[inaudible conversations]

[talking over each other]

president miguel: we are back in session. the correct wording of the motion, which i presume is the motion not to disclose what

happened in closed session. >> i believe you just make a motion cannot disclose the subject matter. now that we are back in open session, you should also give a report on any action taken. if none taken, you merely state that. >> i will move not to disclose. >> second. >> and no actions were taken. >> ok, commissioners. on the motion to not disclosed. commissioner antonini: aye. commissioner borden: aye. commissioner moore: aye. commissioner sugaya: aye. president miguel: aye. with that, the hearing is closed. thank you very much.

hey, mark. hey, mark. hey. where've you been? i lost my cat. aw. that's not right. yeah. so i made this cat magnet to try and get him back. cool. does it work? kinda. [meow] nice. yeah. but that's not my cat. i gotta keep working on it. see ya see ya. see ya. announcer: anything's possible, keep thinking. get started on your own inventions or just play some games at... patty: filing for social security online, 9 out of 10 experts agree, it's groovier than a brooklyn hot dog! cathy: or a crepe suzette! ♪ when cousins are two of a kind! ♪

>> welcome to culture wire. did you know the city of san francisco has an art collection consisting of 3,500 objects? it ranges from paintings and objects placed in public buildings to w.p.a. era murals and bronze busts in city hall to site specific sculptures. many of the large sculptural public works are in need of repair and a long-term solution is needed to ensure the treasures will be cared for. the story of the arts commission's new program art care begins with venerable art dealer ruth bronstein.

2010 is her 50th year as an art dealer. at the helm of the bronstein key gallery she has represented some of the most notable bay area artists and continues to look for new talent. >> the artists that i represent and why do i choose them has to do with the background of what the gallery is about. i love the idea of finding new artist he is and watching them grow. it is the old fashioned way of having a gallery, which is having a stable. so, what you have there is a loyalty to them and the artist is loyal to you. so, the whole philosophy behind th that, my philosophy hasn't changed since i started 49 years a ago. i take care of you and you take care of me. it has been that way ever since. >> she represents the estate of

world renowned skuculptor peter vulkus who passed away in 2002. in 1971 he created a beloved untitled public work sited at seventh and brian. like many other public works of art it is in need of repair. ruth began conversations with the director of cultural affairs and art care was born. >> art care will be responsible to look at all the pieces and decide what pieces need the most repair to bring it back to what it was before. that is what i'm after. so they will take that on the corn of seventh and brian. you can't see it as you ride down seventh street. you can only see it when you are in front of it. >> the skull -- sculpture is one of the tpeufirst pieces

commissioned by the arts commission after the advent of the 1969 art enrichment ordinance so it is quite significant that we are planning to treat it as part of the art care program. art care has plans to take care of several other pieces in the collection including man lin choi's sculpture the monument to the korean community. it has been in the park over 0 years and has become a magnet for vandalism. we are looking at several henry march sculptures. one in front of the symphony building that needs to be treated. we are looking at the yin and yang. a much loved piece but as a resu result. it was launched may 20, 2010.

ruth was celebrated with a lifetime achievement award for her contribution to and influence of the bay area community. the award is embarrassing to me like mad but i have to learn to accept it. and good things are heard about people when they are dead and i'm hearing it while i'm alive. i look upon the award as an opportunity for me to find a place for myself and keeping the art care program going. the arts commission director of programs addressed the crowd and asked for each member to consider donating funds to help save some of san francisco's most important neighborhood landmarks. >> as one of san francisco's

living treasures, we respect you a and, frankly, we are in awe of your 50 years of tireless efforts as an early art entrepreneur. >> giving is contagious. i would like to be perhaps the first donation to art care and present you with a check to get the ball rolling. >> because i know the arts commission is very sincere about them i'm going to make a personal commitment of $10,000. >> what is significant about the program is the way it is set up allows us to treat the art works that have the most need, the ones that our conservators are pointing out as most vulnerable as opposed to the most popular or most visible. >> art care is a fantastic opportunity for the public to get involved with these art works that are located in their back yard and ultimately belong to them as citizens of san

francisco. >> i want to do something for the community and give back to what the community has done for me. it is a corny phrase but it is true, giving back. it is what it is. i will be able it see more pieces cleaned up. >> cull wire will -- culture wire will check back and see the fruits of conservation and revitalization efforts. if you would like to find out more or donate go to ff art commission.org. thanks for watching culture

>> i have been a cable car grip for 21 years. i am a third generation.

my grand farther and my dad worked over in green division for 27. i guess you could say it's blood. >> come on in. have a seat. hold on. i like it because i am standing up. i am outside without a roof over my head and i see all kinds of people. >> you catch up to people you know from the past. you know. went to school with. people that you work with at other jobs. military or something. kind of weird. it's a small word, you be. like i said, what do people do when they come to san francisco? they ride a cable car.

>> california line starts in the financial district. people are coming down knobbhill. the cable car picks people up. takes them to work. >> there still is no other device to conquer these hills better than a cable car. nobody wanted to live up here because you had to climb up here. with the invention of the cable car, these hills became accessible. he watched horses be dragged to death. cable cars were invent in san francisco to solve the problem with it's unique, vertically

challenged terrain. we are still using cars a century old >> the old cable car is the most unique thing, it's still going. it was a good design by then and is still now. if we don't do something now. it's going to be worse later. >> the cable cars are built the same as they were in the late 1800's. we use a modern machinery. we haven't changed a thing. it's just how we get there. >> it's a time consuming job. we go for the quality rather than the production. we take pride in our work and it shows in the end product. >> the california line is

mostly locals. the commuters in the morning, i see a lot of the same people. we don't have as tourists. we are coming up to street to chinatown. since 1957, we are the only city in the world that runs cable cars. these cars right here are part of national parks system. in the early 1960's, they became the first roles monument.

the way city spread changed with the invention of the cable car. >> people know in san francisco, first thing they think about is, let's go