Library Board - Regular Meeting

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The meeting is now called to order. The time is 06:03PM.

Alright. Commissioners Commissioner Liz Rush? Present. Commissioner Robert Ferguson? Present. Commissioner Peter Plattskummer? Here.

Alright. Commissioner Lisa Martin? Here. Commissioner James Martin?

Here. Staff Jackie Kaliaia? Present. Staff Dwayne Dahlman? Here. Alright. Hey.

Comments from the audience may concern matters either on or not on the agenda but must deal with matters subject to the jurisdiction of the Public Arts Commission. Comments will be limited to three minutes. Comments concerning matters on this evening's agenda will be heard when that item is called. Kali'i, do you have any items to read into the record?

I do not.

Okay, raise your hand if you'd like to provide public comments unrelated to an item on the agenda. Is there anyone out there? Is. We

have a comment from Rachel Campos. And

Hi. Can you guys hear me?

Yes. Rachel. Hi.

Hello, commissioners. Rachel Campos, De Ivanov from Radium Presents. And I just wanted to share a thank you and a reminder that Circus Bella is going to be joining us at Radium Runway this Saturday. They have two performances at 1PM and 3PM, and just wanted to say a a huge thank you to the Public Arts Commission through our cultural cultural programming grants. This project is being made possible from your efforts, so I really, really appreciate it and hope to see some folks out there on Saturday.

Awesome. Thank you for that reminder, Rachel.

Okay. So that brings us to the regular agenda and three a, which is approving the draft meeting minutes from our meeting on June 30.

Anybody wish to apologize. It's okay. If everybody agrees, motion to approve the meetings as

Second. Okay. Second by James Martin. And then do we have a vote across the board?

All those in favor? Aye. Aye. An acclamation.

That was five yeses. You.

Alright. And next is the regular agenda item which is four a, recommendation to review the draft physical art sorry, physical public art request for qualifications. And that was all submitted to the group. I can also pull it up on the screen if folks would like to review it.

Okay,

one second. Don't mind me, I

will pull it up but you

guys can discuss it. Okay. I usually I have already done this and I don't know why I missed this. You can begin with clarifying questions or I can wait until I pull it up.

Yeah. Let's jog everybody's memory. Sorry?

We could go through on the screen at least the three main Sure. Sections that we were requesting feedback on.

Gosh. We have too many folders that look the same.

Which is section two, four, and five.

Alright. We're just gonna throw it in this one. Okay. Give me two seconds. I don't know why it's not in there.

Standby.

While she's pulling that up, does anyone have any clarifying questions?

Is this what I have what is it? Yes. Is this all we're doing is defining a request for a physical arm. Is that correct?

This is just the overview. This is

actually a request by someone to present some art.

Oh, no. No. This is so this is for the for the forthcoming public art call for Washington Park. So this is, just the first stage of it, which is the request. Sure. Sure. No. It's okay. It's just a request for qualifications. So this would be this would be us disseminating this to the world, encouraging people to submit their qualifications and then proceeding through the RFP process thereafter. But we wanted the commissioners to review it and provide us any feedback or comments on it. So we want to make sure when we do eventually put this out that we've got everyone's comments and ideas and feedback in it.

Any other clarifying questions? No. No. No. Are there any public comments regarding the draft of the physical public guard request for qualifications? Let's see if

I have any comments. I do not. Usually raise Okay. Your

We're going to close the public comment section then.

Thanks for your patience on this. We have it up. Alright. And let me go ahead and share my screen so that the recording will have this up as well.

Alright.

We are sharing screen. We're in business. Okay. I'll start off here. We can keep going.

So in summary, we we approved two physical spots.

The two of the heart of the kidney part. Mhmm.

Oh, look

at his blood. Hold on. Because he wasn't here.

Oh, you weren't? Okay.

Let me No. I I did I I

need some information, so I I actually have a little bit of a nose. Actually, I should have

I've subbed it maybe. Is there

a point in the meeting where I can talk about something that I I want questions answered?

Is it about this or something else?

Well, it it it's a it's a peripheral issue. It's more like a conflict of interest issue. So I don't know when that's appropriate.

Let's do that let's do that after we discuss this part and then we can go to yours. Okay.

Sure. Just tell them when that's appropriate.

Okay. Okay.

So here is the draft RFQ. Obviously, don't have any dates in there right now because that remains to be seen, but we're hoping to do this, in the next couple of months. And if we scroll down

Let me just stop you when we have something.

Yeah, we can do that. We'll just kind of scroll through it and see if anyone has any comments about anything. So we have the introduction and background, project overview, summary, a schedule. We provide some guidance and information on what is to come if you are in fact selected. As some of you may know, when it comes to applying for public funds, the administration of that process can be a little onerous and so we want any applicant to be aware of what's to come.

They're going to have to have a business license, they're going to have to have insurance, etc. So that's all included here And, we're going to include appendices, the service provider agreement, an example of what that looks like. It's lengthy, it's a lot, but again, that's part of doing business with the city. A sample certificate of insurance and also additionally insured as well as the public art master plan just so folks know where our, public art program is. The introduction provides a little bit of information about the city of Alameda, talks about the scope of the services.

It indicates here that right now there are two sites within Washington Park for future physical art, Location one, which is near the playground. Location two, which is toward the entrance of the intersection of Central Avenue and 8th Street. And it indicates that ultimately one of the two locations will be selected when we finally get to the point of actually a piece of art for the site. And then here's a map, location one, location two. We provide some background information about what the project goals are.

We want to enrich the park experience, provide inclusivity, belonging, and play, and where appropriate, sorry, have an interactive element, for the piece of art if possible, and also, to just celebrate the surrounding community culture and reference the park's history, if possible, in the resulting art. Moving forward, when we talk about the budget, this is something I also want to discuss with you as a group because we had last discussed $250,000 as a total. So I did talk to my colleagues who have previously managed this program and, we set aside $50,000 to hopefully cover everything. So that would include site preparation. As you know, those costs that we received from Matt Nolan from Reckon Park is we're looking at approximately 70,000 at the worst, 90,000 at the worst for location number two.

And, we're we're looking at covering the permit fees, the city. Permit fees will probably set us back about 3 to $4,000 depending on the size and the scope and scale of the construction. And then we also would be wanting to put the artwork plaque on the art and cover that cost, as well as any contingency, so if there's anything that we discover in the process. So I did talk with our colleagues and there will be surprises and so the way we will account for that is if we do go over budget, then we would have to come back to the Public Art Commission to approve those additional costs. And that's what's been done in the past.

So for example, for rock spinners, there with the artist Zach Coffin, they had to come back a couple of times to confirm additional funds. So I just wanna set everyone's expectations now that that may happen when we're in the midst of this process. So we have our idea which is $200,000 for the overarching art piece which will also include the artist fee and $50,000 set aside for the site prep, the permits, the plaque, as well as any contingency but we might have to come back depending on how that all unfolds.

The height of defining site prep, oh, sorry.

Sure, so site preparation, which we included in our last staff report, is everything from the concrete pad, so installation of the pad, any footing that's necessary. It also includes possibly elimination if we choose that that's a priority for this piece, it might not be. It also includes So that's electrification essentially. It also includes any modifications to the sod. We might have to take some grass out, might have to put some grass back in depending on how that process looks. And just the overall construction sites of installing the art and ensuring that the engineering is there to make sure it's installed safely and properly and will be able to withstand the lifetime of the artwork.

Is there anything these costs that is taken over by Harrison Carpenter? No.

Where did

yes. Where

did the number for

site preparation? Did they get is that just a number that was just plugged in, or did you get any costing on that from, say, a contractor?

We did get costing. So we spoke with Matt Nolan who handles he manages our park system for Wreck And Park. Okay. And he recently ran a concrete installation of a scoreboard at Estuary Park. And so we used some of those concrete estimates to set up our site preparation estimates. And they're detailed in the last staff report. And it is extensive, it's a lot, but it's basically the worst case scenario. So worst case scenario, we're looking at approximately $70,000 in site preparation fees. So that's mostly concrete installation, electrification and any possible irrigation issues. They have a lot of sprinkler systems and they might have to get moved around.

So those are the best case estimates that we received from Reichen Park. Any other questions on budget? Then I can move, if not, move forward. So in terms of submission requirements, we're asking that they submit through Submittable which is the same process that we use for our cultural arts grants, and that's the and only way they can submit. And, we're asking for a letter of interest and experience, so they tell us who they are, what their experience is, and what their experience is in fabricating public art, and what's gonna be important for them to consider.

We're looking for a resume with a biography, and there is a possibility of more than one, there could be a team that could apply, And we can keep that or cut it out. We've only ever had individual artists, in the past, but that's not to say that we can't have maybe two or three people because I know some people like to collaborate. So there is an option built into this RFQ for that. And so we're asking for photos and bios of everyone involved. And then next we're asking for them to include a portfolio of past artwork that they've done to give us information on the materials that were used for that, dimensions, the year that it was built, and a brief description about the artwork. And the next part is we have the review process.

Can I just talk to you? Mhmm. I have two things. I have one for the paragraph before of the artisanigibility. I understand why we are asking for a minimum of five years, and we're anyway using that as one of come with a sculpture, and they might be willing to do something more interesting.

Since we're already judging experience later in the selection criteria, I would stick that or or have something like mean, you you move two years or whatever. Give people a chance to come in with less experience. Yeah. That's my first comment. My second comment that is more specifically for the submission requirements, I would you're only ready. Please include up to 10 images a fabricated workout in a minimum of two. It's a minimum of five.

Minimum of five. You think 10 is too many?

10, like, out of experience? 10 is a lot. That's a lot. Yeah. That's a fair experience. Like, I'm not sure if I like, I I know a bunch of friends of mine who really have problems with getting enough good photos of of There are antennas. Yeah. We've been at it a while, 12. Yeah. So I would I would think 10 would be a lot. Yeah. I I I would put in a minimum and say, did one do 10? But, like, minimum

So are we saying

minimum of five for the portfolio?

Yeah. I yeah. I agree with

that. Okay.

And I mean, with both those comments, think our intention is to not limit.

It's limited. Excuse me?

With both of those comments, we're trying to not limit who's submitted.

Yeah. You don't wanna shrink that pool does. Exactly. Yeah. Out of people who can call.

So and so we can definitely change the minimum of two five in the portfolio. And then just to explain a little bit of the rationale behind the five years is that, yes, it would be great to have this be an opportunity for amateur artist, but I find that the navigating the city process in particular is the challenge. So private organizations like Burning Man or others probably don't have the level of insurance requirements or the level of sort of oversight in terms of all of this. So and maybe I'm wrong. But that's that's why I put in five years. Like, let's make sure the person has some experience before, applying.

But I mean, have to do that anyway. Like, especially not the way judgment works, but it gives us a chance to see it. If there's someone who really feels like interesting, why not? Yeah. So this point, we wanna see we wanna see more than less.

Yeah. This one. Yeah. It's not like a one off person. Yeah. You're gonna they're gonna have somebody at work.

To Jackie's point, though, in the past, we have had experiences where less experienced artists did apply for this sort of grant

Mhmm.

And really fell down on the job. Mhmm. Because they didn't have the experience to deal with all the fingers of of the city that touch physical art that is permanent. So I agree

with that. But then essentially 30% of our judgment is their experience. Like, plus another 40 with the portfolio, and I would expect that someone with more experience

Well, as long as the people who are choosing the art have the experience to say, hey. Maybe this person can't really pull this together.

Well, you you but you're asking

I mean, here's look at all the additional information you're asking for.

They they gotta jump through a lot of hoops just to get this submission in.

So I don't think they're coming in naively.

I think they know that there's stuff you're gonna need. There's certificates of insurance.

So they don't I mean, it's a process. Everybody has to learn it.

Yeah.

But and and I would say anybody that's put together at least five bigger pieces of art has jumped in these hoops.

Yeah. Okay.

So we could so we set the threshold at five years minimum experience. We could lower it.

And my suggestion would be two years. That's not that's not nothing. Like, there's still like, that combined with Well, actually, we are not.

You're gonna know again. The panel will

You're gonna know the ones with the team.

They have to get by the panel first. Yeah.

Which will have a member of the pack on it. Yeah. And that brings us to the next part. Were there any questions else that you had here? No.

I was all for this section.

Okay, so moving on to the panel review process. So we're putting together, we're convening a panel of subject matter experts. We would like a member from our public art commission, so we'll be reaching out to you to confirm who that will be. And then we also won a member from the Reckenbach Commission. We're actually on the agenda for their September meeting. I will be presenting to the Reckenbach Commission to give them an update about this project. They are aware of it, but this will be like a formal information sharing. Then also a request for a volunteer to participate in the panel. We're also gonna have a member from the recreation and parks department. Obviously, they do a lot of execution of work there at the parks.

We want them to be part of it as well. And then up to two members from the neighboring, surrounding neighborhood basically of Washington Park. It'd be great to find someone like right there within a few blocks just so we know that they're part of that neighborhood and participate in activities at the park and have a really good understanding of sort of what the community is looking for. There was also a suggestion, I would like to pitch it, it didn't make it into here, but to have a member from our Alameda County Regional Public Art Administrators Network. Alameda County does run and commission their own public art projects, and I thought it'd be neat to not just have a city lens, but also, like, a regional lens.

So if folks are okay with it, that would be a fifth and or sixth person depending on how many neighborhood people we get to participate in the panel. But we haven't sent an invitation yet. I want to confirm that folks are on board with this process first.

What was the name of that group?

So it's the Northern California Public Art Administrators Network and it's run by Alameda County. Rachel Ozajima is the public art commissioner. I think she's the director of the public art commission, but she has a team of folks that handle public art for the city. So we would want the person who does physical art installation. They do a lot of cultural art stuff as well, but we want their contact who does physical art.

So how much authority does that panel have? Is it still under our

would make still

overseeing them?

Well, yeah. They would make recommendations, but ultimately, they would be selecting who the artists are. So from the RFQ process, they would be reviewing all the applications. And similar to how we deliver Equal to Arts would rank and get to a point where they select the top, I think possibly top three, top four. And then from there, those top applicants will be given a stipend and will be given two months to come up with a piece of art, like a small sort of sample of what it'll look like, a model.

And then from there, we will be ultimately selecting who that final artist is and which site within the park they'll be developing that artwork. So So that's the process. But we also do, because this is public art, this is public art dollars, we do have to engage the public. So our intention and hope is that once we get to the point where we have the models, we bring them to the park and we go one weekend at Washington Park and let people vote. And, do sort of like a tabling just to get some recommendations from the public about what they like and what they're interested in.

So that's a process that our our peers over at, Berkeley do, and they find that it helps because sometimes the public is not too excited or they're very excited, and it'd be a really good opportunity for us to figure that out. But, yes, ultimately, they'll be breaking a recommendation, and we'll be moving forward with it at that point, which is why we have a member of the pack on it. But again, we've talked about this at our last meeting. If there's something that folks don't like or if we wanna redo the RFQ process and cast the net again, we can also do that.

But we wouldn't in any way be holding to the review panel's decision. Those are recommendations or

I think it would be I I think the purpose of having a member from the pack, having a member from Rec and Park is that ultimately we would move forward with those decisions. I mean, if there are major concerns, I think it's why we have a member of

the pack on the panel. I Traditionally, it's panel decides. It goes to the commissioners who see the finals. So

You get the final get the final And

To clarify, would be one from the commission and one from staff.

I I would say building

I would like to have only a Peter. Peter

makes the ultimate decision?

Actually, that's how

you Peter is judge,

That being said, someone has to volunteer to do this.

Well, that's

And it's gonna be a long process. It's gonna be many, many months. It's gonna be Wow.

And I've done it before.

So You're

on it, and you're in it. I'll do it. Locked and loaded.

Good. I will do it. Good. Good. Then let me suggest to change the sentence to the panel will have up to 200.

Oh, up to? I know. Up to.

Oh, of the city's public art commission? Mhmm. Yeah. Got it.

And Peter has to be there. No. No. Actually, Lisa would be, like, just actual.

We do not have to decide tonight. We're getting there. I think this is good to start thinking about it. We're gonna get to that point where where you guys vote on who those two members will be. So this is good to start that discussion.

That's fine for the RFQ. I will call it I will call it out to two.

Okay.

I don't know. We can figure this out, but I I feel like it'll give us a chance to, yeah,

to to do do have an actual. An actual.

Sir, any other comments about the public art panel review process?

No. That was actually Alright.

I have a comment about the map, which I know we already have.

Sure. Here. I can scoot back. Let's go back to the map.

Oops. This was my little ugly glass that we

talked about.

I just feel like the stars and the squares don't quite do it for me. I wish I think the as an artist applying, I would wanna see more exactly where I can work, and so having some kind of shading that's a little more generous than

what you see here

could be

helpful for the artist.

Because those squares, at least

So like an aerial and then like a

side view? Maybe Who will be?

I mean, I'm hoping whoever applies actually takes the time to go.

I would.

My expectation is That would

be the first question. I think that's gonna go out

every time. Know what you're getting. Yeah. I would expect that too, but not necessarily for the RFQ. Like, the whole point of the RFQ is that you really have to do that yet.

You don't have to. But I think if you were excited about doing art there, I'd be like, yeah. Let's go take a look. What what can I do? What's my canvas? Yeah. First thing you do.

Yeah. I think with with site two, there was an idea that it could cross the path.

Like, be like a archway to me. It could be anything. And it It doesn't have to cross the path.

So instead of a square, maybe it

It would be like a tilted arc But I feel like a shading.

Shading. Yeah. Exactly. I think that

would be As a troll, when you have to pay the toll, that's how you

get into Washington Park, That's what I would do.

Yeah. Troll. I mean, the troll. I like it. Sorry. Was there anything else? Recently. Yeah. Was there anything else, Jack, that you sorry. Might have interrupted you. Sorry.

Yeah. I think the shading is nice and Okay. Can definitely do the shade. Okay. And the, ground photos too.

Yeah. The side. Okay. So let's talk a little bit about selection criteria, the goals of the city, the master plan, the public art commission, and then we have five points set aside for local preference bonus for anyone who's a resident of the city. So the letter of interest is 30 points.

That's the, compatibility of the artist to the project goals. Experience is 30 points with a project of similar scope and scale, comparable professional experience to address the requirements of working with the, with the public sector. Again, I know that doesn't sound like it's a huge priority, but it can be because administratively, thing is gonna be a lot. You're going have to constantly work with different departments within the city, rec, Us, construction, etcetera. So it is something that will it could make and break the process in terms of smoothness, timeline, all of that.

So that's why for us it would be lovely to see that the applicants have experience working with the public sector and public funds. The portfolio, 40 points, artistic excellence and originality is shown in the submitted images of previous work and image list. Then again, the local preference points for residents of the city of Alameda. Oops, skipped over. And then the selection process, the applicants will be screened by the review panel.

The panel will select the pool of qualified artists. Again, haven't identified how many, but we're hoping it's probably somewhere in the neighborhood of three to four, that folks want to move forward with the review, you know, keep going. The review panel will submit their recommendations to the Public Art Commission, And then here's a schedule. This is by no means totally complete, but it's subject to change. But for 2025, we wanna launch this RFQ, so this document will go out to the world, in November, no later, and, we'll market it. We will advertise it for many weeks prior to November. We wanna let folks know it's coming. And then applications will be open for eight weeks. January is the deadline. Then we'll, in February, have the RFQ reviewed, shortlisted by the review panel.

So we'll be putting the packets together of all the applications, and then we will, give them eight weeks to develop a mock up. So that's just the little model. Either it could be clay, it could be depending on what, materials they're using, they can they choose that as their discretion. And then we'll receive that from the artist, we'll conduct outreach in the parks, showing folks what these artist statements look like, what their concepts are, what's the idea behind it, and then garner feedback on the designs. Review panel will select the grantees.

So this is where we say, yes, we've decided artist a is gonna get this and they're gonna get that $200,000 grant. And, then they're actually gonna get into the development and fabrication. And the goal is for all of this to be complete by April 2027 with a ribbon cutting and unveiling. We take photos. The mayor typically attends these events. There's you've you've done this. So it's very fun, and it's a culmination of years of work. So it is exciting to celebrate when you finally get the permanent piece. Yeah. Any questions at all about the timeline?

Yes. Yes.

Commissioners were saying, oh, it would be helpful to be able to have that not be a binary. It's zero or five. Either we're doing a spectrum. Mhmm. For there, it's, like, organizations or the artists they're using for their programming that it was

a little would have been helpful to be able to do, like, one,

two, three, four, five. Here, I'm not sure, but it's just the artist.

There's not an organization. Well, maybe it is more clear cut, but

So that I would still be here.

That could just be a living lot of work in

the city. A lot of people.

Then you could So, no, I

just mean that it it not many people live in or are in the

same place.

But our studio is is what they're creating is at, but does it is it a resident criteria?

So you just add them more work. Yeah. And I think it was both seen. Yeah. That's what I would prefer. Yeah. That's good. You gotta live there.

You're saying. Yeah.

Yeah. So if you're a if you live or work in Alameda, then you get a five point local preference.

Yeah. You know, and, ultimately, that may make no difference. Maybe nobody who applies lives or works here.

So and

it's five points outside of the one hundreds.

Yeah. It's relatively Really not much.

Yeah. With many, many artists, typically. Yeah.

And an organization. So it's just a more complex situation that I think would benefit from.

Yeah. I think that's a good point. We could definitely discuss what we're getting towards the twenty twenty six cultural arts applications, which will be here before we know it because we've released them in January. So I know. I haven't even gotten all my grantees under contract yet, so Mhmm. It is it's a lot of work. Okay. So any other point did you have any other comments about that particular okay. I'll scroll back down to the schedule. Oops.

Go back. There we go. Like, like, a orientation?

Like you did.

Kinda like you did last last time for the

Yeah. I I

Like, a webinar?

Would be helpful. I don't think we need to do this for the RFQ or for the for the panelists. It would be nice to to do something like that.

Like, the the top three or four that are selected, like, have an orientation about

We have

a shortlist.

Okay. Yeah. Orientation for the shortlist.

Yeah. And

fabrication time here is very short.

Mhmm. September to November. Yeah. That's that's that's unreasonable at any level.

Yeah. So we should push it out a few more months? Yeah.

You you need I would three to four months for anybody

to create, really, if you if it's large.

Mhmm. Wouldn't design development kind of flow? No.

We're talking about fabrication.

You're talking about literally picking something up

and starting maybe. The problem with the development with the city is you have to go forward and backwards so many times because of the current Don't do in structural engineering. Like, it's it's just tight. Like, I mean, if you do the design development in August, there's not really a way that you have structural engineering ready at the August. It's kinda it's kinda squeeze into September if you're unlucky October. We're missing December in this. Just saying. But, like, what I could see is that the actual fabrication time is September until February, and that January is actually not installation commences, but a site preparation. Yeah. I yeah.

Mhmm. Because no one needs three months for for installation. Like, they need two or three weeks, but we might have a site preparation early because the the concrete needs to go in early. So I would replace the January '1 of site preparation, and let's say March for installation.

Yeah. I would yeah. You could

just say September to January. And then then you would have then you would actually have September until February. And and December is kinda your month where you may or may not be able to give it to your attention. Yeah. But now you

get you get then you got October's not in there either. So there's there's

there's plenty of months to put in without really upsetting the whole

overall schedule.

Mhmm. How would it change the overall ribbon cutting and unveiling?

I I think you you'll keep it the same. Just that it that it looks better. Like, call it September to February is the fabrication time, or January is nothing but site preparation from from the city. Oh, yeah. And then March has been installation test. So yeah. Yeah. Sorry. What was March? What was that? March is just installation without kind of commence or anything. Yeah. Yeah. So, yeah, January, February, we can we can do February, March

with installation. That's enough. Mhmm. If it's ready,

It says it's

in A stipend? Yeah.

A stipend? Yeah. Where's the where's the money in our budget?

We haven't built it in, but last time they gave 1,500 per artist. Okay. I would imagine just because of inflation. That was 2017. So I would imagine because of inflation, we're probably looking at, like, $2,000 per artist.

So we're essentially talking about $10,000 more than we need to fit in

our Possibly. Okay.

Yeah. To make sure that we have that this information in in here. So this will be like, Although not even So I mean, 2,000 is not bad for Not at all. You you be giving an artist something that would at least

For their time too and then the energy they're putting into it.

Yeah.

And the materials and yeah. That

kind point on that.

It it feels like we should we should just blow it to that increasing an hour by two fifty in.

Increase from two fifty to two sixty? Is Amazing. It's 200 for our internal version, though.

And 10 for the siphons is necessary.

Sorry. What's that?

Two Before before we we vote about that when

When we get there?

When it's shortlisted, but I feel like this is outside of the two two hundred hundred and fifty fifty that that I'm we just just discussed. Expecting.

Yeah. So I could I could add the so what I'll do then is if we scoot back to this section here, I can just add a that says artist stipends. And then I can change the dollar amount to 60,000, but that would be $2.60.

Yeah. And then I would I would put the I would mention the stipends in this because this is really like, that makes such a huge difference for her.

Okay. So add that the city will be funding stipends for the for the selected artists. Yeah. Okay. So that does does up our ante, and it's and it potentially could grow. So

Yeah. Are you done? Yeah. Or no. Go ahead. No. That's all. Alright. Okay. I just have a real small,

it's a semantic thing. It's it's not a mock up. It's a machete. Not a cat.

Yeah. A machete.

M a c h e t t e.

That is the French word

for it. Yes. It's

I just used our internal language from the the previous time we did it. Yeah.

And everybody

They'll know

what that is. Business.

They'll know what it is. It's true.

Okay. We can add that in for sure. Any other comments on timeline? Or No. Okay.

No. I think that's you spread

that out now, that that gives people Right. Because you start to

September, November is like, woah. That's right.

Especially, you know, it's kinda hard to make it. It's gonna be pretty it should be fairly large. Right. It's not gonna be anything. So it says a lot of. Yeah.

So under additional information, we're just sharing with folks that eventually they'll need a business license, they'll need to enter into a legal agreement with the city, as well as provide certificate of insurance that meets the city's requirements.

It depends on the department. What insurance requirement does the city have? Is it just liability insurance for the business or is it anything else?

Oh, sorry, for the certificate of insurance? It usually it's a requirement, I think, for their ability to fabricate that kind of thing. So I have to double check. I have Oh,

go ahead. I'm sorry.

No. No. It's okay. I have to double check, but I'm working with the city attorney's office on reviewing the draft agreement right now. And so we'll get to a point that's why it's not included because we're in the process of modifying it. But there is gonna be some stronger language in there that requires certain repairs to be done if they're within the first couple years of the art, that they'll be the responsibility of the artist. There's a couple of pieces in there that we're gonna modify that we've run into trouble in the past with these agreements.

That's good. That's

not Yeah. Okay. Yeah.

That's not the insurance. That's how you're insured.

No. That's different.

COIs are generally, for art, go right up to

the point that the art is placed.

Exactly. And as soon as it's placed Yeah. It becomes the city's art.

It becomes part of our collection at that point.

And that's usually just the

liability insurance. Yeah. That's all you need.

Yeah. You

don't need an auto because

it's Yeah. They'll have to request a waiver. It's Well,

they'll probably

administratively, it's a bit of a task, but our risk management department requires waiver requests.

Well, since we're carrying your argument, you're to have to

put additional insured on there too.

Yes. And that's all included as, appendices to this document. So they'll have exact examples of this is what a certificate of insurance looks This is what additionally insured endorsement reads. And we have exact language for them for that. So that way they're not surprised because we have included this, for example, for cultural arts and we've had a lot of people get surprised. What do you mean I need auto insurance? What do mean I need to so even if we put it up there. So that's something we can absolutely underscore during our orientation for those number of artists that are selected so they really understand sort of the unfortunately, there's there's a lot of paperwork at that certain point.

So yeah.

And also, being, like myself,

I can give them sitting in

the orientation, I can give them some sources for insurance companies that will cover art.

Right.

It's not an it's not an easy thing to find. Mhmm. There's a couple

of people that everybody knows. He he knows.

Yeah. Yeah. That's why you better shut up and just get a job out of his insurance on.

And then there's the the bottom line there is just general questions they can reach out to me. And then similar to what we did last time, questions will be submitted to me and then I will upload them to the RFP page so that if anyone's looking, can see all the responses. So they're all gonna know about any outstanding questions.

So if you go to a call in here in that section. What was that? Sorry? Like, if you would do a call in this section.

Yeah. We can we can add that. Like, there's going to be an orientation once we get to that point. Yeah.

500 is selected. And that's on the cards.

Any other comments on the RFQ? Good refining and Yeah. A lot

of very

good information.

My work cut out for me. Yeah.

That's great. So I think are we at the end of the, discussion and feedback section?

I believe so. Oh, wait. There's a there's a hand raised. Hold on. Hopefully, Rachel did not raise her hand for a long time because I just saw it. Hi, Rachel. Hi.

I'm super excited about this. I'm now speaking as Rachel, the resident who lives around the corner from this park. So yay. Exciting. We have a

when it comes time to helping to form the panel, there is a very active Burbank Portola Neighborhood Group. And if I can be a resource in any way to publicize this to my neighbors who may potentially wanna get involved, more than happy to be a resource.

Great. Thank you. Fantastic. Yeah. We're definitely, planning to do an open call and receive applications, letters of interest essentially from anyone who's interested. And then from there, they'll be selected for the for the panel.

That's great.

And I was hoping to, like, reach out to our, like, West End Arts District folks too to see, like, if any of their listservs can submit it so we get a good a good wide net. But that could be very helpful.

We can definitely do that too.

Thanks, Rachel.

Awesome. Awesome. So we got it. I think that concludes it. Yeah. Okay. This is

staff communication. No, this is just review. This is not a recommendation to accept or decline. This is just reviewing. So it was just kind of like a homework session. Okay.

Does the staff have any other items to communicate to the commission?

I do, yes. So just a bit of background for folks. Our economic development department is partnering with Radium and the Alameda Chamber of Commerce to apply for the California Arts Council California Cultural Districts grant program. So this is a $10,000 matching grant program over the course of two years and it comes with a state designation. It is a very competitive process, so we're gonna put our best foot forward, but we don't know what the outcome will be.

But just some background, city of Emeryville, for example, had a district that they submitted to the California Arts Council and they received, I think, 5,000 for the first year and then they got a much larger grant years later. I think they got $670,000 for that district thereafter. So even though it's small, to start, there is the potential for it, being larger over time. And this would be specifically for, Alameda Point. So considering applying for Alameda Point as a cultural art district, obviously, we have Radium Runway, we've got Becken, and part of the application process is sort of calling out the existing inventory of arts in the Pointe and also any museums.

So for example, Naval Air Museum would be included in that. So just a heads up that that application is going out and it's due in August. So we're collaborating with them on that process and I'm just submitting staff time. So we were not funding any of it, but, just a heads up on that. So we'll let you know how that all goes.

Awesome.

And that's my update. Oh, we'll also go to, cultural, go to the Circus Bella on the twenty sixth. I mean, know Rachel already mentioned it, but that's one of our cultural art grantees for this year as well. In fact, another one is Plein Air Painout, Pink Vet, that's from July 28 through August. Yeah. I can't remember right now. That's also coming up another July event. And what just happened was Radio Day by the Bay. So those are our July Cultural Art grantees that folks should check out if you're available. Great. Awesome. Mhmm.

Thank you.

I remember that I had asked if it's possible to add to the public arts newsletters that go out to states.

Mhmm. Yeah. We sent one for the most recent July events. Mhmm. Of them are not coming up until, like, September, October. So but we got all the July ones in. I don't know if you guys are are you guys are all hopefully signed up for it? I don't think I am. Okay. Well, let's get you signed up.

All. You. Good? Yeah. I don't even know that.

Do you do you receive them?

Nope. You

That's a good one. Adam's a lot. That's right.

Okay. That's why it says sweet for second.

Alright. Now we're on to commission communications non agenda. Are there any commissioner communications? I believe you said something.

Well, yeah, it's it's a discussion, and I'll I'll make this short. I just because I'm not clear.

I'm on the commission myself, and, you know, happy New Year. My wife is not,

but we we make art for all over the place. We have a piece over a free farm right now.

We have pieces all over. But are we because of my involvement here, are we not allowed to apply for say something like this?

I I don't know because she's you know, it is us. There's a team. Not a true well, to a certain extent, she's mostly it.

But I I need I I you know, but,

you know, I don't wanna get into some I mean, I would I don't wanna get into some some some shallow weeds here.

Well, if you think about it, it's gotta go through a committee, a wider committee than us.

Oh, yeah. I don't even know If

you make it through that.

Oh, I don't know what to get. You know, or or if there is a legality. I mean, I could recuse myself. That seems like a situation where you should apply and accuse yourself

to me. Right.

I mean But I don't know if that's I don't know if that's even fair. Well, sure.

Because there

are just people with

But you're local on that.

I mean, we have, like, three artists there at local. Both have two, three, three. Yeah. This is true. Something you should need. But I okay. But I need to I don't wanna push it

Yeah.

Unless I feel like there's it's something that's okay.

Yeah. I I'm going to have to touch bases with our city attorney's office just to be sure. Cause I will say optically, if a member of the public art commission is given a $200,000 grant,

even if he refuses it enough, right.

Through the evaluation I'll have to ask our city attorney's office,

and I'll I'll get back to you on

That's a that's a good point. Yeah, that's a really good point. Cause we have conflict of interest language for the cultural arts grants. But we don't, to my knowledge anyway, we, we pulled a lot of this from our last RFQ. So, to my knowledge, we don't have that, but I'll just double check.

And if it's if it's

a no, there's I'm not gonna collect

it quite. Okay. Alright. Good. Thank you for bringing that up. Any other communications? No? Okay. Oral communications. Are there

any oral communications? I

don't have any.

No. Okay. Then this meeting is now adjourned at 06:59PM.