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FAC 11-15-05 JI,.........., :' . " ' ,". ' CITY OF CUPEIQ1NO AGENDA FINE ARTS COMMISSION Special Meeting, Conference Room A 10300 Torre Avenue Cupertino November 15, 2005 7:00 P.M. CALL TO ORDER ROLL CALL APPROVAL OF MINUTES 1. Minutes of September 27,2005. PRESENTATIONS ORAL COMMUNICATIONS WRITTEN COMMUNICATIONS 2. Historical information regarding Distinguished Artist Award. 3. Seattle Times article about public art. COMMISSIONER REPORTS 4. Arts-related news updates wm Commissioners UNFINISHED BUSINESS NEW BUSINESS 5. Brainstorming session - a vision for the arts in Cupertino, both short and long-term. Discussion may include the following: · How to enhance the Distinguished Artist of the Year program · How to create opportunities for performing arts · Potential Memorial Park sculpture garden · Status of Veteran's Memorial proposal · Status of the Cyrus the Great sculpture · Status of potential art locations in the Cupertino Library 6. Farewell to Commissioner Hema Kundargi STAFF REPORTS 7. Procedures for handling volunteer and donation offers 8. Review of current ad hoc committee list November 15,2005 Cupertino Fine Arts Commission Page 2 NEWS ARTICLES 9. Media coverage ADJOURNMENT The regular meeting of December 27 has been cancelled because of holiday schedules. The next regular meeting is scheduled for Tuesday, February 28, 2006, when the Chair and Vice-Chair will be selected. In compliance with the Americans with Disabilities Act (ADA), the City of Cupertino will make reasonable efforts to accommodate persons with qualified disabilities. If you require special assistance, please contact the city clerk's office at 408-777-3223 at least 48 hours in advance of the meeting. - CITY OF CUPEIQ1NO DRAFT MINUTES FINE ARTS COMMISSION Regular Meeting, Conference Room A 10300 Torre Avenue Cupertino September 27, 2005 CALL TO ORDER ROLL CALL Present: Chairperson Janet Mohr, Commissioners Robert Harrison and Hema Kundargi. Staff present: City Clerk Kimberly Smith, City Architect Terry Greene. Absent: Commissioner Nancy Canter. APPROVAL OF MINUTES 1. Minutes of the regular meeting of August 23,2005. Commissioner Hema Kundargi moved to approve the minutes of the regular meeting of August 23, 2005. Commissioner Robert Harrison seconded and motion passed unanimously with Commissioner Nancy Canter absent. PRESENTATIONS - None ORAL COMMUNICATIONS - None WRITTEN COMMUNICATIONS City Clerk reported that the Mayor's meeting was changed to October 12 at 5:00 p.m. COMMISSIONER REPORTS 2. Select commissioner to represent the Fine Arts Commission at the next Mayor's meeting. Chairperson Janet Mohr will plan on attending the October 12 meeting. UNFINISHED BUSINESS 3. Update ftom City Architect Terry Green regarding architectural enhancements to the Mary Avenue Pedestrian Footbridge over-crossing. Terry Green reported that the bridge would be a cable stay bridge constructed of steel and concrete. He indicated that the bridge would be constructed in three phases with phase one to be completed in December 2005. He expects the second phase to begin in the spring of 2006 and the project will be complete in 2007. Terry reported that the budget for the project is $9,250,000 and grant funds would almost entirely cover the cost of the project. The Valley Transportation Authority (VTA) will provide $7,000,000 in grant funds, the State will provide a $500,000 grant, the City of Cupertino will be providing $475,000 in General Fund money, and the City of Sunnyvale will be providing $110,000. /-1 September 27, 2005 Cupertino Fine Arts Commission Page 2 Cupertino will own and maintain the bridge. Terry is currently working with Tom IdalIa to incorporate the art expressions in the bridge. The Commission suggested that the community be involved in some way by choosing the bird or other art expression that should appear on the bridge. NEW BUSINESS 4. Brainstorming session - a vision for the arts in Cupertino, both short and long-term. Commission Robert Harrison reported that he is not yet ready to discuss ideas for modifying the Distinguished Artist of the Year criteria and will let City Clerk know when to place the item on the agenda. The Commissioners preferred to hold the brainstorming session at a November meeting when all Commissioners could be present. November 15 was tentatively scheduled pending confirmation ftom all of the members. Discussion followed regarding changing the name of the Fine Arts Commission to "Arts Commission" in an effort to get a wider variety of artists to become commissioners or apply for the Distinguished Artist of the Year. 5. Consider changing or canceling regular meeting of December 27, 2005. The Commission concurred to cancel the December 27 meeting. ADJOURNMENT The meeting was adjourned at 9:30 p.m. Kimberly Smith, City Clerk /.,2 Page 1 of! Kimberly Smith From: Terry Greene Sent: Friday, October 21 , 2005 11: 11 AM To: Rick Kitson; Kimberly Smith Subject: Historical Info: Morion Art Award Rick and Kim, attached are some documents I received from a resident near the Mary Avenue Bridge project. As we were talking one day, she asked me about the Morion. In the conversation she told me that her son, Tom, had submitted a proposal for the use of the Morion as an award for the Artist Recognition Award, apparently sponsored by the Fine Arts Commission. One of the attached articles indicates that the Buchanan sketch inspired the fabrication of a bronze casting ptaced on a granite base that was given out to several people. Did the FAC quite doing that? Are there any of those castings still around? Tom Buchanan grew up in a house right next to the proposed bicycle path and watched the berm being built as a young kid. Just thought you might find this historical information interesting. Terry W. Greene, AIA City Architect City of Cupertino 10300 TOI'I'8 Ave Cupertino. C.lifOMlia 95014 (v) 408 777 3248 or 777 3354 (f) 408 777 3333 t erryg@cupert¡no.org 10/25/2005 ;J-/ Cit1i of C\fp~rt¡"" 1OJIOTorre Avenue Cupertino. C.lllamIII 95014 Telephone: (401) 1SZ-4S05 P.O. 10. sa! Cupenlno. CoIlfornio 95015 SeptMber 2S, 1988 Hr. Tho_ Buchanan 10619 Nathanson Avenue Cupertino, California Dear Hr. Buchanan: The Cupertino Fine Arts ec-tssion is verr \)leaeed to recoanize you as the winner in the 1988 conteet for, the award desian to be used for The Cupertino Distinguahed Artist Award. The Award you have desianed will be presented to Cupertino artists who represent excellence through the arts, dellOnstrated throuah the aastery of their art, personal achieveBents in their artistic field, and public recoanition and awaraness of these achiev_nts. We apprecl8te your interest in Cupertino IUid your effcnj* to balp ua prOlM>te ,art and artists in our city. I A _11 .onetary award 18 presented to yota today. alona with our sincere Congretulations. We hope your artILlI!tic career will continue to advance and give you and ot_~ aethestic rewards. Sincerett Ii ~~I_Li~ . --¡, , I Doris Barry, ec-tssioner Desian ec..ittee Chairperson :;J-" ;).,3 C,,~.lIttO Scttw California History Center Exhibit Traces Labor Story The c.IiforDIa HIIWry Centerwm ceIebnte 100 JUII of OIpn~ WIor with the .,,-;.. of ilS latest abibit, "ØJ the Sweat of Thy Brow: 1be StoIy of labor in Senta a.n v.,: from 110 3 p.DL, SaIunIay. 0cI. a. The __located In the Trimon Bul",", IIdjacent 10 Flint Center on the De ADa CoD. .--poll in 0Ipenin0. By 1888 some 2,000 vllioooltaliftd in Su.Joø. 00 JIIIIW)' 22 of that year. meatben of several local unions met with some San FrucIIco or- paizen 10 form the Senta a.ra County Federa- tion ofTrlldes. TIIiI uhibit InœI the ebb and flow of the UIIÌ08 _ment· durina the emy JMIS, before 1925. tbrou&b the depre8ion and -JMIS, 1930-19SO, and co,I"'¡_.- willa the preMDt day. AnifIIcIs 10 be abibited Include a tray of II1II- que Jype, a ItIdt of loose Jype, lead type from a ØnoJype, and early ftdtype macbIne on loan from SmIth McKay printers; IIIinIøa equiptœnt, candle boIden, OR AIIIpIes and "'_. from the N_ þ.1-d- Mine. "By the Sweat of Thy Brow" Is part of the San.. Can VùIcy Labor HIstory Project, wbleb Is co- IMhllOred by the CalifornIa HIstory Center and the Central Labor CouncIl ofSaala aara County. wltb additional fundln, by llae Sourisseau Academy. Wurlla Foundation, De ADza Aa- IOdaIed SludeøIS and __ WIor unions in San.. aara County. The public Ia inYIted 10 the 01""'1.. þ.dmiuInø is free, ~_. a donation is nquested. Enter- tainment and refreslunenlS are included. For raenaIIoos call 996-4712. 1be ellublt wm be open from 8 a.m.__ and 1-4:30 p.m., Monday Jhrou&h Fridar and 10 a.m.-2 p.m. Saturdays ~.. 0cI0ber 15. The abibit wm be at the bIsIoIy _ duouah March 18, 1989. A Winning Design I,.oQl artist T.oma. Buebanan cr.ated tbl. deallD for III award to be pmenled annual1y 10 0II1llaDdiD¡ COIIIIIIUJÙIy ar- dill. Buebanan·. daip _ east in bronze and _need on a annJte.... It _ cboIen . !be wiuer from amona several oJher Ideal presenJed by Cupertino d-Ipm in a cœIeIt .--r by the rille AnI 0-.··· Iul.IIL For Itis WÍDIIIDI desip, ø..œ.nm recemd a '1DOIIeIary prize. He -anart dqree from the Col- . ofNoere 0- and did twoyean of puste ~ at the AcadeIllJ of Art in 0IuItratI0n. He _ warted . an Illllltrator for IegelII different projects, includin. play scenes for The Ne.. SIIø' 91- CGmpøny. LIlt month, the {G -' "Jo praenled 1116nt AniIt P-,pútion A.... to two Cupertino RIÍ- dent.. Recelyln. tbe award In. pi red by ......._n·. cIaIp _re Nile Norton, a perform- inI--' eoødueIor and edI....oor and Satmore r-aro. a_1pbuc, painter and educator. The two ArtIst PecGI"ilion Award winnen wm . be boanred 0cI. 31 at a repIar meetID& of tIMi Cupertino Qty Cnmdl Students Gamer Jazz Awarcla AmonaJOUDI people wInnina reeopItIon at !be 1811a IIDIIUa1 Hi¡b Scboo\ Jazz Competition In Mœterey were JIoo-$t~ HJab Scboo\ I1UdenII Dan ....,. MiIœ '1'1-. Paul BøiaIa and 7 Steft Deetz. ;)-4 Kimberly Smith From: Sent: To: Cc: Subject: Martha M. Bills [mmb@marthaanddavid.com] Monday, May 09, 2005 10:55 AM Kimberly Smith; Janet Mohr; Hema Kundargi; Nancy Canter Martha Bills Article about public art. Hi all, This was passed along to me by a friend of mine, a former museum director. Despite the fact the scale is somewhat different than what we deal with, there are some good points for us to consider as commissioners and as to the relevance of public art in a given setting. http://seattletimes.nwsource.com/html/artsentertainment/pubart08.html Warm regards, Martha 1 3-/ The Seattle Times: Is public art disappearing? Page I of5 lmJeSeauteIDme.s "c~' ."",aëtl",:inl"'S,C('1'1 Wednesday, May 11, 2005,12:33 P.M. Pacific Permission to reprint or copy this article/photo must be obtained from The Seattle Times. Call 206-464-3113 or e-mail resale@seattletimes.com with your request. Information in this story, originally published May 8, 2005, was corrected May 11, 2005. In a previous version of this story, the name of the executive director of the Mayor's Office of Arts and Cultural Affairs was misspelled. His name is Michael Killoren. Is public art disappearing? By Sheila Farr Seattle Times art critic When's the last time you saw a new piece of public art that really grabbed you? There's certainly no shortage of recent work. Scores of commissions have cropped up on bus shelters, sidewalks, park benches and under bridges. They are integrated into walls, lobbies, public restrooms, floors. Yet many of the pieces Seattleites think of as "public art," such as the 12-ton granite sphere of Isamu Noguchi's "Black Sun" at Volunteer Park and Michael Heizer's imposing "Adjacent, Against, Upon" at Myrtle Edwards Park, date back to the 1970s and before. Today, what Seattle's getting for its public-art funds has undergone a dramatic change, brought about by a history of contentious politics and a different notion of how public art should be created. Since Seattle's I % for Art program began in 1973, the city's art collection has burgeoned. The budget has grown exponentially, creating hundreds of permanently sited sculptural works - not to mention all the art commissioned by agencies such as Sound Transit and the Port of Seattle. Yet the days of grand, free-standing, artist-initiated projects are mostly over. Newer public art is usually created by teams: an artist or group of artists working with designers, architects, project managers and clients to integrate their works into buildings or landscapes. Some fme artwork has come out of the process - think of Tony Oursler's strange, murmuring apparitions in the escalator wall at the new Central Library - but many more are hardly noticeable. If you wander across the scattered design of Vicki Scuri's "Cloudwalk" terrazzo floor at Seattle- Tacoma International Airport, or "Blue Glass Passage" at the new City Hall- a sleek, transparent catwalk designed by James Carpenter - you might not even realize you are treading on public art. Simple forms, complex issues 3.,;;.. http://seattletimes.nwsource.comlcgi -bin/PrintStory .pl ?documentjd=2002267268&zsectio... 5/12/2005 The Seattle Times: Is public art disappearing? Page 2 of 5 It looks so simple, you'd never imagine the hostile debate it set off. Three rough stones and three smooth geometric forms, paired up one-on-one in an elemental dance. Stretched along 130 feet of shoreline at Myrtle Edwards Park, Heizer's sculpture "Adjacent, Against, Upon" first seems like nothing more than a harmonious arrangement of forms against a shimmering backdrop of sky and water. But as you enter into the piece and explore the artist's design, it keeps growing. You feel the force of the relationship between raw stone and sculpted cement and can start to reflect on the way civilization butts against nature, instinct against reason. Heizer's massive haiku of a sculpture encapsulates the basic conflicts of being human. "Adjacent, Against, Upon" is one of a handful of artworks that have become bold Seattle landmarks. Like the view-framing oculus of Noguchi's "Black Sun" at Volunteer Park - a favorite place to lounge and watch the sunset - and the grand anatomy of Henry Moore's bronze "Vertebrae" - clustered like the remains of some ancient denizen of downtown - Heizer's sculpture helps define the city's unique character. The clash over the sculpture's selection heralded the politicking and controversies that have swirled behind the scenes of Seattle's public-art program ever since. Planning a legacy Before the I % program, public art came mostly as gifts of heroic statuary by civic organizations, donations from private individuals or sculptures on corporate plazas. Some works were commissioned for the Seattle World's Fair and remain at Seattle Center. In 1973, even though the city was still gripped in the economic doldrums of the Boeing recession, Mayor Wes Uhlman signed an ordinance to commit I percent of capital-project funds to art. He declared the city responsible "for expanding experience with visual art - to better enable people in all society to better understand their communities and individual lives. " "They passed it in the wink of an eye: It seemed like apple pie and motherhood," recalls art patron Virginia Wright, an early proponent of Seattle public art, noting that other cities had similar legislation. "Everybody thought it was a great idea without questioning who was going to make decisions, the nuts and bolts of the whole thing." The process was contentious from the start. Even before a crane had hoisted the 50-ton boulders into place for "Adjacent, Against, Upon," critics and columnists were clashing over the merits of the monumental sculpture. The Seattle Arts Commission (SAC), an unpaid group of art advocates chosen by the mayor, was taking heat for its decision to buy what some considered a bunch of big rocks. Wright, an early member of SAC's Art in Public Places committee, contributed $10,000 toward the $80,000 price of the sculpture. Other donations supplemented $40,000 from Seattle City Light. But some City Light officials questioned whether the sculpture was appropriate, and Parks Department officials doubted whether "the common man" could appreciate it. "It's very different from how art gets chosen for a museum," said Jim McDonald, current director of the city's public-art program. "Almost never are you buying something where you can say 'I want one of those.' You are contracting for something that hasn't been made." 3~3 http://seattletimes.nwsource.com/cgi-bin/PrintStory.pl ?documenUd=2002267268&zsectio... 5/12/2005 The Seattle Times: Is public art disappearing? Page 3 of5 Uncharted water The issue brought the commission face to face with a modern-day conundrum: How do you select art for the masses in a democratic society? Should the work be chosen by experts with an eye to its long- term significance or be picked by consensus to avoid controversy right now? SAC and its city staff were basically in uncharted water. There was no clear line between the commission and city government. They tried different ways of selecting artists, nom open calls to hiring a curator to make suggestions. Panels of consultants weighed in. Civic leaders couldn't look to history for guidance, because the great artworks and monuments of past civilizations were commissioned by kings, popes, tyrants and aristocrats - too bad if the populace didn't approve. Power struggles At first, it was considered normal for politicians to be involved in the process, says Henry Art Gallery director Richard Andrews, a current arts commissioner who also served in the early days of Seattle's public-art program. "But ultimately the City Council was not a good forum for debating the merits of art," he said. The council, frustrated by the debates about "Adjacent, Against, Upon" and other art-related issues, passed a 1976 resolution titled, "What Is Art? And Why We Should Not Spend Too Much Time Trying to Answer That Question." It shifted responsibility for the 1% program away nom the City Council and to the Arts Commission in conjunction with appropriate departments and citizen boards. Recently, there have been other changes at the Arts Commission. In 2003, Greg Nickels transformed it into the Mayor's Office of Arts and Cultural Affairs under executive director Michael Killoren. Killoren says the name change signals a broader focus for the office, encompassing neighborhood projects and education without changing the art commission's role. Yet Barbara Goldstein, who stepped down last year as head of the city's public-art program, said the commission lost some clout. "There was an attempt to focus more on the mayor's agenda," she said. The design-team approach The huge paradigm shift, a new way of creating public art, happened in the late I 970s, more or less by accident. City Light, as the largest generator of the city's I % funds, became the proving ground for an experiment that would change the way Seattle's public-art program - and programs nationwide - worked. SAC arranged to have artists Sherry Markovitz, Andrew Keating and Buster Simpson collaborate on the Viewland 1 Hoffman Substation, which opened in 1979. They helped turn it into a playful community park, with folksy whirligigs, a bright-colored mural and quirky furniture. The substation, at North I05th Street and Fremont A venue North, offered a nesh take on the possibilities for public art and zoomed to legendary status. 3-'1 http://seattletimes.nwsource.comlcgi -bin/PrintStory. pI ?document_ id=200226 7268&zsectio... 5/12/2005 The Seattle Times: Is public art disappearing? Page 4 of 5 "When public art became a big deal in the 1970s, when Seafirst was built, it was mandatory for corporations to have a big sculpture plunked in the front yard," patron Wright said, referring to "Vertebrae," which sits in fÌ'ont of the former Seattle First National Bank building on Fourth Avenue. "In a way, [the design-team approach] opposed this whole notion of 'plop art:' this big swing of the pendulum away fÌ'om things plopped on corporate plazas." Further cementing the trend, a massive dispute erupted in 1981 over the placement of Richard Serra's 120-foot steel "Tilted Arc" bisecting the Federal Plaza of New York City. In 1989, after a prolonged court battle, the $175,000 piece was carted away in the middle of the night and scrapped. Here in Washington state, Michael Spafford's "Twelve Labors of Hercules" murals in the state Capitol were deemed too suggestive by some politicians. The murals were draped and then removed, at a cost of $162,000 - nearly twice the original price. Such disputes were magnified in 1989 as Sen. Jesse Helms, R-N.C., mounted his attacks on the National Endowment for the Arts. Arts administrators, trying to deal with an onslaught of knee-jerk news coverage and evaporating government funding, began advocating a more utilitarian approach to art. That trend has resulted in integrated works such as "Ballard Gateway," a group of aluminum columns on the railings of the Ballard Bridge. With no place for motorists to pause, the works flash by in an instant. Or Nancy Blum's "Flower Wall," which serves as little more than an unobtrusive decoration above the doorways at Sea- Tac Airport's South Train Station. "It descended into this design-team approach which became the buzzword, this kind of anonymous functional design. It became politicized," Wright said. What had been an innovative way to get artists involved at the ground floor of projects led instead to a proliferation of other decorations that some refer to as "wallpaper." "Wallpaper? 1 call it flying under the radar screen," said Carol Valenta, art-program administrator for Sound Transit. "It's not where you'd like to be. We go through waves, and we are probably going through a somewhat conservative wave right now, where people have to weigh priorities." Artist rosters To simplify the process of choosing artists, city and county administrators formed their own public-art rosters, lists of artists they considered qualified to work on public projects. But the notion of public-art rosters has built-in drawbacks. "A lot of really good artists don't want to be involved in the process because it's cumbersome," said Andrews, an arts commissioner. "Of those who become professional public artists, some are exceptionally good, some exceptionally formulaic. ... You can dumb down the whole process." "A mend of mine called it welfare for artists," said art patron Wright. Some artists object to the whole notion of prescreened "public artists," too. "They know how to sell it and work the system. I just think a lot of it is mediocre work," said John Feodorov, artist and former Seattle arts commissioner. He's got some straight-forward advice for those who want to make a living as public artists: "Get a job." 3~5 http://seattletimes.nwsource.com/cgi - binlPrintStory. pi ?document id=2002267268&zsectio... 5/12/2005 The Seattle Times: Is public art disappearing? Page 5 of5 The biggest problem with design-team art is that it can end up all one flavor - vanilla - says John Young, artist and University of Washington professor. Young, who has taught classes in public art since 1986, maintains there is a big difference between art and decoration. "Art has layers of meaning, some sort of significance or poetry. Decoration is just visual," he said. "I think controversy is a critical part of acceptance and that any good art brings debate." Yet for politicians and bureaucrats, used to seeking consensus, the idea of controversy as a marker of success is foreign territory. At the Port of Seattle, which pays for its own artwork, Paige Miller, a Port commissioner and former member of the Port's Art Oversight Committee, looked shocked at the notion. "No one has ever said this is not what you should be doing. I have heard nothing but genuine excitement about what we've done at [the airport's] Concourse A" The test of time Controversy in itself does not guarantee great results, and plenty of small and subtle artworks are powerful and fine despite their quiet ways. But often the newest ideas and greatest advancements lie outside the standard framework most people have for evaluating quality. Usually, all that's needed is a period of adjustment. In the case of Heizer's sculpture at Myrtle Edwards Park, time has been kind. The artist - recently featured on the cover of The New York Times Magazine - has grown in prestige, and his poetic sculpture, a rare public artwork for the artist, well-suits its waterfront site and the city. When Seattle Art Museum's new Olympic Sculpture Park opens on adjacent land next summer, Heizer will be a star. But what about artworks that don't hold up well and turn out to be the wrong choice? "There is no reason to assume that every thing in public art should be forever," said Arts Commissioner Andrews. He proposes that a work of art placed by the proper process be protected for 15 years. Then he says there should be a thoughtful process in place for removing it if need be. "Time is useful and we gain perspective. [The art] needs a protective time zone so we don't make a knee-jerk reaction that we will later regret." Sheila Farr: sfarr@seattletimes.com News researcher Gene Balk contributed to this story. COD...rìaht (Q 2005 The Seattle Times Comcam/ 3-h http://seattletimes.nwsource.comlcgi-binlPrintStory.pl?documenUd=2002267268&zsectio... 5/12/2005 AD HOC COMMITTEE ROSTER Cupertino Fine Arts Commission updated 11-8-05 Status PurposelNotes Members Schedule to be determined after new Mayor is selected on December 12,2005. Monthly meeting with Mayor and representatives of all boards and commissions Any available member may attend Committee Name (all are ad hoc committees) Mayor's Breakfast Distinguished Artist of the Year 2006 Distinguished Artist of the Year - selected, received award at 17. Ceramic artist Janet Leong Malan Shakespeare performance on July Consider adding no-cost or low-cost enhancements to existing program such as different age groups, different categories of art or performance, etc. Subcommittee reported back in August, then Martha Bills resigned. Remaining F AC will brainstorm on this as part of Vision for Art - short and long term - at a later time. Proposed text submitted as part of recommended General Plan amendment. Discussed by City Council in September and October of 2005, Council took straw vote to not include 1 % for Art requirement at this time but to stay with General Plan wording that "encourages" public art. No grant funds available for FY 2005-2006 Robert Harrison program enhancements Art Program 1% for No grant funds available for FY 2005-2006 No grant funds available for FY 2005-2006 attend Library Commission meeting(s), monitor progress of Will Kundargi Grants Committee (Fall 2006) Grants Committee (Spring 2005) Fine Arts Grants - high school category Library Art ~ \ -- library construction and identify potential art locations. Committee members to revisit local library to check level of interest. Notes from 2003: "party favors" (colorful necklaces) were a good draw for children who brought parents. Ifhot, consider spray bottles/portable battery fans. Need large Fine Arts Commission sign on the booth, there were too many city logos banner alone was not sufficient. Paperweights needed. 400 flyers each will be sufficient. Consider gift bags, people didn't want to take too many flyers. Very successful, great public outreach. Commission chose not to participate in 2004, instead focusing on Cali Mill Plaza Park dedication, but will reconsider in future. 2005, event cancelled in lieu of city's 50th party (Golden Jubilee in September); the arts for that event will be represented by the F ALC juried show and art display throughout the week. Kundargi was lead in 2001 and 2002. Lin-Kinoshita was lead in 2003. History: First year was competition, 2nd year was exhibit of 4 Seasons comer. Each model got a $45 stipend, schools got plaques totaling about $400. 3RD and 4th yrs were felt banners. Interest waning, too time-consuming on part ofF AC to finish! installlteardown. 5th year was an art exhibit - creation supervised by Euphrat Arts in Schools programs. 6th year oversaw project, which was 2-D and 3-D projects theme of "Stevens Creek Natura11y",indigenous plant, animal and insect life of the creek. Theme for 2004 was "The Creative Spirit - Artwork by Cupertino Children." Oversight by Diana Argabrite of Euphrat Museum. Commissioners agreed it was highly, good circulation through Quinlan Center, very high quality art ftom children. Festival Organizer is Lucille Honig, 1408\ 257-7424. In 2005, Diana Argabrite from the Euphrat Museum of Art and Arts in Schools Program oversaw the whole program. Opportunities Art & Wine Festival 2007 Info booth 2006 Cherry Blossom Festival Children's Art Display oq \ ~ ~.P /oS '¡ '.," . '," CHINESE PLAY MAKES U.S.DEBU .' .,',' MusicaI1:>fen~:cultures to suit modem tastes ByMarianLil Mercury News Jun Hao first saw "Malan F1ower" in Shanghai when she was 10 years old The Chinese tale of good and CUPERTINO evil had simple lessons about telling the truth, not being greedy and washing your hands before you eat. This weekend, Hao, now 37 and living in Cupertino, will watch her 8- year-{)ld dsughter, Jessica, perform as a bee in the American debut of a musical version of the classic play. "All the lessons still apply," Hao said A mix of a Disney classic and a Grimm's fairy tale, the Chinese story will be performed in English on See MUSICAL, Page 6B PATRICK TEHAN - MERC David Z. Chen helped work on multiple drafts of "Malan Flow adapt it to American tastes. œ mercurynews.cl Listen to music dips "Malan Flower." ---~-~---_._--'-,..,~-~~-----~-----_._-- --~- -: - '. I.- 'f /JO /0 Saturdå1~ÎJl~on ESunda~ ~. the Flint Cente~ in . nsorshope tb. e P.Iay,vir- . 1UIknoW:i>. in the United States, will becom~as tradi' tionai during the annual C!¡ì- nese moon festival here as "'n1e Nutcracker" is<!uring. ... the ChristnuiS sea8Òn. '¡'he Vibfanttnusi!;'_set& and co$fum1iå~ iûlmJidå: inCbi- na, ~aboUt~()O(), There~ ~.o~ çomposi- tions in~musi!'al.J1y çpmpos- ers)'i~··.~.andGÛ~ Pang, WbQ.~ re~' in Cbina...'¡'he2~:ho4rniu$ica! hail !lioN tbåD.60 $(itph~l'~ anct~ê9:~ffir the pasttW!>:~~, Il.cast az¡.d 'MAEANFI.ØIIIIER' ~i:!Í¡'Í!I'!!W·.of.l®...bI!ye,..",.<.",....... i wàreÇ~¡t~~~¡nr:nt ..~.2~G;I~~.Fljnt ~_a:' .~:;¡IY\~~~~¡ edj¡Ì-~"sµr ~ e~"'i!W""¡¡:·w"""¡;¡:"",,:,,,, pl~st~þi118'!løm.'tWtê4'in1:1~$30to $lOO,~~"~le by ciiliiesê ·lêÎllÍiu:ièiSfi'~",?·, .(:afllngC5il.0)~QJ:. per(o~;;~~¡¡¡~~=);UP.5}Fö··")'~;X,~ .. m~"C~a$i'~a$i (r~n;Y~'r ma.rlià!'iirtä.iÍJjif i<¡;¡,ðiîW- ',~ </ .. ... .qrgpr pètrý;.<it·. ···.../1,..Pllp- ~~I:I~'~~m "r\VÍli¡téa'íOgñrethi¥.gü1; to ter,~iiJi¡¡¡~~m.uch the AmericlU1 clillcl:l'en, to oftJ¡e]<Jj~¡¡'hlyric..togo with show them 91U'·ÇJÙ1;Ur!!;'said .theG~. me!odY;worried director David Z: Chen, head of thatbetween the two Ianguag_ the Aéademy of Chinese Per- es and cultures, BOme. of these forming J\rts. which has stu- ideas were "lost in transla- dios in F'rm¡1ont and Cuperti- tion." Bt¡t the messages of no. working hard and workin¡¡ to- Chen, speaking in Mandarin, gether, he said, apply to both said he worked for years trying En¡¡;lish and Chinese speaking to get the right to perform the audiences. play, which was created in the Despite his high hopes for 1950s but disappeared during the play's success, Chen will China's CulturaJ Revolution in present only two performances the '60s. In 2002, after Chen this season, instead of the four obtained the rights from the he originally planned, out of widow of the original play- fear of hot selling enough tick- wright, Deyao Ren, Chen be- ets. He's also produced it in a gan adapting the play for mod- quick two months - three to em times. It went through four times faster than normal mwtiple drafts between Chen, for a musical this size - he- Professor Lin Hongtong of the cause he's relying heavily on College of Cinematography in volunteers whose time is limit- Beijing and volunteer Lena ed. Zee, a Fremont real..,state The core of the play is the agent. lavender orchid, the Malan Why so much effort in work- flower, which grants wishes for ing the translation? "Because kind-hearted people. Chen says what is funny in China is not the flower represents the char- funny here," Zee said. acter of the Chinese people. "It's been a challenge decid- "It's hardy," said Chen, who ing wben to go for more Chi- is celebrating the 10th anniver- nese tradition and when to go sary of his dance and arts stu- for AmericlU1 elements," said dio with this play. "It can grow Santa Clara Umversity dance anywhere. Even in the desert, Professor Kristin Kusanovich, it can persevere." who worked as director of the English version. "Where it's not crucial to the plot and to keep the spirit of the play, we left the Chfuese in." '¡'he lead setar, Bobby Reu- _, ,_~~ÇK~EHAN'::;';~CIJRYNËWS David Z. Chen wjth props from the pray, which has some 60 set ~hanges and 80 c95tumes. Contact Marian Liu at mliu@mercurynews.com or (408) 920-2740. Fax (408) 271-3786. Read her music blog at www.I!lel'CeXtr!1.~m/ae~ ~ I Press Release for exhibition For Immediate Release: September 12, 2005 Euphrat Museum of Art De Anza College, 21250 Stevens Creek Boulevard Cupertino, CA 95014 Oust east of Flint Center on the De Anza College campus) 408 864-8836 www.deanza.fhda.edu/euphrat. Art exhibition: Change 200512006 Artists as Catalysts for Change Revisioning the Museum Artists include: Richard Godinez, Juliana Kang, Nancy Hom, Tony May, Moto Ohtake, and others Oct. 4 - Nov. 23, 2005, January 23 - February 23, 2006, a changing exhibition Museum Hours: Tues., Wed., Thurs., 11-4 Open to tour groups by appointment Check website for details. www.deanza.fhda.edu/euphrat. Change 2005/2006 consists of a fluid rotating exhibition with lecture/discussions exploring change in the arts and academic community, the Euphrat Museum of Art's move to a different campus location, its new building design, and its expanding relationship with other campus entities and the outer community. We invite artists, students, faculty, and the larger community to become active participants in our year of change through creative activities and dialog. The Artist as Catalyst for Change The exhibition opens with two new art faculty members at De Anza College. Juliana Kang's recent work involves mark-making, based on tracks. Tracks are an apt metaphor for change. As tracks are overlaid, they give testimony to where we have been, what we have done, the changes we have wrought. Kang's art combines traditional methods with timely concepts, utilizing brush painting, artist books, digital media, and more. Moto Ohtake's work is often inspired by nature as well, for example wind movements. He has been concentrating on public sculpture recently and exhibits 1.,2. a small scale Stellar Motion, the same configuration as a larger kinetic sculpture on campus. A focus of the exhibition is the work of Nancy Hom, a multifaceted artist, writer, organizer, and arts administrator with over 30 years of experience in the non-profit arts field. She has played a key role in the development of neighborhood arts organizations in the Bay Area since 1974. She has created artwork for numerous political, social, and community events. As an artist, curator, and organizer, she has worked in many communities in San Francisco, including the South of Market, Manilatown, Chinatown, Japantown, Western Addition, and the Mission.. Besides her own art, she will display works from various projects with which she has been involved. Highlighted also are artworks from artists with whom Hom has worked on various projects. One of these is Richard Godinez, who participated in Hom's Kearny Street Workshop exhibition War and Silence. In Godinez's large painting Disciples, images of monks meditating are juxtaposed with military training - a multi-layered painting opening questions of how we educate and where we put our energies. Tony May taught an Art in the Community class at San José State University for many years. He has over two decades of community involvement, including the starting of Works Gallery in San José. He will exhibit work from his current collaborative public art project, a memorial to Father Mateo Sheedy, with students and recent graduates. Also on display are models for public art proposals commemorating the agricultural history of Silicon Valley. His fourth proposal was accepted and is part of San José's Guadalupe River Park. We will also showcase works from arts organizations working in the community. Artwork may be related to a community arts academic major, collaborative public art projects, oral history projects, and/or documentation of local communities. Some walls will be intentionally left blank as students create work addressing change and as other artists and arts groups come forth with new ideas and lessons learned from the past. Revlslonlng the Museum A section of the museum highlights 2005-2006 as a time of major physical and programmatic change for the Euphrat Museum of Art. One portion of the museum is devoted to changes involved with the building of a new Euphrat Museum of Art on campus and altering relationships with other campus structures and programs. Maps and drawings of the new space as it is conceived through a campus design team will be displayed as they become available. Viewers will 1-3 have opportunities to comment on the design and suggest their own ideas about the design and purpose of the new space through creative envisioning activities. Integral to the building project, we will look at activating a campus/community cultural space, encouraging discussion of Euphrat Museum connections with Creative Arts, a new Multicultural Center, Flint Center, the Civic Engagement Institute, California History Center, archives, outdoor experimental areas, refreshment areas, face to the community, college entrances and traffic patterns, etc. This presentation will grow and may include models, sketches, and an area to post relevant information and resources, e.g. cultural campus/community areas that work. One portion of the museum will be related to civic engagement and new programmatic directions for a changing Euphrat. The Euphrat is pursuing changes that will dovetail with the work of De Anza's new Civic Engagement Task Force. The Euphrat Museum participated in the first Civic Engagement Institute in mid September. Materials will be on display, e.g from the University of Wisconsin and Pima Community College. To add to the dialog, we will feature materials and artwork as possible from various civic engagement type programs of other universities and organizations. Panels and lectures will be added during the course of the exhibition. For updated information on art and events, check our website at www.deanza.fhda.edu/euphrat. "", Call Jan Rindfleisch 408-864-8836 for more information. Cf-Lf