program is a program that helps, with the historical and underserved communities to really expand their reach and fill their cultural programming. the proposed budget will be reduced by $88,000, and this means that we will probably see seven fewer grants, we will see about 75 different cultural activities, less than the year before. there will be 400 artists that will not be helped, and about 51,000 participants or audience members that will not be able to see. this is the anticipated impact and i wanted to highlight a number for you there, and this is the leverage number. the arts commission is not the only sponsor of many of these

grants that are given. they get the grants from the city and they will leverage other funding, and so, it is very important to note that -- for instance, with the 2 million that the city has invested, there have been at least 7 million that have been leveraged on the part of the different grant recipients. in wrapping up, we receive a modest increase to the collections and the maintenance. for a long time, the arts commission has been having to deal with a $15,000 per year maintenance fund, and the current fiscal year this was increased. they bombed this up to 75,000 of

the proposals go through. what would happen with the maintenance funding is that this is gone within the first few months, dealing with the issues. one thing that is very important for the city to remember is that there are 3500 works of art, and we recognize that the city can take this by themselves, this is a way for private citizens to support the maintenance of these funds. we have the former commissioners, and we are hosting an event at the home, recently. we have the specifics -- the art

collection, and those potential supporters. these are the various variances, and there was a question regarding the five-year outlook for the arts commission. the greatest challenge that we are facing is that this deals with the capital needs of the center, and these have been in the hands of the city for several decades. for different reasons they have sustained the current maintenance period there is the back wall of capital repair. the backlog is about $5 million in capital needs. and the arts commission will

play a greater role in preserving arts education and youth development, with the other programs that we will implement to help with the schools, and the school district is challenged as we all know. we believe that this challenge will not go away. we think the arts commission can play a role in arts and education. and we are working to maintain funding for the cultural equity grants program. this is up -- this is a way to make a wise investment to make certain that the city is attractive and sustained. thank you very much in i am available for questions. >> thank you very much.

the budget analyst as not have a report on the budget. but with regard to your public art program, this is mandatory. this will find the site. can you talk about your program and everything that you are working on. >> this program, the ordinance is one of the earliest ordnances, going back to about 1969. this funded through the capital budget that these projects will take. when the city decides on a major improvement, about 2% of the eligible construction budget is

set aside for the acquisition of works of art. one of the things that we have done, this has been created for the design, and the utilization of the public facilities, we have learned a national reputation for the best practices. the americans for the arts in san diego, there were three installations listed as the best in the country. we have more on the international artists and how they can be put in the fabric of everyday life in the city of san francisco. >> i wonder if you have considered how we could utilize

this to help the projects. understanding that art is an important component, is there a way to work with beautification around certain areas and could we utilize some of this with a particular project? >> one thing that we're looking at is if there are city projects, and there are fewer and fewer resources, this is something we would like to see happen. has your staff and working with the project with the city department and otherwise, to look at how hard will function, with the project design. 2% does not always go on the interior or invisible arts commission.

we have the international airport them balls the floor, for instance, that the users walk into. this is the entire entrance to the hospital. with the facility, this begins with the outside. we are always looking for opportunities for how the improvement -- it is limited to the site, where ever decide improvement is, that is where the 2% gets to be spent, so this includes the approach, the exterior, the public interior of the spaces, so we think of it as a continuing for the user experience. supervisor chiu: what are your

upcoming large projects? >> some of the upcoming major projects include general hospital. jennifer, -- the central subway is another major one. transbay 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