years ago,
like at this point, we want to re-invite them back in
and be excited to work with Walnut Creek,
even though they might have rejection to redirection.
But how do we get them excited about designing work for this?
I mean, I think that it's the approach,
The way I would like to look at it is like this,
we have one exciting project that's moving forward.
And this is an opportunity to approach it
as a whole new project because we have new sites,
because some of those old sites are no longer viable.
We have a new budget, quote unquote,
from the original budget.
And it's a great opportunity for a new proposal to come in.
So I would like to approach it with this like new energy
Here we go, new RFP, let's do a fresh start.
Let's learn from the mistakes of last time and help.
I think already, we're on a better path
because we have less sites and we have more information
about these few sites that we can share with these artists.
And we can definitely look into, I mean,
it's a heavily, heavily used park.
So I don't know if one of you maybe has an idea
Yeah, and how to express that to the artists
to take into consideration.
We do ask, I would think that any artist at this caliber
would take the time to try to research
and understand this community and understand this park
and get a good sense for the Walnut Creek.
And so I would, I think these artists that we have,
they're all super professional
And I would trust that they would be able to present
something that would be feasible and doable.
Yes, and so we go through right now the current flow is still
go back to those eight, see if they say yes or no.
If we determine that there's too few that are interested,
we're writing this so that it doesn't have to go through
another revision, it could go out as an open call.
Yes, that would be ideal.
if all of the eight eligible artists or artist teams
say no thanks, then it would be,
we would have to do a new call.
But with these parameters.
But ideally using the materials
that we're designing right now.
I'm sorry, what?
Using this new refreshed focus.
Correct.
Thank you.
Yes.
Mariah, when would you like to get the RFP out?
and piggybacking on Sarah's question,
is there a minimum number of artists that say,
yes, I'd be interested in applying?
Will we say, great, we don't need to open it up
to any other artists?
Or are we saying if only two artists say,
I'm interested in doing this,
we're only gonna look at two artists,
where are we gonna draw the line here?
I think that is the line.
What if we only have one artist,
but we, or this commissioning body
has already selected those eight.
So those are the eligible eight.
So I think that in order to be equitable and fair,
we open up that invitation to those eight artists
or artist teams.
And if we only have one, then let's see what they give to us.
And if it's great, great.
And if it's not, then at that point,
we would have to move forward with opening up a new call.
OK, we need to go through this.
When would you like this to go out?
This spring.
So as soon as possible, ideally, as soon as possible.
Right.
It seems to me the big difference between now and then
is that originally we picked sites
we didn't know what we might get.
Now we know who's going to be applying
to work on these sites.
Is that part of the site selection process that you had?
We know these guys would be interested in sites like this,
or is that just beyond?
Not at all.
I never, I guess, have no idea if they're interested or yes,
but that was not part of it.
It was just really more of what our viable sites after all
of the changes that have taken place.
So some of it's landscaping, some of it's signage.
So that's really the main determining factor
in the change sites.
I have one more question on tangential, but important.
So 700k, approximately.
Correct.
It's probably fair to say 150k in electricity and lighting
and plant removal.
So are you going to tell them it's actually
a 500,000 or 600,000?
Do you think you can editorialize that at all,
like in terms of the nature of the number
versus its actual reality.
I think that it will be important
that we put in there there's a contingency.
And so some of the funds should be set aside for that just
in case of any unknowns or variables.
I think that it will be important for us
if the commission chooses tonight
to approve both of these outdoor sites
to move forward as potential project locations,
that I will definitely like to get an estimate ahead of time
so that we are going into this with a real understanding of
is this really a viable site and how much will it cost?
And I would like to give the best parameters possible
to the artists so that they really know
what they're getting into.
So there's no, or hopefully, less surprises.
Thank you.
Just to clarify, primary site location two,
there's really not many plants here.
The plant removal would take me a half hour, but.
You're cheaper than the same.
The power weeder.
It's the power lines, which could be an issue.
I wanna move to primary site location one,
as I'm looking at this photo that's here.
Is it possible that the artist could also say,
I like this site, I'm designing art fort,
but I want the grass removed from my site,
I'd like to have it on.
I mean, is that, can that be in the mix also?
Yes.
I don't see why not.
We would, and it depends on what they want.
If they're, if they envision their work going
on a cement, you know, pad, that's fine.
That obviously will come out of the budget.
Can you tell us, tell me why we need to give them
three sites as opposed to us deciding where we want the art.
So that there is, when artists come back
with their proposals, there isn't a disparity
between, oh, I like this, but it's on this spot
versus that other spot.
And so it's not really, we're not really measuring
what they're proposing, apples to apples.
So why can't we decide that?
As a, well I think we've done the preliminary work
where we've checked with the building,
we have that one site as a viable site.
We met, we walked around,
we've met with different departments in the city
to determine that these are two viable sites.
All of that is to say, as a commissioning body,
if you vote to not approve these as viable sites
and it's, you know, somebody wants to make a motion
to say we only want one viable site for consideration,
that is up to this commissioning body.
I have a question on when these decisions are made
on when you're seeking for the sites.
I was out there today and for site number,
When I saw site number two, that was exciting to me
because just the way you pull into the, yeah,
I know we're cutting into it, and it's not going to be full.
Thank you.
No.
The other one.
So I know we have enough space for whatever
they need to do with it.
but the opportunity it gives for the art to be visible
is right off when you first, so that makes sense.
Across the street, I'm just trying to understand
how these decisions were made.
Not so much, I know that there's another piece of art
that we just discussed that's on the same field,
but to me, this seems to be more,
It attracts more attention as opposed to the site number one.
But as I drove down Heather Drife, is it?
OK.
Why wasn't the site considered across from the skating ring?
I know that we are, as we renovate,
this is going to be a busy area.
I know that area at the top is not as busy.
but I feel as though they may not be as many removal
of things that we need to be concerned with,
but it still provides an ample space for art
and visually where it will sit, it resonated with me,
but I just wondered how these decisions were made
in terms of the way the sites were picked.
Does that make sense?
Jay, are you referring to the skate park?
So if you were to continue on Heather Drive,
skate park that's at the end there? Yes, yes. Across, right across from it. I took a
picture of it. There is a nice little area similar to this. Is that adjacent to
the Clark Swim Center on that side of the street? So there'll be a whole
separate planning process for what happens to the Clark Swim Center site. So
my professional recommendation would be that we not make assumptions that art
would be able to go there and stay there,
because there's gonna be substantial work done
to that area.
It may be one day in the future.
If there's another public art project in our future,
then that could become a site.
But today, there's many things that might change.
And I would add that when we went out to look at the sites,
we were really just looking at primary site number one.
And we looked across the street
and saw this site right here.
like why not this site? It seems like it has such good visibility there's no trees in the way.
You can see it both coming and going from Heather Drive and San Carlos and it looked like minimal
work needed to be done of course we didn't know what was going on underground. So we added this
site while we were out there. And this site would not take away from where people are using to
picnic and because when families gather it can get kind of crowded on that lawn.
A friendly reminder we're in Commissioner questions time as we're
diving a little into comments so if there's any further questions on sites
there's then still the panel portion to discuss and get your questions about
about before public comment.
So for the questions on sites.
Should we advance into...
I just don't think I got an answer to my question.
The question was why can't we pick the site that we want?
So if us commissioners with staff,
we've all looked at this,
why do we need to leave it up to the artist
to pick the spot versus we pick the spot.
So as Mariah shared, as the body that approves the sites,
it is within your authority to approve only one site.
If that is your commission's vote to do that.
Any other questions?
Let me fast forward.
Or am I rewinding?
This is a new remote control for me here.
Okay, so almost there.
So artist selection panel, which I believe you are all familiar with the fact that in
accordance with the city's public art master plan, all municipal public art projects are
required to have a panel assembled.
And the panel should be comprised of five to eight people.
And this includes a city council member who shall be appointed, an arts commissioner who
is appointed and a community member who resides in the city of Walnut Creek, one arts professional,
which would be a gallerist or an art advisor or art consultant or a curator, and then one
professional artist, so professional artist being somebody who has realized a project
in the public art world successfully.
So the last time, let's see, at the October 2023 Arts Commission meeting, at that time
Chair Manuel appointed Commissioner Balthazar to the artist selection panel and Commissioner
Dresser as the alternate, and Commissioner Balthazar has been the Heather Firm Commissioner
liaison at the time of appointment.
as his customary liaison appointments will be made at the April Arts Commission meeting.
And that's at that time that the chair would appoint the commissioner to serve on the panel.
So ideally, we assemble a panel, and then we have the proposals coming in, and we will
be able to have those panelists review the proposals and provide their feedback and comments.
So again, I don't know.
I think you have that all.
Do you have any questions about the panel?
Yeah, I do.
The three that are already on here, Jennifer, Linda,
and Judy, who chose them?
Staff, we have a list of eligible arts professionals,
people that work in the arts world.
Some of those people are actually
municipal arts people that are familiar
with how city structures work.
Jennifer, the first one on there,
she's the public art director for BART,
and these are all people who have served
on different city panels within California
and have experience and understand the process.
Do they know they've been selected,
and do we know if they know how they said yes
to being selected?
So we have not reached out to them
because first we need commission approval,
that this is an okay list.
And once we have that, then we reach out to them.
They are aware that they're in a pool,
and so I don't think they would be shocked
or surprised if we reached out to them,
but we haven't reached out to them for this specific project.
To clarify, today you're looking for approval
on the recommended composition of this team.
So city council, arts commission,
we're not approving these people.
Just approving the, right, just in general.
The professional one?
Well, the composition is determined
by the public art master plan, so that doesn't change.
So we do need somebody to fit each of those roles,
if that makes sense.
And then these are just some of the names.
Okay, I think we're saying the same thing.
Okay, okay, I just, because we can't approve Jennifer
if Jennifer doesn't know she was invited.
Correct, so this is like we put her there,
we put a couple of alternates just in case
she's not available.
So to clarify, you're approving the names listed there
as panelists, and staff cannot reach out
to those panelists until you approve,
so they'll go to Jennifer.
If Jennifer is unavailable, uninterested,
Then they will go to the alternates that are listed,
understood.
Thank you.
Any questions?
Of course, me.
Why can't we just keep what we had before in terms of the panel?
So due to the extended period of time,
it's just a very long time has passed.
And if we're going to treat this like a new project,
we are going to assemble a new panel.
Any further questions if you'd like to invite public comment?
At this time I'd like to invite public comment.
We have someone in the,
can you come up to the podium please?
They can't hear you otherwise.
Are thousands watching this stream right now?
And if you could state your name in city of residence.
I'm Cherry Goldsmith.
I've been a docent at the Bedford Gallery since 2011.
I'm so happy we put Carrie's work out in our community.
But also having been in print media and the business world,
I always take into consideration financial aspects as well.
I was just curious, the 716,000.
Is all that money going divided among certain artists?
Or what does that part of the budget cover?
I'm curious.
We can have Mariah address that question.
So that is for one, I don't know where you are.
I have to speak into the microphone so I can be recorded.
That is for one artist or artist team.
That is the budget not to be broken up.
Public art requires bigger budgets
because of fabrication costs and all of the people involved
in a public art project.
It's not just an artist, it's also the engineers,
the fabricators, the shipping, and the installers,
and the equipment that is required.
So that is why the budget may sound very large and robust.
For a public art project, it's actually pretty,
it's substantial but standard and maybe even small.
Compared to.
Right.
Right.
Yeah, yeah, so it's just it's a big team that it takes
Actually that does give rise to another question
the first time around
We split the budget and got three proposals
So it sounds like what you're saying here is that we're not going to split it this time
We're going to take one proposal only correct. Okay, that wasn't clear. So appreciate you. Yeah, you mean the opportunity to clarify that
Thanks
Commissioner comments at this time. I I think this is very well prepared and thoughtful
And we've we're having to do this again
But it's better when you do it again because now we've learned
Still concerning to me as
all of this is great preparation, but then what happens when
the artist creates something and it's
Not quite what anyone here had expected or you know
or wanted in terms of scale or in terms of
Fit for the community
Etc. So what?
How do we manage that right and?
Walnut Creek has some really beautiful
public arts
sculptures. But there is one in particular that comes to mind,
which is just a mile or so down the road from there on the
corner, which I don't think is our brightest sculpture. But so
how do we prevent that from happening? You know, how do we
win as a community?
It's a great question. Well, that is why we assemble a panel
of artist professionals and we also have community members
that weigh in, this is always the challenge
with municipal projects, right?
Because you're using taxpayer dollars
and people are more than welcome to come here
and make their public comments
and we try to engage as many people as possible
to make it, you know, try to get representation
and feedback and perspectives from the widest body
that we can, while at the same time moving forward.
You know, the saying, too many cooks in the kitchen.
This is not a private corporation.
Emily and I like to joke.
If this were like the Mariah and Emily show,
it would be really different, right,
if we were paying with our own money.
So we can't really compare ourselves
to a private company that has their own funds
and decides what they're gonna put on their property.
So that is just kind of one of the challenges.
And also great exciting things about municipal public art
is that we kind of have to just trust
that we may be making some of the people happy
some of the time and some people are not gonna like it.
That's the other thing with public art.
I think, I mean, I can name a couple sculptures in the city
that some people love them, some people hate them.
And I think that either way,
that is a sign of a successful art project,
just eliciting some sort of response from someone, so.
Absolutely, but that's not really what I'm asking.
What I'm asking is what's the process for taking a look?
Will there be like a, what is that called?
A pre-model?
A model made that the panel can take a look
and say, oh, yeah, this is exactly what we were thinking
this artist would do.
Do you know what I mean?
Yes.
I understand how it's done.
We either love it or hate it or middle.
That's great.
The more the merrier, in my opinion, but how do we win?
Well, that process will not, that part of the process
will not differ from the last time.
So the last time we did invite artists
to propose their projects, they come up
with the renderings they design.
We did have one of the artists do a maquette
with little models, which we didn't see here.
But then the panel reviews and makes a recommendation.
And then at that time, it's presented to the Whole Arts
Commission.
And at that time, if everybody is in agreement
that they absolutely do not like the project,
don't think it's a good representation of the city or a good use of the space, at that
time then the commission would vote to not approve and not move forward.
I thank you.
Comments?
Yeah.
You guys have done a great job, and I like all three of those sites.
That said, the mural site, the wall site, it makes me nervous, that whole process, because
On the one hand, we're not going to split the money because we want to get high impact.
On the other hand, we're kind of inviting a lower impact by doing that.
So I don't know how others feel, but that piece makes me nervous.
Although I would love to have something on that wall because otherwise all we've got
is a wall.
And yeah, I mean, I hear what you're saying.
This is a recipe for disappointment, but you can't anticipate what you're going to get.
You have to just put it out in such a way that you encourage people to take their best
shot.
I think these two sites too, one and two, look to me like they're chosen with high
impact in mind.
the smaller site definitely looks monumental to me
and has opportunities there,
which I think an artist would be quick to find.
The other site also has the potential
for having something more interactive
because people use that at lawn.
So I don't know, I think you've done everything you could
at this stage to encourage a good response
from these eight artists.
But I would seriously question
whether we're doing the right thing
by including that mural site just for that reason.
I appreciate that, and I think that, I mean,
we can use the same answer for what Commissioner Clauber
was asking before, that as the commission,
it is up to somebody to make a motion
you would like to change that and move it from one three to one site or two
and then and then vote before we make a motion is there additional comments
thinking out loud I really like your suggestion that we remove mural site and
have that for a later project and we'll have money for that and this makes it
Wait much easier primary site one and two. I
Definitely am leaning towards primary site two because there's no trees in the way
But I understand that we could get a great project for primary site one that is interactive. I
So want the RFP to be so clear so I don't say clear
But really speak to the usage of the park
the fact that we have trees that are in the way dropping leaves, that there's picnic tables nearby,
so there's no question about what gets submitted as a proposal, that that artist had no idea
where that art was going to go. So, I'm comfortable
taking out the mural site and having two sites remaining, as long as the RFP is
very clear about what that artist might be getting into at either one of those sites.
That site if somebody said I only want to pick one site. I probably could go along with you as well. So
so
things that I'm pondering for the Commission are
just
The constraints in which we're going to design this new RFP that has multiple layers
so it's like reach out to this artist candidate pool to determine if that candidate pool is
something we can pull from it's
writing an RFP that potentially could go past that so we don't lose momentum.
Let's say we have eight artists that are extremely busy, and they're not going to throw their hat in again.
Can the materials we create actually
move forward with an open call? So similar to Jill,
I echoed the statements of we should be collaborating in any way to help you all
design and write that. I also just want to note the composition of the selection team,
similarly to the previous candidate pool
and to the diversity of the final candidates.
Like, in order for us to get new and refreshing things,
we need to have new and refreshing voices,
and that is not to say the arts professional,
and just, again, who is on the list at Walnut Creek?
How often are we refreshing that?
How can we bring new voices into the city
to build new audiences around public art?
And in general, we did have a large open call response.
And I wonder if in there, considering this budget
is now just a portion of almost a million dollars
with some constraints around space and costs for planning.
Is there a pipeline that's in those hundred
and something folks?
Is there a middle section that we could start to think
about building a list of emerging artists
that we can go out to.
And there is power and economic development in that.
And I just, I have these times where we butt up
against the process.
And so how do we make a process that can be more fluid
so in the future when we have to take three steps back,
you have a bench of folks that,
we didn't go through all the people that were rejected.
And then I actually am more inclined to choose site two and keep the wall and I keep the wall because
This is a really large budget
For us. It's the largest that we've seen
There are really innovative ways to wrap a wall now. It doesn't have to be a very expensive mosaic
It doesn't have to be spray paint. I mean it can be
printed and applied and
I worry because our mural fund is at zero that will we truly ever have more money in that fund?
And so if we take the wall out, does it do us a disservice?
So so just just trying to wrap my head around those things. Yes question. Do we have a new mural fund as of
2026? Yes, so I just wanted to clarify on that our mural grant is
is
is used for this year.
But we have set aside from the Public Art Fund
monies for a mural.
So that can be a separate project
that is realized there are funds there
for after the building is built.
And then hopefully we will have even more money
in the Public Art Fund so that as a commission
we can get approval to set aside
additional funds for a mural.
Does that answer your question?
So approximately number, because now we're
in large public space, big wall.
You guys have commissioned things.
Nigel Sussman, you have an idea of what things cost
to get certain kinds and calibers of artists,
versus what we're doing with the mural grant.
That is much more of an emerging artist situation.
Correct.
I'd be curious to know that budget
before I took that wall out.
So the mural, we did set aside funds,
but when we did for this particular building,
we were also thinking about one of the inside walls
for a mural, so it's not a huge budget
for that interior wall.
But that is a conversation that we can have
regarding the public art funds
to do another exterior project,
if that's the direction that the commission
I'd like to go in.
I also would like to clarify that, correct,
it could be a mural on that wall,
or it could be a 2D sculpture on that wall.
So it doesn't necessarily have to be paint,
and it doesn't necessarily have to take up the entire wall.
So there are definitely options for that wall.
But whatever happens in the context of this proposal
for that wall takes away from what the artist
could give us on those other two sites, that was my point.
That is correct.
You have to figure out how to split their budget.
Thank you.
To hear everyone's perspective and commentary,
it definitely makes your brain turn.
So does staff have an opinion on what's
smart to do from a practical perspective?
Like, what do we?
What's your opinion?
This is a tricky one because I think they're all three of the viable locations that we
have discussed.
I think that they all three would make for great sites and I can envision personally
like you had said you know the bigger lawn area lends itself to maybe some more interactive
art so is that something could it be shade it could it be something people are climbing
on and be a boon to the picnic area.
Not something that's like, oh, in the way, but like, oh, great.
The parents are picnicking and the kids are interacting with this art.
So I have that in mind.
I also like the idea of something just given the limitations of the space right across
the street.
I could see something going up there that it doesn't lend itself to so much interaction,
does maybe, you know, get the attention of people coming in and out of the park.
I love the idea of a wall sculpture on that big long exterior wall, but I also
am NOT an artist, and so I am always excited to see what artists propose
because I think that they're the experts at coming up with really exciting ideas
and then it's just kind of, I like the part where we go yeah that would
work or no that doesn't work so this is a tricky one and that's why we have this
wonderful commissioning body here to think think through this challenging
process and come up with a solution. This is a comment we already have a park
with, where kids can go play in the playground. It would just, it's so over
done, this is all my opinion, where you have art that turns into a swing set and
you know kids climbing all over. That's, I hope we don't get that, so that's it.
And I agree with you. We have so much, there's such a huge playground. We don't
We need to have another play area at the end of the park.
All right, here we go.
I'm gonna try it.
I'm gonna try it.
I'm gonna try if we could do this.
I'm gonna move that we approve site two in the wall
and the recommended artist selection panelists.
That's it.
Just site two, so in front of the tennis courts
and the wall in the building.
And X out the third space on the park grass.
And while we're at it, approve the recommended
artist selection panelists.
I think I second that.
Yeah, I second that as well.
That's actually very clever, I commend you for that.
That's it.
Okay, sorry, motion second.
Okay, we are voting on approval of site two
by the transports and the exterior wall of the building
and the recommended panels.
Chair Balthazar.
Do we appoint the panelists now?
No, that's April, right?
The arts commission representative will be appointed
by the chair in April.
And until then, it's the person who was previously laid
Yes, the current Heather Farm Liaison.
OK.
So is the tennis court, would it remain there
after the renovation?
Is that a solid thing so that once this art is up,
we don't have to worry about renovation happening behind it
or anything like that, everything as we see it today?
Well, I can't guarantee forever and ever.
There are no current plans for renovations
on the tennis court side.
So any artwork that will be going in sight too,
we wouldn't have to be concerned about being tampered
by any projects around the surrounding area,
maybe possibly later in life, but at the time being,
in the far future, if there were some major renovation
of the Tennis Center, right,
then that might come into a conversation.
But there's no plans at this time
for a renovation of the Tennis Center
versus the Clark Swim Center side
where we know there is a master planning process
that will go.
Okay, so we have a motion and a second.
Chair Balthazar?
Yes.
Commissioner Dresser?
Yes.
Commissioner Perelman?
Yes.
Commissioner Clobber?
Yes.
Commissioner Tesfaye?
Yes.
And Vice Chair Magnani?
Yes.
Motion carries.
All right, thank you.
Okay, next on the agenda, reports on projects.
Hello.
Here I am.
That's okay.
This will be short and sweet.
Yeah.
All right, so these are just a couple of updates.
All right, so as we were talking about,
here we are back at Heather Farm Park
at the other end of the street.
So this is right by the parking lot and Heather Drive.
This is the recently restored Bruce Johnson sculpture
strata.
And it looks gorgeous.
The artist is no longer living.
One of his assistants came out to do the work,
who worked with him side by side for many years.
So he really has, obviously, an appreciation
for the artist's work and a sense of how the artist would
like things.
So he did a great job at getting rid
of the parts that were compromised
and re-nailing with its all copper nails
and really securing it so that no moisture could
get into the piece.
And it's been freshly patinaed.
I love this piece.
So I'm happy to see it being cared for.
And this piece was acquired by the city
to commemorate its 75th anniversary
for people who don't know back in 1989.
So it's a nice piece.
And this is happy news to report
regarding our public art walking tours.
So in last fiscal year of 20, we had,
well, from July 2024 through June 2025,
We had determined that we would probably net $600
for our public art walking tours.
And it's gone up.
And you can see that here we are not even completing
this fiscal year 2026.
And we've already exceeded last year's fiscal year
in earnings for public art walking tours.
And we really have to thank our marketing team.
They've really been making big efforts to get the word out.
They've tried different strategies.
We're kind of trying to target different groups.
This was from a dog public art walking tour,
where people were welcome to bring their dogs.
It happened to be raining on that day.
But this is one cute dog that joined the public art walking
tour.
So we thought we would share this photo.
And so that's great news.
I'm just happy to report that people are out and about
and discovering it.
I've gone on a few, and it's really nice
to wear my baseball cap and be incognito.
Our docents do a wonderful job at doing the tours,
and it's just really fun to see the people
that come out for the tours.
So it's just such a great asset to this community
that we offer this program.
So that is it.
Any questions on these things?
That's great.
I thought when you put that slide up
that you were gonna tell us
that piece was gonna be fixed.
Oh, I wish I could be telling you
that that piece were fixed.
That is an ongoing challenge.
So that's the challenge when we have
privately owned public art.
I think that the city, we do a great job
if maintaining our own collection,
getting other people to maintain their collection
is a different beast, yeah, but I will keep you posted.
At this time, I invite staff to provide presentations.
So I'm gonna go through our Lesher Center Strategic Plan,
and then I'll roll into some additional announcements
for the record, even though I've been sitting here,
Carolyn Jackson, General Manager, Lesher Center.
On our strat plan, just one update for tonight,
which I'm thrilled to say we finally filled
the technical coordinator position
that was part of our strategic plan,
back from 2022,
which is helping us plan for and execute
the Headliner series and the more complex
center rep projects.
So Taylor McQuiston joined our team at the end of October,
and it is wonderful to have someone in a leadership role
really able to focus on how we make those events
as successful as possible
and as efficient and cost effective as possible.
So next time you're at a Headliners event,
you might see Taylor running around
taking care of everything for the day,
but it's been a journey to get that position filled
and we're happy to have her.
On other Lesher Center and Center Rep updates,
February is Busy Busy with Headliners.
On February 14th, we have Peppa Pig, my first concert.
So if there's young people in your life,
It's a great introductory concert that Peppa Pig
and family learn all about in orchestra, right,
and what comprises an orchestra,
and it's a fun interactive day, so that's February 14th.
February 20th, Anna Gasteier will be with us,
famous from SNL as well as Wicked and other things,
so she has a cabaret concert that she does.
February 21st, one of our SF jazz concerts, Madeleine Peirot.
and February 28th, we're bringing back
Mariachi Harencia de México, who was here in 2023,
a really phenomenal Mariachi group,
all fairly young folks really pushing
the boundaries of Mariachi.
And from Center Up, next up is Lost in Yonkers
by Neil Simon, and that starts March 29th.
I'm also going to, on behalf of Miley,
give you a couple updates from Center for Community Arts.
Spring classes, registration will begin on February 18th.
So if there's one that you're eager to get into,
make sure you mark your calendar.
And summer camp registration is already open.
So be planning for your summer for all the kids
in your life.
And then preschool registration will open
on February 18th as well.
There's a couple of special events coming up on March 6th
is Teen Art Night at Shailin's Art Center,
live music, art-making food,
including music from local high school bands.
Family Art Day will be Saturday, March 14th,
an outdoor free fun-filled family event
where you'll get to experience a variety of things,
including painting, crafting,
or just having fun with color for our little ones.
And on March 28th, a special fundraiser event
with the Community Arts Foundation and Synergy Theater.
It'll be diamonds and detectives.
And it will raise money for scholarships.
It's an immersive comedy experience
that puts you in the thick of the action.
Tickets include entrance, of course,
cocktail hour with light refreshments,
and the immersive theatrical experience.
So tickets are on sale for that.
It's March 28th.
And that's all.
Good evening commissioners, Emily Anders,
but for gallery curator.
So actually, I think everyone was at the opening,
which I very, very much appreciate.
So we opened Viola Fry Foundations
earlier this year in January.
It's probably our biggest,
well, since I've been curator,
biggest curatorial endeavor to date.
We worked on it for many, many months,
just like everything else,
but there was lots of research involved
and we were very grateful to have the support
of the Artist Legacy Foundation.
And Cynthia DeBosse and Daisy Holman Murray,
Murray Holman, sorry, are coming back on March 12th
for a cocktails and conversation event from 5.30 to 7.
So if you want to learn a little bit more
about the Artist Legacy Foundation and also Viola,
please come to that as well.
We're having an industry night on February 20th.
We are going to put Viola on the road.
So this is a very, very big undertaking for us.
Shipping ceramics is terrifying,
but we're gonna crate them and pack them very well.
And it's gonna be great.
And so we are having this industry night
on the 20th.
I see your face, Jill.
It's gonna be okay.
We're having this industry night on the 20th
to invite people who would potentially be interested in
hosting Biola show and also collectors of Biola
to kind of come together
and have a really wonderful night together
to celebrate all things Viola Fry.
And then we are closing Viola in early April
and then we'll open in late April
with Innocenzio Jimenez-Gino.
So that will be the artist's first ever retrospective.
He is an Aztec artist and he's coming.
So we are now in the thick of getting
an artist here from Mexico.
and he also is not an English speaker,
so we're having to hire a translator,
which has been really wonderful and really great.
But he actually speaks a different dialect of Aztec,
so that has to be translated into Spanish,
and then the Spanish has to be translated into English.
So we're kind of currently in the throes of that.
So another research-heavy exhibition,
but also an opportunity to share the last 50 years
of the artist's work with our community,
And that show will also travel.
And then as far as traveling is concerned,
we did have Rediscovery Native America kind of have
a soft opening in the city last fall.
But it's at its first travel venue in Reading, Pennsylvania.
And that opens in the beginning of February.
Reclaimed is open in Carlsbad, New Mexico.
Let's see.
Personal political just opened.
We had basically all of our traveling shows
open within the last two months again.
So pretty busy travel season as well.
Any questions?
Great.
Are we at seven?
OK.
Commissioner announcement and brief reports on activities.
And maybe we can save Yasmeenie for the end.
OK.
OK.
Let's go there first.
I've got a couple of things.
I've been working with this organization
called Living New Deal, that does New Deal stuff.
They're on a campaign now to preserve the Walter J. Cohen
building in Washington, DC, which
is targeted for a program called Aggressive Destruction.
I'll let you imagine who put them on that list.
This building is so rich in 1940s-era murals
that it's been called the Sistine Chapel of the New Deal.
I mean, they're everywhere.
They're huge.
The public can't see them.
The building's been closed for years.
But the movement is to, A, preserve the building,
and B, reopen it to the public.
A lot of people are talking about this
would be a good place for an actual New Deal museum.
It's right off the Capitol Mall.
But anyway, it's a long slog, because the administration is
determined to tear it down.
I can't imagine why they don't like it.
And then, speaking of efforts to resist or suppress our history, in my role with the
Walnut Creek Library Foundation, we're bringing a film called The Librarians to the library
on Thursday, February 5th.
This is a documentary made last year, it's won a lot of awards, it's got a lot of critical
acclaimed and it's really hard hitting about what's going on around the country in terms
of book banning, book burning, intimidating boards of education and librarians and really
focuses on how librarians and school teachers have become these inadvertent first responders
in the battle of preserved democracy and free speech.
It's an amazing film and it's free.
It's February 5th.
I encourage everybody to go.
And finally, speaking of things that everybody needs to see,
last night I was in Napa and they've
got this thing going on called the Napa Lighted Art
Festival where they bring in installations for like weekends
in January and February.
And I can't tell you how exciting
it is to be wandering around downtown on a Sunday night
with like hundreds of families and people
just checking out this amazing art,
interacting with it and stuff.
And I just bring it up because I want it for Walnut Creek.
So look at you guys.
To add on to that, I've been to this fest
for the last couple of years.
I think it's ingenious that Napa came up with this
during the quiet months for restaurants
for January and February,
because it brings so many people downtown.
And every year they have different artists
and they have, I think they try to keep the sights
pretty consistent, so with the eight or 10 sites,
you know where you're gonna walk.
But I thought about that too for Walnut Creek.
The difference is that after the earthquake in Napa,
they were able to redesign the downtown
and create that river walk,
and so they were able to kind of imagine art sites
and start from scratch for those art sites,
which we don't have the luxury of doing.
I will transition into, I don't have much going on
except for to say I'm excited to tour
Viola Fry show and we don't have that many tours. As I look to Sasha, I really want some
more high schools to come. I just saw that Heritage High School, who I think is from Brentwood,
signed up at the last moment for tours this week and next week and all I can imagine is that their
art teacher must have come to the opening or somehow heard about the show on social media
and decided I have to bring my students to the Bedford. So that was kind of unusual. We usually
If you don't get schools from Antioch getting drive,
not from Brentwood, having to get parents to drive them
into Walnut Creek to see a show for high school students,
we usually just get lost on this walking.
So if you have any high school students in your life
or know of them, please encourage them to talk
to their art teachers.
See if they can get them into the bed for their show
because I think it's particularly impactful
for high school students.
I can email the art teachers at Northgate.
I'll try to convince them to come.
but also I don't have that much going on Northgate Drama Honors has a show
called the Winter One Acts this week Wednesday Thursday Friday if any of our
thousand viewers want to come to that it's gonna be really cool I'm in that
comment there. I'll add that we hosted a MLK freedom party at desired effect in
Pleasant Hill for community. We hosted an ordained Buddhist monk from Plum
Village. Her name is Sister Jun Hamamoto. She's also an origami master. She told
the story of her family's experience in the United States for three generations
in internment camps. She talked about how origami in the paper folding has existed
over hundreds and thousands of years. And we also practiced in heart making as
as kind of a collective care ritual for all of us
to come together, considering the tremendous amount
of chaos that the United States is going through.
I think also just naming the Twin Cities right now
in Minnesota, we've got like lots of controversial things,
but humanity at risk and people's lives being taken.
So just, you know, Renee and Alex and Julio
and reminding Walnut Creek, like their city council members,
their commissioners have been standing up
and really exercising leadership as leaders in their cities
to figure out solutions while they are under this attack
by the federal government.
And we live in a beautiful quiet little town
of Walnut Creek, but we should not assume
that these things cannot happen here
and how the city might prepare.
Not its law enforcement only, but the collective people
who are working in the city,
who are working with volunteers across commissions,
like we need to be ready in the event of anything
can happen these days.
And so just voicing that I steadily raised my hand
to be a part of any way that staff here at the city
might be thinking about those contingency plans
or preparing what does an emergency look like
when it's in this context.
So this evening is our last evening with Yasmini.
We want to thank you for your many years of service.
And I hope you feel proud of the many projects
that you've had a hand in, including Heather Farm.
So we are gonna give you time to say some words.
And if any other commissioners wanna add,
then we have a little gift for you as well,
but we'll give you time to speak.
Keep back my tears.
I've been quite teary lately, so where is my hair?
Kleenex.
So I'll read this, try to make it brief.
And then at the end, I'll ask for a moment of silence,
maybe just a minute.
So after eight years of service, my appointment
to the Walnut Creek Arts Commission comes to a close.
It has been a deeply meaningful experience,
and I am truly grateful for the opportunity
to have contributed and just as importantly to have learned.
When I first joined, eager to understand
how public art moves from concept to reality
in a municipality with a wealthy and educated demographic,
I gravitated toward what I like.
I immersed myself in research, studying successful mural
programs in other cities.
And I'm proud to have been part of bringing Walnut Creek's own
mural arts program to life.
The public-private partnership model
is off to a strong start, though it still
needs more marketing and publicity, TLC,
to reach its full potential, as I've
been harping on that before, and I hope that continues for sure.
And that said, it took me some time to fully grasp the unique structure of our commission,
the specific questions we're empowered to ask the subcommittees that are in place and
the special panels convene for special projects.
And I admired how this highly structured process that is complex, but somehow it was made last
chaotic through the professionalism of the people involved.
And I have been consistently inspired by the dedication of city staff.
you guys and the folks who are no longer here, put the pieces together often with limited
resources is really a master class in public service.
When art happens in our community, it activates the energy that brings people joy.
It's profoundly and rewarding to be part of those winning moments.
So I learned a lot from my fellow commissioners.
I saw Emily Anders rightfully rise to her current position
as curator at the Bedford Gallery.
And she and her team bring a wide range
of conceptually rigorous exhibitions to the city,
bridging contemporary themes with historical art forms
for a lush, artful series of art encounters
where one finds new narratives explaining the cultural way
of visual arts and traditions.
I have to talk about him because Steve Hus,
who is no longer here because he retired and moved away,
I wasn't sure that I was really not getting it,
but then in the end, the guy just taught me so much.
Like he was really, truly a gem.
And so, I want to mention him here still, though he's gone.
And then he, I think, really came to shine for me
when the city had that rebound program.
And he wrapped his arms around that.
And then because of that, we had this amazing, all these,
I think it was at least eight murals that were put up
during that time during the City Rebound Program.
So that was really impressive.
But it is Carolyn Jackson's leadership
that has impressed me as nothing short of transformative.
Yep.
She has shouldered a Herculean workload with grace,
vision and tenacity,
elevating every facet of the center's resident programming.
From curating the dynamic presentation series
to stewarding the acclaimed center repertoire company
from overseeing venue rentals
to robust educational initiatives,
Carolyn has ensured that the Lesher Center
remains a vibrant cultural heartbeat in our region.
I loved the administrative updates.
To me, they're like a show.
But really they are testaments to what's possible
when artistic excellence meets strategic stewardship.
So your skills are rare and deeply admirable.
This is not a day to forget my water at home, really.
Anita, yes, that would be great.
You usually have a big, thank you so much.
With that, you know how I am.
I feel there are two important items
that I think are key to our collective growth
as a community that is diverse and believes in human rights
to celebrate their life, no matter their heritage,
their gender, nationality, or religion.
So first, to accelerate the impact of the arts
in Walnut Creek, this is just my opinion and observation.
I strongly recommend elevating the arts program
as a singular pillar of economic development
beyond a nice to have part of the Parks and Rec Department.
Public art is not merely a recreational amenity,
it is a powerful economic driver
and a core component of a vibrant, attractive city.
Placing it within an economic development framework
would align its mission with a vision for growth,
investment, and placemaking that feeds the soul
of our community as much as it does or local economy.
I think this goes to what Peter,
you were mentioning about NAAPA.
We should be able to be the city
that is the art spot in all of the Bay Area.
I don't see why not.
and I hope that's in our future.
We're on the way though.
And second, and most importantly,
I must speak to a silence that has weighed heavily
on my heart.
Over the past eight years,
we have faced historic challenges together,
devastating droughts and fires,
a global pandemic that claimed countless lives,
and an unprecedented housing,
healthcare, environmental, and economic crisis.
In this forum here, we have acknowledged these events.
We have talked about them.
And we have sought ways for art to help us process and heal.
Yet for over two years, still going,
we have watched in silence as our nation has
enabled the relentless genocide against the Palestinian people.
We have seen in real time the erasure of countless men, women,
and children, their entire families, whose members were
in various professions.
They were painters, sculptures, art teachers, photographers,
gallery workers, community arts teachers, weavers, blacksmiths,
illustrators, musicians.
You get my point.
So on behalf of every artist and creative soul
whose life has been extinguished.
And on behalf of our humanity,
I ask this commission to do what we all have not yet done.
Take a moment in silence.
Thank you.
My service here has really been a privilege.
Thank you, commissioners.
Thank you, Sasha.
Thank you, Stephanie.
Thank you, Jill.
Thank you, Peter.
Thank you, my friend.
Thank you.
Thank you.
Thank you.
And thank you.
Do we have our little something?
Okay.
Only in Walnut Creek.
I'll pardon my actions.
So cool.
Let's see.
Okay.
Oh my goodness.
Thank you so much.
You're very welcome.
Okay, if any other commissioners are coming.
Do any other commissioners wanna share anything
about our incredible Yasminy?
Yasminy, thank you.
You have taught me so much.
But on behalf of all the commissioners,
we wanted to present you with a little gift.
It's rare that we have a book at the Bedford
that we can actually purchase and give based on artists,
and we thought you'd like this with an amazing women artist.
So on behalf of all the commissioners, thank you so much.
Oh, well, thank you.
What a wonderful gift.
Thank you.
This is both gifts are amazing.
We're almost there, guys.
We're almost there.
I have something to say about the commissioner.
I wrote it down because she's very rigorous,
so I also felt like it was important to come prepared.
And so I just wanna take a moment to thank you,
not just for your time and leadership
on the Arts Commission, but the way that you show up.
And such care and integrity and depth.
And I keep returning to the idea
that we are profoundly shaped by the world around us,
by forces that are seen and unseen,
our histories, our communities, our environments,
the intimate networks that raise us and sustain us.
I have a favorite teacher and she says,
we are what we practice the most
and the way you listen and decide to listen
and care for other people, you truly embody that.
And I've been so grateful to get to do this
and see all of those other things between the lines.
And I just want to reiterate that that moment of silence
was really powerful.
Thank you for bringing that to the commission.
I do know that the art of healing is a lifelong process.
Re-establishing safety when we're in an unsafe time,
reclaiming agency, finding purpose beyond trauma,
as it's being inflicted upon us.
It just seems extremely relevant right now
to show up for this work, and you've done it for eight years
as a volunteer to the Arts Commission,
as a vehicle to share your skills and your brain power,
your rigor, your curiosity and questioning,
and the responsibility that we carry
as stewards of culture and community in this work.
And every movement towards liberation
has depended on traditions of care and collective well-being.
And so I see that in what you do,
from the Arts Commission to entrepreneurial ruba
and providing a supplement that's
beautifully designed for women, the way you lead
as a part of that longer lineage of what is, to me,
healing justice for you, for your people,
for Palestine, for Brazil, and the United States.
You work in a way that understands creativity,
and care, and cultural investment
as an existential infrastructure, not extras.
And I'm just deeply grateful that I
got to meet you on this Arts Commission
and have a lifelong friend that will no longer be
involved in the Brown Act.
And you know, thank you for your thoughtfulness
and your steadiness in the humanity that you bring
and who you are and how you show up
and your voice absolutely matters
and please never feel silenced.
Thank you so much.
With that, we are 14 minutes past Jill's adjournment time
and we are adjourned.