leading into the existing terminal, remove the bus deck, roof, and walls. demolition contractor continues salvage operations inside the existing terminal, and the abatement work continues throughout the project. the archaeologists completed their work at the west end of the project. just as a reminder, the demolition phasing -- we are in that pink phasing, the phase two work, as of saturday the 30. we removed all the structure across fremont after three successful -- success of closures of fremont, and we will start working on the closure across first street next weekend. the archaeologists work being completed, some of the items that are being salvaged, some of the signs and benches, and everyone will remember cuddles

getting loaded up and ready for storage. the abatement or spot of bateman had to be done in order to remove the seal. here is a picture of the demolition of the roof of the bus and deck and the outside walls. as of this morning, if you came by the private, they have completed about 2/3 of the removal all the way over to the west end. you can see daylight. they will continue taking walls down in this fashion with a nibble the top down so as not to spread the debris on our neighbors. it has actually been very well contained. no complaints. a couple of weekends ago on fremont street, they were taking the structure down, and that is what it looked like about two weeks ago with the entire removal of the roof deck and the walls.

as i said before, to date, over 11,000 -- nearly 12,000 kraft hours have been completed. bay area labor has contributed 11,184 hours or about 94% of that labor. just taking a quick look at the time line, the events coming up through november by the weekend before thanksgiving, we will have the first street crossing completed. early november, and of this week or next, they will start working on some of that utility relocation in order to check all the as bold and move on from there. if there are not any questions, that is the end of my presentation. >> directors, that concludes my report. >> i want to offer a comment on the information and executive director's report. in my fellow board members and

ac transit have been very concerned about the number of benches, the lack of bathrooms, and the function ability of the canopy, so i'm happy to hear that you have increased the numbers and you are looking at availability of the bathrooms and will be conveying that information to my fellow board members. thank you. next item, public comment. >> [inaudible] address the authority on matters not on today's calendar. >> good morning. i'm appearing before you today to ask that the problem, insofar as african american people are concerned, and i have made a request that this agency give

us, as the president of the african-american contractors and truckers association -- how many african-americans are working on these jobs? how many of them have contracts, if any? people refuse to do it, and i think back as we petition the federal government to find out how many african-americans were in afghanistan and the iraqi war, it is around 27%. about 18% of them are returning to the united states. out of that 18%, about 9% are severely injured and hooked on some form of drug, and most of them are moving back to the same communities. one of the things that is

bothering me about this whole thing is every time something new starts, black people are always left out. the bay bridge got built, and they thought it was a milestone because a black contract got $300,000 worth of work on that bridge of about $7 billion. on the hetch hetchy, about $150,000. african-americans have received. on this project, we have tried to get that information, but they refuse to give it to us, and the reason i'm appearing before you -- i would like for that information to be made available. how many african-americans are working with those contractors? how many african-americans are getting contracts with those contractors? it has been our experience that the contract is the same, as long as we hire minorities, we do not have to hire blacks. that explains why in san

francisco, 42% of african- american men between the ages of 15 and 45 are unemployed, but yet, they say -- i hope that we can get something accomplished by coming before you and asking you to make available to us that information of how many contracts go to african- americans, how many african- americans are working with each one of these contractors, and one of the things you know, these contractors are given low prices, but what most of you do not know is some of these truckers are working from fresno and other places in california, working for $68 or $70 an hour. there is no way for a trucker in san francisco to work for $75 an

hour. something needs to be done about it to see to it that these contractors pay a decent wage to the truck owner/operators. >> thank you, mr. walker. let's move to the consent calendar. please read the items contained in the consent calendar. >> all matters are considered to be retained and will be acted upon by a single vote. directors, we have not received any indication that members of the public or the board was to have an item seven. items are approval of the minutes of the october 14, 2010 meeting, and authorizing the executive director to issue a joint french -- trench authorization letter. >> so moved. >> i have to recuse myself from the minutes.

>> [inaudible] >> i was not here also, but my understanding is you can still vote on the minutes even though you are not present. >> oh, really? ok. >> i was here. i have reviewed them, and they look good. director daly: i second the motion. >> aye. daly aye. church aye. ortiz aye. 4 ayes and the consent calendar is approved. item eight, authorizing an amendment to the construction manager/general contractor services for the construction of the transbay transit center building and related structures

to update the terms of the agreement to incorporate construction of the rail levels of the transit center in the project of the bottom of sequence to clarify which elements are now included in phase one and phase two of construction, to revise the construction schedule to seven years and cm/gc fixed fee to $71 million, and to modify related contract language. >> this is a resolution authorizing the tjpa to amend contract the 08-04-cmgc-000. with the joint venture joint -- of webcor builders and obayashi, this comes from the

successful attainment of a grant to construct the rail levels of the transit center in phase one. the amendment of dates the terms of the agreement to incorporate construction of the rail levels in a bottom-up construction sequence, to clarify the scope of construction, to revise the construction schedule and cmgc fee and modify related contract language. in march 2009, you approved the initial contract reward and directed the staff to move forward in a phase one elements of the transit center valued at $500 million. the work was to commence in september 2009 for five years. in june of 2009, you authorize staff to include design of the below-grade levels of the transit center in phase one construction. following that, in october 2009, you approved an amendment from a

marked up of 7.8%, to a direct costs and fixed fee of $39,050,000. this was equivalent to the 7.81% of the $500 million, and it was done to conform with requirements issued by the u.s. department of transportation. in january of this year, yearfra and that -- the fra announced the award. on may 13, you adopted a revised baseline budget and schedule, which inc. the construction of the train box into phase one. staff concluded months of negotiation to and then their contract, and the primary changes of the contract include the following -- increasing the estimated contract value of our program from $500 million to $910 million, which reflects the arra grant, modifying the fixed fee by $50,000 to $71 million. this reflects the increase in

the direct cost, as i just mentioned above. increasing the contract duration from 1825 days to 2255 days, reflecting the amount of time it will take us to do the real box portion of the program, clarifying that the construction method is now a bottom-up construction, no longer using the top down, modifying division 0 and the division wants to further clarify the scope and responsibilities of webcor obayashia, and finally, guaranteeing the tjpa a lower fee because funding may become available or to execute additional work beyond the contemplated seven years. at this point, staff recommends the tjpa board of directors authorized amending the contract and to update the terms

of the agreement as described to you in his presentation. at this point, i would be happy to answer any questions you may have on this item. >> thank you. are there any questions? them a percentage of hard costs is the same. we are just suggesting the fee to attract hard costs. >> correct, and it is identified in contract as a fixed fee. >> item has been moved and seconded. >> no members of the public have indicated they wish to address you on this item. church aye. 4 ayes. item eight is approved. >> item 9 please. >> item 9, an amendment to contract 08-04-cmgc-000.

>> directors, we have a report on this item. >> good morning, directors. i am the principal engineer at tjpa. i reviewed the contract and the bid. it is a well-balanced bid. they are an sbe. they have four small subcontracts. they are doing 71% of the work themselves, which is per their

normal track record of previous jobs. this is a well-qualified contractor, and i would recommend authorizing webcor/obayashi to enter into contract. any questions? >> seeing none, is there a motion to approve this? >> numbers of the public have indicated they wish to address you on this. next item, authorizing the executive director's for the services to federal grants, for

him, and other matters of thomson coburn. >> this has to do with federal grants and a gimmick, and they have worked with us before. is there any question about this item? >> i have one question. the million-dollar deposit is set to be applied on the account. >> we pay them for actual hours worked, but we do not pay on a retainer basis. >> no members of the public have indicated they wished to address you on this item? 4 ayes and item 10 is approved. >> i guess now, we recess for special meeting for closed session.

>> we have not received any indication that any member of the public wishes to >> okay, the tjpa board of directors meeting is now back in session. >> as to conference with real property negotiators regarding the terms of the exclusive negotiating agreement any purchase of the property from the tjpa, there is no action to report. >> with that, we adjourn this special meeting of the board of directors. >> thank you.

>> welcome to culture wire.

did you know the city of san francisco has an art collection consisting of 3500 objects? the collection ranges from painting and public buildings to murals, and from bronze busts in city halls, to cite specific structures. at this time, many of the large works are in desperate need of repair, and a long-term innovative solution is needed to make sure these public treasures will be cared for. >> the story of the arts commission program begins with ruth fromstein. 2010 marks her 50th year as an art dealer. at the helm of the county, she had represented some of the most

notable of bay area artists, and continues to look for new talent. >> the artists that i represent, what do i choose them, if asked to do with a background of what the gallery is about. i love the idea of finding new guys and watching them grow. it is the old fashioned way of having a nunnery, which is having a stable. what you have is loyalty to them, artists are loyal to you. the philosophy behind that, my philosophy, has not changed since i started 49 years ago. i take care of you and you take care of me. it has been that way ever since. >> ruth represents the estate of the world renowned sculptor peter focused.

in 1971, he created and the love the untitled public work cited at seventh and bryant. like many other public works of art, this is in need of repair. ruth began conversations with the director of cultural affairs, a andart care was born. >> we look at all of the local pieces and decided which one needed the most repair, to bring it back to where it was before. that is what i am after. if you drive by right now, you cannot see it coming down seventh street. you can only see it as you come up to it. >> one's culture outside of the hall of justice was one of the first pieces commissioned after the 1969 ordinance.

it is significant that we are planning to treat it as part of the art care program. the program intends to take care of the bronze sculpture located in very park, a monument to the korean community of san francisco. it has been in the park for over 20 years, has become a bit of a magnet for vandalism. we are also looking at several sculptures from henry more, one in front of the symphony building. we are also looking at yen and yang, a much loved peace -- piece. but the team has been damaged over time, so we need to treat -- patina has been damaged over time, so we need to treat it. >> roof and was given a lifetime award for her contributions to

and influence over the bay area artist community. >> the lifetime achievement award -- it is embarrassing to me but i have to learn to accept it. this is the way it is. also, everybody here is good things happening about them after they are dead. i have the opportunity to see this happen while i am still lives. i look at this award as an opportunity for me to find a place for my craft and keep the art program going. >> the director of the program address the crowd and ask 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 and, frankly, we are in off --

awe of your 50 years of tireless effort as an early art on from for north. >> i would like to be perhaps the first donation to our care and present you with a check to get the ball rolling. >> because i know that the arts commission is very sincere about this, i'm going to make a personal commitment of $10,000. [applause] >> what is significant about the program is the way it is set out allows us to treat the artworks that have the most need, the ones that our conservative have pointed out as the most vulnerable as opposed to ones that might be the most popular were the most miserable -- the most visible. >> it is an opportunity for the public to get involved with these art works located in their backyard and ultimately belong to them. >> i want to do something for the community, just giving back what the community has done for me.

it is corny to say, but it is true. it really is what it is. that i would be able to see more pieces cleanup. >>" will check back in the future and see the fruits of conservation and revitalization efforts. if you would find out more or donate to the art carethe artsfartcommission.org. >> welcome to "culture wire." today we're headed to smpling f. camera works, a premiere venue for artists working in photographer, video, and digital media. the latest exhibition lists

clearness as a set of political alliances and possibilities that it is behind the sphere of dominant gay and lesbian culture. the curator fills us in on the process of creating this thoughtful exhibition. and what she would like you to take away from it. >> i co-cureated with danny, a chicago-based writer and curator. the conceptual framework is what it means to be clear and radical for our generation. clearness as a set of political alliances and possibilities, not necessarily related to institutions of gender and swam formativity. danny and i wanted the show to feel funky and to have a really tangible quality to it.

so part of that was incorporated handmade objects and installations and beautifully printed photographs and videos. there is also a lot of opportunities to participate and to take postcards or to get the photo taken or sit within a tent made out of afghan blankets to watch videos. the exhibition is organized in three distinct galleries. in gallery one, which is the gallery designated to clear activism, there is an installation by the oakland-based collaboration and it's called "unleashed power." it's all focused on one protest that happened in chicago in 1991 with the activist organization act up, which was protesting the inadequate health care for people living in aids, and specifically it focuses on an act of police

violence that occurred at that protest. the thing that is really interesting for me about that piece is that it brings us back 20 years to what clear activism looked like at the height of the aids crisis. gallery two features work that is related to intentionally communities that exist both within cities, also in rural spaces, and transient communities as well. the return features a no madic clear tribe, the people who join this tribe are often in various states of transition themselves, whether it's leaving behind previous gender assignments or corporate jobs or a life within cities. a lot of the work featured in the exhibition and a lot of the installations are handmade objects. there is a lot of do-it-yourself aesthetic and

that handmade do-it-yourself feeling is something that mimics the idea and the reality of the alternative world making that we're trying to represent here as far as the self-sufficient community goes. gallery three features work that relates to the ideas of self-determinenism, alternative world making and utopia. visits can still participate in this -- visitors can still participate in this project. during the opening, we invite visitors to come in and try on these costumes, pose in front of the backdrop. he was really inspired by comic books that he read as growing up and thinks of this space as a post-apocalyptic monster portrait gallery where pe