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Call for Artists: 2017 Art on Market Street Kiosk Poster Series
2017 Art on Market Street Kiosk Poster Series
RFQ Issue Date: March 22, 2016
Monday, June 6, 2016, 11:59 p.m. Pacific Daylight Time.
Applications are available through SlideRoom (https://sfgov.slideroom.com), an online application system for calls for entry. There is no charge to artists for using SlideRoom. Please be sure to allow adequate time to submit your application as technical difficulties can occur. Applications that are mailed, emailed, faxed, or hand-delivered will not be considered. Applications will not be accepted after Monday, June 6, 2016, 11:59 p.m. (PDT) deadline.
Please note that Arts Commission staff will be available to answer questions about this call until 5 p.m. (PDT) on the deadline date, Monday, June 6, 2016.
SlideRoom technical support is available Monday – Saturday by email, 9 a.m. – 9 p.m. (CDT). email@example.com.
Eligibility is open to professional, practicing artists who reside in the United States. Entries not meeting eligibility guidelines will be withdrawn from consideration.
- No travel budget is available for this project.
- During the course of the project, the artist must be available to make 4 in-person visits with the San Francisco Arts Commission.
- The artist's portfolio must demonstrate a familiarity with the San Francisco Bay Area and/or artwork that responds to various aspects of the San Francisco Bay Area cultural scene.
The Art on Market Street Kiosk Poster Series has commissioned new temporary artwork by Bay Area artists since 1992. The Program commissions four consecutive three-month poster exhibitions annually. Each poster series consists of a set of six original designs that are professionally reproduced and printed as six sets of posters, 68 inches high by 47 ¼ inches wide, for installation in 36 bus shelter kiosks on Market Street between 8th Street and the Embarcadero. All artists' designs must be approved by the Arts Commission and are expected to be appropriate for a broad public audience.
The Summer of Love shaped San Francisco inextricably; 2017 sees its 50th anniversary. This hippie counterculture movement defined by sexual and social disinhibition had San Francisco as its epicenter. The social changes from this seminal sociopolitical movement reverberated into the early 1970s, the effects of which echo throughout contemporary society. This call hands over creative license to artists to reinvigorate this melting pot of politics, music, drugs, creativity. Half a century on, and with particular reverence to current political rhetoric, we see history repeating itself; many oppose America's keen support of the military-industrial complex; are suspicious of corporate America, and grapple with the consumeristic society that San Francisco has become. There is no San Francisco without The Summer of Love, 1967.
Artist Qualification Panel: The applications will be reviewed by an Artist Qualification Panel consisting of representatives from Arts Commission staff and arts professionals to identify a list of qualified artists to be considered for the project opportunity.
Artist Selection Panel: This list of qualified artists will be presented to an artist selection panel consisting of two arts professionals and one Arts Commissioner. After considering the artists' application, the artist selection panel will identify approximately 7 finalists for recommendation to the Arts Commission for approval. The finalists will be invited to develop conceptual proposals after attending an orientation session. Each finalist will be paid an honorarium of $850 to develop their proposals.
All Arts Commission meetings and Public Art Selection Panel meetings are open to the public and are posted on the Arts Commission website at least 72 hours in advance of the meeting. To check the meeting schedule for public art projects, please go to our website at: http://www.sfartscommission.org/pubartcollection/category/public-meetings/.
The Qualification and Selection Panels will use the following criteria to evaluate and score the applications:
- Complete application submitted prior to the application deadline.
- Demonstrated quality of past artwork as represented in the applicant's submitted images.
- The artist is available to participate in the design, and approval of the project as required.
The selected artists will develop a final Proposal for the Project based on a maximum budget of $8,000 for project costs, including, but not limited to, Artist's fee, design, all preparation work necessary to complete each poster design to the printer's specifications, and print-outs of at least two color copies of each of the six poster designs for (1) presentation to Arts Commission and (2) submission to printers for color proofing. Production and installation costs will be organized by the SFAC under a separate budget.
PROJECT SCHEDULE (subject to change)
RFQ Issued: March 22, 2016
Application Deadline: June 6, 2016
Selection Panel Meeting #1: beginning of June 2016
Visual Arts Committee approval of finalists: June 15, 2016
Development of Proposals: mid-June to August 2016
Selection Panel Meeting #2: week of August 8, 2016
Visual Arts Committee approval of Project Artists: August 17, 2016
Project Artists under contract: mid-September 2016
Anticipated installation dates for each Kiosk Poster Series is as follows:
- January/February/March 2017
- April/May/June 2017
- July/August/September 2017
- October/November/December 2017
Project Artists will be assigned to one of the four installation time frames by Arts Commission staff.
All application materials must be submitted online via SlideRoom (https://sfgov.slideroom.com) by Monday, June 6, 2016, 11:59 p.m. Pacific Daylight Time. Applications sent via email or post will not be considered. Application materials include:
Resume of past relevant work, not to exceed three pages. 10,000 characters maximum
Letter of Interest
- Letter of interest including a brief statement about how you might approach developing a proposal. Please do not create and submit images of a specific proposal or proposed poster designs. Proposal imagery will not be considered at this stage in the selection process. 5,000 characters maximum.
10 images of previous work
- SlideRoom accepts jpg, png, and gif files up to 5MB. Images should at least 72 dpi and no larger than 1500 x 1500 pixels
Image descriptions
- When you upload your images, SlideRoom will prompt you to fill out image descriptions. Please include the title, medium, dimensions, and year for each work. You may also include a brief statement (2 sentences maximum) about each work.
There is no application fee to apply or to use the SlideRoom online application system. To view the application, go to https://sfgov.slideroom.com/ (no "www") and sign up for an account.
Applicants can receive SlideRoom technical support by emailing firstname.lastname@example.com, or by accessing the online help desk: https://support.slideroom.com.
For questions regarding the 2017 Art on Market Street Kiosk Poster Series RFQ, contact Zoë Taleporos, Public Art Program Associate by email at firstname.lastname@example.com, or by phone at (415) 252-2244.
Rights Reserved by the Arts Commission
The City reserves the right to not accept any applications, to not accept any artist recommended by any of the selection panels, to initiate an alternate Selection Process, or to reissue the RFQ for additional pre-qualified artist candidates.
Proposal Board and Maquette Policy
In the event that you are asked to develop a proposal, the following policy will apply. The Arts Commission will:
- At its sole discretion, have the unconditional right to own proposal maquettes or drawings selected for implementation as part of commission awards or may alternatively choose to retain all such maquettes until the project is complete.
- Retain first right of refusal to purchase proposal maquettes and drawings submitted by the artists not selected for implementation.
- Be given credit upon display and/or reproduction of any maquette or proposal commissioned, whether selected for implementation or not.
- Require that all proposals and/or maquettes submitted are original and unique.
Local Business Enterprise Goals and Participation
The requirements of the Local Business Enterprise (LBE) and Non-Discrimination in Contracting Ordinance set forth in Chapter 14B of the San Francisco Administrative Code (collectively the "LBE Ordinance") shall apply to this RFQ. The artist selected may be required to subconsult a percentage of the total value of the contract to a subcontractor certified by the Contract Monitoring Division (CMD), and submit documentation of the good faith outreach efforts required by Chapter 14B. The City strongly encourages proposals from qualified LBEs, and a ratings bonus will be in effect for the award of this project to any proposers certified as a CMD LBE. All contractors and subcontractors awarded contracts are required to use the Elation secure web-based Local Business Enterprise Utilization Tracking System (LBEUTS) to submit payment information. More information on CMD certification and requirements can be found at http://sfgsa.org/index.aspx?page=6711, or contact Lupe Arreola, CMD Compliance Officer for the Arts Commission at 415-581-2306, or at firstname.lastname@example.com.
Non-Discrimination and Equal Benefits Ordinance
The City and County of San Francisco, in its effort to provide equality of opportunity and equality of benefits, requires that individuals and businesses doing business with the City comply with Sections 12B and 12D of the Administrative Code. This requires that if you are an employer, and if you provide health or other benefits to the spouses of your employees, you must provide equal benefits to the registered domestic partners of your employees. This section also requires demonstration of good faith efforts to hire local disadvantaged business enterprises. More information on these policies may be found at:http://sfgsa.org/ftp/HRC_for_GSA/uploadedfiles/sfhumanrights/docs/ResourceMaterials9-07.pdf
Americans with Disabilities Act
The selected artist(s) will be required to comply with Americans for Disabilities Act (ADA) requirements in addition to related federal, state and locals codes and will be encouraged to develop artwork(s) sensitive to programmatic as well as physical accessibility issues in cooperation with the Arts Commission and disabled communities.
Minimum Compensation Ordinance (MCO)
(This requirement only pertains to artists who have over 20 employees, or artists who may have their artwork fabricated by a company with over 20 employees.) The selected artist(s) will be required to agree to comply fully with and be bound by the provisions of the Minimum Compensation Ordinance (MCO), as set forth in S.F. Administrative Code Chapter 12P. Generally, this Ordinance requires contractors to provide employees covered by the Ordinance who do work funded under the contract with hourly gross compensation and paid and unpaid time off that meet certain minimum requirements. For the contractual requirements of the MCO, see paragraph 42 of the Ordinance. Additional information regarding the MCO is available on the web at: http://www.sfgsa.org/index.aspx?page=403.
Health Care Accountability Ordinance (HCAO)
(This requirement only pertains to artists who have over 20 employees, or artists who may have their artwork fabricated by a company with over 20 employees.) The selected artist will be required to agree to comply fully with and be bound by the provisions of the Health Care Accountability Ordinance (HCAO), as set forth in S.F. Administrative Code Chapter 12Q. Artists should consult the San Francisco Administrative Code to determine their compliance obligations under this chapter. Additional information regarding the HCAO is available on the web at http://sfgsa.org/index.aspx?page=407.
Required Forms and Contracts
In addition to the proposal MOU, as part of the City's contracting process, the artist selected and approved by the Arts Commission will be asked to enter into contract with the City and County of San Francisco for the entire duration of the project. Artist applicants should review the Arts Commission standard template contract which can be found on the Arts Commission website: http://www.sfartscommission.org/pubartcollection/documents/pa03-sample-artist-contract/. While some items specific to individual projects such as scope of work, payment schedule and schedule of deliverables may be negotiated, the terms of the contract will not be changed. Depending upon the specific scope of the project, prior to the issuance and throughout the duration of the contract, the artist will also be required to maintain a San Francisco business tax license, go through the Vendor set-up process, fill out specific documents from the Human Rights Commission and will be required to carry various types of insurance, including Automobile Liability, General Liability, Fine Arts, and other insurance as required by the City.
All information contained herein does not constitute either an expressed or implied contract, and these provisions are subject to change.


text: OHIO CATTLEMEN OVERWHELMINGLY APPROVE CHECKOFF INCREASE Apr. 1, 2014 BrownfieldAgNews reports: By a margin of 72 percent in favor, to 28 percent opposed, Ohio cattlemen have overwhelmingly approved the Ohio Beef Marketing Program Referendum that will increase the state's checkoff on cattle from $1 to $2. Ohio Cattlemen Association Executive Director Elizabeth Harsh says the 72 percent voting in support was the result of several factors, from volunteers, to other groups supporting the increase, to the education effort. "To make sure producers know where the existing checkoff dollars are utilized and then obviously what we could do with additional dollars and why they were needed," Harsh said. The final vote - 1,527 votes in favor of the referendum, 591 votes opposed. Tweet |

subset: commoncrawl


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When someone reads the Holy Bible, for example, the picture one gets is a " one continuous story from Genesis to Revelation." When the trained mind in historical and religious analysis goes through it, he finds strata and combination of stories-not one story line. A reading of Genesis chapters 1 and 2 will show what we are talking about here. The untrained mind sees both chapters just as one continuous whole-the creation of the world with " man being created last." But when the student of history subject the same chapters to analysis, then the picture of more than one story comes into view. Genesis Chapter 1 through chapter 2 verse 3 shows the first story of creation with man being created last. Genesis Chapter 2 verse 4 shows man being created first and all other things following behind.
What the old Jewish biblical writers did as they codified the bible, was that they simply tried to mix different stories together, which they may have gathered from different sources. In this case, they were trying to mix up stories from both the NORTHERN KINGDOM and SOUTHERN KINGDOM of Israel together. Their main purposes was to tell the world, how God ( Yahweh) dealt with the Israelites. They never knew that a time would come, when their writings would be subjected to scrutiny, as we now do.
The Rev Samuel Johnson, Rev Lucas, Chiefs Egharevba and Oronsaye wrote like the biblical codifiers. From all historical accounts, the attempt to link the Yoruba and Edos to Mecca and Egypt began in the late 18th century. It all began with the popular Hausa traditional historiography approved by the Sokoto Caliphate which described the " Yoruba-Oyo" people as cousins, having a common ancestory in Arabia. The Yorubas founded Ilorin. The Hausas have had hundred of years of trading relationship with Yorubas of Ilorin and Oyo. The name Yoruba was given to them by the Hausas who called them YABA YABA or YOBA. The original name of the yoruba language was ANAGO. Many Hausas lived in Ilorin and Oyo. Many were in the employment of the Alaafin of Oyo and Ilorin between 15th and 19th century. Many lived in the Old Oyo, known as KATUNGA. How Ilorin and Old Oyo eventually fell to the Hausa/Fulanis has been retold in many in books.
Talbot, the authority cited by Chief Egharevba had access to Clapperton's notes. Chief Egharevba himself had access to both Talbot and Rev. Samuel Johnson who wrote with the UNITY OF THE YORUBAS in mind and a link to Mecca and Egypt. Chief Egharevba wrote with the UNITY OF EDOS in mind. What Rev Lucas was to Rev Johnson, so too was Chief Oronsaye to Chief Egharevba. All these men were pioneers in the field they had little or no training for and they did their best. The last twenty or more years have seen Yoruba historical academicians, moving away from the Mecca, Medina, Egypt and Nubian stories. We are not surprised that some Edo writers are still stuck in this Egypt/Mecca/Medina/Nubia " MUD " of history.
It might be neccessary for some of us to read the following on the history of the Yoruba and Edo origins:
--Akinjogbin and Ayandele: " Yorubaland before 1800 " in the Groundwork of Nigerian History, edited by Obaro Ikime.
--Ade Obayemi: Yoruba, Edo and the etc : History of West Africa ( Vol.1 ) edited by J.F. Ade Ajayi and Michael Crowther
--Thurstan Shaw: " Nigeria: Its Archaeology and Early History ( Thames and Hudson ,London).
---Graham Connah: The Archaeology of Benin. There are other books out there
Ademola Iyi Eweka.


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This time you have 4 chances to win. Remember to leave a separate comment for each of the chances to win.
1. Leave me a comment telling me what you would make with this jelly roll.
2. Become a follower of my blog and/or leave me a comment that you are already a follower.
3. Visit The Intrepid Thread Etsy store, and tell me what is your favorite fabric in the shop.
4. Blog about this giveaway and leave a comment here with the link.
This giveaway will close at midnight California time on Thursday, August 18, 2011.
Good luck. This is such a fun fabric!


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Skunk2 Pro Series K-Series Intake Manifold: Black
Will It Fit Your Vehicle?
Skunk2's engineers went back to the drawing board when they set out to improve the already popular '06-'11 Civic Si's RBC intake manifold. Each of Skunk2's Pro Series Intake Manifolds for Honda's K-series engines feature larger plenums and shorter, oversized runners when compared to the RBC, and are cast with thicker wall material, leaving room for further porting for high-horsepower applications. Instead of producing a manifold with a significantly oversized plenum and excessively short runners that would sacrifice mid-range power, Pro Series manifolds were designed for the "street enthusiast" who wants more power but doesn't want to sacrifice mid-range performance to get it. The results are improved airflow, an enhanced venturi effect, and both mid-range and top-end power gains.
Skunk2's all-new, cast-aluminum Pro Series Intake Manifolds for Honda's K-series engines are a direct-fit replacement for all '06-'11 Civic Si engines thanks to their unique design and throttle body flanges, which are compatible with OEM throttle bodies as well as those as large as 76mm. A thermal-insulated intake manifold gasket is also included, making for a truly bolt-on installation (no drilling or modifying required). Pro Series manifolds also incorporate an angled-runner design, which allows for ample hood clearance on almost any engine combination.
Pro Series Intake Manifolds offer horsepower and torque gains greater than the popular RBC manifold but without compromising mid-range power output. The design incorporates runners that are similar in length to the RBC's but with larger bores, a special tapered design, as well as a larger, tapered plenum that together preserve mid-range power but increase and accelerate airflow to allow for significant top-end power gains. Pro Series Intake Manifold runner exits are also machined and hand-finished to best match the cylinder head's ports. Skunk2's Pro Series Intake Manifold's shape and design also increases wave scavenging effects at the engine's ideal operating range, which allow for a broad increase in usable power.
Skunk2 is a familiar name in the intake manifold business, with more than 10 years of experience designing, testing, and building them. Similar to OEM manifolds, Skunk2's Pro Series Intake Manifolds are shell-molded from 356-aluminum, CNC-machined for superior strength, a precise fit, and a high-quality finish, and vacuum-tested for quality. Each manifold is molded with smooth transitions from the throttle body opening to the plenum to the runners with clean parting lines for an optimal finish, both inside and out and features a genuine Skunk2 nameplate.
- Part Number: 307-05-0325
- Color: Black
- Manufacturer: Skunk2
Vehicle Fitment
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text: Minecraft is now real. Click to block a category:GamingPoliticsNewsComicsAnimeOther AddNineThousand next random Comment Top NextComment Rule 34 NOTHING is safe NOTHING<br /> P.S. tell me if its a repost. If alot of people say ill delete as soon as i can next Tags: Minecraft | rule | Thirty four +13 Views: 11725 Submitted: 03/05/2011 Facebook Twitter Google+ Tumblr Pinterest


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More detailed information about the seven plays and playwrights that I mentored and that I previously wrote about has just been captured in an article in the Palo Alto High School newspaper.
Do you remember your high school paper days? I was one of the editors of mine (Monrovia High, can I get a "hell yeah?!"), and back then we didn't have such newfangled tools as Photoshop or the Internet. We we would be stuck at school late, spitting that damn paper out through a motherf-ing printing press! WTF?!
TheatreWorks' Playwrights' Initiative receives such unbridled praise from school staff, administration, parents, and students that I'm surprised that it always seems to be a struggle to secure funding for the project from school to school.
My suggestion? Why don't they get James Franco (Spider-Man, Freaks and Geeks) to fund the program at least at Paly for the next few decades? He used to go there and apparently revisits the campus to lift stories from students to use in the novel he's writing. Tit for tat, Harry Osborn! (James Franco could very well already be funnelling money into that school—I don't know.)
...Crap. I originally ended this blog post with that last paragraph and then I remembered that I didn't really complete it. So:
Yeah, I'd tap that.
Okay. Move along now.
4 comments:
Bah, MTV is gonna be cashing in on my life story with their new show the paper...and I'm not even going to get royalities on it.
Oh, I remember those blissful days of hard EIC work, eating Pizza pockets, playing video games in the back room, rollin' joints, and waiting until the last second to write the ENTIRE paper. Marvelous days indeed.