what are your upcoming large projects? >> some of the upcoming major projects include general hospital. jennifer, -- the central subway is another major one. ransbay terminal, which is a voluntarily effort on the joint powers authority to set aside major space and support for public art there. what are some of the other ones? >> [inaudible] >> the public safety command building that is under way. >> [inaudible] >> there are numerous rec and park bond issues coming up. supervisor chiu: if i could ask, one of the things i would like to see is how we spend our time?

we have 11 full-time people managing this project, which on top of the arts component, we have a ton of public employees who were also a managing the project, so i would really want to understand why it is we made 10 people, even people to do that for those are to -- why we need 10 people, 11 people to do that for those projects. in there are quite a large number of projects, and many do not begin and end with in a two- year period. as you know, capital projects extend overtime. one project manager is handling on a typical spaces between 15 and 18 different projects simultaneously. there is a tremendous workload that is being addressed by these individuals. supervisor chiu: and i appreciate that. i was wondering if you could follow up with more detailed

information. the other thing i wanted to follow up on is i understand through the arts program there is a program where you help pay for murals in areas that continue to be vandalized with graffiti. can you talk more about that? can you talk about how much is set aside for the purpose of the budget? >> absolutely. as you know, the city of san francisco has had a major graffiti abatement process for many years. an inordinate amount of money was being spent by the department of public works to remove the graffiti. we're talking about in the order of anywhere between 16 million and $20 million per year was going on for this. ed reskin and i came up with an alternative, more preventive way to address this problem, instead of just responding all the time to what graffiti vandals were doing.

so we developed a joint project, which dpw awarded to west $20 millious $20 million per year ta component where young people in the early grades are taught the difference between creating in the public space with permission and creating in the public space without. what are the consequences of that for a neighborhood? there are 15 schools, public schools in the city that participate in this program. we then have the one that you just referred to, supervisor chiu, is a city called street smart. they're weak partner with private property owners who, as you know, if their private property is graffitied and they do not remove the graffiti, they

received a fine. you have some property owners that have been fined repeatedly for having these scandals dirty up their walls. this program called street smart has now commissioned -- we did 10 at murals last year. we're doing 20 murals this year. these are murals are by urban artists. the workers on their property, and i can tell you without exception, every time one of these murals has gone up, there has been no graffiti on those murals. it has been a very effective counter intervention to this graffiti problem. supervisor chiu: was there a third component? >> free walls. free walls -- sunday streets. this is a component in which the sunday streets we erect a temper wall -- erecting temporary

wall. we then talked to them about the difference of creating with permission and the damages to neighborhoods in cities when people go and attatag properties without permission. supervisor chiu: with the street smart program we did see a number of our neighborhoods where we did see tagging, so a number of the project site and that getting a mural and have not seen it since then, but there has been a lot of consternation from the community, because the art work looks exactly like graffiti. i am wondering if you have any thoughts about that and how it is you can better engage not just a property owner that is seeing their perpetual graffiti, but also the neighborhood around it? >> of course we are walking a

fine line when we are doing things in partnership with private property owners. and we do -- the arts commission goes through the process of doing an open call for a competition for the artists that we have pre-screened, and then we create a list, which is about 25 names with samples of their work that is presented to property owners. they picked the artist. then in conversation between artists and property owner, we encourage them to talk about what will get put on their wall with neighbors. it is not as rigorous as a process as what we do when we do the public art program, because there we hold public hearings and is pretty extensive. in the street smart program, it is not as extensive. we can look at how we might want to broaden that a little bit more. supervisor chiu: i think that

might be helpful, because if the conversation is just with the private property owner and the artists, you leave out generally the people that had been seeing the place. if there is a way to have that input put in, or to have the arts commission conduit bec in that conversation, because what we see now are some folks that are concerned that we have used public monies to pay for something like that on private property. i just want to bring in raise that point, because i think there needs to be a better communication with the community. >> absolutely, and we respect everyone is an art critic, so we want to be supportive of the public dialogue. supervisor chiu: great. i know there was no public dialogue on this item, but i was hoping you could work with the budget analysts on the issue of how we may be a will to see if there is any additional resources for street smart city

merle abatement program. i'm not sure how it would work, but if there are any resources we could use to refer to this area. -- to see if there is any additional resources for street smart city mural abatement program. >> there is a backlog. last year we did 10 come in this year we will do 20. we have a backlog of citizens that want to participate. if we have more resources, we certainly could have more of an impact. in supervisor chiusupervisor cht to emphasize we do not have free money to pass around in the general fund. so why was hoping to look if you have money in the general fund in see if we can shake loose a little bit more. if i could ask you to work with the budget analysts on the pursuing week to see what we can do in the next week. >> thank you very much. supervisor chiu: thank you.

>> we have discussed this topic in the past years, but can you give a breakdown of what percentage are going to local artists, as opposed to artists that are not from san francisco? do you have the numbers for this year? in my recollection when we had this conversation in 2008 and 2009 it look like the numbers have been dropping pretty dramatically. if you happen to of a trend line, that would be great. >> for the most current year san francisco specifically, a boad artist, 62 percent are from san francisco. -- those artists, 62 percent are from san francisco. 62% are san francisco residents. supervisor chu: the numbers

beyond that? >> the bay area are included at 65%. that means there are 3% more from outside of san francisco. overall from california the total number -- the total percentage is 77%. supervisor chu: thank you. could you provide that information to my office, and if possible, due at 3-your outlook? do you have a document that outlays the different funding sources to the different cultural centers you have? there are a number of funding streams, and the concern i have had is with the api and the virtual centers. what i continue to hear from the community of artists around the centers is day are significantly underfunded compared to the other cultural centers that we had. it is not laid out in your presentation. >> we did not lay out a

breakdown of the funding per cultural center either physical or virtual. i can say in the last fiscal year, not the correct one, but the last fiscal year at a time when all of the city departments took a hit, the arts commission and cultural centers sustained no cutbacks in fiscal year 2010. the cultural equity grant program sustained a $90,000 reduction. there is a historic pattern to the level of funding for each of the cultural centers, and this year they are sustaining a cut between 2500 -- actually about $2,500 is the reduction. supervisor chu: could you provide an analysis before you come back up what the funding sources are for each of the

cultural center so i have a sense of what the picture looks like from your sense? because i know there are a number of different monies -- i know it has been difficult to understand what the funding looks like. the cuts are affecting the rigid circles centers. -- the cuts are affecting the e virtual centers significantly. supervisor chiu: thank you. since there are no recommendations at this point, we will see you again. we go to the fine arts museum. >> thanks. good morning. i am john buchanan, director of the fine arts museum, and i am

here with our board president, diane bewithly, and chief financial officer. we want to say first of all, thank you to the city and county of san francisco for the incredible support that you give the arts, in particular of the fine arts museum, and i also want to extend our appreciation to the mayor's budget analyst and to the budget analyst and all of the supervisors' offices and to the other departments that have participated in putting our budget together. for those of you that are less familiar with the fine arts museum of san francisco, i would like to briefly describe our organization, and the remarks i am board to make are going to be handed out to you in executive summary of the end of my presentation. ias you can see by the overhead

projector, the fine arts museum is comprised of two museums. one is located in golden gate park. just below that, the california house of regional honor established in 1974. >> do you have printouts of that? >> i do. a picture is worth 1000 words. as you can see we maintain and operate to incredibly important museum buildings in america -- two incredibly important museum buildings in america. we have an incredibly close relationship with the county and city of san francisco. the land or the property on which our museums are located

belongs to the city and county of san francisco, and each of the museum buildings, which are on my overhead slide and the handouts we have just distributed also belong to the city and county of san francisco. in fact, the nemuseum of the top of the page was given to the city and county of san francisco, and at that time represented the largest private sector gift of the city to san francisco at $210 million cost was raised entirely and elderly from private sector funds -- and utterly from private sector funds. the fine arts museum employs 562 full-time and part-time persons, of which 349 are san francisco residents. we are very proud of that. since the opening in 2005,

the combined you museumuseums hn visited by over 11 million persons. in the calendar year of 2010 with an attendance of over 2 million, 2,043,000 persons, the de young museum was the fourth most visited museum in america, behind the museum of new york and the national gallery. in fact, was the 16-most visited museum in the world during the calendar year 2010. when you add in the attendance of the legion of honor, that bruce as internationally. we are the 14-music dit is the d museum in the world. also in 2010 our exhibition was

the number one most-visited introduce exhibition in the world -- integrity's exhibition in the world. -- antiquities exhibition in the world. our goal is to bring to all san franciscans the highest quality of art throughout the world. our special exhibition program represent really major ongoing financial investments on behalf of the museums, and i do want to say that in many cases we provide the only opportunity to come face to face with great works of art from throughout the world to thousands of san francisco and who will never have the opportunity to see them in paris, london, rome, st. petersburg, and points beyond. are consecutive exhibitions -- our consecutive exhibitions

which straddled the past couple of years had 900,000 visitors, and researching and excavating we know that 93% of those visitors came from outside the immediate city of san francisco area. and thereby we know making a major economic impact on the city of san francisco. for this fiscal year, 2010/2011 about to wind up we anticipate the visitation will be about 2,200,000 visitors. 1.7 million of whom will have entered our buildings for free, which is a tremendous amount. i do want to say during the past fiscal year the education programs have served 350,000 individuals, including 75,000

school children from grades k- 12, most of which came to the museum for free due to the underwriting of all school tours. in addition, we have established an access committee over the past four years, and thanks to their recommendations, we have set aside a day each month for the physical and mentally disabled to visit the special exhibition, such as the picasso exhibition currently on view so there can be no interference from the public. we find the lack of crowds is a wonderful tool for the physically disabled to be able to navigate the valeriegallerie on monday we had 300 disabled persons come to see picasso. i counted 25 wheelchairs' and

the number of dockers, which shows there is a huge demand for that kind of service in san francisco. i would go on to say that my favorite program are that are at slam days. it is a disabled artist art fair were 200 artists, each year to the museum to show their short films, exhibits their art, program demonstrations, and take us through interpreter programs of how to look at art without hearing or seeing. each of those days it attracts about 1000 disabled bevisitors. we can count 12,000 disabled vehicle -- visitors to have been served by those particular programs. i know you are interested in where we're going over the next three to five years and we took

that question very seriously among staff and trustees. supervisor chiu: can i ask you a quick question about attendance? even despite nearly 2 million visitors, but 72% are entering free of charge. is that pretty typical of museums of the caliber of that that we have? >> it varies from museums to museum, depending on the structure. i would say one-third of de young is open free of charge. our royalty court, observation tower, so we see a great deal of visitors coming for those particular features of the building. it is still a huge attraction. the bloom is not off the rose jet sellers syet shall we say.

our disabled and disadvantaged audiences as well. i was going to just comment that i think that maintaining and elevating the quality of our programs over the next couple of years will be among our greatest challenges, as we have generated this tremendous desire and need to come to the museum and see our collections and exhibitions. of course our special exhibition program, as i mentioned, is one of our top engines and driving that, and we're looking at a very ambitious program for 2013 that will commence with our presentation of the girl with the parole heariearl earinga, ag with the america's cup.

really elevating the quality of work that we're doing is a huge challenge. our second challenge, or shall i say opportunity will be the maintenance and repair of both museum buildings, which as i mentioned, the city of san francisco loans, particularly in the wake of this huge visitation. -- which as i mentioned, the city of san francisco owns, particularly in the wake of this huge visitation. over this past winter and spring, for example, we had an amazingly popular program of the legion of honor. over 56,000 visitors came to see that between early february, just a few weeks ago. i had my fingers crossed the entire time that some piece of masonry does not fall off the building in the courtyard of the legion of honor. in fact, it's about making safe

harbors for not only the collections, but also for our visitors as well. third, and perhaps for most of the challenges and opportunities over the next three to five years, is our ability to secure in late in ongoing support for our friday night's at the de young. these are incredible programs that have allowed us to embrace a multi-cultural and diverse audience here in san francisco. late night programs featuring tours, hospitality, and education. over the past 11 months, 95,000 people have availed themselves, with 10,000 coming to see the great ol mex exhibition. in truth are real aim is about

availability and accessibility to the broadest in thst adnd deepest audience as possible here in san francisco. we are proud to attract our culturally diverse citizens. i just want to say, in conclusion, that we accept the mayor's proposed budget of $15.7 million. as you know, it is outlined coming from the additions fund, was a transfer of art and missions to the city netting out on behalf of benefits and cash and overhead. a return of admissions of 2.7 to the museum. in addition to that expenditures from the general fund that includes salaries, which are about 72% of the budget, services of the departments,

which include utilities on both of the buildings, as well as insurance on our collections and building maintenance of about 4%. the balance of the museum's overall budget, which combined with the city portion and the private sector portion, stands at $56,372,000 projected for 2011 and 2012. that will be funded by the private section of the corporate arts sector of san francisco. as i said to you earlier, my board president is here, and she provides the leadership to work with the trustees, the foundation, and the staff in bringing those private sector funds. fund-raising, earned revenue, and in down the income to balance out the $56 million. -- endowment income to balance out the 56 million. we stand ready to work with the

supervisors and mayor's office to finalize any details that we need to in order to put the budget to bed, but i appreciate you letting me introduce the fine arts museums of san francisco. we are here to answer any questions that you might like to ask us. supervisor chiu: thank you. i do want to say thank you very much to your president of trustees because of the work you do. is there any work you would like to present? >> not really. it is just that i have appeared before this board of supervisors many times in building this museum, and i am so thrilled to find a warm reception and friendly voices and not negative poinvotes, which we encounteredr so long. all of the supervisors at that time called me after the building opened and said they loved it. it was incredibly gratified for

me after those long, arduous bytes to get it built. we are very proud to be here. we're very honored to be here and give this presentation to you, and i hope you all enjoy the shows at the museums and take it vantage of what ever we are able to offer you. thank you. supervisor chiu: why don't we go to the budget analyst report. >> madam chair and members of the community, i recommend the details on page 6, totalled $79,936. they are 100 general% -- 100 percent in general fund reductions. this would allow an increase of $888,660 or 6% in the department's budget, and we will certainly work with the department and the pursuing week on this matter. supervisor chiu: thank you. supervisor wiener pyridi. supervisor wiener: are you in

agreement with the budget analysts? >> there are few details and the grass we would like to work out, per to billy as it regards attrition and how that affects overtime pay for our guard force. secondly, i think there is an item regarding uniforms that is also outlined in our mou's that need a little fine-tuning, and i think the third item deals with vendor contracts, which are an issue of going to contracts and making sure that both the budget analyst and our office understand the details of those contracts. as i understand it, those are the three general issues that we need to bear down on. supervisor wiener: i just want to say that i think we have seen a real renaissance in holding these