>> good afternoon, everyone. welcome to the september 26, 2011, meeting of land use of the san francisco board of supervisors. my name is eric mar, and to my left is supervisor wiener. clerk: please turn off your cell phones. items to they will appear on the next meeting agenda unless otherwise stated. supervisor mar: thank you, and i would like to thank the staff at sfgtv for broadcasting us today. mr. young, gratefully we have only one agenda item today. could you please call that? clerk young: this is for

dedicating them to public use. supervisor mar: thank you. and we have a staff presentation. quickscat afternoon, supervisors, chair. i am with the planning department. today's resolution is before you. it is a resolution that gives the improvement, and i have a quick slide show for you powell street. it gives the improvements that the union square business improvement district t install on powell street, thanks to money they receive from audi. unfortunately, the image on the screen is cut off.

i would just cycled through this. basically, what we did is an extension along powell( street ellis to geary, abobo two blocks, along that corridor. powell street enjoys about 1000 pedestrians. it is one of the most active pedestrian street in the united states. we removed or re-purposed the sidewalk parking zone, which was not parking but just loading, and we were able to identify a location for the loading demand. we had an extensive community process. the business improvement district, over one year worth of engagement to ensure that we got

the design right. really quickly, the images. as i mentioned, -- unfortunately, t te not going to be seen, but i think you can get the idea. supervisor mar: on the computer, if you use control minus, it reduces the size. it may not be the screen. >> i apologize for that. so unless there are any questions, that concludes my presentation. when we were originally permitting this project, the department of public works and the business improvement district, at that point, we were talking about the process, and that is where we are today.

the project was permitted as built by the department of public works, and the business improvement district is part of regifting. it will continue to maintain it, so they are going to keep that. thank you. commissioner torres: thank you -- supervisor mar: thank you. let's open this up for public comment. is there anyone who would like to speak? three minutes, but if you can keep it short, that would be great. >> that is my pleasure. i am the executive director with the business improvement district, and it is our pleasure to make this get offered to you, and we hope you will accept it. as he said, the traffic on powell street is tremendous. there is the construction over on stockton. this is a fair amount of pedestrian traffic.

this would be the second kind of get we have made to the city. the earlier one was through the recreation and parks department, and it was for furniture that the public can enjoy out on the square, so we are committed to maintaining the project through its life, and we hope you will be our partner. thank you. supervisor mar: thank you. is there anyone else from the public who would like to speak? seeing none -- please come forward. is there anyone else from the public who would like to speak? seeing none, public comment is closed. colleagues, can we move this forward without objection? thank you. mr. young, is there any other business before us? clerk young: that concludes the agenda. supervisor mar: thank you. meeting adjourned. [gavel] captioned by the

national captioning institute --www.ncicap.org--

>> welcome to "culturewire." today we are at recology. they are celebrate 20 years of one of the most incredibly unique artist residency programs. we are here to learn more from one of the resident artists.

welcome to the show, deborah. tell us how this program began 20 years ago. >> the program began 20 years ago. our founder was an environmentalist and an activist and an artist in the 1970's. she started these street sweeping campaigns in the city. she started with kids. they had an exhibition at city hall. city officials heard about her efforts and they invited her to this facility. we thought it would coincide with our efforts to get folks to recycle, it is a great educational tool. since then, we have had 95 professional artists come through. >> how has the program changed over the years? how has the program -- what can the public has an artist engage with? >> for the most part, we worked with metal and wood, what you

would expect from a program like ours. over the years, we tried to include artists and all types of mediums. conceptual artists, at installation, photographers, videographers. >> that has really expanded the program out. it is becoming so dynamic right now with your vision of interesting artists in gauging here. why would an artist when to come here? >> mainly, access to the materials. we also give them a lot of support. when they start, it is an empty studio. they go out to the public area and -- we call it the big store. they go out shopping, take the materials that, and get to work. it is kind of like a reprieve, so they can really focus on their body of work. >> when you are talking about recology, do you have the only sculpture garden at the top?

>> it is based on work that was done many years ago in new york. it is the only kind of structured, artist program. weit is beautiful. a lot of the plants you see were pulled out of the garbage, and we use our compost to transplant them. the pathway is lined with rubble from the earthquake from the freeways we tour about 5000 people a year to our facility, adults and children. we talk about recycling and conservation. they can meet the artists. >> fantastic. let's go meet some of your current artists. here we are with lauren. can you tell us how long have been here so far and what you're working on? >> we started our residency on

june 1, so we came into the studio then and spent most of the first couple weeks just digging around in the trash. i am continuing my body of work, kind of making these hand- embroidered objects from our day-to-day life. >> can you describe some of the things you have been making here? this is amazing. >> i think i started a lot of my work about the qualities of light is in the weight. i have been thinking a lot about things floating through the air. it is also very windy down here. there is a piece of sheet music up there that i have embroidered third. there is a pamphlet about hearing dea -- nearing death. this is a dead rabbit. this is what i am working on now. this is a greeting card that i found, making it embroidered. it is for a very special friend. >> while we were looking at

this, i glanced down and this is amazing, and it is on top of a book, it is ridiculous and amazing. >> i am interested in the serendipity of these still life compositions. when he got to the garbage and to see the arrangement of objects that is completely spontaneous. it is probably one of the least thought of compositions. people are getting rid of this stuff. it holds no real value to them, because they're disposing of it. >> we're here in another recology studio with abel. what attracted you to apply for this special program? >> who would not want to come to the dump? but is the first question. for me, being in a situation that you're not comfortable in has always been the best. >> what materials were you immediately attracted to when you started and so what was available here? >> there are a lot of books.

that is one of the thing that hits me the most. books are good for understanding, language, and art in general. also being a graphic designer, going straight to the magazines and seeing all this printed material being discarded has also been part of my work. of course, always wood or any kind of plastic form or anything like that. >> job mr. some of the pieces you have made while you have been here. -- taught me through some of the pieces you have made while you have been here. >> the first thing that attracted me to this was the printed surface. it was actually a poster. it was a silk screen watercolor, about 8 feet long. in terms of the flatwork, i work with a lot of cloddish. so being able to cut into it come at into it, removed parts, it is part of the process of negotiating the final form. >> how do you jump from the two dimensional work that you create

to the three-dimensional? maybe going back from the 3f to 2d. >> everything is in the process of becoming. things are never said or settled. the sculptures are being made while i am doing the collages, and vice versa. it becomes a part of something else. there's always this figuring out of where things belong or where they could parapets something else. at the end goal is to possibly see one of these collage plans be built out and create a structure that reflects back into the flat work. >> thank you so much for allowing "culturewire" to visit this amazing facility and to learn more about the artists in residence program. is there anything you like our viewers to know? >> we have art exhibitions every four months, and a win by the public to come out.

everybody is welcome to come out. we have food. sometimes we have gains and bands. it is great time. from june to september, we accept applications from bay area artists. we encouraged artists from all mediums to apply. we want as many artists from the bay area out here so they can have the same experience. >> how many artists to do your host here? >> 6 artist a year, and we receive about 108 applications. very competitive. >> but everyone should be encouraged to apply. thank you again for hosting us. >> thank you for including us in "culturewire." ♪

>> 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. pointed stars here. they typically lead one to the