SAN FRANCISCO ARTS COMMISSION
VISUAL ARTS COMMITTEE
Wednesday, June 16, 2021
3 p.m.
Remote meeting via video and teleconferencing
________________________________________
Minutes

 

1. Call to Order, Roll Call, and Agenda Changes

Commissioners Present:
Suzie Ferras, Chair    
JD Beltran
Abby Sadin Schnair
Janine Shiota
Debra Walker

Commissioners Absent:
Yiying Lu
Nabiel Musleh

Commissioner Ferras called the meeting to order at 3:05pm. Ms. Ferras acknowledged that it was Director of Public Art Susan Pontious’ last VAC meeting and thanked her for her service and hard work.

Commissioner Ferras announced the following changes to the agenda:
-Item #10 2021 Art on Market Street Poster Series discussion and possible action is amended from “to approve the 12 final designs by Skywatchers for the 2021 Art on Market Street Kiosk Poster Series” to “to approve the 9 final designs by Skywatchers for the 2021 Art on Market Street Kiosk Poster Series.”
-Item 10 2021 Art on Market Street Poster Series will be taken out of order, it will be presented after item #6 Public Art Program Annual Report but before item #7 Relocation of Pepe Ozan sculpture “Invocation” to Palega Park.
-Item #11 San Francisco International Airport: C3C Secure Connector has been tabled.
 

2. General Public Comment
(8:30)

There was no public comment.

3. Consent Calendar
(9:32)
 

1. Motion to approve Together We Grow Resilient, a mural design by artists Deirdre Weinberg, Julia Barzizza, and Flavia Mora. The mural will be installed on the building at 375 Laguna Honda Blvd. at Woodside Ave. The painted mural will measure approximately 6.5-8 ft. high by 200 ft. wide. The project is funded by a District 7 Participatory Budget Grant. The painted mural will not become part of the Civic Art Collection.
    
2. Motion to rescind RESOLUTION 0503-21-113 approving the list of artworks for purchase and display at San Francisco International Airport’s Kadish Gallery, as recommended by the artist review panel, with corrected purchase prices.
    
3. Motion to approve the amended list of artworks for purchase and display at San Francisco International Airport’s Kadish Gallery, as recommended by the artist review panel, with corrected purchase prices.

Natural Landscape

Ansel Adams, Moon and Half Dome, Yosemite National Park, CA, gelatin silver print, 9-1/4” x 7-1/4”, 1960, $9,500

Robert Adams, Dead Palms, Partially Uprooted, Ontario, California, gelatin silver print, 16” x 20”, 1983, $21,000

Robert Adams, La Loma Hills, Colton California, gelatin silver print, 16” x 20”, 1983, $19,000

Wynn Bullock, Let There be Light, silver gelatin print, 7-1/2” x 9-1/2”, 1954, $25,000

Wynn Bullock, Rocks and Waves, silver gelatin print, 7-1/2” x 9”, 1968, $10,000

Wynn Bullock, Tree Trunk, vintage gelatin silver print, 7-1/2” x 9-1/2”, 1971, $15,000

Linda Connor, Leaf, California, contact print on printing out paper, 8” x 10”, 1972, $3,500

Imogen Cunningham, Log on Beach, vintage gelatin silver print, 7-1/2” x 9-1/4”, 1948, $25,000

Richard Misrach, Burnt Forest and Half Dome, Yosemite, pigment print, 30” x 37”, 1988, $18,000

Richard Misrach, Dead Fish, Salton Sea, pigment print, 20” x 24”, 1983, $18,000

Brett Weston, Garrapata Beach, California, gelatin silver print, 7-1/2” x 9-1/2”, 1954, $10,000

Edward Weston, China Cove, gelatin silver print, 7-1/2” x 9-1/2”, date unknown, $6,000

Edward Weston, Dante’s View, gelatin silver print, 7-1/4” x 9-1/4”, 1938, $8,000

Community/Documentary
Ricardo Alvarado, Band playing at Flat Party, archival pigment print, 20” x 24”, date unknown, $1,900

Janet Delaney, “Cookies not Contras,” Peace, Jobs and Justice Parade, (from Public Matters, 1982-1988), archival pigment print, 9” x 9”, 1986, $1,500

Janet Delaney, Dominique DiPrima on Stage (from Public Matters, 1982-1988), archival pigment print, 9” x 9”, 1985, $1,700

Janet Delaney, I May Not Get There…First Martin Luther King Jr. Day Parade, (from Public Matters, 1982-1988), archival pigment print, 9” x 9”, 1986, $1,500

Janet Delaney, The Carnaval Ride (from Public Matters, 1982-1988), archival pigment print, 9” x 9”, 1985, $1,500

Janet Delaney, Woman with Mexican Flag (from Public Matters, 1982-1988), archival pigment print, 9” x 9”, 1985, $1,500

Janet Delaney, Young Couple at Carnaval (from Public Matters, 1982-1988), archival pigment print, 9” x 9”, 1984, $1,500

Anthony Hernandez, Public Transit Areas #6, gelatin silver print, 30” x 40”, 1979, $9,000

Anthony Hernandez, Public Transit Areas #8, gelatin silver print, 30” x 40”, 1979, $9,000

Anthony Hernandez, Public Transit Areas #10, gelatin silver print, 30” x 40”, 1980, $9,000

Anthony Hernandez, Public Transit Areas #46, gelatin silver print, 30” x 40”, 1979, $9,000

Michael Jang, At Home with the Jangs, archival pigment print, 30” x 40”, 1973, $10,000

Michael Jang, Chris Skiing, archival pigment print, 40” x 30”, 1973, $10,000

Michael Jang, Lucy Wearing Green, archival pigment print, 30” x 40”, 1973, $10,000
David Johnson,1223 Fillmore Street, archival pigment print, 20” x 24”, C.1940s, $1,900

David Johnson, A Crowd at the Primalon Ballroom, archival pigment print, 20” x 24”, C.1950s, $1,900

David Johnson, Bird’s-Eye View of Fillmore Street, Looking South Towards Post Street and Geary Street, archival pigment print, 20” x 24”, C.1940s, $1,900

David Johnson, Dancing in a Fillmore Flat, archival pigment print, 20” x 24”, C.1940s, $1,900

David Johnson, Dancing at a Fillmore Nightclub, archival pigment print, 20” x 24”, C.1940s, $1,900

David Johnson, David Robinson, The Bass Player for Roy Milton’s Band, on the Floor of the Primalon Ballroom, archival pigment print, 20” x 24”, C.1940s, $1,900

David Johnson, Rhythm Records, 1980 Sutter Street, archival pigment print, 20” x 24”, 1947, $1,900

Wesley Johnson, Crowd at Texas Playhouse, September 10, 1958, archival pigment print, 20” x 24”, 1958, $1,900

Wesley Johnson, Bar Patrons Outside the Club Flamingo, archival pigment print, 20” x 24”, C.1940s, $1,900

Wesley Johnson, Earl Grant on Organ, Junius Simmons on Guitar, Blue Mirror, archival pigment print, 20” x 24”, 1956, $1,900

Wesley Johnson, Lottie “The Body” Claiborne and her Husband Harlem Globetrotters Star Goose Tatum at a Good-Bye Party at the Texas Playhouse, Celebrating their Trip to Yokohama, Japan, archival pigment print, 20” x 24”, C.1950s, $1,900

Jerry Stoll, Jam Session Inside Bop City, archival pigment print, 20” x 24”, date unknown, $1,900

Unknown Photographer, A 1951 jam session inside Bop City, archival pigment print, 20” x 24”, 1951, $1,900

Unknown Photographer, Deborah Saunders King Collection, Saunders King with One of His Many Hollow-Body Guitars, archival pigment print, 20” x 24”, C.1970s, $1,900

Unknown Photographer, Singer Sweetie Mitchell, Saxophonist Sammy Simpson, and Unknown Band at an Unknown Fillmore Club, archival pigment print, 20” x 24”, C.1950s, $1,900

Garry Winogrand, Klamath River, California, gelatin silver print, 14” x 11”, 1964, $9,500

Garry Winogrand, Los Angeles International Airport, gelatin silver print, 14” x 11”, 1964, $21,000

Built Environment

John Divola, Zuma #5, archival digital color pigment print, 24” x 30”, $10,000

John Divola, Zuma #12, archival digital color pigment print, 24” x 30”, $10,000

John Divola, Zuma #70, archival digital color pigment print, 24” x 30”, $10,000

Lee Friedlander, Alameda, California, gelatin silver print, 11” x 14”, 1967, $9,500

Lee Friedlander, Los Angeles, California, gelatin silver print, 11” x 14”, 1970, $14,000

Fred Lyon, Boy on Bicycle, Cabrillo and 22^nd Avenue, gelatin silver print, 14” x 11”, C.1950s, $2,500

Fred Lyon, Fairmont Hotel in Fog atop San Francisco’s Nob Hill, vintage gelatin silver print, 14” x 11”, C.1950s, $7,500

Catherine Wagner, Arch Construction IV, George Moscone Site, San Francisco, archival pigment print, 20” x 24”, 1978, $12,000

Catherine Wagner, Northern Vista, George Moscone Site, San Francisco, archival pigment print, 20” x 24”, 1978, $12,000

Edward Weston, Plasterworks, gelatin silver print, 9-1/8” x 7-1/4”, 1927, $12,000

4. Motion to rescind RESOLUTION 1202-19-323 authorizing the Director of Cultural Affairs to increase the contract with White Light Inc. for an artwork at Central Subway Union Square Market Street Station from $448,623 to an amount not to exceed $458,723 (an increase of $10,100) to allow for additional engineering services required of the project.
    
5. Motion to authorize the Director of Cultural Affairs to increase the contract with White Light Inc. for an artwork at Central Subway Union Square Market Street Station from $448,623 to an amount not to exceed $458,823 (an increase of $10,200) to allow for additional engineering services required for the project.
    
6. Motion to approve the artwork Arc-Cycle by Catherine Wagner as installed at Central Subway Yerba Buena Moscone Station Headhouse and Concourse Level.
    
7. Motion to approve the artwork Face C/Z by Leslie Shows as installed at Central Subway Yerba Buena Moscone Station Ticketing Hall.

There was no public comment.

Motion: Motion to approve consent calendar.
Moved: Beltran/Schnair

The motion was unanimously approved
Ayes: Ferras, Beltran, Schnair, Shiota, Walker

4. C.G. Jung Institute regarding Layla by Joe Mangrum
(11:43)

Civic Art Collection and Public Art Program Director Susan Pontious presented the history of the artwork Layla by Joe Mangrum and the current circumstances of its’ location. Layla, a terrazzo artwork, was installed in 2001 in the sidewalk of the Mission Street and 22^nd Street Muni Bus stop bulb. The tenants of the building directly in front of the artwork have been required by the City to make utilities upgrades directly beneath the artwork and to install an access panel on top of it. Ms. Pontious stated that after a discussion with the original fabricator and installer it was determined that the artwork was epoxied/glued to the slab beneath it making it extremely unlikely that the artwork can be removed without cracking/destruction. Therefore, the central rectangle of the artwork needs to be re-fabricated and re-installed a few feet north of its original location. The C.G. Jung Institute, Arts Commission staff and the artist, Joe Mangrum, have been in discussions about this issue for a few weeks. Ms. Pontious said a possible plan under discussion is for the Jung Institute to fund the re-fabrication of the piece and the Arts Commission to fund the consultation services of the artist Joe Mangrum.

Commissioner Shiota thanked all parties involved on working together towards a solution and asked if this artwork is part of the Civic Collection and what changes could be made so that this piece would not have similar issues when future municipal work needs to be done.

Ms. Pontious stated that artwork is part of the Civic Art Collection. However, art works located in the right-of-way are vulnerable as there are a lot of utilities underneath them and for that reason, the Arts Commission no longer recommends this type of location/installation. She said they can look into installing the new piece in a different way so that the piece is easily removable. Ms. Pontious stated that the new artwork would be a derivative copy with some changes to the aggregate as material that was originally used is no longer available. The artist would need to consult on new material mix to be used. She clarified that it would be the re-construction of the central rectangle and a few of the strips/stripes of the “barcode”; some of the original strips will remain.

Artist Joe Mangrum commented on the negotiations and read the following statement.

Having made my home in San Francisco from 1992-2007 and started my professional career there I will always hold San Francisco dear to my heart. My ephemeral floral designs on Market street were created through the early 90’s and I secured my first solo exhibit at San Francisco state’s Gallery in 95 expanding into using found objects.

My work is designed to bring site specific dialogue to the space in which it’s created and functions as a mirror to reflect upon. It reflects values of environmentalism, earth justice, equal rights, diversity and equality. I draw on shapes many would call a mandala, but recognize it cultures worldwide as a universal symbol that I could communicate these values and present dialogue without hurdles a spoken language could present. I’ve taken this concept to develop characters made from different materials like auto parts and discarded technology which I used in another temporary commission in 1998 titled Trans-Mission as part of the Market street art in transit program. It celebrated the destruction of a car in favor of Public Transit.

When given the opportunity to create a permanent work on Mission St for the Bus Bulb Project I responded to it as an opportunity to encourage Public Transit but also address the barren urban landscape that lacked any trees on the entire block between 22-23rd and very few others between 22nd and 21st. I designed upwards of 30 individual designs that were whittled away due to budget cutting back on the size of the designs and overall concept. I took the opportunity to encourage the planting of trees and got written statements from property owners to approve. In all 11 trees were built into the designs, as each was eliminated one at a time until only one remained on the opposite side of the street.

After concrete was poured and everything was installed I returned the next day only to find the MUNI official with a laborer filling in the approved tree well with cement which was left unattended and vandalized in wet cement.

To say the least this was disappointing, but only revealed that the emphasis was on efficiency and long term maintenance priorities rather than the enrichment of the neighborhood its artistic and cultural heritage and beautification. So the feminine Layla sits trapped in a barcode holding little popsicle trees in her womb, further separated from her masculine counterpart unable to birth trees into the barren street.

I would have never imagined after 4 years from 1997-2001 that I would get a call 20 years later saying that the terrazzo designs could be destroyed. Although I am hopeful for the negotiations with the Jung Institute and want to thank them for their cooperation and dedication to restore the project after their necessary construction activity. I can only stress that the City of San Francisco has lost thousands of artists over the past decades and to reignite their efforts to make the city welcoming for creatives by funding and purchases of art by living artists.

This artwork has a special meaning for me as it represents that deep dedication to the environment and the ideas that art can change the conversation.

I hope you will find that Art is a powerful thing to have in our lives and give more to funding programs for civic art and not only support the process to restore this artwork but to restore the City as a welcoming place for artists.

Adam Frey of the C.G. Jung Institute stated that they are very close to an agreement in the negotiations and that the ability of the Arts Commission to contribute the artist fee will close the monetary gap and make an agreement possible. He also said that he is open to the idea of investigating a way to install the artwork in a more removable way. This is the Institute’s first interaction with their new neighborhood. They understand the art has significance to the area and they want to be good neighbors and come to a workable solution for everyone.

Public Comment:

Theodore Davis, a graduate of CCSF and SFSU and is a California Art Council fellow in the Central Valley. His upbringing in the City helped build his aesthetic sense. He appreciates the artwork and the Jung Institutes willingness to work with Joe. He thinks the word “destruction” should be removed from the motion. He doesn’t want the City to become “aesthetically gentrified.”

Erika Peterson, a fan of the artwork in the City and of this one in particular stated that this artwork is one of many that has been here for so long. Ms. Peterson is supportive of keeping the artwork and stands with Layla and Joe. She hopes that the artwork can be maintained and preserved somewhere in the City if not there.

Debra Mangrum Price, Joe Mangrum’s wife, stated that she agreed with the statements already made and read Brian Goggin’s, a San Francisco site-specific sculptor, statement: “The art piece at Mission and 22nd St. “Layla” has been a part of the Mission for over a decade. It was originally conceived as an ecological symbol lamenting the unnecessary loss of our trees and vegetation to stark, cold asphalt and concrete. This unnecessary loss would be even more stark if this art piece is destroyed. Rather it should be carefully preserved and, if necessary replaced, when the construction proposed is finished. To do anything else is a slap in the face of the environmental, green movement that is the cornerstone of San Francisco politics. These decisions should not be made by faceless bureaucrats or traffic engineers who are not committed environmentalists. This committee will not be remembered for anything else it may do in the future, if it destroys this art piece. Rather it will always be remembered for destroying this great work of art.”

Amy Balkin, Artist and Associate Professor, CCA submitted the following email statement read by Program Associate Tara Peterson: As an artist engaged with public art and a long-time resident of San Francisco, please stop the planned the removal of Joe Mangrum's artwork "Layla", which embodies sited public arts practice in the Mission of the period in which it was made, and continues to be relevant as a visually vibrant public/sited visual work.

I propose the work is instead temporarily removed and reinstalled after the electrical work is completed, and that budget is allocated for this. Further, to avoid similar issues I propose the city ensure that future contracts for public artworks include a care clause for public artworks when necessary repairs must be made, and address responsibilities for these scenarios.

David Revere McFadden submitted an email statement read by Program Associate Tara Peterson listed in part below:
As a retired Chief Curator Emeritus of the Museum of Arts and Design in New York, I wish to vigorously oppose the planned destruction of Joe Mangrum’s “Layla” in San Francisco. This work has a 20-year history with the city and the neighborhood and it loss or partial destruction (which is the same as total destruction of this two-part installation) is contrary to any historical and cultural parameters for public art. As with all public art installations, the work becomes identified with the neighborhood on many levels, both for residents and visitors. With the current knowledge of historical preservation and conservation techniques, there is no reason that this work cannot be preserved and reinstalled. As an art historian, I cannot stress how shortsighted it would be to destroy a work that is now a member of the cultural community of this neighborhood. I urge you to reconsider the removal of this icon of San Francisco’s artistic legacy.

Richard Simon submitted an email statement read by Program Associate Tara Peterson listed in part below:
I am writing in support of the artwork "Layla" by Joe Mangrum. This work, has been in place for 20 years and deserves the council's attention and support. Joe Mangrum is an artist with strong local roots whose work represents San Francisco and the Bay Area internationally. His work marries themes of nature and technology in a unique way that ties together the Bay Area's influences. A small amount of oversight and funding from SFAC would preserve this work and should be contributed. The property developer is willing to contribute to the preservation of this work by restoring it after their work is completed.  SFAC should always be willing to contribute to these public-private co-operations that foster development and preserve public art. This is a small contribution with a multiplier that is exactly what public money is for. Please preserve this important piece of public art by a unique and widely celebrated artist.

Kal Spelletich submitted the following email statement read by Program Associate Craig Corpora: Please save Joe Mangrum's wonderful artworks LAYLA. I see it often on my errands in the mission. It brightens my day and has me considering the preciousness of nature. I look for it each time I am on that block, about twice a month at least. It would break my heart if it wasn't there to brighten my day. I am sure it will be a challenge. But the good things are tough. You should try the life of an artist! Please preserve and protect the artwork from being destroyed.

Heidi West, a PhD Student at the Department of Health Policy and Management Fielding School of Public Health, UCLA, submitted an email statement read by Program Associate Craig Corpora listed in part below:
I request that SFAC work with the C. G. Jung Institute of San Francisco and artist Joe Mangrum to ensure preservation of the full artwork "Layla and Swingdaddy," including the provision of financial resources. This piece should be preserved in full, as destroying the feminine half of the piece, destroys the overall meaning and complexity. Destroying the feminine half of an art piece also symbolically speaks to society's problematic devaluation of women and the feminine. Public art is one of the key cultural, historical, and social aspects of San Francisco. During my time living and working in SF, I engaged with and shared the public art commissioned by SFAC, and it not only improved my quality of life, but also positively impacted the way I interacted with the community. With all of the changes SF has experienced over the years, permanent pieces such as "Layla", are more important than ever.

Eliza Perkins, artist, submitted the following email statement read by Program Associate Craig Corpora: Joe Mangrum is one of the most important artists of his generation. While much of his art is ephemeral, his pieces "Layla" and "SwingDaddy" are permanent installations that straddle opposite sides of Mission street at 22nd.  This work is especially important in these times, where we are a nation so divided across so many lines - political, cultural, economic and more. This piece speaks to division and seeks to restore balance through recognizing the underlying principles of the masculine and feminine.  I understand that PG&E feels they must remove half of the installation to do their work, but to not restore the half that is impacted will ruin the integrity of this very potent and pertinent work of art.  It is imperative to restore the full installation upon work completion. Art is what gives a culture its humanity. To destroy this art is to destroy a piece of our humanity.

Brooke Oliver asked for the Committee to change the tenor of the motion from the word “destroy” to one that encourages the preservation of the artwork. Ms. Oliver stated that the Arts Commission’s primary role is to protect and promote art and they should use their power to encourage the private entity to preserve the artwork. She mentioned a past example when the Arts Commission forced a private developer to pay for the re-painting of murals that were destroyed when a building was torn down and rebuilt on Clarion Alley. Ms. Oliver also asked that the Arts Commission include in the motion the $5,000 fee for Joe Mangrum.

Dana Albany, a local artist in San Francisco and longtime friend/fan of Joe Mangrum, stated that most of Joe’s work is temporary and the fact that the City has a permanent work of his is priceless. Ms. Albany believes that the idea of what this piece is about, nature versus urban landscapes and the importance of the environment and the divide in our world today makes it more invaluable. Ms. Albany said she is hopeful to hear of the dialogue between the Arts Commission, the Jung Institute and Joe to find a resolution.

Commissioner Walker asked if the motion as written mimics the existing contract. While she knows all parties knew that this artwork was in a tenuous position in the street and therefore would have more challenges to a permanent existence, she agrees that the word “destroy” is dramatic. Commissioner Walker asked if the motion could be edited at this point and within the terms of the contract.

Ms. Pontious stated that the motion mirrors the contract language. She clarified that the “original” Layla will be destroyed and what all parties are looking to do is to create “Layla 2” (a new Layla). Ms. Pontious reached out to the City Attorney, Lauren Curry, who recommended replacing the word “destroy” with “deconstruct”. Ms. Pontious also stated that the $5,000 artist fee cannot legally be added to the motion today. The motion today allows the work to move forward without an extra delay of 6 weeks to the site work however, the wording could be changed to add an amendment that the Commission encourages the preservation of the artwork and directs the staff to not issue the 90-day notification to the artist until the three-week negotiation period has expired.

The commissioners discussed amending the wording of the current motion. They decided to table the motion as written and to add both an amended version of this motion as well as a new motion in regard to approving artist payment, that would be added to the Committee Report at the July 12 Full Commission meeting which would thus expire the aforementioned three-week negotiation period. 

THE MOTION WAS TABLED
Motion: to authorize the C.G. Jung Institute of San Francisco to modify, alter or destroy Layla (2001.17) a terrazzo artwork by Joe Mangrum (the “Artist”) located at the S.W. corner of Mission and 22nd Streets (the “Artwork”), in order for the Jung Institute to complete electrical work mandated by the City as a condition of their occupancy of 2610 Mission Street.  The electrical work may not commence until the City has issued a notification of the intended work.  The Commission authorizes staff to provide the Artist with formal notification of the planned electrical work affecting the Artwork.  As a courtesy to the Artist, the notification will provide for a 90 day waiting period before work can commence.  The 90 day waiting period will allow time for the Jung Institute and the Artist to discuss possible solutions for either restoring or refabricating the Artwork.  During this time the Artist may also choose to pay to remove the Artwork.  If the Artist removes the Artwork or if the Jung Institute and the Artist come to a mutually agreeable solution before the end of the 90 day waiting period, then the Jung institute may proceed with the electrical work.

5. Muni-Metro East Expansion
(1:28:02)

Ms. Pontious presented the plan for the Muni-Metro East Expansion project of the bus parking facility at 601 25^th Street near Cesar Chavez and 3^rd Streets. She stated there is not a viable art opportunity at the site and that the site does not have public access or use. Therefore, Ms. Pontious recommends that the $260,000 Art Enrichment funds generated by this site be used elsewhere. She recommends pooling the funds for use at other more public locations. Staff has met with MTA staff who concur with this recommendation. Some possible uses of these funds could be to offset a possible deficit on the Van Ness BRT project, to relocate the Pepe Ozan sculpture to Palega Park and the upcoming Potrero Yard Modernization Project.

Commissioner Ferras stated that this was a good idea for the use of the funds. Commissioner Walker asked if these funds could be used to pay the consultation fee for artist Joe Mangrum. Ms. Pontious stated that she needs to confirm but she thinks it may be possible to use some of these funds for the artist payment.

There was no public comment.

Motion: to approve the project plan for the Muni-Metro East Expansion Project.
Moved: Beltran/Walker

The motion was unanimously approved
Ayes: Ferras, Beltran, Schnair, Shiota, Walker

6. Public Art Program Annual Report
(1:34:22)

Ms. Pontious presented the annual Public Art Program report for Fiscal Year 2021. Acquisition costs for the year was approximately $4 million. Ms. Pontious shared the demographics of all artists chosen in 2021 by gender, race and location. She shared the projects started in 2021 and showed installation photos of all projects completed and gifted in 2021.

Commissioner Schnair asked Ms. Pontious to present this report at both of the upcoming Civic Design Review and Full Commission meetings. The Commissioners congratulated Susan Pontious on her accomplishments at the Arts Commission and thanked her for her work. The Commissioners were impressed with the amount Ms. Pontious and Art Commission staff completed during COVID.

There was no public comment.

THE FOLLOWING ITEM WAS TAKEN OUT OF ORDER
10. 2021 Art on Market Street Poster Series
(1:55:02)

Program Associate Craig Corpora presented the Second Series in the 2021 Art on market Street Poster Series, entitled Towards Opulence, by Skywatchers, under the 2021 theme Imaginary Monuments for the Future. The 9 poster series will be on display from July through the end of September.

Mr. Corpora stated that Skywatchers, a multi-disciplinary community arts collaboration, invited ensemble members, largely un-housed individuals or those living in supportive housing in the Tenderloin and South of Market neighborhoods, to dream these performative portraits of their most lavish selves and to materialize that vision within a setting, of their choice. He stated that at every stage of the process, the subject/ participants were engaged in the conceptualization and design while the Skywatchers creative leads facilitated their vision. In keeping with the Skywatchers ethos, this was an opportunity for local residents to see themselves and their neighbors elevated and reflected back to them on the very streets they walk every day. Ultimately, the project monumentalizes the marginalized and uplifts the underserved.

There was no public comment.

Motion: to approve the 9 final designs by Skywatchers for the 2021 Art on Market Street Kiosk Poster Series.
Moved: Beltran/Schnair

The motion was unanimously approved
Ayes: Ferras, Beltran, Schnair, Shiota, Walker

7. Relocation of Pepe Ozan sculpture “Invocation” to Palega Park
(1:59:17)

Program Manager Marcus Davies presented the plan to relocate Pepe Ozan’s sculpture Invocation from the Cesar Chavez Pedestrian Overpass (Cesar Chavez and Vermont St.) to Palega Park. Mr. Davies stated that the artwork’s current location prevents pedestrian access and the viewer’s overall experience of the artwork as it is next to the 101 Freeway northbound entrance and adjacent to the bicycle pathway. He shared that Palega Park had an artwork removed a few years ago due to safety concerns and the existing foundation from that previous artwork may be repurposed for Invocation.

Commissioner Schnair left the meeting at 5:09pm. Commissioner Ferras confirmed with Mr. Davies that this was the project that had a lot of community support at the last Visual Arts Committee Meeting.

Public Comment:
Artist Joe Mangrum stated that he was friends with Pepe and he fully supports the move of this sculpture to a better, more easily accessible location. He always felt this was a poor location because of the aforementioned issues.

Motion: to approve the relocation of Pepe Ozan’s sculpture Invocation from the Cesar Chavez Pedestrian Overpass (Cesar Chavez and Vermont St.) to Palega Park.
Moved: Beltran/Walker

The motion was unanimously approved
Ayes: Ferras, Beltran, Shiota, Walker

8. Mission Creek Park
(2:07:24)

Project Manager Jackie von Treskow presented the project plan for Mission Creek Park Extension Project, for which the Office of Community Investment and Infrastructure (OCII) will extend the existing Mission Creek Park South by 3.24 acres west of the Mission Creek Park Pavilion. Ms. von Treskow stated that the total art enrichment amount generated by this project is $1,125,000; the artwork budget will be $535,000, with a separate allocation of $150,000 for site work and installation. The art opportunity is for a focal sculpture or a series of smaller sculptures to be located at the entrance of Mission Creek Park where Channel Street meets Mission Bay Drive. She outlined the project goals, timeline and announced that the RFQ would be issued June 21, 2021.

There was no public comment.

Motion: to approve the Project Plan for the Mission Creek Park public art project.
Moved: Beltran/Shiota

The motion was unanimously approved
Ayes: Ferras, Beltran, Shiota, Walker

9. Southeast Community Center at 1550 Evans – 2D Artwork Program
(2:13:50)

Project Manager Jackie von Treskow presented the panel two summary of the Southeast Community Center two-dimensional artwork program. After two rounds of scoring the two top ranked artworks of each of the 19 selected artists were recommended by the panel for purchase or licensing and display. Ms. von Treskow shared images of the recommended artworks for the second and third floors of the community center. She stated that she will be coordinating studio visits with the artists to view the recommended artworks in person before final selection.

There was no public comment.

Motion: to approve the list of two-dimensional artworks for purchase or licensing and display at the Southeast Community Center at 1550 Evans, as recommended by the artist review panel:
African American Academy/Fely Tchaco, Bayview Shore Candlestick Park, 2021, Oil on Canvas, 24 in x 20 in, $2500
African American Academy/Fely Tchaco, Fam Elegance Ethnic Art Deco, 2020, Digital Art (print on canvas), 60 in x 40 in, $1500 (for licensing)
Louisiana Bendolph, Shared Legacy, 2007, Color Intaglio Print, 31 in x 34.5 in, $3000
Louisiana Bendolph, Look Underneath, 2013, Color Intaglio Print, 37 in x 32 in, $2500
Suhas Bhujbal, Market # 10, 2018, Oil on panel, 36 in x 68 in, $1500 (for licensing)
Suhas Bhujbal, Ocean Breeze, 2017, Oil on panel, 36 in x 68 in, $1500 (for licensing)
Suhas Bhujbal, On the Way to Work, 2017, Oil on canvas, 48 in x 48 in, $4000
Rodney Ewing, Resurrection (Henrietta Lacks), 2016, Silkscreen and dry pigment on paper, 60 in x 40 in, $4000
Rodney Ewing, Brothers and Sisters, 2016, Silkscreen and dry pigment on paper, 60 in x 40 in, $4000
Nina Fabunmi, Pride, 2013, Oil on canvas, 36 in x 36 in, $2910
Nina Fabunmi, DEEP IN A MAN, 2014, Oil on canvas, 30 in x 40 in, $2550
Juan R. Fuentes, Hermanita III, 2021, Linocut, 22 in x 28 in, $1200
Juan R. Fuentes, En El Cielo, 2019, Linocut/Watercolor, 22 in x 30 in, $800
Frederick Hayes, Green with Envy, 2020, Acrylic, 24 in x 18 in, $1500 (for licensing)
Frederick Hayes, Old School No Fool, 2020, Graphite, 17 in x 14 in, $1500 (for licensing)
Ivan Lopez, Eagle Warrior America (Wild Human), 2019, Acrylic on upcycled wood, 36.5 in x 31, $2200
Ivan Lopez, Yellow Sun Power, 2019, Acrylic on wood, 36.5 in x 31, $2200
Derek Macario, Skating Through, 2018, Film Photography, digital scan print, 20 in x 20 in, $250
Derek Macario, Bayview Wheelie, 2017, Film Photography, digital scan print, 20 in x 20 in, $500
Ata'ataoletaeao McNealy, The Afro, 2020, Acrylic on canvas, 36 in x 24 in, $2750
Ata'ataoletaeao McNealy, Thee Fine-Apple, 2020, Acrylic on canvas, 36 in x 24 in, $3000
Boon Heng Pang, Ohlone Prayers For The Future, 2021, Acrylic, mixed media, canvas on aluminum panel, 42 in x 60 in, $3800
Boon Heng Pang, Ohlone Prayers From Our Past, 2021, Acrylic, mixed media, canvas on aluminum panel, 42 in x 60 in, $3800
William Rhodes, Soul of San Francisco Quilt, 2020, Paint, pencil, pen and fabric, 51 in x 63 in, $4000
William Rhodes, Bayview Heroes, 2020, Paint, pencil, pen and fabric, 48 in x 70 in, $4000   
Rhonel Roberts, Pops, 2007, Acrylic on canvas, 36 in x 40 in, $4000
Rhonel Roberts, Dad and Me, 2015, Acrylic on paper, 22 in x 30 in, $1850
Blanca Estela Rodriguez Mandujano, Sisters, 2021, Photography, 45 in x 30 in, $2000
Blanca Estela Rodriguez Mandujano, Trust, 2021, Photography, 45 in x 30 in, $2000
Ron Saunders, Of This Earth I, 2015, Photogram-Sepia Toned Gelatin Silver Print, 20 in x 16 in, $1800
Ron Saunders, Hands of The Ancestors, 2015, Archival pigment print, 24 in x 20 in, $1800
Malik Seneferu, MalikSArt3, 2021, Acrylic on canvas, 36 in x 36 in, $1500 (for licensing)
Malik Seneferu, On The Move, 2016, Acrylic on canvas, 36 in x 48 in, $1500 (for licensing)
Claudio Talavera-Ballon, El Escribidor, 2018, Oil on canvas, 28 in x 22 in, $2000
Claudio Talavera-Ballon, Kitzia, La Visionaria (The Visionary), 2018, Oil on canvas, 32 in x 41.5 in, $1500
Nga Trinh, Hang In The Balance, 2018, Origami, 40 in x 32 in, $4000
Nga Trinh, Butterflies' Flowers, 2017, Origami, 40 in x 32 in, $4000
Ira Watkins, Animals on the Move, 1998, Acrylic on canvas, 48 in x 48 in, $4000
Ira Watkins, The Shipyard (Repairing Ships), 1999, Pastel on paper, 24 in x 36 in, $1200
Ira Watkins, The In Crowd, 2000, Acrylic on wood cutout, 40 in x 48 in, $3000
Moved: Beltran/Shiota

The motion was unanimously approved
Ayes: Ferras, Beltran, Shiota, Walker

THE FOLLOWING ITEM WAS TABLED
11. San Francisco International Airport: C3C Secure Connector
Action

Staff Presenter: Aleta Lee

Discussion and Possible action: to approve the Construction Document Phase deliverables (Artwork Mock-up and Structural Engineering Drawings) by Carter-Lynch (Carter-Lynch LLC) for the SFO C3C Secure Connector Wall.

12. Potrero Gateway Park
(2:19:43)

Project Manager Zoë Taleporos presented the recommended artist team, Futureforms, and their proposal for the Potrero Gateway Park public art project located on Caltrans property at 17^th Street between Vermont and San Bruno Streets under the 101 freeway. Ms. Taleporos stated that the Arts Commission will enter into a MOU with Public Works for the development of a public artwork at this site. The budget for the artwork is $217,000 and the artwork will not be accessioned into the City’s art collection, but will become property of Caltrans.

Ms. Taleporos described Futureforms’ proposal Serpentine, a series of colorful planter forms that help highlight and support the neighborhood’s biodiversity and reinforces the neighborhood’s desire to build community around art ecology and public space. The sculptural planters will be bolted to the front row of concrete retaining walls on the corners of Vermont and San Bruno. The proposed artwork will be fabricated out of 1” diameter mild steel tubing and ¼” thick laser-cut ribs. The sculpture will then be painted (inside and out) with a Tnemec paint. Ms. Taleporos stated that for the portion along 17^th street under the 101, the artists are proposing to develop a graphic paint or mural image that could be applied to the retaining walls, and join the two corner artworks.

There was no public comment.

Motion: to approve artist Machinic LLC (DBA Futureforms) and proposal for the Potrero Gateway Park Public Art Project, as recommended by the artist review panel.
Motion: to authorize the Director of Cultural Affairs to enter into contract with artist Machinic LLC (DBA Futureforms) for an amount not to exceed $217,000 for design, fabrication, transportation and installation of an artwork at Potrero Gateway Park.
Moved: Shiota/Walker

The motion was unanimously approved
Ayes: Ferras, Beltran, Shiota, Walker

13. New Business and Announcements
(2:32:14)

There was no New Business and Announcements from the Commissioners. There was no public comment.

14. Adjournment

The meeting adjourned at 5:38PM


TP 6/29/2021 3:22pm
approved 7/12/2021
 

Notices          

Translated written materials and interpretation services are available to you at no cost.
For assistance, please notify Tara Peterson, tara.peterson@sfgov.org, 415-252-2219.

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如需協助 Tara Peterson,  tara.peterson@sfgov.org, 415-252-2219.

Materiales traducidos y servicios de interpretación están disponibles para usted de manera gratuita. Para asistencia, notifique a Tara Peterson, tara.peterson@sfgov.org, 415-252-2219.