HomeMy WebLinkAbout1994/09/20 Item 5
September 15, 1994
SUBJECT:
The Honorable Mayor and City Counci~
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John D. Goss, City Manager j 1;:1
City Council Meeting of September 20, 1994
TO:
FROM:
This will transmit the agenda and related materials for the regular City Council
meeting of Tuesday, September 20, 1994. Comments regarding the Written
Communications are as follows:
Sa. This is a letter from Sergio Lujan, Assistant Chief of Police, requesting
the contribution of four used police cars for the City of Tijuana. Under
Section 2.56.220 of the Chula Vista Municipal Code, the Council has the
discretion to transfer or sell surplus vehicles to the City of Tijuana.
Based on a cursory review of recent history, the Council approved the
sale of twenty-one such vehicles to the City of Tijuana in August, 1991
for approximately fifty percent of the estimated salvage value. The
estimated salvage value was determined by the most recent County
auction of similar vehicles.
The current request from the City of Tijuana includes four salvaged
police patrol vehicles. The estimated salvage value on the first three
vehicles is between $1,100 and $2,000 each, while the value for the forth
is estimated to be between $2,000 and $3,000.
The City of Tijuana is offering a "symbolic contribution" in exchange for
the vehicles. It is unclear what is contemplated by "symbolic
contribution." It is possible that a simple donation is being requested,
or it may be that the City is willing to pay some nominal amount in
exchange for the vehicles, as in the past.
IT IS RECOMMENDED THAT STAFF BE DIRECTED TO
COMMUNICATE WITH REPRESENTATIVES FROM THE CITY
OF TIJUANA REGARDING THE REQUEST AND TO
NEGOTIATE THE TRANSFER OF ANY OR ALL OF THE FOUR
VEHICLES IN EXCHANGE FOR NOT LESS THAN FIFTY
PERCENT OF THE AVERAGE ESTIMATED SALVAGE VALUE
INDICATED PREVIOUSLY FOR EACH VEHICLE.
5b. This is a letter from Joseph Garcia requesting that "Conference with
Labor Negotiators" be agendized under Public Hearings on the City
Council agenda. IT IS RECOMMENDED THAT COUNCIL
RECEIVE AND FILE THIS LETTER. Attached is a copy of a letter
the City Attorney has sent Mr. Garcia in response to his request.
5c. This is a letter from Frank Roseman, Chula Vista Heritage Museum,
requesting the use of space vacated by the Downtown Business
Association for a work area for the museum. Currently, the Chula Vista
Heritage Museum and the Downtown Business Association (DBA) share
space in the City owned building. The floor area consists of about 234
sq. ft. The DBA's area is about 80 sq. ft. and is currently being used as
the Association's office. It is equipped with a desk and tables and other
equipment (i.e. telephone, answering machine, fax machine). IT IS
RECOMMENDED THAT THIS REQUEST BE REFERRED TO
THE LIBRARY AND COMMUNITY DEVELOPMENT STAFF TO
DISCUSS WITH THE MUSEUM AND DOWNTOWN BUSINESS
ASSOCIATION REPRESENTATIVES AND RETURN TO THE
CITY COUNCIL WITH A RECOMMENDATION.
5d. This is a letter from Michael Schnorr requesting authorization to place
an art feature on East Orange Avenue right-of way. The feature is
described in his letter. Normally, temporary encroachment permits are
authorized by staff; however, in this instance, due to the unusual nature
of the request, staff feels that Council should have the opportunity to
give direction prior to granting the permit. The art feature is proposed
to be in place from September 23 through the end of October, at which
time Mr. Schnorr will remove the boards. The photo panels will be a
minimum of 10 feet from the travel way on East Orange Avenue. The
proposed permit is attached for reference, and Mr. Schnorr will be
attending the meeting to answer any questions Council may have. IT IS
RECOMMENDED THAT COUNCIL DIRECT STAFF TO ISSUE A
TEMPORARY ENCROACHMENT PERMIT FOR THIS ART
FEATURE.
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September 10, 1994
Honorable Mayor and City Council
The City of Chula Vista
276 4th Avenue
Chula Vista, CA
Re: Accepting a symbolic contribution for used city equipment
In the past the City of Chula Vista has been very generous in
accepting symbolic contributions for used equipment no longer
needed. Examples of this are wrecked or damaged police cars,
outdated uniforms, and old electronic equipment. Presently Chula
Vista is in the process of replacing police cars. The worst of
the cars is the first to come out of service. Due to their
condition, four of these have little market value. Please
consider a symbolic contribution from the City of Tijuana for
these cars. They are as follows:
1) Vehicle 1229001, transmission overhaul needed, estimated
repair cost $1400.
2) Vehicle 1229002, transmission overhaul needed, estimated
repair cost $1400.
12)0Cd+
3) Vehicle 1229003, accident caused frame and front end damage,
beyond economic recovery value, no estimate of
repair costs.
4) Vehicle 1229016, a 1991 surplus former canine patrol car,
Health and Safety regulations prohibit the sale to the general
public or reuse of canine vehicles as a standard police patrol
unit.
vehicles please consider a symbolic
ity of Tijuana. Thank you in advance for
_ WRITTEN COMMUNICATIONS
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SEPT 6, 1994
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THE HON. riM NADER, MAYOR
CITY OF CHULA VISTA
216 FOURTH AVENUE
CHULA VISTA 91910
REF:COUNCIL AGENDA OF 9/6/94.
MAYOR NADER:
The agendizing of items on the City Council Agenda, past the order of business
"OTHER BUSINESS", beginning with Item #21, in effect prevents the PUBLIC trom
commenting on these items, which are not a part of the open Council Agenda,
You have, In effect, muzzled thE' PUBLIC on their right to comment on PUBLIC
MATTERS.
Take ITEM 30, for example, CONFERENCE WITH LABOR NEGOTIATOR. By listing
this subject matter, in agenda after agenda, tuesday after tuesday, you have In
effect used the directive under "Oral Communications", to virtually prohibit the
PUBLIC, from speaking to and/or making an inquiry as to SALARY and BEIIIEFIT
and RETIREMENT and MEDICAL benefits, which must be very germame to the
Interest of the taxpayers of this community, since we are footing the bill.
Of all matters which pertain, to the appropriation of montes for the benefit of
our city employees, you can not and should not, deny the taxpayers of this
community from exercising the right to asking questions and commenting on the
salaries and benefits of the city employees.
I am requesting that this item 30 in particular, be henceforth placea under PUBLIC
HEARINGS part of the PUBLIC AGENDA
I request that this letter be agendized for discussion at the subsequent meeting.
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Garcia
Copy to: Bruce M. Boogaard, Esq,
City Attorney
c~~\'J~~\NCWDED FOP ALL COUNCIL MEMBERS.
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CllY OF
CHULA VISTA
OFFICE OF THE CITY ATTORNEY
September 9, 1994
Mr. Joe Garcia
Chula Vista, Ca. 91910
Re: Oral Communications
Dear Mr. Garcia:
Thank you for your letter of September 6, 1994. Please be advised
that the practice and procedure of the City Council is to tolerate
and encourage any member of the public to speak on any item on the
agenda at the time the agenda item arises and that the placement of
oral communications on the agenda is an opportunity for any member
of the public to address the Council on any matter not on the
public agenda.
Therefore, if you wish to talk about labor negotiations or the cost
of public employee's salaries or benefits, you may do so under oral
communications or pull the item for public discussion before the
Council goes into Closed Session discussion on an item.
Because you requested that your letter be agendized for discussion
at the next City Council meeting, we will accommodate that request.
If this letter provides sufficient explanation of your rights, you
can always request, at the Council meeting when the written
communication is discussed, that you have been satisfied with this
response. Otherwise, you can come to dias and discuss your written
comm 'cation. You will need to pull it off the Consent Agenda.
r ce M. Boogaard
City Attorney
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276 FOURTH AVE/CHULA VISTA, CALIFORNIA 91910/(619)691-5037
CITY OF
CHUlA VISTA
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Mayor and City Council
City of Chula Vista
276 Fourth Avenue
Chula Vista, CA. 91910
Dear Mayor Nader and the City Council,
The Chula Vista 'llerltage .Museum, you generously funded, has been
well received and has the material to develop new areas of the City's
history.
The citizens of the Chula Vista have responded to our requests for
artifacts, pictures and memorabilia. We also have collected audio and
video tapings. Collections are being made continually. We have grown to
the building's capacity.
The .Museum is to the the point where there is no working space to
layout and develop new displays. The space that the Downtown Business
Association was using for an office is now vacant. This space would be an
ideal .Museum work area. New displays must be planned and developed as
to their make-up. Space is needed to layout the items and leave them in
position while this development takes place and the display is ready for
public viewing.
We are prepared to work on displays of the history of Chula Vista
Elementary schools and memorabilia from Rohr Aircraft Company.
I ask, therefore, that the Mayor and the City Council grant the use of
this office area to the Chula Vista 'llerltage .Museum until such time as
the .Museum building may be enlarged.
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Sincerely
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Frank M. Roseman '\ \,
WRlnEN cO~~nO,NS 1tC\\)\)f%r\
360 'third .J1:uenLW Chula <Vista, California 'letephone 476-5373
INSTAI.I.ATInN GAU,F.RY
MAIl.: !lox 2552
SAN DIECO, C,\UFnnNIA 92112
f)(),~ FIFTH AVI';NIIE, SUITE :135
SAN I)IE(;O, C\l.II'OJlNIA 92101
iSITE94
(,1954414112
(,If} 5'~4 I'J,H(. FAX
730 First Ave
Chula Vista, 91910, CA
telephone 575 -6987
fax 575-7827
The Honorable Tim Nader,
Mayor ofChula Vista and Council persons,
INsite 94 will be the largest arts festival in the history of the San Diego/Tijuana region. A
total of thirty eight institutions comprising every major arts venue in the region will be
participating.
(see acompanying press package)
Eighty artists from the US and Mexico as well as England, France Sweden and Japan will
complete works in a variety of installation sites, all to open on the weekend of September
23rd 1994.
More than forty of the artists are placing their work in outdoor locations thereby allowing a
wider audience participation. The art works are temporary and are meant to be on view
until the end of October 1994.
My Poggi Canyon project is one of the outdoor installations.
The project consists of placing three 8 foot by 10 foot color photographic panels
alongside East Orange Ave. extending approximately one hundred yards West from the
comer of East Orange and Brandywine (see attached street map)
The fourth panel will be placed at the end of East Orange Ave where it dead ends at the
beginning of Poggi Canyon. The panels will follow the old American tradition of the
Bunna Shave road signs, simply a sequence of images which ask a question. Each panel
will have two words as part of the photograph. The phrase will be; "When is a canyon not
a canyon?"
S/,/
The concept is to renew community and neighbourhood pride and attention to nearby open
spaces. ( a section of Poggi canyon was burned this summer)
There will also be a twelve page pamphlet accompanying the project (2000 copies). The
pamphlet will discuss the early and contemporary history of Chula Vista and the Poggi
family.
My mother Rose Angela Poggi Schnorr is a daughter of the original Poggi settlers.
Your support and assistance in regards to this project would be greatly appreciated.
Yours Sincerely,
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Michael Schnorr
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TEMPORARY ENCROACHMENT
500 BLOCK: C. ORANOE AVENUE
FILE NO, PEi' :3,&
OWN BY: j ~
DATE:
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inSITE94
FACT SHEET
WHAT:
WHEN:
WHERE:
ORGANIZERS:
PARTICIPANTS:
TIlE ARTISTS:
SPECIAL
EVENTS:
inSlTE94, an exhibition of installation and site-specific art in the
San Diego/Tijuana area, will be the largest bi-national collaborative
undertaking ever by non-profit visual arts organizations in the U.S.
and Mexico. There will be 74 temporary art installations presented
by 38 institutions.
inSITE94 opens Sept. 23, 1994 and runs through Oct. 30. The
artists will be on site creating their projects in the weeks prior to the
opening. A calendar of events is available.
Projects will be exhibited at 37 sites throughout San Diego County
and metropolitan Tijuana. There will be three major "hubs" of
activity: downtown Tijuana, downtown San Diego and Balboa Park.
inSITE94 is coordinated by Installation Gallery in conjunction with
the Museum of Contemporary Art, San Diego, The Consejo Nacional
para la Cultura y las Artes through the Instituto Nacional de Bellas
Artes and the Centro Cultural Tijuana, the City of Tijuana, and the
State of Baja California.
Through inSlTE94, 38 non-profit visual arts institutions in San
Diego and Tijuana will sponsor new site-specific art works.
inSITE94 is the first project enlisting the active participation of every
non-profit visual arts institution in San Diego. The collaborative
structure of inSITE94 represents a new national model of resource
sharing in a period of declining sources of funding for the arts.
More than 100 internationally, nationally, and regionally recognized
artists are participating. Among the most notable artists are Jose
Bedia, Chris Burden, Rimer Cardillo, Helen Escobedo, Andy
Goldsworthy, Mildred Howard, Dennis Oppenheim, John
Outterbridge and Nancy Rubins.
inSITE94 exhibitions are supplemented by education and outreach
programs which are bringing internationally recognized artists (such
as Christo), art historians, writers (such as Carlos Fuentes), and art
critics to San Diego and Tijuana. During August and September,
there will be a series of Artists onSITE meetings that will enable the
public to discuss art yPtss an informal setting.
FACT SHEET
PAGE20F2
FUNDING:
PUBLIC
SCHOOLS:
PUBLICATIONS:
OPENING
EVENTS:
COST:
FOR
INFORMATION:
CONTACT:
In the United States, inSlTE94 is supported primarily through
individual donations, grants from the city of San Diego's Commission
for Arts and Culture, and grants from private foundations, such as
The Andy Warhol Foundation for the Visual Arts, Inc., The Nathan
Cummings Foundation, and The James Irvine Foundation. In
Mexico, inSITE94 is supported by the federal government (through
the Consejo Nacional de la Cultura y las Artes), the State of Baja
California (through the lnstituto de Cultura de Baja California), and
the City of Tijuana (through the Departamento of Cultural.
As part of inSITE94, a binational public elementary school program
is already underway. More than 2,000 students will participate in
inSlTE94 educational progr"mming.
inSITE94 will be documented in two publications: a bilingual
handbook, scheduled for publication in August and a bilingual
scholarly catalogue to be published in 1995.
Participating institutions are planning a variety of opening events
during the Opening Weekend, Sept. 23-25, 1994. The famed
writer/statesman Carlos Fuentes will lecture at the Centro Cultural
Tijuana (Sept. 24) and Copley Symphony Hall (Sept. 25). Friday,
Sept. 23, in downtown San Diego there will be an opening celebration
surrounding the Santa Fe Depot. Saturday, Sept. 24, Tijuana venues
will open with a celebration at the Centro Cultural Tijuana. Sunday,
Sept. 25, venues in Balboa Park and the California Center for the Arts
Museum in Escondido will open with presentations and a variety of
festivities.
For the most part, inSlTE94 projects will be open to the public at no
cost. In a few cases, where the artwork is housed within a museum,
there may be a nominal entrance fee.
inSITE94 Headquarters (619) 544-1452
###
Barbara Metz
Metz Public Relations
(619) 283-1303
Danielle Reo
inSITE94, Executive Coordinator
(619) 544-1482
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inSITE94
AN INTRODUCTION
The San Diegorrijuana region will be the bi-nationallocation for inSITE94, a biennial
exhibition of installation and site-specific art. This international exhibition, which will
open the weekend of September 23-25,1994, and continue for five weeks, will be located
at over 30 venues centered around three major "hubs" of artist-activated public spaces on
both sides of the Mexico/U.S. border: downtown Tijuana, downtown San Diego and Balboa
Park. Coordinated by Installation Gallery in conjunction with the Museum of
Contemporary Art, San Diego, the Consejo Nacional para la Cultura y las Artes through
the Instituto Nacional de Bellas Artes and the Centro Cultural Tijuana, the City of Tijuana,
and the State of Baja California, inSITE94 represents the first large-scale bi-national
undertaking of the region's non-profit visual arts organizations, enlisting a unique
approach to institutional collaboration that may indeed serve as a model in other areas of
the arts in both countries.
inSITE94 coincides with widespread and burgeoning re-examination of the meaning and
function of the Mexico/U.S. border. An urban complex unique in terms of size and
economic power, and the site of the most heavily traveled border in the world, this highly-
charged environment is a meeting point of the so-called "First" and "Third" worlds. It is a
climate electrified by the daily enactment and circumvention of immigration policies, the
increasing bilingualism of public life, and the unfolding of NAFT A and other avenues of
economic exchange. Among other goals, inSlTE94 is designed to facilitate exchange,
discovery and dialogue among multiple audiences in this dynamic region through
programs based on artistic processes of creating works rooted in a place-specific context.
Bi-national Collaboration and Exchange
Participants in inSITE94 include 38 non-profit institutional partners in San Diego and
Tijuana collectively sponsoring and presenting new site-specific projects by over 75 area,
national (Mexico and the U.S.) and international artists. Sponsors include Installation
Gallery, major art museums, cultural centers, smaller art non-profits, non-art museums,
and institutions of higher education on both sides of the border. The level of cooperation
and collaboration engendered by this project is unprecedented--enlisting the active
participation of every non-profit visual arts institution in the binational region.
Installation Gallery is responsible for project organization and outreach, educational
programs, publications, and marketing.
International Residencies
Installation Gallery will sponsor residencies for artists from Mexico, the United States, and
abroad. Works created during these residencies will bring to critical mass the projects
mounted by other institutions, thereby creating "hubs" of activity not only for this
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exhibition but potentially for future civic life. The City of San Diego's redevelopment
agency has secured abandoned industrial sites and other spaces of dramatic scale for
artists' projects, all within walking distance of the downtown Museum of Contemporary
Art, the new Children's Museum of San Diego, the trolley station connecting Tijuana to
San Diego, and the southernmost point of the rail corridor that extends to Seattle.
Likewise, the Department of Arts and Culture of the City of Tijuana has secured a variety
of alternative locations proximate to the Centro Cultural Tijuana and the downtown area.
Installation Gallery's projects with international artists will be located in both cities.
Artists have already made preliminary visits to choose sites and begin project design. They
will return in the summer of 1994 to realize their works.
Residencies that support the making of site-specific and installation works provide not only
for the realization of the work itself, but also for the artistic research that the work
requires. Artistic investigations follow a logic of their own, require specialized resources,
and demand maneuverability for detours mandated by the artistic process in its unfolding.
The artists participating in Installation Gallery's residencies were selected because they
engage sites in an active way, and each will be encouraged and supported in their
investigations while in residence in our region. Residencies will include an honorarium,
fees for materials and production costs, and technical support and community members,
visitors and artists will have multiple opportunities for interaction and exchange through a
series of symposia, Artists onSlTE meetings, school and studio visits, and social events.
Education and Outreach
Installation Gallery will sponsor a series of educational programs preceding and during
inSffE94 to ensure a heightened awareness of contemporary art in the region and to
develop new audiences for the arts in general.
.
A colloquium in the fall of 1993 will provide a forum for exchange of
information, a location for resource sharing, and an occasion for discussion
of installation art from multiple perspectives.
.
Elementary school residencies on each side of the border beginning in
March 1994, in which regional artist teams will develop curricula resulting
in student-made site works designed to enhance the physical environment of
the school.
.
Bilingual Artists onSITE meetings during August and September 1994,
located alternately in Tijuana and San Diego, will include the artists-in-
residence, members of the community, other participating artists, cultural
critics, government officials, economists, arts advocates, students, and other
interested citizens.
.
A bilingual lecture series, Art in Context, will bring well-known artists,
curators and writers (Lynne Cooke, Ann Rorimer, Christo and Carlos
Fuentes, among others) to speak at venues in both cities.
.
A bilingual symposium (moderated by Robert Pincus of The San Diego
Union-Tribune) to be held during the exhibition, in October, will bring
internationally known curators and critics together for discussion of the
works created for inSffE94.
5, .- 53
Board members Susanna Valji and David Singer chair Installation Gallery's Education
Committee which coordinates the programs of art educators and a.-lministrators from
participating institutions. inSITE94 publications will form the basis of curricular
materials, and experimental relationships between students and artists will be undertaken
by many institutions. Examples include video interviews of artists by children sponsored
by the Children's Museum of San Diego, bi-national exchanges between inner city
elementary schools, high school apprenticeships sponsored by the Museum of
Contemporary Art, San Diego and video documentation by media students at universities
and colleges in the region.
Publications
A bilingual handbook mapping all sites and detailing the contributions of institutions and
artists will be published in August 1994. A bilingual catalogue to be published in January
1995, will include critical essays and photo documentation of all site works. Editorial
Director Sally Yard will write the lead essay and facilitate scholarly contributions by
Olivier Debroise, Dave Hickey and Cuauhtemoc Medina.
Tours
Installation Gallery will organize docent-led tours of the works created for inSITE94.
Tours will be scheduled for five weekends during the exhibition. Special tours for groups
visiting the region specifically for inSlTE94 will also be arranged.
Organizational Context
Installation Gallery is managed by a small, highly qualified professional staff whose efforts
are supplemented by an activist bi-national Board of Directors. inSITE94 Director Lynda
Forsha., Curator at the Museum of Contemporary Art, San Diego for eleven years, has been
responsible for mounting 32 exhibitions, and brings a breadth of knowledge of the
international field of contemporary art to her position. She is responsible for Installation
Gallery's residencies. Together Michael Krichman and Lynda Forsha oversee attendant
education programs. Art historian Sally Yard, chair of the fine arts department at the
University of San Diego, is Editorial Director for project publications. Michael Krichman
oversees administration, finance and inter-organizational communication among the
coalition of participating institutions, artist collaboratives and alternative spaces. Board
members are called to serve in their areas of expertise. A bi-national Arts Advisory Board
meets monthly to provide input into the planning, direction, and realization of the project.
A Proposal Review Committee, comprised of arts professionals from both countries, meets
bi-monthly to provide oversight of projects proposed by all participating institutions.
Funding Plan
Core support in the form of significant grants has been received from The Nathan
Cummings Foundation, The Andy Warhol Foundation for the Visual Arts, The James
Irvine Foundation, the Lucille and Ron Neeley Foundation, the City of San Diego's
Commission for Arts and Culture, the National Endowment for the Arts, and the American
Express Corporation. National government sources in both Mexico and the United States
are being pursued as well. A series of fundraising events sponsored by members of the
Board of Directors of Installation Gallery and a fundraising gala/auction served to raise
awareness of the project as well as to garner further contributed income from individuals.
In-kind support has been secured in the form of donated lodging from The Pan Pacific
HoteL office space from Granger Associates, constrUction services from :\finteman
Construction Company, exhibition space from Catellus Development Corporation and
services from Metz Public Relations.
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inSITE94
inSITE94 HONORARY CO-CHAIRPERSONS
Mayor Susan Golding, City of San Diego
Mayor Hector G. OSWla, City of 1ijuana
inSITE94 REVIEW COMMITTEE
Larry Baza, Cenrro Cultural de la Raza
Mary Beebe, Stuart Collection, University of California, San Diego
Walther Boelsterly, Instituto Nacional de Bellas Artes
Jolumy Coleman, Artist
Hugh i\ol. Davies, Museum of Contemporary Art, San Diego
Jose Luis Pardo Aceves, Centro Cultural Tijuana
Mariza Sanchez, Departamento de Gultura Municipal, Tijuana
Alejandro Marquez, Instituto de Cultura de Baja Califorma
Sally Yard. University of San Diego
INST U IATION GALLERY BOARD OF DIRECTORS
Lie. Manuel Felipe Bejarano Giacoman
Mary Berglund
Joe Bevash
Barbara Borden
Ken Branson
Patty Bnltten
Cathe Bumham
Constance Carroll
Tony Cutri
Dr. Gerardo Estrada Rodriguez
Esther Fischer
Faiya Fredman
Jorge D'Garay Pallares
Dr. Jerry Gardner
Eloisa Hauclenschild
Jorge Hinojosa
'lichael Kric/unan
~lichael Levinson
Lucille Neeley
Jose Luis Pardo Aceves
~fark Quint
Randy Robbins
Hans Schoepflin
David Singer
"laggie Singleton
Kathleen Stoughton
Jose Tasende
"lanuel Valenzuela Arce
Susanna Valji
Yolanda Walther-;\leade
SaUy Yard
5 Ct
10
inSITE94 -\RTS -\DVTSORY BOARD
Deborah Anderson, School of :\-ledicinc, University of California, San Diego
BJ. Barday, Visual AIts Center Gallery, University of California, San Diego
Larry Baza, Centro Cultural de la Raza
Mary Beebe. Stuart Collection. University of California. San Diego
lo-Ann Berelowitz, Universiry Art Gallery, San Diego Stare University
Carl Beh. The Rose _-\It .\luseum. Brandeis University
Angel Bens<on. Departamento de Cultura Municipal.. TIjuana
Walther Boelstecly, InsOtuto Nacional de Bellas Artes
Leo Castelli. Leo Castelli Gallery
Patricia Chavez, Centro Cultural de 1a Raza
Johnny Coleman, Artist
Janet Cooling, Artist
Cannen Cuenca. Centro Cultural Tijuana
Hugh :\-f. Davies, Museum of Contemporary .-\rt. San Diego
Shirley Day Williams. African American Museum oE Fine Arts
:\lanuel Escutia. Galeria de Ane de 1a Ciudad
Hal Fischer. Tunl.:en "Iuseurn of Art
Diana Gaston. j.1useum or Photographic .-\.rts
Gary Ghirardi. El Sotano
.\1ichael Golino, .\fuseum of Pho(o~raph.ic Arts
.\'lathieu Gees-oire. .-\.rtist
Jorge Hinojosa, Counry of San Diego. Citizens Law Enforcement Review Board
Carol Hobson, Center for Research in Computing and the Arts. University of California, San Diego
Mary Beth Hyne9. T asende Gallery
Kathryn Kanjo, ~(useum of Contemporary An, San Diego
Louise Kirtland Boehm. Boehm Callery. Palomar College
.\lila!!I'os Landa. Consulate ~neral of :\lexico
:\lario Lara. Artist
.\Iac;ara de Leon. EI Colegio de la Frontera ;-.forte
Victor .\Iadero. Lini....ersidad A.utonoma de Baja California
.-\lejandro :\Jarquez. InstirutG de Cultura de Baja California
Gerry :\lcAllisler. l:ni....ersity.\..rr C<lilery. CniVf~rsi[y of California. San Diego
Wendelin .\Iontciel. :Stephen Birch .-\quarium-Museum.
Scripps rnstitution of Oc;eanogr3.ph~.. Cniversity of Caiifornia. San Diego
._- f"'l/
~U
J.1
Arts AdvlSOry Board cona.n.u.ea'
(inSlTE94 -\RTS-\D\'lSORY BOARD CONTINrED)
Linda :Y{oore. Linda )'loore Gallery
Tun Murray, San Diego ~{useum ofNacura1 History
Leslie Nemour, Kruglak Gallery, ~lira Costa College
Jose Luis Pardo Aceves, Centro Culrura.lTIjuana
;\largaret Porter~ Troupe, Porter Randall Gallery
Mark Quint. Quint Gallery
Susan Pollack, City of. Escondida. .-\n in Public Places Program
Manuel Rosen, Universidad Iberoamericana Plancel Noroeste
Bob Sain, Children's Museum of San Diego
:\-fariza Sanchez, Depanamenco de CuIrura ~!unicipaI. TIjuana
Michael Schnorr, Southwestern College
Beverly Schroeder. Centre City Development Corporation
Lynne Schuette, Sushi Performance.& VisualArr
Barbara Sexton, Artist
Felicia Shaw. San Diego Commission for Arts .& Culture
Reesey Shaw, CaliIor:oia Center for the AIts Museum.
Ernest Silva. L'aiversiry of California. San Diego
Deoorah Small. California Stare liniversiry, San )otarcos
~bry Stoffiet. San Diego '\[useum of Art
Kathleen Stoughton. :\tfesa College An Gallery
Mario T orer-o, .-\rtist
Erika Totti. Athenaeum jofusic and Arts Library
Larry Urrutia. Southwestern College An Gallery
:'tlanuel Valenzuela Arce. Unidad Regional de Culturas Popu1ares
Sara Vazque2 Estup. rnstituto de Cultura de Baja California
:\-lacie Vicken Home. Athenaeum :\lusic and Arts Library
Kay Wagner-, San Diego Unified School District'
Ryszard Wasko. International Artists' yluseum
Jim Wilstermann. H yde Galler~~. Gros~mont College
Sally Yard. Cniversiry of San Diego
David Zapf. David Zapf Gallery
,5
J
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f,;l
()1
"
..-.
~-
u--.:
Sites
o
Centro CultuIlIlTllu.ne
AlvilloOl<ll\cmlo
lelipHLhtt)!lhorg
Gabriola Lopez Porhllo
I.lJisMOfel
JOllllOullnrhriflge
M<lllaPalau
M,IIC05 Ramirez "ERRE"
FJoy larcisio
o
Centro E.col.r Agua Callent.
AnyllGallaccio
Allan Kaprow
o
La Torr. de Tllu.n.
Alherl Ctlong
JimSkalman
o
EI 561800
Carol Bing
Nanclle Yannuzzi Macias/Melissa Smedley
o
o
La E.Clllnal.
Kim MacConnel
C.I.. d. I. Cullura Municipal
Abraham CWlllillegas
MarkAliceOulBnl
Jose M'gool Gonzalez Casanova
Diego G\llioffez Coppe
RoUJulius
Jealllowe
EmeslSilva
SoflaltJboas
o
Plav" d.Tllua".
IIolonEscolJcdo
OsealOllega
Uti nolkJllMichael Schnorr
fillY TalcislO
o
Shilling points .long the border I.nca
Punlo_ variable. In " Ifn.. dl'l'lorll
Terry Allen
o
Palacio Municipal dll'ljulnll
Carmela Caslrej60 Diego
Coupclaliva Mexicati
~
CD
~
CD
CD
d)
InlUlulo de Cullurl d. Bala California
EnCon.T,aste
HOlpUBI General da Tlluana, BC
Joyce Cutlar-Shaw
Eslaelon del Ferrocarrll
UUHollor
Colonla libel lad, Tlluana
Silvia Grunor
Poggi Canyon
MidlaolSchnorl
Southwestern College Art Galtery
Nina Kalchallo\lrion/Slevcn Malhcsonl
Malklritm
ca
Museum 01 Contemporary Art, San DIego
CorlosAguiflo
AnyaGallaccio
SitviaGmnOI
Nancy Rublns
Yuklnori Yanag!
CD
Sanla Fa Depol
JoseOetlia
Johnny Coleman
felipe Ehrenbelg
Yolanda GUMffez
Mildred Howard
Emique Jezik
Robert Theflien
Eugenia Vargas
YukinorlYanagi
CD
Chlldren'a MUllum 01 San Diego
Ch.isBu!fjell
David Jurlsl
Dennis Oppenheim
Palr1ciaPal101son
EmeslSilva
CD
e
~
G
S.n Diego Mua.um of Art
Andy OotdswOllhy
Tlmk.n Mu.eum 01 Art
Deborah Small
MUI.um 01 Photographic Arll
Merk Alice Ouranl
San Dlago Natural HI.tory Mu.eum
Roman de Salvo
Nina Katchaoollian
NanoUe Yannuzzi MaclaslMehssa Smedley
Val Valgardson
O1avWeSlphal8ll
G
Centro Culhnal d. la Raza
Rime. Cardillo
MorloLaraIBarbaraSexton
Pap6nOsOflo
Orac1etaOvejero
Susan Yamagala
~
e
~
(&
~
Unlver.lty Art Oall.ry, San Diego Stale University
BUZl Speclor
Founders Oallery, University of San Diego
Esleta Uussong
Meaa Colleg. Art aanery
RoUJulluS
Alhenaeum Music and Art. LIbrary
MlngMur-Ray
Stephen Birch Aquarlum-Muaeum
Scripps In.Ulullon of Oceanogflphy
Unlverslly of California, San Diego
Nina Kalavasilcs
e
UnlversllyArtOallery
Unlverslly 01 Colllornla, San Diego
VITAL SIGNS
$
Center lor Re.earch In CompuUng and the Aria
University 01 Call1ornla, San Diego
Sheldon Brown
~
Visual Arts Center Gallery
UnIversity ot Call1ornla, San Olego
Janct KoenigIGreg SholoM
e
~
~
e
~
Q
Department 01 Veterans AlIalrs Medical Cenler
JoyceCutlcr-Show
Regenta Park Ofllu Complex
OavldJu.lsI
Kruglak Gallery, MlraCost. College
Robello Salas
BMhm Gallery. Pelomar College
BOfOer Arl WorkshopfTallel de Arte FrOlllerilo
C.lIlornla Slate University, San Marco.
AfVlcMudge
Call1ornla Center lor the Art., E.condldo
Mathieu Grogoire
DenniS Oppenlle;JT1
inSITE94
PARTICIPATING ARTISTS & INSTlTIJIIONS
Mrican American Museum of Fine Arts
Jose Bedia
Albert Chong
John Outterbridge
Athenaeum Music and Arts Library
Ming Mur-Ray
Boehm Gallery, Palomar College
Border Art Workshop/Taller de Arte Fronterizo*
Narciso Arguelles
Carmela Castrejon Diego
Angelica Ruano
Michael Schnorr
Andres Torres
Elsa Valdez
Susan Yamagata
California Center for the Arts Museum
Dennis Oppenheim
California State University, San Marcos
Anne Mudge
Center for Research in Computing and the Arts
University of California, San Diego
Sheldon Brown
Centro Cultural de la Raza
Rimer Cardillo
Pepon Osorio
Graciela Ovejero
Susan Yamagata
Mario Lara/Barbara Sexton
s cL ~.
!~.
I .'
r
Centro Cultural Tijuana
iv/arta Palau
Children's Museum of San Diego
Chris Burden"
David Jurist
Patricia Patterson
Ernest Silva
City of Escondido, Art in Public Places Program
Mathieu Gregoire
(BAJA CALIFORNIA, MEXICO COMiWl1TEE)
Cas a de la Cultura Municipal, Tijuana
Centro Cultural Tijuana
Departamento de Cultura Municipal, Tijuana
EI Colegio de la Frontera Norte
Galeria de Arte de la Ciudad
Instituto de Cultura de Baja California
Universidad Autonoma de Baja California
Universidad Iberoamericana Plantel Noroeste
Alvaro Blancarte
Carmela Castrejon Diego
Estela Hussong*'"
Luis Moret
Oscar Ortega
iv/areos Ramirez
Cooperativa Mexicali*
Manuel Aguilar
Francisco CM vez Corrugedo
Carlos Coronado Ortega
Ruben Garcia Benavides
Ruth Hernandez
Andres Jimenez Castillo
Cataro Nunez
Juana VaJdez
En-Con- Traste*
Martin Argote
Fidel Carballido
Pedro Contreras
Norma Michel
- ,
r: "J
~ (l -
/5
EI Sotano
Carol Bing
Nanette Macias/Melissa Smedley
Ulf Rollo!
Founders Gallery, University of San Diego
&tela Hussong*'"
Hyde Gallery, Grossmont College
Installation Gallery
Terry Allen
Chris Burden"''''
Anya Gallaccio
Silvia Gruner
ivlildred Howard
Allan Kaprow
Jean Lowe
Kim MacConnel
Dennis Oppenheim
James Skalman
Robert Therrien
Eugenia Vargas
Yukinori Yanagi
Instituto Nacional de Bellas Artes
Carlos Aguirre"''''
Felipe Ehrenberg
Helen Escobedo
Yolanda Gutierre=
Enrique Je:ik
Gabriela Lope: Portillo
Eloy Tarcisio
Kruglak Gallery, Mira Costa College
Roberto Salas
i II
':-, . . , 17
'_ J L (
Mesa College Art Gallery
Abraham Cruzvillegas
Jose JIiguel Gonzale= Casanova
Diego Gutierrez Coppe
Rolf Julius
Sofia Tciboas
Museum of Contemporary Art, San Diego
Carlos Aguirre"
Anya Gallaccio"
Nancy Rub ins
Yukinori Yanagi"
Museum of Photographic Arts
Mark Alice Durant
San Diego Museum of Art
Andy Goldsworthy
San Diego Natural History Museum
Nina Katchadourian
Roman de Salvo
Nanette j'.-facias/Melissa Smedley
Val Valgardson
Olav Westphalen
School of Medicine
University of California, San Diego
Joyce Cutler-Shaw
Southwestern College Art Gallery
Nina Katchadourianl1'vlark Tribe/Steven J1;/atheson
Michael Schnorr
Stephen Birch Aquarium-Museum
Scripps Institution of Oceanography
University of California, San Diego
Nina Karavasiles
,/-1 C I - /7
* Collaborative or group project
** Co-sponsored project
Stuart Collection
University of California, San Diego
Sushi Performance and Visual Art
Johnny Coleman
Timken Museum of Art
Deborah Small
Unidad Regional Norte de Culturas Populares.
University Art Gallery
San Diego State University
Buz:; Spector
University Art Gallery,
University of California, San Diego
VITAL SIGNS"
Sheldon Brown
Darren Chisum
Dru Clark
Kelly Coyne
Cheryl Deveraux
Jason Ditmars
Brian Duggan
Christa Erickson
Eduardo Garcia
Susan Hammon
Dorota Jakubowski
Janet Koenig
T. Nohe
E. Riel
Robert Russ
Susan Schuppli
Mark Tribe
Niklas Vollmer
Glen Wilson
Payton White
Visual Arts Center Gallery
University of California, San Diego
Janet Koenie:/Gref! Sholette
v v
r-d
~-
/s
inSITE94
PARTICIPATING INSTITUTIONS
African American Museum of Fine Arts
Athenaeum Music and Arts Library
Boehm Gallery, Palomar College
California Center for the Arts Museum
California State University, San Marcos
Casa de la Cultura Municipal, Tijuana
Center. for Research in Computing and the Arts, University of California, San Diego
Centro Cultural de la Raza
Centro Cultural Tijuana
Children's Museum of San Diego
City of Escondido, Art in Public Places Program
Departamento de Cultura Municipal, Tijuana
El Colegio de la Frontera Norte
El Sotano
Founders Gallery, University of San Diego
Galena de Arte de la Ciudad
Hyde Gallery, Grossmont College
Installation Gallery
Instituto de Cultura de Baja California
Instituto Nacional de Bellas Artes
Kruglak Gallery, Mira Costa College
Mesa College Art Gallery
Museum of Contemporary Art, San Diego
Museum of Photographic Arts
San Diego Museum of Art
San Diego Natural History Museum
School of Medicine, University of California, San Diego
Southwestern College An Gallery
Stephen Birch Aquarium-Museum, Scripps Institution of Oceanography
Stuart Collection, University of California, San Diego
Sushi Performance and Visual Art
Timken Museum of Art
Unidad Regional Norte de Culturas Populares
Universidad Autonoma de Baja California
Universidad lberoamericana Plantel Noroeste
University Art Gallery, San Diego State University
University Art Gallery, University of California, San Diego
Visual Arts Center Gallery, University of California, San Diego
.5 C( - 11
B4 MONDAY, APRIL 25, 1994 TIMES ADVOCATE
Christos' hectic schedule
leads to local public project
II ART:Aplanned
exhibition of30 works is set
for September throughout
the region
WIWAM FARKI TimesAduocate
. People have always had opin-
ions about public art, but only
recently has the form been so
much an issue. And much of the
awareness can be traced to
Christo, whose public art pro-
- jects are the best-known in the
world.
Christo and his wife Jeanne-
Claude were in San Diego re-
cently to help launch inSITE94
.,- a planned biennial exhibition
of installation and site-specific
art at 30 public space in the San
Diego area. It opens Sept. 23 for
five weeks with four sites in
North County.
The Christo's schedule was
rigorous: They met U.S. and
Mexican journalists in a Tijua-
na press conference; spoke to a
standing-room-only audience in
Tijuana's Centro Cultural Cen-
ter; attended the inSITE94 gala
at the Paladion in San Diego;
and gave a slide lecture in La
Jolla.
. Despite this demanding
schedule, that also included a
TV appearance and a brief tour
of the area, they took time to
talk about their art. Married for
over three decades, they are so
closely involved in their life and
work that they speak almost as
one.
The Christos are not strani<-
ers to California. Their most re-
cent visit was in 1991 to super-
vise installation of "The Um-
brellas, Japan-U.S.A." 1,760
yellow umbrellas in Tejon Pass.
The Christc's also were here to
install "Running Fence. Sono-
ma and Marin Counties, Cali-
fornia, 1972-76:
Christo said they came this
time because they believed in
the importance of inSITE94.
"We have wonderful relations
with California. We have ties to
San Diego and we feel very close.
to our Mexican friends."
. The Christos' ties to San Die-
go are both professional and
personal. They were here in
1981 for a comprehensive exhi-
bition of their drawings, collag-
es and other items at the San
Diego Museum of Contempo-
rary Art. Museum Director
Hugh Davies is an old friend of
the Christos since his days at
Princeton University over 20
years ago. Several of the city's
private collections also include
Christo's works.
The artists' umbrella project
provided another local link. A
Shelter Island firm specializing
in sail production, manufac-
tured the umbrellas.
Although they were not
aware of North County's contro-
versial public art projects, the
Christos understand the feel-
ings ofthose who object to some
of the installations.
"These are personal
visions we share \\ith
the public - unique,
highly personal. A
project is a very
physical presence that
will go away. People
react to it in relation to
the object."
[~C( - dO
JEAN..cLAUDE CHRISTO, artist
. "You never know how art will
affect people living there. Each
project has disquieting ele-
ments. We spent 180 days lob-
bying in Germany to get per-
mission for 'Wrapped
Reichstag, Project for Berlin.'
(Final approval eventually re-
quired an act by the German
legislature, a first in art). In Mi-
ami, we were sued in federal
court by the opposition, people
who didn't want us to surround
the islands in Biscayne Bay.
And in California Superior
Court over the umbrellas." Her
. views on the subject could be a
guide on how to overcome North
Countians' opposition to public
art. "It's important to lecture a
lot. Talk to people - especially
young people. Talk to writers.
Attend receptions. And perse-
vere."
Some Christo projects take
decades. Planning "Over the
River, Project for Western U. S.
A." began in 1992 with no spe-
cific opening date. "Wrapped
Reichstag," scheduled for next
spring, has been "in progress"
since 1971; a project for the
United Arab Emirates is now in
its 14th year; and "The Gates.
Project for Central Park New
York City" almost as long.
Christo insists his work "is
not only public art. These are
personal visions we share with
the public - unique. highly per-
sonal. A project is a very physi-
cal presence that will go away.
People react to it in relation to
the object. Because it is not
,
made of wood and steel. but of
fragile fabric. it creates sympa-
thy. Romantic. Gone very fast.'
He paused. then added softly.
"Like our life.'
Jeanne-Claude described
how the projects are very much
a part of their life. "We relate
other events to them. such as
primitive tribes recall 'That was
the year of the flood.' We don't
have floods. so we remember
'the year of the fence,' or 'the
jects. sells his early work and
preparatory drawings to muse-
ums. art collectors and galler-
ies.
Funds raised pay for project
expenses. that can be expen-
sive. And unexpected condi-
tions can up the cost. The Chris-
tos paid over $20.000 to have 40
tons of garbage hauled away
from around the islands they
"surrounded" in Miami's Bis-
cayne Bay.
year of the umbrellas.' And we
live with our projects a very
long time.'
The Christos differ from most
artists in that they finance all
their own projects. They accept
no commissions. grants or spon-
sorship of any kind, and he re-
cently refused $1 million to do a
60-second commercial on Japa-
nese television. Jeann....Claude.
his dealer and head ofthe corpo-
ration formed to build the pro-
Materials. labor, shipping.
insurance, engineering, staff,
rentals legal expenses and envi-
ronmental studies for the um-
brella project came to $26 mil-
lion. The Christos also paid the
California Highway Patrol and
the county sheriff to direct traf-
fic along the 18-mile route
across Tejon Pass.
If inSITE94 creates even a
small traffic jam, it's a boost for
public art in San Diego County.
f cl - J-I
j
ART
AHEAD
FROM SATIRICAL
INSTALLATIONS AND
OUTDOOR SCULPTURES
TO MAJOR GALLERY
EXHIBITS, STARTLING
NEW SIGHTS WILL
GREET THE EYES Of
SAN DIEGO ART
LOVERS IN 1994
Go
BY LEAH OUMAN
lOOK FOR ART THIS YEAR on
your neighborhood stroll. your
daily commute. your brC:UGlway
to Baja. Of course. museums and gal-
leries will still keep their walls full and
progmns ticking. but 1994. more [h.la
any od1er ye:u- in San Diego's recent his~
lOry (or pem.ps ever). will be the one in
which art ventweS out of its conventional
bounds and into the streets. the uuUey
st:Uions and the tr:JJn depol.
Why'? Credit the mtbitions of InsClI-
lation. the nonprofit organization that
finally gave up sponsoring the fun but
aesthetic:l1ly fruitless downtown ArtWalk
ilIld has moved on to bigger and better
things. Installation ran il succession of ai~
rermuive g<ll1ery spOlCes downtown for 10
y~. In 1991. it joined the legions of the
homeles.~ and in so doing took J height-
eneu interest in projects of an itiner:1nt
nature. especially artists' tempor.uy in.
stall:ujons in public and private spaces.
Call it .utistic squatting.
Installation tested the l.:oncept of a re-
gional fe:mval of installation art back in
1991. Undor the auspices of inSITE91.
21 sites-from musc:ums. gaJlc:ries and
vac:ut[ oftice spaces in San Diego to (he
~'\d - c);L
. S,I:" [)IH., 1 \1.',(,.,/.:';1' . : ..'.!..\IIY q<l4
be:lChes of lijuon.-housed temporory.
sire.specific works by local JItiSt5 and a
small handful of outsiders. That event
was OJ. mixed bag. but one tholt held a. re~
deeming snare of surprises. and solid ac.
complisiunenlS.
For inSITE94. the stakes have risen.
Director Lyndo Fo"h. ll1d curnto" on
both sides of the border have enlisted
more than 50 artists from across the
country JIld abroad to articulate a sense
of ploce :!l more thon :!5 indoor and out-
door venues in San Diego and Tijuana.
[nSlTE94's lineup. though still in the
works. looks to be tuU of intellectual risks
and sensory chaJlenges.
Among the more promising offerings
on the progr.lm. which is scheduled to
run from late September through Octo-
ber. is Debor:th Small"s installation ~[
the 1imken MlL"ieUm of An. Small. who
te:lches at California State University S;JO
Marcos. plans to throw a blazing question
mark. in among the exclamation poi ntS
that make: up the Timken Vluseum's col.
lection ot mas[erpic:ces. Her ".\1etamor.
phosis" projc:ct looks at the collision Ilf
art history"s long-presumed n~u[rJ.Jity ~nd
the touchy politics or' Europe::an colomz;.:.-
z:
z:
~
~
@
f
~
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u
~
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tion through (he life ,)( In 18th-...:enrury
woman ~n[omologlS[ Jnd p:.lJnler. .'-lOfh-
ing like kee;:lIng (he Timken'" tre:.lsures
alive :md ~JCkJng.
SeverJJ :nSfTE9-.l. Jl11s1S \Vill he J.uoO[-
ing J (resn persOectj1ic (In :he (JmliiJ.f;o-
caJ L..1nus..:;,roc. S.m Dle:;:.m DJvlU Juns!
plans CO -";:.Jirlv;uc :l ~m;),ii ,-'fOp ur <.:Dm :n
{he GQiuen TnJngJe J.re::l. noc in ~ir.:JirH
rows but roil()\...'mg :t1e I)utllnes nr" ,J ":00-
rempor:1ry :-eSlllentlJi ,:onr JI;Jn. Viewer:;
will be Jhle :0 '."iJnlier :nrnugn me :-~"ul!-
log m;Jz::-:)un 'ntc:"Jeu-.lnu mu_".: I)n
{he ,etum lr 1:':(:\~ J~n,::';i('Jre:D d;,e::'.T-
Iy JC:'.e:()ocl.1 :.:r:XI:l ,<.::t:r.:;. :",X::lJ ,....:.II['fIJr
-\nne \IULl:';'':. '- nl)'<': "_11P" ~-::!enr~,..: "he
Inte;;rny ...lnJ lnrnc::.cy or ,)r~:!nll: :Joe-
nomena. will take on cne terrJln ur" San
\L1rcos. recusing ,m now :ne Jre:l h::J.S
b~~n (r::J.nsform~(j pnY'ilc::liJv -lna jemo-
gr:lpnlc:.J.i1y.
[nsrJIL.lt!on .111 :\ ;:"Dc~:;.:li: ;oou 'f
prompung. r~::.umln;j[lon ,J! :ne ~'Jmlk':'f
.loa ...:onvenllOn:li. '.....nemer '[ ..:onSI"!S ,,(
:';:':':C:,~cocn ,:J'am:." :::3. :,-re
5trc!f5rr.Razor "'"ac=' ~989) irom
:)avlC ,J,,,alOS "~u=::ac ;'v1i1a'!;ra'
>~'es. ~ume 'Jt '.'Jr:c,~ '.'Jlil be
~c::...:ec :<1 a. -e~rc:s:::ec::'Je snow
:: -:s Nor\( .'!.[ O'!IQr."';3;f '.:JII~e'S
3,:~r'''''' ':<iJier'1 ::e~;~:"':rg
-~~~'_.;;"'I -
:merven!lons In J ;l';c:n :.::1';lrnnmen( Jr
,he: c.:r:::.:uon 1)( In :'::'1ure!y ne:',~ 'lIH:. .l,[ '(S
:)1:'i1. ';IC',Ver, '...::::! :mmc:r\c'J. nVOI\'~:":.
'i'Hc:d ?:..lcr!o K1CO-')Om :.:I11::,( ?~:J()n 1),,-
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-inl! Jrnor:c:~: n 11\ _',lntf:::"IJ(llln -n ;'-
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LloraiNo Crying Allowed in me B<lJ'bershop" will sinm.te
visitors. in a full-scale barbershop inlerior. J. common breed-
ing ground for machismo culture in Latin-Americ:m caun.
tries. the artist says. Sound and video projections onlO
mirrors will direcl .mention [0 Ole male-only rituals that take
place there. such as the poignont fllSl hairt:U~
InSITE94 will also eke us inlO the baggage room at the
Santa Fe Depot. imo the classrooms of me Casa de la Cultura
in TIjuana ond the remains of <he old Agua Calico", casino.
where artists as wise and witty ;IS Terry Allen. as darkly
provocative as Johnny Coleman ilDd as formally enpging as
Robert Therrien will edge their way inro our psyches wlm
their musings on identity. place and culture.
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III Ie S il N I) lEe 0 U N l 0 N - Tit [ 1\ U N E
Sat'Jrday,
May IS, 199'3
Insite '94 to show works of 50 artists
By ROBERT L. PINCUS
Ar-tCritic
The scope or Insite '94, an ambitious binational
exhibition or installation art, Was outlined at a press
conference yesterday at the Museum or Contemporary
Art's downtown location. At least 25 venues in San
Diego and Tijuana will participate. Other sites, such as
industrial buildings, also will reature artists' work.
The exhibition will be in place ror five weeks begin-
ning Sept. 23, 1994. The list of participating institu-
tions is long and includes virtually all of the major
museums and non-prorit gallery spaces in the San
Diego/Tijuana region. They include the Museum or
Contemporary Art, San Diego; the Centro Cultural
Tijuana; the Museum of Photographic Arts; and the
San Diego Museum of Art in Balboa Park, as well as
colleges and universities in both cities.
A minimum or 50 artists will be reatured, though
speciric names are not yet available.
"[nsite '94 will demonstrate that this binational
region is a cultural center worthy of international
recognition," said Michael Rrichman, who is chairman
or the board of [nstallation, the non-profit organization
that is overseeing the exhibition.
lIe was one of several speakers voicing optimism
about Insite, which area arts administrators hope will
be a n ongoing biennial.
Jose Luis Pardo, sulHlirector or the Centro Cultural
Tijuana, expressed enthusiasm for the concept of Mex-
ican artists placing installations in San Diego and
American ones siting work in Tijuana.
"This is the truly international aspect or the (Insite
'94) (estival," Pardo said.
Lynda Forsha, who heads the curatorial department
at the Museum or Contemporary Art, San Diego, has
already announced she is leaving that institution as or
this Sept. 1 to become director o( the [nsite project.
"What distinguishes this (rom other biennials is its
residencies," Forsha asserted. ''What has made this
binational region appealing ror those who live and work
here - the beauty of its lands<:ape and the rich
cultural diversity - also makes it attractive to artists
(rom elsewhere."
[nstallation's budget (or [nsite '94 is projected to be
$500.000, Krichman said, and two-thirds o( those
(unds are already in place. This includes $125.000 ror
commissioned projects and $100.000 ror a catalog,
which will be assembled and edited by Sally Yard, chair
of the Department afFine Arts at the University or San
Diego. A guideuook to the rar-nung exhibits also will be
published.
Area institutions will (und their exhibitions (rom
their respedive budgets.
The Pan Pacilic lIotel in downtown San Diego has
already agreed to house visiting artists, who will be
creating work (or specific locales to be displayed dur-
ing [nsite '94.
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Panoram'ca ~n qur flguraron ~KlcBno. y nortramrrlcsno.
pla"~"ndo III c~I~brnc16n para el94 de porllclpoclOn de srll.,..
de ambo. Isdo5 de III fronters en Is rrlll/zsclon de Anle
'"slnIBelim INSITE 94.
f
Gerardo Nsvsrro, dlreclor gener.' drllNBA y Pedro DcllOB,
dlreclor del CecuI, comblsOOo Impre.lone. .obre el novedoso
proyecto Inlernnclon81 en que lomora" parle plntores de
ambo. Plllses,
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Particioacion dellNBA
Exhibicion Binacional deArte-Instalacion
INSITE (~!l una clhibici6n lJinacional dc artc .
ill~laJac...tdn fltlC Irndr' corno rM:f:lluMJ la wnJl (rolltcroa
dr lijllana - San Dit'go d aoo cnlranlc, Eslc proYf'Cto
rslc\ "U!':tl'l1lado en irnportallh'" in~liItJcinflcR cullurales
y Htlh{'TII;IIllr.III:11('~ tit' E!';tados ('nidus y Mhko, dc las
{Jll1' (1(.~tacall, EI <':onst'j(1 N:tdonal rar.li la ClIltUr.Ii y la,
^rlf'!':,;1 frav(-p,ddlnsfilulo Nociona de ndlas Arte!JY eI
("('nllo Cultural 'lijuana.
La rxhihicK'ln n:plnrad una de b!il ralf'gorfas mh
~Ii,dllli(~as tic-I .ute {.()lIlrll1por;\'I(~, flue C8 d iu1c dr.
IIJslaladoll, campo rn (')f,IIC Irabaj.,riJlIIIA~dccilleUl'lIla
arti!'Ia.~ para csta nmesln.
1.0 (IIIC haec difcrcnte II pruyccto INSrrE 94, cs que
!as obras scnin exhlbidasenrlirc~nlcs silios cspecllicos,
para inleracluardirecla Y c!Jlt:ticamrnle, ohm y cspado.
Eslc proyr.eln involucra a mAs de veinlicinco
in!1ilitucione9 de cullur3 y gobicrl1o. las ctlalrs Soon
cllcabczada!1i por dcslacadas pcrsonalidades dc ""cslra
zona Cmnlcnza, cll09 8On: cl Dr. Gerardo Eslrada
Hntlrlgucz. director del Instituto Nadonal de Bellas
Arh'S, I )edro Orhoa, direclor del Cent m CulhllClllijuillla,
IIl1gh Davies, din.'clor del Museum nC ConlcJI1l>orary
Art de San Diego, Lynd. Fo,"h.. di",elor de INS 'm 94
y Michael Krichman, prcsKlcI11cdc Inslallalion Gallery.
1.1. 1.11 \II' ,\ I! " . I' ,\i:. I.
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11l1~' I lie II h lJ F .1 \I N 111 III': 111'11.
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Participa larnbif.n d XIV Ayuntamiento de 'lijuana a
travf.s de su DqJ3rtnmcnlo de Cu!tura, ()re!tidldo (H)T
Maris3 giinchcz. La in~tiluci6n gub(~rllilll1cfllal.
conjunlamrlllc conel Cenlro ClIltural'liju3113, invilan\n
a participar a las univrrsirI;HI(~s de Ti/'uana: lInivc~i(I;HI
AuI6nom3 de Baja Caliromia, Ccntro ( c Estutlio!t Tl-'cnko
r. S1lpcrior, Univcrsidad Ibrroal1lcricana y e1lnsliluto
rccnol6gko de 'njuana, r,ara que prcslen ~w, l'Icrvidos
con la nnalidad de (Iue a 11 scan cxhihidaslas ohms.
Olras ofR:lIlizaciuncs qUI! talllbifn apoyan a INSITE
94 son, la Asociaci6n Cultural Hlo Hita, el I.:okgiu de la
Cmlllr.ra nOl1e. la casa de 13 Cuhura y la Galrrla de la
ChHhul.
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C1lY OF
CHULA VISTA
OFFICE OF THE CITY ATTORNEY
September 9, 1994
Mr. Joe Garcia
Chula V~sta, Ca. 91910
Re: Oral Communications
Dear Mr. Garcia:
Thank you for your letter of September 6, 1994. Please be advised
that the practice and procedure of the City Council is to tolerate
and encourage any member of the public to speak on any item on the
agenda at the time the agenda item arises and that the placement of
oral communications on the agenda is an opportunity for any member
of the public to address the Council on any matter not on the
public agenda.
Therefore, if you wish to talk about labor negotiations or the cost
of public employee's salaries or benefits, you may do so under oral
communications or pull the item for public discussion before the
Council goes into Closed Session discussion on an item.
Because you requested that your letter be agendized for discussion
at the next City Council meeting, we will accommodate that request.
If this letter provides sufficient explanation of your rights, you
can always request, at the Council meeting when the written
communication is discussed, that you have been satisfied with this
response. Otherwise, you can come to dias and discuss your written
comm 'cation. You will need to pull it off the Consent Agenda.
r ce M. Boogaard
city Attorney
BMB: 19k
c: \It\garc1a
276 FOURTH AVE/CHULA VISTA, CALIFORNIA 91910/(619) 691.5037
AUTHORIZATION FOR
TEMPORARY ENCROACHMENT
IN CITY RIGHT OF WAY
r
i -'
PERMIT NO. PE-316
Application Fee:
Receipt No:
Inspection Fee:
Receipt No.:
$105.00
132043
$45.00
Pursuant to Chapter 12.28 of the Chula Vista Municipal Code, permission is hereby granted to:
MICHAEL SCHNORR ("Permittee") to do work within a portion of right of way belonging
to the City of Chula Vista ("City").
Whereas, the Permittee has requested the permission of the City to encroach on the City's right
of way adjacent to and for the direct benefit of the property at POGGI CANYON AT EAST
END OF ORANGE AVENUE to do the following work:
Erect three photo panels (8 ft. x 10 ft.) with enlarged photographs of Poggi Canyon in
accordance with Exhibit" A".
Now, therefore, in consideration of their mutual promises, and other good and valuable
consideration, the parties hereto agree as follows:
Permission is hereby granted to Permittee to install the above-mentioned encroachment on the
real property belonging to the City as described above in accordance with the following
conditions:
1. The encroachment shall be installed under the authorization of a permit issued by the
Department of Building and Housing of the City.
2. Maintenance, removal or relocation of the above-mentioned installation of the private
facilities shall be the sole responsibility of Permittee, or lessee at no expense to the City.
3. If disturbed, all street surface improvements shall be restored to their original condition
upon removal of the temporary encroachment.
4. This permit becomes null and void SIXTY (60) DAYS from the date of issuance, unless
otherwise extended or terminated at an earlier date by the City Engineer in conformance
with procedure stated hereinafter.
5. PERMITTEE shall apply an anti-graffiti material to the encroaching object of a type and
nature that is acceptable to the Director of Public Works.
Page 1 of 2
6. PERMITTEE shall immediately remove any graffiti from the encroaching object.
7. CITY shall have the right to remove graffiti at the discretion of the City Engineer.
8. PERMITTEE shall not block sight distance for drivers traveling southbound, entering
East Orange from Brandywine Avenue (see attached Exhibit" A").
This permit is revocable upon thirty (30) days written notice to Permittee, and upon such notice,
the installation must be removed, or relocated, as may be specified by the City at Permittee's
expense at the said time. If Permittee fails to remove or relocate the encroachment within the
period allotted, the City may cause such work to be done and the cost thereof shall be imposed
as a lien upon Permittee's property.
Permittee shall defend, indemnify, protect and hold harmless the City: its elected and appointed
officers and employees, from and against all claims for damages, liability, cost and expense
(including without limitation attorneys' fees) arising out of the conduct of the Permittee, or any
agent or employee, subcontractors, or others in connection with the execution of the work
covered by this Agreement, except only for those claims arising from the sole negligence or sole
willful conduct of the City, its officers, or employees. Permittee's indemnification shall include
any and all costs, expenses, attorneys' fees and liability incurred by the City, its officers, agents,
or employees in defending against such claims, whether the same proceed to judgment or not.
Further, Permittee at its own expense shall, upon written request by the City, defend any such
suit or action brought against the City, its officers, agents, or employees. Permittee's
indemnification of City shall not be limited by any prior or subsequent declaration by the
Permittee.
The undersigned Permittee hereby accepts the foregoing encroachment permit upon the terms
above set forth and agrees to all of the conditions and covenants on its part to be performed.
It is understood and agreed that, in addition to the above conditions, all applicable conditions
of the City of Chula Vista Municipal Code are incorporated herein by reference as if set out in
full.
APPLICANT:
CITY ENGINEER OF THE
CITY OF CHULA VISTA:
(please print)
Name
By
Address
Date
Signature
Page 2 of 2
8RANPYW/N!
AR.E4 TD el!
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EXHIBIT
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FILE NO_ PEl.' '3,"
OWN BY: j ~
DATE: Q!qj.,4-
TEMPORARY ENCROACHMENT
500 BLOCK' E. ORANt7E AVENUE