December 19, 2012

The meeting commenced at 3:01 p.m.

1. Roll Call

Commissioners Present:
Barbara Sklar, Chair
JD Beltran
Greg Chew
Dorka Keehn
Jessica Silverman arrived at 3:08 p.m.

2. Consent Calendar

1. Motion to approve the proposed restoration of two historic advertising murals on the Ambassador and Dalt Hotels (55 Mason Street and 34 Turk Street, respectively) by Precita Eyes in conjunction with the Tenderloin Neighborhood Development Corporation.

2. Motion to approve an increase in the total contract amount for Contract DPAR12000042 for Paul Kos for the design, fabrication, transportation and consultation during installation of a sculptural artwork to be installed in the exterior South Plaza of the new Public Safety Building from $450,000 to a total amount not to exceed $850,000 to cover the costs of fabrication, transportation and consultation during installation of the artwork.

3. Motion to accept the following 97 works purchased for Laguna Honda Hospital into the Civic Art Collection:
Blue Massif, 2008, Monotype, 28 inches x 20 inches, by Nora Akino

Golden Gate Bridge in Fog at Sunrise from Marin Side Viewpoint, 2009, Archival pigment print, 24 inches x 36 inches, by Rob Badger

The East Bay and Mount Diablo after Sunset from Mount Tamalpais, Marin County, 2008, Archival pigment print, 24 inches x 36 inches, by Rob Badger

San Francisco City and Bay After the Fog has Cleared from Mount Tamalpais, Marin, 2009, Archival pigment print, 24 inches x 36 inches, by Rob Badger

Heart Lake at Sunset, East Side of the Sierra Nevada Mountains, California, 2007, Archival pigment print, 24 inches x 36 inches, by Rob Badger

Horses and Aspens in Fall Foliage, San Juan Mountains, Colorado, 1996, Archival pigment print, 24 inches x 30 inches, by Rob Badger

Phoenix, 2009, Acrylic on canvas, 30 inches x 30 inches, by Jennifer Bain

Yellow Bud, 2010, Acrylic on canvas, 24 inches x 12 inches, by Jennifer Bain

Pale Blue and Raspberry Dream, 2009, Oil on canvas, 16 inches x 19 inches, by Suzy Barnard

Band of Yellow-Green, 2009, Oil on wood, 16 inches x 19 inches, by Suzy Barnard

Bright Cargo, 2009, Oil on wood, 16 inches x 19 inches, by Suzy Barnard

Springtime, 1984, Oil on wood, 20 inches x 24 inches, by Brian Blood

Lakeside Poppies, 2008, Oil on canvas, 30 inches x 40 inches, by Brian Blood

Rolling Hills, 2007, Oil on canvas, 30 inches x 40 inches, by Brian Blood

Calla Lillies in Chinese Vase, 2000, Oil on canvas, 48 inches x 48 inches, by Willard Dixon

Olema Dusk, 2009, Oil on canvas, 30 inches x 28 inches, by Willard Dixon

Hidden Pond, 2003, Archival pigment print, 18 inches x 18 inches, by Patricia Dreher

Marisol Collection #17: Who Let the Dogs Out?, 2010, Archival pigment print, 24 inches x 36 inches, by Frank Espada

Marisol Collection #2: Low Tide, 2010 Archival pigment print, 24 inches x 36 inches, by Frank Espada

Marisol Collection #15: Ring Around the Sun, 2010, Archival pigment print, 24 inches x 36 inches, by Frank Espada

Marisol Collection #12: How Small We Are, 2010, Archival pigment print, 24 inches x 36 inches, by Frank Espada

Alturas, 2007, Archival pigment print, 13 inches x 19 inches, by Jack Fulton

Under the Bridge, 2009, Archival pigment print, 13 inches x 19 inches, by Jack Fulton

Earth Day, 2009, Archival pigment print, 13 inches x 19 inches, by Jack Fulton

Dawn Moon, 2009, Archival pigment print, 13 inches x 19 in, by Jack Fulton

Mono Lake, 2009, Archival pigment print, 13 inches x 19 inches, by Jack Fulton

Horse, 2010, Mixed media on panel, 36 inches x 36 inches, by Rupert Garcia

Floras, 2008, Mixed media on panel,36 inches x 36 inches, by Rupert Garcia

Sandia, 1997, Lithograph, 22 inches x 20 inches, by Carmen Lomas Garza

Baile, 2001, Lithograph (#7/80), 26 inches x 36 inches, by Carmen Lomas Garza

Tomales Bay (Diptych #2), 2007, Oil on silver-gelatin print, 16 inches x 35 inches, by Jan Gauthier

Bolinas Lagoon (Diptych #7), 2005, Oil on silver-gelatin print, 11 inches x 26 inches, by Jan Gauthier

Novato Wetlands, 2010, Archival pigment print, 16 inches x 21 inches, by Jan Gauthier

Last Light, Horse Hill, 2006, Archival pigment print, 16 inches x 21 inches, by Jan Gauthier

Hummingbird Nest, 2008, Mixed media on paper, 35 inches x 36 inches, by Sheila Ghidini

Nest in a Tree, 2009, Graphite and colored pencil with beeswax on paper, 34 inches x 33 inches, by Sheila Ghidini

Nest with Blue Ribbon and Threads, 2009, Graphite and colored pencil with beeswax on paper, 36 inches x 24 inches, by Sheila Ghidini

Sunbathing on Hippie Hill, 1996, Oil on linen, 18 inches x 24 inches, by Stanley Goldstein

Mountain Lake Playground, 1997, Oil on linen, 30 inches x 40 inches, by Stanley Goldstein

Rodeo Beach, 2000, Oil on linen, 30 inches x 40 inches, by Stanley Goldstein

Ocean Beach, San Francisco, 2009, Photograph, 17 inches x 22 inches, by Tom Griscom

Ocean Beach, San Francisco, 2006, Photograph, 17 inches x 22 inches, by Tom Griscom

Cross Wires, 2009, Charcoal and pastel on paper, 18 inches x 20 inches, by Susan Grossman

Chinatown Fish, 2004, Photographic print, 16 inches x 20 inches, by Chick Harrity

Calistoga Koi, 2002, Photographic print, 16 inches x 20 inches, by Chick Harrity

The Dress Fitting, 2009, Woodcut, drypoint, aquatint and chine colle (#2/7), 20 inches x 18 inches, by Ellen Heck

Boudin Baking Lesson, 2009, Woodcut, drypoint, aquatint and chine colle, 15 inches x 22 inches, by Ellen Heck

Luminoso 8, 2005, Oil and mixed media on paper, 31 1/2 inches x 31 1/2 inches, by Wade Hoefer

Luminoso 16, 2005, Oil and mixed media on paper, 31 1/2 inches x 31 1/2 inches, by Wade Hoefer

Jam’s Sons, 1997, Mixed-media collage on paper, 29 1/2 inches x 22 inches, by Mildred Howard

Italian Landscape I, 2007, Mixed-media collage on paper, 31 5/8 inches x 30 1/2 inches, by Mildred Howard

Italian Landscape II, 2007, Mixed-media collage on paper, 27 3/8 inches x 30 1/2 inches, by Mildred Howard

Mother and Child: Inside Out I, 2008, Silkscreen on fabric, 16 inches x 19 inches, by Lucia Hye Yoon Joo

Mother and Child: Inside Out II, 2008, Silkscreen on fabric, 16 1/2 inches x 11 3/4 inches, by Lucia Hye Yoon Joo

Mother and Child: Inside Out III, 2008, Silkscreen on fabric, 15 inches x 11 1/2 inches, by Lucia Hye Yoon Joo

Mother and Child: Inside Out VII, 2008, Silkscreen on fabric with handpainting, (12 1/2 inches x 10 1/4 inches) by Lucia Hye Yoon Joo

Mother and Child: Inside Out VIII, 2008, Silkscreen on fabric, 15 1/4 inches x 11 3/4 inches, by Lucia Hye Yoon Joo

Trees #1, 2007, Pigment inkjet print, 24 inches x 48 inches, by Dale Kistemaker

1026097093, 2009, Pigment inkjet print, 24 inches x 48 inches, by Dale Kistemaker

Blossoms #6, 2007, Pigment inkjet print, 24 inches x 48 inches, by Dale Kistemaker

Blossoms #5, 2007, Pigment inkjet print, 24 inches x 48 inches, by Dale Kistemaker

Los Niños, Peru, 2008, Photograph, 20 inches x 24 inches, by Lisa Kristine

Lanterns, Yangshuo, China, 2006, Photograph, 20 inches x 24 inches, by Lisa Kristine

First Rain, Yangshuo, China, 2006, Photograph, 20 inches x 24 inches, by Lisa Kristine

28 Days of Water, 2007, Archival pigment print, 44 inches x 40 inches, by Lisa Levine

Alameda Hillside, 2010, Archival pigment print, 24 inches x 30 inches, by Lisa Levine

Wilson Hill, 2008, Photograph, 24 inches x 36 inches, by Stephen Linden

Grist Creek Pond, 2008, Photograph, 24 inches x 36 inches, by Stephen Linden

Tam Valley, 2008, Archival pigment print, 28 inches x 28 inches, by John McCormick

Near Water’s Edge, 2008, Archival pigment print, 28 inches x 28 inches, by John McCormick

Third Wind, 2010, Oil on linen, 30 inches x 30 inches, by John McCormick

Big Sur, 1983, Etching and aquatint print, 36 inches x 24 inches, by Stephen McMillan

Alder Creek, 2000, Etching and aquatint print, 25 inches x 34 inches, by Stephen McMillan

The Rainbow, 2005, Oil on canvas (30 inches x 40 inches) by Jim McVicker

Luffenholtz Beach, Archival inkjet print, 11 inches x 14 inches, by Jim McVicker

Alhambra #10, 2010, Mixed media on paper, 26 inches x 20 inches, by Kerry Vander Meer

Reunion #38, 2010, Mixed media on paper, 30 inches x 27 inches, by Kerry Vander Meer

Fall Path in Colusa National Wildlife Refuge, 2009, Photograph, 16 inches x 20 inches, by Gary Morgret

Reflection Pool on Porter Creek, 2008, Photograph, 16 inches x 20 inches, by Gary Morgret

Dissolving (0825), 2008, Archival inkjet print, 29 inches x 37 inches, by Anna Murch

Pincushions (Reverse), 2007, Sepia and selenium-toned gelatin silver print photogram, 20 inches x 16 inches, by Ron Moultrie Saunders

Leaf, 2006, Sepia and selenium-toned gelatin silver print photogram, 20 inches x 16 inches, by Ron Moultrie Saunders

Dodonaea Descending, 2006, Sepia and selenium-toned gelatin silver print photogram, 20 inches x 16 inches, by Ron Moultrie Saunders

Making Mushroom Soup, 2009, Woodblock and drypoint print, 12 inches x 18 inches, by Regina Stadnik

Making Shortbread, 2009, Woodblock print, 12 inches x 16 inches, by Regina Stadnik

Deviled Eggs, 2009, Woodblock print, 12 inches x 18 inches, by Regina Stadnik

Cards, 2005, Photograph, 24 inches x 24 inches, by David Wilson

Garden Gnomes, 2005, Photograph, 16 inches x 24 inches, by David Wilson

Taking in—Golden Gate Park, 2009, Watercolor on paper, 27 inches x 20 inches, by Pamela Wilson-Ryckkman

Taking in—Lincoln Park, 2009, Watercolor on paper, 30 inches x 31 1/2 inches, by Pamela Wilson-Ryckkman

Taking in—Holly Park, 2009, Watercolor on paper, 29 inches x 21 1/2 inches, by Pamela Wilson-Ryckkman

Taking in—Dolores Park, 2009, Watercolor on paper, 30 inches x 22 1/2 inches, by Pamela Wilson-Ryckkman

Women United, 1992-2002, Photograph, 20 inches x 30 inches, by Nita Winter

Young and Old Hands on Pink, 2004, Photograph, 20 inches x 30 inches, by Nita Winter

Discovering Toes, 2000, Hand-colored photograph, 20 inches x 28 inches, by Nita Winter

Circle Study 1, 2008, Collage with acrylic, graphite, and watercolor on paper, 24 inches x 22 inches, by Lena Wolff

Flight Pattern, 2010, Collage with acrylic, graphite, and watercolor on paper, 22 inches x 17 inches, by Lena Wolff

4. Motion to accept the following artwork gifted by the artist for Laguna Honda Hospital into the Civic Art Collection:
Marisol Collection #8: Low Fog Bank on the Horizon, 2009, Archival pigment print, 24 inches x 36 inches, by Frank Espada

Commissioner Sklar called for public comment. There was no public comment.

Motion: Motion to approve consent calendar items.
Moved: Sklar/Beltran
The motion was unanimously approved

THE FOLLOWING ITEM MOVED FROM ITEM 7 TO ITEM 3

3. Arelious Walker Stair Replacement
Marcus Davies
Action

Project Manager Marcus Davies re-introduced the Arelious Walker Stair Replacement Project and spoke to the results of the artist selection process, noting that a Request for Proposals was issued on September 13, 2012, with a due date of October 8, 2012. Mr. Davies noted that a total of four proposals were received from A. Philip Randolph Institute San Francisco, Colette Crutcher and Aileen Barr, Johanna Poethig, and Think Round, Inc. These were evaluated based on project approach, assigned project staff, and the expertise of the firm.

Colette Crutcher and Aileen Barr earned the highest score with 870 points. Mr. Davies noted Colette Crutcher and Aileen Barr’s previous work, the 16th Avenue stairway mosaic, had served as original inspiration for the Arelious Walker Stair Replacement Project.

Commissioner Chew asked if the community will be involved in the design process. Mr. Davies confirmed that they will be, adding that the artist team excels in this area and that community process was an integral part of their proposal and is evident in their previous projects.

Commissioner Sklar called for public comment. There was no public comment.

Motion: Motion to approve artist team Colette Crutcher and Aileen Barr to design and fabricate a ceramic tile mosaic for the Arelious Walker Stair Replacement Project.
Moved: Beltran/Keehn
The motion was unanimously approved

Commissioner Chew asked for the project timeline. Mr. Davies explained that the Department of Public Works (“DPW”) would like to install the artwork in May of 2013. He noted that the timeline may be overly optimistic, and that he we will attempt to negotiate an extension.

Commissioner Silverman arrived at 3:08 p.m.

Commissioner Sklar called for public comment. There was no public comment.

Motion: Motion to authorize the Director of Cultural Affairs to enter into a contract with Colette Crutcher and Aileen Barr to design and fabricate a ceramic tile mosaic for the Arelious Walker Stair Replacement Project in an amount not to exceed $77,200.
Moved: Chew/Keehn
The motion was unanimously approved

THE FOLLOWING ITEM MOVED FROM ITEM 8 TO ITEM 4

4. Earthquake Safety and Emergency Response (ESER) Art Enrichment
Marcus Davies
Action

Mr. Davies explained that as a result of 2010 Earthquake Safety and Emergency Respond (“ESER”) bond, The San Francisco Fire Department (“SFFD”) is poised to renovate multiple fire stations and that these capital improvements will generate approximately $817,000 in Art Enrichment funds. He presented images of Fire Station #36 at Oak and Franklin streets and Fire Station #16 at Greenwich and Fillmore streets and stated they would like to waive the art program at those stations due to a lack of opportunities to integrate artwork. Instead, art enrichment funds would be better pooled for use on Fire Station #5 at Turk and Webster streets and Fire Station #35 at Pier 22 ½ because both are larger buildings offering multiple locations for art.

Commissioner Keehn recalled that a discussion had taken place with the Civic Design Committee and questioned why two fire stations were selected and not just one. Mr. Davies and Program Director Susan Pontious both reaffirmed that there is enough money in the budget to allow for both art opportunities and that the Arts Commission can reassess and re-allocate as appropriate depending on final design plans.

Commissioner Sklar called for public comment. There was no public comment.

Motion: Motion to approve the pooling of Earthquake Safety and Emergency Response (ESER) generated art allocations to fund art enrichment projects at Fire Stations #5 and #35, and to subsequently forego art enrichment spending at Fire Stations #16 and #36.
Moved: Silverman/Beltran
The motion was unanimously approved

Director of Cultural Affairs Tom DeCaigny further clarified that through conversations with Chief Hayes-White of SFFD, he learned that the location of Fire Station #35 may change depending on plans for the construction of the new Warriors stadium at Piers 32 and 33. Ms. Pontious added that because of this potential change, allocating funds to a specific fire station would be premature until locations and designs are confirmed. Director DeCaigny reiterated that pooling and reserving the Art Enrichment funds would be the best decision and, as plans develop, the Arts Commission may want to consider allocating the resources reserved for Fires Station #5 for one, more visible signature art opportunity at Fire Station #35.

Commissioner Sklar called for public comment. There was no public comment.

Ms. Pontious continued the conversation about the ESER fund and informed the Committee that there is a group that came to the Civic Design Committee in 2008 and possibly the Visual Arts Committee (“VAC”) who want to create a Marina Earthquake Memorial with artifacts from the fireboat Phoenix, which helped in firefighting efforts in the aftermath of the 1989 Loma Prieta Earthquake. This group has approached the Fire Department asking that of art enrichment funds be used towards the proposed monument. Ms. Pontious explained that as previously decided by the VAC, both the Art Enrichment Ordinance and Civic Art Guidelines do not allow the use of funds for an artifact instead of an artwork. She furthered that the SFFD could ask for a decrease in Art Enrichment funds but would need to return to the VAC for approval. In this event, the Arts Commission would still allocate how the Art Enrichment fund is spent.

Commissioner Sklar reiterated that oversight of artifacts is not within the purview of the Arts Commission. Director DeCaigny added that other issues relating to the monument, such as the City’s existing gift policy, public land use, and maintenance requirements will inform the issue. Ms. Pontious reiterated that the monument cannot be presented as a gift to the Civic Art Collection because it is not art. Commissioner Beltran asked if the Arts Commission had previously supported the creation of the monument. Ms. Pontious clarified that the design of the memorial was presented to the commission’s Civic Design Committee in September, 2008, and although no formal motion was made by the Committee, a letter of support was nonetheless written to the memorial sponsors by former Chairperson Jeannene Przyblyski.

THE FOLLOWING ITEM MOVED FROM ITEM 3 TO ITEM 5

5. General Hospital Acute Care Unit: Plaza
Jennifer Lovvorn
Action

Senior Project Manager Jennifer Lovvorn stated that at last month’s meeting the Commissioners had requested additional renderings for the plaza art elements by Anna Valentina Murch to better understand the proposed lighting effects. As background information on the project Ms. Lovvorn presented a rendering by the architects of the original plaza design and explained that the previous plan featured a row of trees bisecting the plaza. Both the architect and hospital were very enthusiastic to work with the artist to create a more connected design. Ms. Lovvorn then introduced Ms. Murch to explain her design concept.

Ms. Murch presented renderings of her design and stated that her project, called Archipelago, was inspired by the idea of a flowing river with quieter eddies and pools of water. She stated that visitors to a trauma center, whether they are patients or family members, are often stressed and they need a quiet place to sit that can allow for privacy. The layout of the seating and planter elements in her design is also meant to assist with way finding. She further explained how in the evening, light will pool around the planters, and illuminate seating areas. The basket seats and a banded sculptural element will also be lit from the inside. The artist described her use of light as a metaphor for hope.

Ms. Lovvorn stated that the artist’s design previously included recessed lighting surrounding the granite benches, which would have been implemented by the construction contractor, but that concept proved too complicated to implement. In response, the artist developed a design for lighting rings which will be fabricated through her contract. Ms. Lovvorn reminded the Committee that the artist is currently under a design contract and that the Commission had approved the artist’s previous design with the recessed lighting and authorized a contract modification to implement that design. In order to execute the new design, the Committee is being asked to revise the previous resolution and to enter into contract for a higher amount.

The Commissioners discussed how beautiful the new design was and understood why the cost had increased due to the additional work.

Commissioner Sklar called for public comment. There was no public comment.

Motion: Motion to approve the final design of the plaza artwork elements of the Construction Document Phase by Anna Valentina Murch, which includes additional light ring elements to be produced through the artist’s contract at General Hospital Acute Care Unit: Plaza.
Moved: Beltran/Silverman
The motion was unanimously approved

Motion: Motion to modify Resolution Number 0912-11-206 authorizing the Director of Cultural Affairs to increase the agreement with Anna Valentina Murch by $781,800 (rather than $575,512) for a total contract amount not to exceed $826, 800 (rather than $620,512) to add fabrication, transportation and consultation during installation of artwork to the scope of work for General Hospital Acute Care Unit: Plaza, which includes the additional light ring elements.
Moved: Beltran/Silverman
The motion was unanimously approved

THE FOLLOWING ITEM MOVED FROM ITEM 4 TO ITEM 6

6. Intersection for the Arts: Mint Plaza
Susan Pontious
Action

Ms. Pontious introduced Rebeka Rodriguez, Program Director Education and Community Engagement, Intersection for the Arts to discuss a temporary public art installation at Mint Plaza by artist Ana Teresa Fernandez and architect/designer Johanna Grawunder. Ms. Rodriguez described the illuminated steel sculpture as part of a lager exhibition entitled 5Ws, a multilayered project that includes a series of urban art installations, community-based arts workshops, publicly accessible chalkboards, a repurposed newspaper kiosk hosting exhibitions, and an online interactive digital map. Each of these components is designed to explore the five “W”s associated with journalism (who, what, where, when, and why) in connection to the history and future of the Union Square neighborhood. Ms. Rodriguez added that since Intersection for the Arts has newly relocated to the Chronicle Building in Union Square, she feels the best way to connect to their new community is through the arts.

Ms. Rodriguez explained that DPW, Friends of Mint Plaza, and local businesses support the installation of Who. She felt certain that the sculpture would activate the space and compliment other public programs such as the San Francisco Jazz series happening in the Plaza. Ms. Rodriguez added that Ms. Fernandez has also designed a series of publically accessible chalkboards to be installed on the Mary Street side of the Plaza that will be the site for future poetry workshops and other community events.

Ms. Pontious advised the Commissioners that it is their purview to approve the design of this project. Commissioner Beltran noted that the project received a letter of support from DPW Director Mohammed Nuru and asked if DPW would help with the electrical needs. Ms. Rodriguez said that power was already available at the Plaza and she was working with Friends of Mint Plaza for access.

Director DeCaigny followed up and asked if Americans with Disabilities Act (“ADA”) requirements had been met. Ms. Rodriguez affirmed they were. Commissioner Sklar asked for confirmation that there would be no financial commitment from the Arts Commission. Staff confirmed that this was true.

Commissioner Sklar called for public comment.

Carol Koffel asked why the motion needed approval if the Arts Commission is not funding the project. Ms. Pontious explained the Arts Commission is required by city charter to approve all art projects on city property.

Director DeCaigny also congratulated Intersection for the Arts for receiving an ArtPlace Grant and stated that he was excited about programs produced from it.

THE FOLLOWING MOTION WAS REVISED

Motion: Motion to approve the request from Intersection for the Arts to install a 10 feet long x 28 inches deep x 15 inches high steel sculpture entitled Who by artist Ana Teresa Fernandez in Mint Plaza from January 14, 2013 through July 2, 2013, pending approval from the Department of Public Works and acquisition of all necessary permits.
Moved: Chew/Silverman
The motion was unanimously approved

THE FOLLOWING ITEM MOVED FROM ITEM 5 TO ITEM 7

7. Memorial Court
Susan Pontious
Action

Ms. Pontious explained the Veteran’s War Memorial Trust has jurisdiction of the Veteran’s Memorial Project at Memorial Court, but that the Arts Commission oversees the contract and the revisions which include structural engineering changes and a budget increase of roughly $12,000. The Design Development package changed from the original and previously approved design due to materials costs and an ADA slope that needed to be adjusted. Through the design process, the entry to the fountain was reoriented still allowing the ADA grade without incurring an even higher cost of removing and replacing historic paving. The surface of the pools changed from basalt stone to a polished granite which is more cost effective. The stone will be under water and not as visible. Also, the stainless steel walkway was changed to basalt stone which will be easier to maintain.

Commissioner Sklar asked if the fountain had changed visually from outside and Ms. Pontious said the changes would be from the internal view but that the orientation had adjusted slightly but would not affect the view from the street. She also noted although the project is still over budget the Veteran’s War Memorial Trust will be fundraising for more and will make sure the project happens regardless.

Commissioner Sklar called for public comment. There was no public comment.

Motion: Motion to approve of the Narduli Studio Design Development package for Veteran’s Memorial in Memorial Court.
Moved: Beltran/Silverman
The motion was unanimously approved

Motion: Motion to authorize the Director of Cultural Affairs to increase the agreement with Narduli Studios from $221,450 to $234,250 to include structural engineering services for the fountain floor, walls and stem walls and steel framework supports for the stone cladding of the monument at Memorial Court.
Moved: Beltran/Silverman
The motion was unanimously approved

Commissioner Sklar asked if the specific design changes needed to be noted in the motion and Ms. Pontious explained that by approving Narduli Studio Design Development package encompasses those changes.

Director DeCaigny asked for assurance that the Veteran’s Memorial Trust is committed to raising the money for the fountain. Ms. Pontious said that without the fundraising the Veteran’s War Memorial Trust has the money because they have gone into their maintenance endowment. She further went on to explain that she has been conscientious about structuring the contract to save money. For instance, Susan Narduli agreed that she will stamp the engineering drawings, the Arts Commission will independently contract for the installation of the fountain, and DPW will contract for landscaping and irrigation.

THE FOLLOWING ITEM MOVED FROM ITEM 6 TO ITEM 8

8. 2013/2014 Prequalified Artist Pool
Susan Pontious
Action

Ms. Pontious explained that as part of the this process that she and Public Art Program Associate, Zoë Taleporos had held artist workshops at SOMArts and the Bayview Opera House with over 30 attendees at each of the artist workshops. The desire was to reach out and educate the artists on how to best present their work when they apply for public art opportunities and the 2013/2014 Prequalified Artist Pool in particular.

She also explained the desire to change the scoring system by numerically ranking qualifying criteria rather than use a yes/no vote. Ms. Pontious explained that two years ago, when scoring the 2012/2013 Prequalified Artist Pool applicants, the yes/no voting system left an insufficient number and range of qualified artists in the pool to be useful for smaller budget projects. Another possible consideration would be the use of SlideRoom, as an offsite scoring system that would allow panelists to judge remotely in their own time and may be more efficient and attractive to panelists. Commissioners Keehn and Beltran commented that would be nice.

Commissioner Keehn questioned criterion #3 regarding an artist’s site responsiveness and use of appropriate materials, stating that it is subjective and difficult to judge. Ms. Pontious agreed and stated that it is incumbent on the panel to foresee the artist’s ability to respond to the public context. She also mentioned that it is noted in the Request for Proposals that if an artist does not already work in a permanent material, they should acknowledge a willingness to apply a permanent application technique.

Ms. Pontious shared that she had sat on a public art selection panel in Washington that used a similar scoring system as the one proposed. She said the criteria became helpful since it prompted a more thorough reading of an artist’s application.

Commissioner Keehn questioned what the ideal number of candidates was. She stated that when she sat on the 2012/2013 Prequalified Artist Pool panel that they had gone through a few iterations of yes and no to get down to so few. Ms. Taleporos explained for that pool that had started with 425 candidates down to 121 and that it was too small and not diverse enough to cover the projects. Ms. Pontious summarized the new scoring system as more flexible. Commissioner Keehn expressed that she liked the idea of offsite scoring but the input and discussion amongst fellow panelists was helpful. Commissioner Beltran offered the opinion that the ability to score remotely brings more qualified panelists as well as objectivity when not fatigued by viewing so many applicants in one day.

Commissioner Sklar called for public comment. Carol Koffel commented that the proposed scoring system seemed to be a fair way for artists to be evaluated.

Motion: Motion to approve the scoring system for the 2013/2014 Prequalified Artist Pool.
Moved: Beltran/Keehn
The motion was unanimously approved

Commissioner Sklar called for public comment. There was no public comment.
Ms. Pontious asked that a Commissioner be present on the panel. Commissioner Silverman volunteered.

Motion: Motion to approve the following pool of arts professionals to be panelists on the 2013/2014 Prequalified Artist Pool Selection Panel: Kevin Chen, Program Director, Intersection for the Arts; René de Guzman, Senior Curator, Oakland Museum of California; Courtney Fink, Executive Director, Southern Exposure; Lex Leifheit, Executive Director, SOMArts Cultural Center; Constance Lewallen, Adjunct Curator, Berkeley Art Museum; Chuck Mobley, Director, San Francisco Camerawork; Ellen Oh, Program Administrator, Institute for Diversity in the Arts, Stanford University; Renny Pritikin, California College of the Arts faculty; Mary Rubin, Senior Project Manager, San Jose Public Art Program; and Maysoun Wazwaz, Program Manager, Mills College Art Museum.
Moved: Beltran/Chew
The motion was unanimously approved

9. Public Comment
Discussion

Commissioner Sklar called for public comment.

Richard Rothman, City Guide for Coit Tower, announced that he was pleased that San Francisco Recreation and Park Department (SFRPD) and the Arts Commission have been working together this past month to protect a mural at Coit Tower from a leak in the roof. Mr. Rothman has also been researching Coit Tower at the library and found articles dating back to the 1970s and 1980s that mentioned the leaking roof. He stated that he had a conversation with Director DeCaigny and Supervisor David Chiu’s office suggesting that the Arts Commission set up an oversight committee. He also shared an idea that would authorize the Arts Commission to fix the murals and then later get reimbursed from the SFRDP.

The murals in the Mother’s Building at the San Francisco Zoo are also still a concern of Mr. Rothman. He stated that while the Zoological Society leases the building, he feels it is within the purview of SFRPD to fix the murals since they own the property. He said he has also visited the Historical Preservation Commission where he discussed how the murals are a national landmark not a city landmark. He stated that he would like to see the murals fixed and a strategy developed to do so.

10. New Business and Announcements
Discussion

Director DeCaigny announced that the Arts Commission is exploring the idea for starting an SFRPD Art Steering Committee, modeled after the success and effectiveness of San Francisco International Airport’s Art Steering Committee. Director DeCaigny said he spoke with Phil Ginsberg, General Manager of SFRPD who also thought this would be a good model due to the shared assets and responsibilities between the departments. Ms. Pontious said she will draft the guidelines for the SFRPD Art Steering Committee that will be sent to SFRPD early 2013 for review.

Director DeCaigny also shared he has been speaking with Capital Planning about more flexible ways to access the 5% conservation portion of the 2% Art Enrichment Ordinance.

Mr. DeCaigny announced that the Arts Commission has hired Anne Marie Purkey Levine as a temporary Registrar to work on completing a comprehensive inventory of the Civic Art Collection and assist with program related duties while Ms. Cummings is on leave.

11. Adjournment
Action

The meeting adjourned at 4:06 p.m.

ZT 1/3/13

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