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HomeMy WebLinkAbout1999-01-07; Arts Commission; MinutesMINUTES Arts Commission Meeting January 7, 1999 • 4:30 p.m. City Council Chambers The Meeting Was Called To Order at 4:40 p.m. Present: Commissioners Wood, Lignante, Chartier, Willis, Pynes. Commissioner Shaw arrived at 4:44 p.m. Minutes For Approval Commissioner Pynes requested a change in the Arts Education Report to reflect that the music program is being implemented into two schools this year. On Motion by Commissioner Lignante, the Minutes were approved as amended. AYES: Wood, Pynes, Lignante, Chartier, Willis, Shaw New Business Approval of a California Arts Council Arts Education Grant with the Encinitas Arts Commission Connie Beardsley stated the grant has not been written and the request for approval from the Commission is in concept only. She further explained that this arts education grant is similar to the one the Arts Office applied for in partnership with the Carlsbad Unified School District. The grant would be somewhat different because there is an Arts Commission in Encinitas and the Arts Office would be working with the Commission as well as the Encinitas School District. There are six elementary schools, three of them are in Carlsbad, and the implementation of this grant would be district- wide. Commissioner Pynes asked who would be the primary drive behind the grant. Mrs. Beardsley replied that there are other people involved and the Steering Committee will take a more active role. She further commented that the City is interested in providing the same opportunities to all Carlsbad schools. Commissioner Pynes asked if the Encinitas School District would be a full partner in the grant. Mrs. Beardsley replied yes. On Motion by Commissioner Lignante, the Commission approved in concept the Arts Office application for a California Arts Council Arts Education grant with the Encinitas School District. Appointment of a Commissioner to the Encinitas Arts Education Steering Committee Chair Wood appointed Commissioner Shaw to the Committee. Old Business Review changes to Ellen Zielger's artwork for the new Library Chair Wood asked John Cahill to explain the change to Ms. Ziegler's artwork. Mr. Cahill explained that the change is a minor modification on how to best collect the water that comes off the rock. He stated her previous design created a "splash zone," which creates a slip and fall area. The artist was asked to change her design to contain the water. Ms. Ziegler is proposing a bronze drain that will be installed at the end of the rock. The integrity of the design is not changed. Arts Commission Minutes 1 January 7, 1999 Commissioner Willis stated that the bronze grate aesthetically bothers him. He explained he does not like the introduction of another color and asked if small pebbles could be placed over the grate. Mr. Cahill replied that the concern about the pebbles or cobble is that it is not "childproof and the stones could possibly become projectile instruments. Mrs. Beardsley further added that there needs to be access to the pump. Commissioner Chartier asked if it was possible to use another color for the grate instead of bronze. Mr. Cahill replied that if the Commission wanted the color of the grate to match the granite pavers it was possible to do. Commissioner Pynes asked if it was possible to leave air space and hide the grate underneath. Mr. Cahill stated that there was a limited amount of space beneath the rock and there had to be enough room to perform maintenance on the pumps. Commissioner Pynes asked how the artist envisioned how the pump and the maintenance of it would be handled before this change was requested. Mrs. Beardsley replied the artist wanted the pump located somewhere else. The pool company informed the artist the pump needed to be located next to the sculpture. Mr. Cahill stated he felt that the design change mitigates the concerns over the "splash zone" and pump maintenance. Further discussion ensued on the amount of space between the cross members of the grate and its exact location. Mr. Cahill invited the Commission to tour the construction site when the pavers are being installed around the sculpture. Chair Wood asked Mrs. Beardsley to inform the Commission when this took place. Commissioner Willis motioned the Commission approve the change to Ellen Zielger's artwork. Commissioner Chartier amended the motion to include matching the color of the grate to the surrounding granite pavers. AYES: Wood, Willis, Shaw, Lignante, Chartier, Pynes Continued Discussion of the Community Arts and Culture Grants Program Commissioner Chartier wanted staff to make changes in the guidelines. Commissioner Shaw stated she found there was not a clear understanding of what capital expenditures were. She also would like to see more flexibility to fund arts education grants instead of a 25% cap. Mrs. Beardsley stated the cap was set at the Arts Commission direction, but the Commission could change the cap if it so desired. Commissioner Pynes provided background information on how and why the cap was set. Mrs. Beardsley asked the Commission to refer to the Minutes of the previous meeting and again asked the Commission if in looking at the grants program that it is clear that it is accomplishing what it wants to accomplish, and what is it the Commission wants to accomplish? The grants program is not providing enough funds to successfully advance development of arts organizations, but it is helping organizations with programming. Arts Commission Minutes January 7, 1999 Panel comments brought the suggestion for changing the grants program to meet community needs before the Commission. Chair Wood wanted to know if this was the task of the Arts Commission or should staff make recommendations to change the program and bring them forward to the Commission. Mrs. Beardsley replied that staff would be happy to make recommendations and bring them back before the Commission. Commissioner Pynes reminded staff that it needs to define "capital equipment expenditures". Commissioner Chartier stated the document could be changed because it is flexible. Commissioner Shaw stated if the Commission has flexibility, it should give preference to those organizations based in Carlsbad instead of looking at all the grant applications equally, especially if the Commission is serious about expanding its arts base in Carlsbad. Chair Wood stated this would be a policy change. He further requested staff draft a document reflecting the comments and suggestions of the Commissioners and return to the Commission with it later. Commisisoner Chartier stated he was not sure he could support Commissioner Shaw's suggestion and wanted to know about criteria for funding the grants. Chair Wood stated that using criteria takes away the flexibility of the panel. Commissioner Chartier stated that the guidelines were not a hard and fast rule. Commissioner Lignante stated that the quality of the proposal should be the deciding factor. Mrs. Beardsley stated she felt staff had enough direction from the Commission to return with a draft and reiterated what she felt the Commission's concerns were: Capital expenses - definition Criteria Preference for Carlsbad-based organizations Presentation of grant application Focus on each year - flexibility - initiative Commissioner Wood asked how the Arts Office followed-up on the grants. Mrs. Beardsley replied that final reports from the grantees are sent in before their final payment is received. Commissioner Chartier stated measurements should be taken on the grants. Commissioner Shaw asked about evaluations and follow-up with the Commissioners being asked to the events. Mrs. Beardsley replied that the Arts Office requests the grantees ask the City Council and Arts Commissioners to the events, but doesn't know if this always happens. Committee Reports Chair's Report Chair Wood reported the Sculpture Garden opening on December 6 was cold. He is working on the possibility of having a busload of residents from Carlsbad-By-The-Sea come through and see the Garden using Arts Associates docents. Split Pavilion is being removed. He stated he spoke with the Mayor about using artists to design benches in that location and the Mayor was receptive. He requested that artist-designed benches be placed on the agenda for discussion. Chair Wood reported the 1-5 Corridor Landscaping and Artwork Guidelines were adopted by City Council but the landscaping and artwork will be voted on separately as funding becomes available. Manager's Report Mrs. Beardsley explained there was a video available in the Library of the Council meeting on the 1-5 Corridor project and recommended to those Commissioners who Arts Commission Minutes January 7, 1999 did not see it Tuesday, to check the tape out and watch it. Staff will be working on the arts education grants. Gallery Report Commissioner Lignante reported the Committee worked on the prospectus guidelines for the juried artists show. He stated fund-raising was also discussed. Arts Associates Report President Barbara Nolder stated the annual membership drive takes place this month. The current board is actively gathering new board members. The Associates have changed its meeting time to the second Monday of the month at 4:30 p.m. The Arts Associates have joined the Carlsbad Chamber of Commerce. The T-shirt selection committee for the jazz concerts is working on the design of the 1999 t-shirt. The meeting adjourned at 6:08 p.m. Arts Commission Minutes January?, 1999 Photos by SCOTT VARLEY / STAFF PHOTOGRAPHER Carlsbad artist George Willis' gold ring, 'Dancing on the Mesas,' won him the Artist of the Year 2000 award from the Indian Arts and Crafts Association. The ring has a small Indian that rotates around a center stone depicting a campfire. Carlsbad man honored for his art • Indian group names its artist of the year for 2000 SANDRA HAZELTINE STAFF WRITER CARLSBAD — George Willis was somewhat of an anomaly in college during the 1950s. Attending the University of Texas on an athletic schol- arship after being courted by 17 other schools, Willis decid- ed to major in art. "I was always interested in art, but it was somewhat of a contradiction since I was there on a track scholarship," he said, "But I was hooked af- ter taking that first class." Deciding to expand what he learned during a jewelry design class, Willis continued his training at the Southern California College of Jewelry Design and the Starline Jew- elry School in Los Angeles. He eventually opened his own retail jewelry shops in Oceanside, Carlsbad and Rancho Santa Fe. Nine years ago, he got out of the retail business and de- cided to focus on making jew- elry that honors his Native American heritage. The 63-year-old Carlsbad resident's ancestors are from the Choctaw tribe — the third largest tribe in the na- tion. "For 30 years, I made jew- elry that people wanted me to do, but nothing that had Indian flair," said Willis, who > ART, B-4 Among the many items that Carlsbad artist George Willis has created are these two bolo ties. He also makes rings, pendants and earrings. ART Continued from B-l moved to Carlsbad in 1986. "It was always something I wanted to do." Earlier this month, Willis — a Carlsbad arts commissioner since 1996 — was named the Artist of the Year 2000 by the Indian Arts and Crafts Associa- tion, a trade organization dedi- cated to preserving and promot- ing genuine American Indian art. The 25-year-old association boasts a membership of 700. "Being named Artist of the Year is a big honor," said Dean- na Olson, president of the asso- ciation. "George is already known around the country by several galleries, but this dis- tinction will bring him even more recognition." Willis, whose Indian name is "Shukata" — Choctaw for "pos- sum" — is the 25th Indian artist to be recognized by the associa- tion since its inception in 1974. He received the honor for a ring he created called "Dancing on the Mesas." The winning piece features a gold Indian dancer about 12 millimeters high, wearing a breastplate, loincloth, and bells on his ankles and arms. The fig- ure spins freely around a fire made of Mexican fire opal and pipestone. "I don't do the kind of work you see in truck stops-of nation- al parks," said Willis. "The more unusual it is, the more I gravi- tate to it. I don't like doing things that are already done, or even what I did last year. Every piece is unique." Willis creates his art in gold, platinum and silver, using a va- riety of stones and gems. He rarely works with turquoise, which is somewhat synonymous with Indian jewel- ry, opting instead to work with the reddish-brown pipestone, abalone pearl, lapis, and druzy, which afe tiny quartz crystals that form on other stones. After sketching the design, Willis meticulously carves it in- to wax using special tools he crafted himself. From there, the wax design is put into a flask, filled with a plaster of Paris mixture and baked in an oven for six to sev- en hours. The wax melts and runs out, leaving behind a mold of the impression. Another device spins the liq- uid metal into the plaster mold, forming the piece. From here, any special gems or stones are set into the piece and it is pol- ished and cleaned. MONDAY, i NORTH COUNTY TIMES Photos by JAMIE SCOTT LYTLE / STAFF PHOTOGRAPHER Retired courtroom artist and Carlsbad resident Bill Lignarrte, above, spent 26 years Illustrating scenes from trials during the days cameras were banned inside the courts. His talent gave him a front-row seat at more than 60 trials during his work with ABC. Below Is one of Ugnante's works. Retired artist remembers trials • Carlsbad man illustrated judicial history BARBARA BRILL FOR THE NORTH COUNTY TIMES CARLSBAD — Bill Lig- nante has etched in his mem- ory bank some of the na- tion's most notorious crimi- nals: Sirhan Sirhan, Charles Manson and Patty Hearst. He also has thousands of drawings, which he calls "his children," to remind him of > ARTIST, B 2 ARTIST Continued from B-l the 26 years he spent drawing scenes from inside courtrooms during the days when cameras were banned from recording the unfolding dramas inside. The courts started banning cameras from courtrooms in the aftermath of the media frenzy surrounding the Lindbergh kid- napping trial in 1935. "That put a halt on using cameras in the courtroom for al- most 60 years," said Lignante, adding that the ban led to the idea of letting artists sketch out courtroom scenes for television news stations to use on their broadcast coverage of key tri- als. "We were a select group. There was one artist for each of the three major television net- works." Lignante said that even though he had never been in a courtroom, he was wooed by all three networks before choosing ABC. That was in 1968, the same year he moved from New York to Los Angeles, where he was thrown into his new career with the four-month Sirhan Sirhan trial following the assas- sination of Sen. Robert Kennedy. His talent not only opened the courtroom doors for television viewers, but it gave him a front-row seat at more than 60 trials during his tenure with ABC. He was in Fort Benning, Ga., covering the court martial of Lt. William Galley for the massacre of 102 civilians at My Lai. He said he got to know judges and attorneys as he looked, listened and sketched during some of the nation's most famous trials: Patty Hearst, Rodney King, Squeaky Fromme, Lee Marvin, Angela Davis, John DeLorean and Charles Manson and his follow- ers. "I usually did four or five il- lustrations a day," Lignante said. "I would stare and study, looking for something a person did repeatedly so I could create more than just a head. I needed the gestures so the TV audience had something more to look at." One of Lignante's most fa- mous illustrations shows Man- son jumping over the table as he tried to get at the judge. "This probably was my most elaborate courtroom illustra- tion," Lignante said, noting that the nine-month trial of the man who was eventually convicted of murdering actress Sharon Tate was the first major case to be broadcast on all three major networks. Another one of his memo- rable sketches shows Squeaky Fromme throwing an apple at the prosecutor when she was convicted of the attempted as- sassination of President Ford. "I always loved to draw," said Lignante. He said he recalls rushing out on Sunday morn- ings as a youngster in Brooklyn in the 1930s to get the newspa- per first so he could read the sports pages and get the fun- nies. "I would sit for hours copy- ing the cartoon characters .... Prince VaUiant, Flash Gordon," he said. His efforts paid off. The car- toon-loving kid was accepted by Pratt Institute in New York, one of the nation's top art schools, and before long he was off and running, starting in the cartoon business in 1949 and continuing even during his courtroom days. Lignante's cartoon strips, which he wrote and sketched, included "The Phantom" and "Ozark Ike," and he worked un- til 1980 for Hanna-Barbera, one of the world's most famous ani- mation studios, adding his spe- cial touch to "Johnny Quest," "Scooby-Doo" and "Space Ghost," to name a few. Over the years, Lignante also has been involved with Palm Restaurants, celebrity hangouts where his cartoons and sketch- es of customers fill the walls, and since 1974 has been lectur- ing on land and on sea about the trials of a courtroom artist. Since retiring in 1994, Lig- nante continues to lecture and to illustrate the Christmas cards he and his wife, Alma, send to friends and family. He is a member of the Hi-Noon Ro- tary, the Chamber of Com- merce, the city's Arts Commis- sion and the Carlsbad Library Foundation. "I enjoy the city so much that I have very little time to draw now," he said.