harlan kelly has been instrumental for bringing several people to the table and making sure that it has actually put together in a fashion that works for you guys. the departments are working very hard to break the contract as much as possible so that the small business, the micro business can participate and obtain these contracts. our biggest goal is to the make sure that businesses are certified and the ultimate goal is to see will graduate from the program. that means that we have succeeded if you have exceeded the threshold. thank you for coming, and let us know if we have any concerns with the human rights commission at let's look at this town hall meeting as the beginning of this

dialogue so we can have more in the future. >> please have some refreshments, for all of those the have nots. how you are very important to us, and to thank my colleagues for taking out of their busy schedules to come and talk with you about the opportunities. please come up -- to talk with them.

>> i came out to san francisco about seven years ago. i was trained as a carpenter. i got sick of the cold weather and the hot weather. i wanted to pursue art. i thought i really be here for about three years. here i am, 7 years later. ♪ i have problems sleepwalking at night. i wanted to create a show about sleep.

a mostly due painting kind of story telling. these are isolated subject matters, smaller studies for the larger paintings. i fell in love with it and wanted to create more of them. it is all charcoal on mylar. it is plastic. i was experimenting and discovered the charcoal moves smoothly. it is like painting, building up layers of charcoal. it is very unforgiving. you have to be very precise with the mark-making. a mark dents the paper and leaves the material embedded. you have to go slowly. the drawings are really fragile.

one wipe and they are gone completely. it is kind of like they're locked inside. all of the animals i am showing are dead. i wanted them to be taking -- taken as though they are sleeping, eternal sleep. i like to exaggerate the features of the animals. it gives it more of a surreal element. it is a release subtle element. -- it is a really is subtle elements. the range of reactions people get is that normally they get what i am trying to achieve, the sense of calmness, it's really gentle state of mind -- a really gentle state of mind, i guess. ♪

>> sanrio famous for the designs for hello kitty. i thought i would try to make it as cute as possible. that way people might want to read the stories. then people might be open to learn about the deities and the culture. ♪ they reached out to make about five or six years ago because of the book published.

they appreciated that my work was clearly driven from my research and investigation. after i contributed my artwork, the museum was really beside themselves. they really took to it. the museum reached out to me to see if i would be interested in my own space inside the museum. i tell them that would be a dream come true. it is the classical, beautiful indian mythology through the lens of modern design and illustration and storytelling. they're all of these great sketch as i did for the maharajah exhibition. i get a lot of feedback on my artwork and books. they complement. they say how original the work is. i am the first person to say that this is so derived from all of this great artwork and storytelling of the past.

the research i put into all of my books and work is a product of how we do things that a-- at pixar. sometimes you will see him depicted monkey-like or as superman. i wanted to honor his monkey coloring. i decided to paint him white with a darker face. it is nice to breathe new life into it in a way that is reverent and honors the past but also lets them breathe and have fun. it is almost a european notion to bring these symbols and icons from southeast asia. they decorate their deities.

it was a god they interacted with every day in a human way. the most important thing has been to create work that is appealing to me. i want to see vishnu to pick did in a modern way. it dawned on me by reinterpreting the deities in a way that is modern and reverent to the history, i am building a bridge for young and old audiences to make friends with the culture and these icons to learn their stories. ♪

>> the question when i started 11 years ago when i started doing resolution work is can anything be presented on a really low resolution device where it is potentially a digital image? can anything be presented that way? or will it feel cold and electronic? >> the imagery will change. there will be four different sets. it is a two dimensional image. it is stretched out into three dimensions. the device is part of the

experience. you cannot experience the image without the device as being part of what you are seeing. whereas with the tv you end up ignoring it. i make gallery work more self and budget and public art work where i have to drop this of indulgence and think about how people will respond. and one of the things i was interested in the work and also a little fearful of, it is not until you get to the first and second floor were the work is recognizable as an image. it is an exploration and perception is what it is. what are you seeing when you look at this image? one of the things that happens with really low resolution

images like this one is you never get the details, so it is always kind of pulling you in kind of thing. you can keep watching it. i think this work is kind of experience in a more analytical way. in other words, we look at an image and there is an alice going on. -- and there is an analysis going on. >> we are going to begin our program with a lovely singer who has decided to join us this evening. please give a warm round of

applause. [applause] ♪

♪ ♪ [guitar] ♪ [singing in spanish] ♪ ♪

♪ ♪ [singing in spanish] ♪

[applause] >> gracias.

thank you so much. i am from juarez, mexico. the next song is one that i wrote about c-torres -- ciudad juarez, a town that has been going through a lot. we know that there is always hope. this song is about the realities of life and hope that we can all have despite any chaos or troubles that we may have. this song is called "en juarez." ♪ ♪ [singing in spanish] ♪

♪ ♪ [singing in spanish] ♪

[applause] gracias, thank you. i am going to do a song in english for the non-spanish speakers.

this is a happier song. it talks about how if we left greed behind, there would be enough for everybody. this song is called "enough." ♪ ♪ day is so dark cannot seem to find all around so tired we never seem to have enough want to be someone else the sun is so bright

there is enough for all of us there is love for all of us the sun is so bright ♪ ♪ ♪ shiny day unovers all smile upon your face every now and then, the light bulb breaks the sun is so bright there is enough for all of us there is enough for both of us there is a lot for all of us

long and short yours and mine this color, here it is it sees the light coming down coming down ♪ ♪ ♪ the sky is filled with clouds the rain is coming down the sun went for a walk soon he will be back and i say, the sun is so bright there is enough for all of us

the sun is so bright, there is enough for both of us. there is love for all of us. the sun is so bright ♪ ♪ oh, oh, oh, oh, oh ♪ [applause] thank you, gracias. ♪ ♪ [guitar]

this song i did not really write. it talks about life in the fields. it speaks close to me. my grandparents were farmers. i guess i can dedicate this to everybody who has been involved in any sort of field work, growing up there, or even if you just enjoy the fields, being in the country, nature. ♪ ♪ [singing in the fiel spanish]♪ ♪ ♪ [singing in spanish] ♪

♪