was necessary to save the lives of others, their control and disciplined response initially and managing the resulting homicide scene, for these actions, the arabs each being awarded the gold medal of valor. [applause] >> commissioner dejesus wanted to say a few words. >> i also want to thank all of

the awardees tonight. i also want to acknowledge our officers give time, energy, and oftentimes money in the community they live in, as well as to the children in those communities. lt. henry parr is the coordinator of the housing authority but is also active in the operation dream, which gives toys to children in the housing -- over $25,000. they will start distributing those toys december 20 through december 23. we are going to post and on the website. i just wanted knowledge, in doing your everyday work, they give so much time to our community, and this is a wonderful thing to do to give toys to the children of those

in the housing authority. thank you. [applause]

>> now we will have the medal of valor presentation for sgt timothy paine, sergeant james o'malley, sgt gregory kane, officer william eleiff, and officer steven stearns. [applause] >> on may 5, 2004, a round in

o'clock p.m., there was an attempted kidnapping of strangers of a woman and her son. the suspect proceeded in a chevy trailblazer and used a large caliber gun and fled westbound on any street. the suspect's description was broadcast five minutes later at 8:05. two minutes after that, officer eleiff saw the suspect vehicle and paged and began following it. as he broadcast, holding a court microphone, his location, the vehicle sped off at a high rate of speed. opposite the live activated his lights and sirens and pursue the vehicle. the suspect drove west on haight and then northwest on the visitor.

the suspect drove northbound in the southbound lanes of the visitor. of azeri live broadcast a license plate as the suspect turned west on hayes. the suspect drove north on broadway and fired one shot at officer eleiff. , -- stearns, and kane. those shots can be heard of the recording of the night. the suspect headed north and again leaned out the window to fire at the pursuing officers. the suspect then turned eastbound on to turkey into oncoming one way traffic. officers paine and o'malley saw the vehicle traveling up a high rate of speed on to oncoming

traffic. officer pain is a specialist. they are more heavily trained in these types of situations. knowing the information, he attempted to halt the suspect by firing at the suspect. the round, but officers hearing the shot at the suspect had fired at them. officers o'malley and paine, knowing that officer eleiff was a single unit, decided to pursue the suspect. the suspect continued into oncoming traffic until he turned north on webster and the east oneddy, sot on buchanan. during this pursuit, officer you lift prop broadcast the suspects route while driving, holding the microphone in one hand. once in large rally, the suspect drove along the block calling for residents of the housing project to come out and stop his

car. officers paid and o'malley not arrived at the other end of the alley. officer of valley got out of his car and ran down the building line toward the vehicle. the vehicle started again. fear of the suspect might get into another altercation with civilians, as this was mayor of the scene of the initial incident, or leave the alley to in danger citizens and officers, officer of valley stopped -- officer o'malley shot one shot. the suspect fired a round at them through his back window. officers came, stern, and the live, returned fire without hitting the suspect. the officers continued their verbal commands to the suspect to put up his hands and leave the vehicles. the suspect got out of the driver's door, raised his hands, took off his shirt doing a full circle. the suspect then dropped his hands to his waist and took a

few steps toward the officers who did not fire at these provoking actions. the suspect then returned to his car and sat on the running board. officers kept up a stream of commands for the suspect to surrender which he ignored. officer pain move down the alley toward the alley, warning people to get out of the street. sgt. paine had arrived at a position parallel to that of the subject -- suspect. the suspect turned in the car and appeared to be getting something. he turned back toward the officers who again held their fire. the suspect turned back toward the inside of the vehicle, appeared to shield his movement. officer -- sgt. kane saw the suspect reached under his driver seat. the suspect then spun around toward the officers. sgt. paine, believing the suspect would again opened fire, fire three shots. the suspect fell to the ground.

officers called for an ambulance and administered first aid. the suspect was pronounced dead at the same. the suspect's gun was recovered in the driver's door. the suspect was initially wanted for attempted to kidnap a stranger and alison son using a gun. this heinous crime testify the pursuit of the subject. the suspect's crimes showed a gravest threat to public safety. the suspect then fired repeatedly at officers. each of these officers had time to make a decision to put their lives at risk for the public safety. each of these officers could have made decisions to not join in on the efforts or to abandon their attempts to take the dangers of its critics suspect into -- custody. officer eleiff could have backed off the chase as a 1 person

unit. officer stearns and sgt. kane could have done nothing. officer came and started o'malley also could have decided not to. each of these officers showed restraint in not firing their weapons where a suspect provocative action would normally end in shooting. these officers were awarded the gold medal of valor. [applause]

>> a sgt. paine, who could not be here tonight, was also awarded the gold medal of valor.

>> it is with great pride that we honor these individuals for their valor. every day, officers put their lives at risk and do very good police work and we do not do enough to thank them for that.

i am brought to be part of a ceremony where we can point to these heroes and thank them publicly, the way that we should do so every day publicly. so thank you again. [applause] the police commission and the park would would also like to think the diversity of california's san francisco for its generous support in co- sponsored tonight's event. we would like to single out the community relations office and the conference center office for putting tonight's ceremony and their generous support. i also want to thank ms. tom.

she is the one that put the packs together and organized the event. she did a lot of work and happy that she could be here tonight. this concludes our ceremony. there will be refreshments out in front. there is a photographer. you want to take pictures. i am going to go outside and shake the hands of some heroes and thank them. i hope that you will do the same. thank you for coming again.

>> hello. welcome to "culturewire." we are here today with bay area artist jody chanel, and we are here to see the plaza where your piece has just been installed. >> i have been doing large-scale paintings in the galleries and museums, and the idea that in the future, i could do something that would hang out a little bit longer than the duration of the installation the kind of appeal to me. i quickly found out about the

san francisco arts commission school and realized there was a pre-qualified school you had to apply to, so i applied to the. >> how long did it take you to develop this work for the plaza? >> this was a fast track project. design development was about a month. >> let's look at the beautiful mural. i have never seen a mural created on asphalt. >> the heat of the asphalt, a new layer of asphalt. then, these wire rope templates that were fabricated for the line work get laid down and literally stamped into the asphalt, and then everything was hand-painted. >> maybe you could talk about some of the symbolism, maybe

starting in the middle and working out. >> [inaudible] the flower of industry. >> it is like a compass. there's an arrow pointing north. >> within the great bear consolation, there are two pointed stars here. they typically lead one to the northstar, otherwise known as polaris. so i thought it has a layer of theme. >> let's talk about some of the other elements in the peace. we are walking along, and there is a weather vane. there's a sweet little bird hanging on the side. what kind of bird is that? >> [inaudible] the smallest of the gulf species, and it lives around the bay area. >> you want to talk about the types of flour patterns that you send? >> [inaudible]

around 1926 or so by the dahlia society. >> what is this bird here? >> that is the california quail. >> coming up here, we had a little blustery theme. what is this area here? >> this is supposed to be the side view, the expense of the golden gate bridge. >> there it is. >> there are really beautiful elements of architecture still around, i would say that it gives that feeling over to the work. >> what are your hopes for it? >> that in a way it just becomes part of the area. i think it is starting to have that feeling. people utilize it. they sit and, and have their lunch and play on -- they sit

and, and have their lunch and play on that -- they sit and come and have their lunch and play on it. just for it to be part of the neighborhood. that is my hope. >> is such a beautiful addition to our public art in san francisco. thank you for joining us. it was nice to meet you. and thank you for telling us about your beautiful mural. thanks for watching "culturewire." >> i'm your host of "culturewire," and today, here at electric works in san francisco. nice to see you today.

thanks for inviting us in and showing us your amazing facility today. >> my pleasure. >> how long has electric works been around? >> electric works has been in san francisco since the beginning of 2007. we moved here from brisbane from our old innovation. we do printmaking, gallery shows, and we have a fabulous retail store where there are lots of fun things to find. >> we will look at all of that as we walk around. it is incredible to me how many different things you do. how is it you identify that san francisco was in need of all these different services? >> it came from stepping out of graduate school in 1972. i wrote a little thing about how this is an idea, how our world should work. it should have printmaking, archiving, a gallery. it should have a retail store. in 1972, i wanted to have art

sales, point-of-sale at the grocery store. >> so you go through the manifesto. with the bay area should have. you are making art incredibly accessible in so many different ways, so that is a good segue. let's take a walk around the facilities. here we are in your gallery space. can you tell me about the current show? >> the current show is jeff chadsey. he is working on mylar velum, a smooth, beautiful drawing surface. i do not know anyone that draws as well as he does. it is perfect, following the contours and making the shape of the body. >> your gallery represents artists from all over, not just the bay area, an artist that work in a lot of different media. how to use some of what you look for in artists you represent?

>> it is dependent on people are confident with their materials. that is a really important thing. there is enough stuff in the world already. >> you also have in his current show an artist who makes sculpture out of some really interesting types of materials. let's go over and take a look at that. here we are in a smaller space. project gallery. >> artists used the parameters of this space to find relationships between the work that is not out in the big gallery. >> i noticed a lot of artists doing really site-specific work. >> this is a pile of balloons, something that is so familiar, like a child's balloon. in this proportion, suddenly, it becomes something out of a dream. >> or a nightmare. >> may be a nightmare. >> this one over here is even harder to figure out what the

initial material is. >> this is made out of puffy paint. often, kids use it to decorate their clothes. she has made all these lines of paint. >> for the pieces we are looking at, is there a core of foam or something in the middle of these pieces that she built on top of? >> i'm not telling. >> ah, a secret. >> this silver is aluminum foil, crumbled of aluminum foil. her aesthetic is very much that quiet, japanese spatial thing that i really admire. their attention to the materiality of the things of the world. >> this is a nice juxtaposition you have going on right now. you have a more established artists alongside and emerging artists. is that something important to you as well? >> very important in this space,

to have artists who really have not shown much. now let's look at other aspects of electric works operation. let's go to the bookstore. >> ok. >> in all seriousness, here we are in your store. this is the first space you encounter when you come in off the street. it has evolved since you open here into the most amazingly curious selection of things. >> this was the project for the berkeley art museum. it was -- this is from william wiley's retrospective, when he got up onstage to sing a song, 270 people put on the cat. >> it is not just a bookstore. it is a store. can you talk us through some of your favorites? >> these are made in china, but they are made out of cattails. >> these pieces of here, you have a whale head and various

animals and their health over there, and they are jewelry. >> we do fund raisers for nonprofits, so we are doing a project for the magic theater, so there are some pretty funny cartoons. they are probably not for prime time. >> you sort of have a kind of holistic relationship where you might do merchandise in the store that promotes their work and practice, and also, prince for them. maybe we should go back and look at the print operation now. >> let's go. >> before we go into the print shop, i noticed some incredible items you have talked back here. what are we standing in front of? >> this is william wiley, only one earth.

this is a print edition. there are only eight total, and what we wanted to do was expand the idea of printmaking. this is really an art object. there we go. >> besides the punball machine, what do you produce in limited edition? >> there is the slot machine. if you win the super jackpot, you have saved the world. >> what about work? >> the right design, it was three volumes with lithographs in each volume. the cab of count dracula with 20 lithographs inside and lined with beaver fur. really special. >> let's move on to the print shop. >> ok. the core of what we do is making

things. this is an example. this is a print project that will be a fund-raiser for the contemporary music players. we decided to put it in the portfolio so you could either frame at or have it on your bookshelf. >> so nonprofits can come to you, not just visual are nonprofits, but just nonprofits can come to you, and you will produce prints for them to sell, and the profits, they can keep. >> the return on investment is usually four times to 10 times the amount of investment. this is for the bio reserve in mexico, and this is one of the artists we represent. >> you also make prints for the artists that you represent. over here are some large prints by a phenomenal artist. >> he writes these beautiful things. anyone who has told you paradise is a book of rules is -- has

only appeared through the windows. this is from all over coffee. we are contract printers for all kinds of organizations all across the country. >> thank you very much for showing us around today. i really appreciate you taking the time to let me get better acquainted with the operation and also to share with our "culturewire" team.