ITEM G-1 — Beverly Hills City Council, August 11, 2026

AGENDA REPORT
Meeting Date: August 11, 2026
Item Number:

To: Honorable Mayor & City Council
From: Matthew Brown, Recreation Services Manager
Stephanie Harris, Assistant City Manager
Subject: REVIEW OF PROPOSED AGREEMENT BETWEEN THE CITY OF BEVERLY HILLS AND JEFFREY DEITCH, INC. AS AGENT FOR JUDY

CHICAGO, FOR THE CREATION, SALE AND ASSIGNMENT OF
RIGHTS FOR THE ARTISTIC WORK ENTITLED “TRINITY”; AND

APPROVAL OF A CORRESPONDING PURCHASE ORDER IN THE
NOT TO EXCEED AMOUNT OF $626,800
Attachments: 1. Partially Signed Agreement

2. May 12, 2026, Arts and Culture City Council Liaison Staff Report (without attachment)

3. September 10, 2024, City Council Formal Session Agenda Report – Item G1

4. June 22, 2026, RLA Conservation Updated Pre-Fabrication Review

RECOMMENDATION
Staff recommends the City Council review the drafted agreement with the Deitch Gallery, along with several informational updates. This includes reviewing the warranty with Matthews Paint and the included Delta E 5 standard, the updated pre-fabrication review from RLA Conservation, and provide direction on the drafted agreement and warranty, for the purchase of the Judy Chicago Trinity artwork.

Meeting Date: August 11, 2026

Page 2 of 3 ends

INTRODUCTION
The Arts and Culture Commission conducts a Fine Art Priority Exercise, and through that process established for the Commission to consider recommendations of fine art for purchase, selected Trinity by Judy Chicago as their current acquisition recommendation to City Council. Subsequently, the Wallis Annenberg Center for the Performing Arts campus (Wallis) was approved as the installation site. The Wallis installation site had received universal support from the artist, the Arts and Culture Commission, Council Liaisons, and the full City Council. If the purchase of Trinity is approved by Council, the agreement will continue to be routed for signatures

DISCUSSION
The City Council Arts and Culture Liaisons and the Arts and Culture Commission recommended the purchase of the sculpture Trinity by American artist Judy Chicago at a cost of $589,000 at the time of the September 10, 2024, City Council meeting, which included the purchase of the artwork at $400,000, and $189,000 for the costs of installation on the Wallis Annenberg property at the corner of South Santa Monica Boulevard and North Crescent Drive. Estimates that were provided to comprise the installation costs in 2024 totaling $189,000, now necessarily include an additional 20% contingency to account for rising inflationary costs since 2024, bringing the revised total “all in” cost for the purchase of the artwork and installation to $626,800.

Trinity is a sculpture designed of three stainless steel triangles, painted with Matthew’s polyurethane paint. For the proposed installation, it would be placed upon a base of SikaColor-120G integral concrete.

During the September 10, 2024, City Council meeting, while Council supported the acquisition of the artwork, Council members expressed some concerns with the maintenance program, the length of term, and structure of language in the Ironwood and Matthew’s Paint warranties, and felt there was a lack of clarity in terms of their responsibility for the paint and maintenance over a 10-year period.

Staff have been working with the City Attorney’s office, and the artist’s representatives, as they negotiated the terms of the purchase agreement between the City of Beverly Hills and Jeffrey Deitch Inc. as agent for the artist Judy Chicago. The agreement includes language in the warranty from Ironwood, and maintenance instructions approved by Ironwood and Matthews Paint, and reviewed by the City’s current art conservator, RLA Conservation, to address the contingency of the approval of the purchase of the artwork by City Council. (Ironwood had initially agreed to assume responsibility in the form of a seven-year warranty from the installation of the artwork, covering the fabrication of the work, which includes the paint and other coatings and finishing systems.) Following Council’s direction, the proposed purchase agreement with Jeffrey Deitch Inc., now includes the creation, sale, and assignment of rights for Trinity, and a new 10-year warranty from Ironwood with maintenance instructions detailing the care of the artwork approved by Matthew’s Paint. Matthew's Paint felt able to provide the 10-year warranty requested by Council by switching from a gloss clear coat paint utilized under an earlier version of a 7-year warranty to a special clear satin paint covered under the current 10- year warranty. The Deitch Gallery reviewed this change in paint with the artist, Judy Chicago for approval.

Meeting Date: August 11, 2026

Page 3 of 3 ends

The City’s conservator, currently RLA Conservation, would perform inspections, cleaning, and waxing of the artwork, approximately every 6 months. RLA Conservation, provided an updated pre-fabrication review and assessment reflecting the terms of the 10-year warranty, including the switch from gloss clear coat to clear satin paint.

Warranty language with Ironwood would cover any defects in materials used in the manufacturing of the artwork, in workmanship, and any broken components under normal use. This language also covers restoring the artwork to its original condition at no cost to the City while the artwork is under warranty – and warrants that the artwork remains free from any material defects, including but not limited to the color of paint under normal use, for the period of 10 years from date of delivery. The calculation used under the warranty to assess any changes in the paint color over time is Delta E. The warranty for the artwork covers that the color will not fade beyond the Delta E standard of 5 for the length of the 10-year warranty.

These items do not cover the cost of inspections, but do include, at Ironwood’s cost, actual labor costs (including taxes), and any deinstallation, transportation, storage, and reinstallation of the artwork needed to restore it back to its original condition. The warranty does not cover cases of negligence, abuse, abnormal usage, misuse, accidents, unauthorized alterations of the artwork, theft or loss, natural disaster, human or wildlife abuse, failure to follow the maintenance instructions as set forth in the purchase agreement, or improper storage of the artwork.

At the May 12, 2026, Arts and Culture City Council Liaison meeting, liaisons Mayor Craig Corman, and former Councilmember John Mirisch, reviewed the draft agreement and discussed the terms of the warranty, including specifically the use of a Delta E standard of 5 to measure the degradation of the Matthews Paint used on the artwork. Council liaisons discussed that by using the Delta E 5 standard, the paint on the artwork can incur a noticeable fading apparent to the human eye and still not violate the warranty. As a result, the liaisons believed that a Delta E 2 standard would be preferred for the warranty, because that higher standard of measurement of paint degradation would only be visibly noticeable to trained professionals and laboratory testing.

After the liaison meeting, staff requested that the Deitch Gallery work with Matthews Paint to amend the warranty to include the higher Delta E 2 standard for paint degradation over the lifetime of the warranty as requested by the liaisons, rather than the Delta E 5 standard.

Matthews Paint declined to amend the warranty again to include the higher Delta E 2 standard.

FISCAL IMPACT
The funding required for both the acquisition and the installation of the Judy Chicago Trinity artwork is available in the Fine Art Fund (CIP 00568), which is a restricted fund that can only be utilized for expenses related to the City’s fine art collection. The current fund balance of the Fine Art Fund is approximately $3.2 million, with $700,000 available for the acquisition and installation through the Arts and Culture Commission Fine Art Priority Exercise process. No additional funding is requested at this time.

Stephanie Harris,
Assistant City Manager
Approved By
August 11, 2026
Attachment 1
-1-
B0785-0001\2846815v26.doc

AGREEMENT BETWEEN THE CITY OF BEVERLY HILLS
AND JEFFREY DEITCH, INC. AS AGENT FOR JUDY

CHICAGO, FOR THE CREATION, SALE AND ASSIGNMENT

OF RIGHTS FOR THE ARTISTIC WORK ENTITLED
“TRINITY”

THIS AGREEMENT FOR THE SALE AND ASSIGNMENT OF RIGHTS IN AN ARTISTIC WORK (the “Agreement”) is made and entered into as of the execution date set forth below (“Commencement Date”), by and between the City of Beverly Hills, a municipal corporation (“City”) and Jeffrey Deitch Inc. (“Gallery”), an authorized agent for Chicago/Woodman LLC, (“Artist”).

Section 1. Description of Work. Judy Chicago is an internationally known artist and the managing member of Artist. She has created an original work of art made of polyurethane paint on stainless steel entitled, Trinity, 2022, Edition 3 of 3 (“Work”) as set forth in Exhibit A (“Scope of Services”), attached hereto and incorporated herein by this reference. City shall acquire the Work from Artist. The Work shall be consistent with the approved rendering of the Work set forth in Exhibit A and shall be a stainless-steel sculpture measuring approximately 60 inches deep by 127 inches wide by 64 inches in height.

Section 2. Artist’s Schedule. It is estimated that the Artist shall complete the Work within twenty (20) weeks from receipt by Gallery of the first payment, as specified in Exhibit B, attached hereto and incorporated herein by this reference. In no event shall the Artist complete the work more than 26 weeks from receipt by the Gallery of the first payment. If the Work is not completed within the 26 week period, the final payment to Gallery on behalf of Artist shall be reduced by $150 for every day beyond the 26 week period the Work is not completed, unless such delay arises from circumstances beyond the reasonable control of Artist, Gallery, or Fabricator, including without limitation fire, hurricane, flood, or other acts of God, war, acts of terrorism, or governmental regulation or restriction.

Section 3. Price. Gallery on behalf of Artist agrees to sell, and City agrees to purchase the Work under the terms and conditions set forth in this Agreement and Exhibit A. The price for the Work shall be Four Hundred Thousand Dollars ($400,000 USD) (“Price”). The Price and the payment schedule are more particularly described in Exhibit B. City shall not withhold applicable federal or state payroll or any other required taxes, or other authorized deduction from each payment made to the Artist. Upon payment, Artist shall sign a written acknowledgement of receipt of said monies and such document shall be incorporated in this Agreement. The Price is exclusive of costs and expenses to be paid by City pursuant to the terms of the Agreement. Once the Work is completed , the City shall:
(a) inspect the Work for its condition at the Fabricator’s foundry, and confirm it is the Work identified in this Agreement;
(b) accept the Work in writing to the Artist and Gallery, and (c) pay Gallery in accordance with Exhibit B.

Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -2-
B0785-0001\2846815v26.doc
Section 4. Personnel. Artist agrees that it will be responsible for completing or overseeing all services in the Scope of Services and providing the personnel necessary for such services. Artist shall be responsible for the satisfactory performance of her personnel engaged in performing services required by this Agreement.

Section 5. Term. This Agreement is effective as of the Commencement Date.

Section 6. Right to Display. Artist hereby grants to City the right to publicly display the Work at the Wallis Annenberg property on the northwest corner of the intersection of Crescent Drive and South Santa Monica Boulevard in City (the “Installation Site”). The term “Installed Work” shall refer to the Work once installed at the Installation Site according to the terms of this Agreement. The Work may be relocated at City’s discretion after providing written notice to the Artist and meaningfully consulting with Artist about the proposed relocation site.

Section 7. Waiver of Certain Moral Rights. Artist acknowledges and agrees that City, in its sole and exclusive discretion, may deaccess or destroy the Work. City shall, however, provide notice to the Artist prior to any deaccession or destruction of the Work and shall offer in writing to return the Work to Artist at Artist’s sole expense. Artist shall have ninety (90) days from receipt of such offer to notify the City in writing of its desire to accept return of the Work, or if Artist does not so notify City, then City shall destroy the Work. City may not permanently modify, alter, or change the Work except for conservation of the Work for structural or aesthetic purposes, as provided under Section 13(f) below. Artist hereby waives its rights arising under the federal Visual Artist Rights Act, 17 U.S.C. sections 106A and 113 (d) (“VARA”) and the California Art Preservation Act (Cal. Civil Code section 987 et seq.) (“CAPA”) and any other state, federal or international law to the extent, and only to the extent that such laws conflict with the provision of this section. Artist waives no other rights arising under VARA, CAPA and any other state, federal or international law relating to an Artist’s moral rights.

Section 8. Replication of Work. The Artist acknowledges that the Work is 3/3 from an edition of 3 works and 2 Artist’s proofs. Other than the works and proofs in this edition, Artist shall not reproduce the Work in materially similar form for commercial or non-commercial purposes. The Artist shall not install a work of art that is materially similar to the Work in a public space within Los Angeles, Orange, Ventura, Riverside or San Bernadino Counties, such that an average observer would recognize the alleged copy as having been appropriated from the Work.

Section 9. Artist’s Rights.
(a) The City shall, at its expense, prepare and install at the Installation Site, a plaque, with input from the Artist, identifying the Artist, the title of the Work and the year of completion, and shall reasonably maintain such a plaque in good repair. (b) Artist or Gallery shall comply with specific maintenance and protection instructions to and of the Work as described in Exhibit A. Gallery shall cooperate with City to address any and all maintenance requests of City. The parties recognize that maintenance of the Work is essential to the integrity of the Work. The City shall reasonably maintain the Work according to Exhibit A attached hereto and Section 13(f) below.

Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -3-
B0785-0001\2846815v26.doc
(c) The City agrees that it will not intentionally damage, alter, modify, or change the Work except as authorized by the terms of this Agreement. (d) The City will not damage, alter, modify, distort, or change the Work without notifying Artist (or Artist’s estate) and Gallery in writing as described in Section 7 of the Agreement. As limited by this Agreement, the Artist retains any and all intellectual property rights, including but not limited to, copyright and trademark, and all other intellectual property rights in and to the Work except ownership and possession. All intellectual property rights not specifically granted to City herein are reserved by Artist.

Section 10. Warranty of the Work.

Gallery shall ensure that the fabricator of the Work, Ironwood (“Fabricator”), shall provide the ten year written warranty, attached hereto and incorporated herein as Exhibit C for the benefit of City. Gallery shall provide to the City Fabricator’s written warranty issued to the City, upon transfer to and acceptance of the Work by City.

Section 11. City’s Sole and Exclusive Ownership Rights. (a) Artist shall not retain ownership of or title to the Work. The parties agree that the title to the Work belongs to and is being sold and assigned to City for whatever use it desires subject to the terms of this Agreement, and that City does and shall at all times own, solely and exclusively, complete and unencumbered, all title in and to the Work, except intellectual property rights as described in Section 9.
(b) Artist and City may make and use reproductions of the image of the Work as follows:
(i) City may, without the prior consent of Artist and free of charge, make photographs and two-dimensional reproductions of the Work for such uses as advertising, brochures, media publications for the benefit of the City, literary or scholarly publications, and limited prints for use in Beverly Hills City offices. Any other use of the image of the Work shall be subject to the prior written consent of the Artist and such consent shall not be unreasonably withheld or delayed. In each use, City shall use its best efforts to include the following credit line, unless requested by Artist not to do so in writing to City’s Director of Community Services: “© Judy Chicago 2022. All Rights Reserved” Artist agrees to execute, and authorizes Artist’s legal representatives to execute, any documents or instruments requested by City to effectuate this grant of rights.
(ii) Artist may use the image of the Installed Work, provided that; (i) in each use, Artist shall include the following credit line, unless requested by City not to do so in writing: “Owned by the City of Beverly Hills”; (ii) Artist agrees not to use the image of the Installed Work for any purpose that is intended for retail or wholesale sale such as posters, tshirts and similar products. Nothing in this Section shall restrict the Artist’s rights to reproduce images of Trinity 1/3, 2/3, or the proofs in the Artist’s edition acknowledged by the City in Section 7 above. The photographs of Trinity 1/3 and 2/3 are attached hereto and incorporated herein as Attachment 4 to Exhibit A.

Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -4-
B0785-0001\2846815v26.doc
Section 12. Transferability. All rights granted by Artist to City pursuant to this Agreement are fully transferable to others, by license or otherwise without further payment or approval of Artist.

Section 13. City’s Responsibility.
(a) City shall be responsible for reimbursing all reasonable costs, expenses and charges related to the transportation of the Work, which Artist or Gallery shall procure, from the fabricator, Ironwood (the“Fabricator”) to City at the installation site. However, the City shall not be responsible for reimbursing insurance costs.
(b) City shall be responsible for constructing the footing for the installation of the Work as specified by Artist and approved by City in writing, and providing lighting as specified by City for the Work. City shall also be responsible for installation of the Work which shall include overseeing the installation of the Work and paying all expenses and costs of such installation. (c) City shall be responsible for and shall pay any and all costs, expenses and charges for and related to art insurance for the Work once City assumes the risk of loss pursuant to Section 15 of the Agreement as further defined in this section. (i) City agrees to keep the Work insured under City’s art insurance policy (the “Art Insurance”), for all risk of physical loss or damage for the value of Four Hundred Thousand Dollars ($400,000 USD) once the Work is accepted by City in writing and City takes possession of the Work at the Installation Site. (d) Safety. City shall be responsible for the safety precautions and for claims for personal injury or property damage on the part of any City person(s) or City related person(s) or City entity(ies) in connection with the installation of the Work, and for the acts or omissions of City’s contractors, subcontractors or other persons or entities retained by or through City performing any tasks required for the installation of the Work and/or the failure of any contractors, subcontractors or any other persons or entities retained by or through City to carry out the provisions of their contracts.
(e) City agrees to pay all applicable California sales and/or use tax. (f) City shall maintain the Work according to the written maintenance instructions in Exhibit A. If and when the Work requires repair or restoration to its original condition, City will exercise its best efforts to work with Artist on major repairs . (g) Originality of Work. Artist represents and warrants that (i) the Work is original to the Artist; (ii) at the time of transfer hereunder, Artist is the sole owner of the Work and of all rights therein including copyright, trademark and other proprietary rights therein; (iii) Artist is the sole designer of the Work; (iv) Artist has full and sufficient right to assign all rights granted herein and to waive all rights relinquished herein; (v) Artist is not under any obligation to transfer or sell any of the Work to any third party; and (vi) the Work does not infringe any patent, copyright, trademark or other proprietary rights, privacy rights or other rights of any third party, nor has any claim (whether or not embodied in a legal action, past or present) of such infringement been Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -5-
B0785-0001\2846815v26.doc
threatened or asserted, nor is such a claim pending, against Artist or, insofar as Artist is aware, against any entity from which Artist has obtained any rights.

Section 14. Risk of Loss. Artist bears the sole risk of damage to or loss of the Work to be produced by Artist pursuant to this Agreement until City accepts the Work in writing and takes possession of the Work at City’s Installation Site. Gallery shall insure the Work for its Fair Market Value of at least Four Hundred Thousand Dollars ($400,000.00) against any loss or damage until such time as City assumes the risk of loss as set forth in this section. If the Work is damaged prior to City assuming the risk of loss, Gallery shall be responsible for repairs to the Work.

If the Work is lost prior to City assuming the risk of loss, City shall be reimbursed the entire Price of the Work. Should the Work be lost or damaged after City assumes the risk of loss as described in this section, City understands and agrees that City shall still pay the entire Price or any unpaid portion of the Price within thirty (30) days of receipt of invoice from Gallery.

Section 15. Artist Commitment. Artist shall not issue any statement that make reference to the Work produced under this Agreement in a way that reflects discredit on the other party or the Work.

Section 16. Addresses for Notices. Any notice, bills, invoices, demand or document which any party is required or may desire to give or deliver to the other hereunder, shall be in writing and may be delivered personally or given by facsimile or overnight courier service, postage prepaid, addressed as follows:

To Artist:

Judy Chicago
200 Becker Avenue
Belen, NM 87002
To Gallery:

Jeffrey Deitch
925 N Orange Drive
Los Angeles, CA 90038
(323) 925-3000
To City:

City of Beverly Hills,
444 North Rexford Drive
Beverly Hills, CA 90210
Attention: Director of Community Services
Fax: (310) 274-9571
Or (310) 278-3387
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -6-
B0785-0001\2846815v26.doc
With a copy to:

City Attorney
City of Beverly Hills
455 North Rexford Drive
Room 230
Beverly Hills, CA 90210
Fax (310) 285-1056
(a) Either party shall have the right to designate a different address by written notice similarly given. Any notice, demand or documents shall be deemed received on:
(i) the day of delivery if delivered by hand or overnight courier service during the party’s regular business hours; or
(ii) the day of delivery if delivered by facsimile during the party’s regular business hours.

City assumes no responsibility to search for Artist if she cannot be reached at the address of record.

Section 17. Termination. City shall have the right to terminate this Agreement, with cause, upon five calendar day’s written notice to Artist. If terminated, Artist agrees to cease all work under this Agreement on or before the effective date of such notice. If such cause is a default by the Artist and upon notice this default is not cured within 5 days, any Artist Fee paid to the date of receipt of the written notice of termination shall be refunded to City.

Section 18. Indemnification.
(a) City agrees to indemnify and hold Artist and his/her employees, representatives and agents harmless from any and all loss, cost, damage and expense (including, without limitation, reasonable attorney’s fees and expenses) arising out of or resulting from any act or omission of City (or any of its officers, employees, representatives or agents) constituting negligence, recklessness or willful misconduct in connection with (i) the installation of the Work, (ii) the governance and maintenance of the Installation Site at which the Work is installed, and (iii) the de-installation or transportation of the Work if it is ever relocated by City. Notwithstanding the above, City shall not indemnify the fabricator of the Work, including Matthew’s Paint Manufacturer in connection with their fabrication.
(b) Artist and Gallery agree to indemnify and hold City, its City Council and each member thereof and every officer, employee and agent of City prior to City accepting the Work from any and all loss, cost, damage and expense (including, without limitation, reasonable attorney’s fees and expenses) arising out of or resulting from any act or omission of Artist and/or Gallery and every employee and agent of Artist and Gallery.

Section 19. City Representative. The City Manager or his designee shall represent City in the implementation of the Agreement and has the authority to act on behalf of City in connection with the Agreement.

Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -7-
B0785-0001\2846815v26.doc
Section 20. Prohibition against Assignment. Artist and Gallery shall not delegate, transfer, subcontract or assign their duties or rights hereunder, either in whole or in part, without City’s prior written consent, and any attempt to do so shall be void and of no effect. City shall not be obligated or liable under this Agreement to any party other than Artist.

Section 21. Successors and Assigns. The terms of this Agreement shall be binding upon and inure to the benefit of the respective heirs, successors in interest and assigns of the parties hereto.

Section 22. Force Majeure. It is mutually agreed that neither party shall be held responsible for any losses resulting from the failure of the other party to fulfill any terms, conditions or provisions of this Agreement, if that party shall be delayed or prevented because of strikes, war, revolution, riot, civil disorder, terrorist activity, fire, flood, earthquake or any act of God.

Section 23. Entire Agreement. This Agreement represents the entire integrated agreement between City, Artist, and Gallery and supersedes all prior negotiations, representations or agreements, either written or oral. This Agreement may be amended only by a written instrument signed by both City, and Gallery.

Section 24. Severability. Wherever possible, each provision of this Agreement shall be interpreted in such a manner as to be valid under applicable law. If any provision of this Agreement is determined by a court of competent jurisdiction to be invalid, void or unenforceable, the remaining provisions shall nevertheless continue in full force and effect.

Section 25. Headings. The caption headings of the various sections and paragraphs of this Agreement are for convenience and identification only and shall not be deemed to limit, expand, or define the contents of the respective sections or paragraphs.

Section 26. Governing Law; Jurisdiction. This Agreement shall be governed by and construed in accordance with the laws of the State of California.. In the event of litigation between the parties, venue in State trial courts shall be exclusively in Los Angeles County. In the event of litigation in a United States District Court, exclusive venue shall lie in the Central District of California.

Section 27. Execution. This Agreement may be executed in any number of counterparts, each of which shall be deemed an original, but all of which when taken together shall constitute one and the same instrument. Gallery represents and warrants that it is authorized under the laws of this State to enter into this Agreement on behalf of Artist.

IN WITNESS WHEREOF, the parties hereto have executed this Agreement as of the day and year written below.
[Signatures on following page.]
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -8-
B0785-0001\2846815v26.doc
EXECUTED the day of ______________20 , at Beverly Hills, California. “CITY”
CITY OF BEVERLY HILLS, a municipal
corporation
CRAIG A. CORMAN
Mayor of the City of Beverly Hills, California
ATTEST:
(SEAL)

HUMA AHMED
City Clerk
“GALLERY”
JEFFREY DEITCH INC., as Agent for Judy
Chicago

JEFFREY DEITCH
President
ARTIST:

JUDY CHICAGO
[Signatures continue on following page.]
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -9-
B0785-0001\2846815v26.doc
APPROVED AS TO FORM: APPROVED AS TO CONTENT:

LAURENCE S. WIENER RYAN GOHLICH
City Attorney City Manager

STEPHANIE HARRIS
Assistant City Manager
SHARON L’HEUREUX DRESSEL
Risk Manager

ANTHONY RODSTEIN
Purchasing Services Manager
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -10-
B0785-0001\2846815v26.doc

EXHIBIT A

SCOPE OF SERVICES
Artist has designed the Work which shall be made from polyurethane paint on stainless steel with a low-gloss Super Satin Clear Kit finish, a rendering of which is attached as Attachment 1 to this Exhibit A. The base of the Work shall be constructed of SikaColor-120G concrete, color C3450, Musky Mulberry as depicted in Attachment 2 to this Exhibit A. City may decide to alter the base design and color at its sole discretion.

The Work shall be fabricated by Ironwood (“Fabricator”). Gallery shall be responsible for all costs of fabrication. City shall be responsible for construction documents for the base, footing (the buildout underground that contains the stabilizing rebar), anchoring piece (screws that connect the Work to the base and footing), and installation of the Work.

Gallery, at its cost, shall provide City with the Artist’s installation, exhibition, and display instructions (the “Installation Instructions”) of the Work, which are subject to the written approval of City. City understands and agrees that the Work shall be installed, exhibited, and displayed in accordance with the Installation Instructions, unless City deems it necessary to modify the Installation Instructions. Gallery and Artist agree that City shall be authorized to relocate the Work in accordance with section 6, Right to Display. Notwithstanding the above, City may modify the base at City’s sole discretion.

Gallery, at its cost, shall provide City with engineering drawings and specifications for the Work, drawings of the anchoring piece and footing (“Engineering Drawings”), lighting recommendations, and written detailed maintenance instructions for the Work (the “Maintenance Instructions”). Prior to any payments being made to Gallery, as more particularly detailed in Exhibit B of the Agreement, Gallery shall provide City with the Installation Instructions, Engineering Drawings, and lighting recommendations. Gallery and Artist approved Maintenance Instructions are attached hereto as Attachment 3 to Exhibit A.

Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -11-
B0785-0001\2846815v26.doc
ATTACHMENT 1 TO EXHIBIT A
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -12
-
B0785-0001\2846815v26.doc
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -13
-
B0785-0001\2846815v26.doc
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -14
-
B0785-0001\2846815v26.doc
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -15-
B0785-0001\2846815v26.doc
ATTACHMENT 2 TO EXHIBIT A

DEPICTION OF BASE
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -16
-
B0785-0001\2846815v26.doc
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -17-
B0785-0001\2846815v26.doc
ATTACHMENT 3 TO EXHIBIT A

MAINTENANCE INSTRUCTIONS
Gallery and Artist have approved the following maintenance instructions to be performed twice a year:

1. Document the maintenance with a written report and high-resolution digital photographs before and after maintenance.

2. Dry brush all surfaces to remove loose soiling and particulate matter.

3. Clean all surfaces with a solution of distilled water and a conservative grade detergent, using soft, microfiber cloths.
a. Clear detergent residue with distilled water and dry all surfaces with fresh microfiber cloths.

4. Small chips (less than ½”) may be touched-up with conservation-grade paint and varnish. a. Larger areas of loss/damage, graffiti, and/or surface polishing would need to be performed as part of more in-depth treatment if and when needed.

5. Follow the attached Matthews Paint maintenance instructions for “low-gloss finishes.” If polishing or waxing is desired, apply a wax specifically designed for low-gloss finishes and follow all manufacturer’s recommendations.
a. Allow wax to dry and buff to seal.
b. Wax application may slightly dull the satin sheen of the existing coating.

City shall hire a qualified conservator (currently RLA Conservation) to perform inspections, cleaning and waxing of the Artwork approximately every 6 months.

Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -18
-
B0785-0001\2846815v26.doc
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -19-
B0785-0001\2846815v26.doc
MATTHEWS PAINT:

Dated:______________ Dated:________________________
By: By:

ERIC YENCHE CHRIS REMER
Territory Representative Global Sales Manager
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 August 4, 2026 | 12:32 PDT
-20-
B0785-0001\2846815v26.doc
ATTACHMENT 4 TO EXHIBIT A
EDITION 1
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -21-
B0785-0001\2846815v26.doc
EDITION 2
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -22-
B0785-0001\2846815v26.doc

EXHIBIT B

PAYMENT AND PAYMENT SCHEDULE
City shall pay Gallery a Four Hundred Thousand Dollars ($400,000.00) Artist fee for the Work, and City shall be responsible for any applicable California sales tax, pursuant to the terms and conditions of this Agreement. Gallery shall pay the Artist the fee required by Section 2 of this Agreement within five business days of the receipt of payment from the City.

Payment schedule for Price:

A. Upon execution of this Agreement and after Gallery’s submission to City of Engineering Drawings for the Work, drawings of the anchoring piece and footing, lighting recommendations, and Installation Instructions, City shall pay Artist Fifty Percent (50%) of the total cost, the sum of Two Hundred Thousand Dollars ($200,000).

B. After completion of the Work at Fabricator’s studio, delivery to the Installation Site, inspection and acceptance of the Work by City in writing at the Installation Site , City shall pay Artist Forty Percent (40%) of the total cost, the sum of One Hundred Sixty Thousand Dollars ($160,000).

C. Within thirty calendar days of the installation of the Work by City, City shall pay the remaining balance of Ten Percent (10%) of the total cost, the sum of Forty Thousand Dollars ($40,000).

Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -23-
B0785-0001\2846815v26.doc

EXHIBIT C

IRONWOOD WARRANTY
Ironwood
1514 Flower Street
Glendale, Ca. 91201
Tel: 818-265-2055
Fax: 818-265-1680
[email protected]
ironwoodfabrication.com
Judy Chicago (“Artist”) Trinity 3 (the “Artwork”), City of Beverly Hills (“City”) Warranty Ironwood is the fabricator of the Artwork (“Fabricator”) and shall apply only Matthews Paint Company’s (“Matthews”) finishing systems according to the Matthews’ instructions on surfaces prepared following Matthews’ recommendations, and instructions set forth in this Warranty.

Fabricator shall document all phases of the Artwork’s fabrication including Fabricator’s use of Matthews Paint in accordance with Matthews’ instructions and the dates of each phase of fabrication, including the completion date of the painting of the Artwork. Fabricator shall also produce and maintain, indoors away from UV exposure, coupons using the exact same paint system used to fabricate the Artwork in order to establish baselines for comparison. This shall include baseline calculations for the gloss and paint prior to any fading. Fabricator shall maintain the coupons for as long as the City owns the Artwork. Fabricator shall notify the City immediately in writing should it no longer be able to maintain the Artwork coupons and shall provide the Artwork coupons to the City Manager with a description of the purpose of the coupons and how to properly store them.

This Warranty:
• Covers any defects in materials used to manufacture the Artwork • Covers any defects in workmanship under normal use
• Covers any broken components under normal use using new or replacement parts This Warranty requires that Fabricator will repair the Artwork to restore it to its original condition, at no cost to the City, if the Artwork is still under Warranty. In additiojn, Fabricator shall apply the paint and paint finishes to the Artwork free of charge. Fabricator will repair any broken parts of the Artwork using new or equivalent replacement parts. This Warranty also includes, at Fabricator’s expense, actual labor costs (including taxes), deinstallation, transportation, storage and reinstallation of the Artwork in order to restore it to its original condition. The Warranty Period for the Artwork purchased from Fabricator is 10 years from the date of installation of the Artwork (the “Warranty Period”).

Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -24-
B0785-0001\2846815v26.doc
Limited Warranty.

Fabricator warrants to City that the Artwork will be free from material defects, including but not limited to faded color of paint, in workmanship and fabrication materials under normal use and service, for the Warranty Period.

Fabricator shall, at Fabricator’s own expense, remedy, repair or replace any such defects in workmanship, materials and finish which appear within a period of ten (10) years from the date the Artwork is delivered to, installed and accepted by City, and if necessary, replace the Artwork. There is NO WARRANTY in cases of negligence, abuse, abnormal usage, misuse, accidents and unauthorized alterations of the Artwork, theft or loss, natural disaster, human or wildlife abuse, failure to follow Fabricator’s maintenance instructions set forth in Attachment 1 to this Exhibit C or improper storage of the Artwork.

Fabricator will, without charge, repair or replace individual items at its fabrication facility.

City shall comply with the maintenance instructions, attached as Attachment 1 to this Exhibit C This Warranty is voidable unless maintenance records are kept as specified by City’s consultant, which at this time is RLA Conservation. City is required to have a third party perform inspections, cleaning and waxing of the Artwork approximately twice per year as set forth in the attached maintenance instructions.

This Warranty does not include recovery of the cost of inspection. This Warranty does include, at Fabricator’s expense, actual labor costs (including taxes), deinstallation, transportation, storage and reinstallation of the Artwork in order to restore it to its original condition
Limitation of Liability.

Fabricator specifically disclaims any liability for any consequential damages, including but not limited to loss of sales, profit, downtime, or other indirect costs.

Inherent Vice
Notwithstanding anything to the contrary set forth in this Warranty, Fabricator warrants that the Artwork will be free of defects in workmanship (due to faulty design or fabrication), materials and finish, including inherent vice, and that Fabricator will, at Fabricator’s own expense, remedy, repair or replace any such defects in workmanship, materials and finish, including inherent vice, and if necessary replace the Artwork, which appear within the Warranty Period “Inherent Vice” shall mean a quality within the material or materials which comprise the Artwork which, either alone or in combination, results in the tendency of the Artwork to deteriorate including, without limitation, the finish.

Paint and Finishing Systems:

Fabricator shall utlilize materials including paint, coatings and finishing systems from Matthews for fabrication of the Artwork. Fabricator shall refer to the following Matthews technical bulletins:

MPC 208 (2.1 274528SP/01 Gray, 274530SP/01 White, 274531SP/01 Black 2.1 VOC Epoxy Primers)
MPC 210 (MAP LVS Acrylic Polyurethane Ultra Low VOC)
MPC 194 (290228-1/KT, 290228-4/KT Super Satin Clear Kit) MPC 226 (6410SP/01 Low VOC PreCleaner)
which are located online at the following links https://purple-beach0badfef0f.5.azurestaticapps.net/Products/Technical-Data-Sheets/MPC.html These include mix components and ratios, surface prep, pot life, dry times, film builds, clean up, Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -25-
B0785-0001\2846815v26.doc
and safety. Fabricator shall refer to the Substrate Preparation Guide which may also be accessed online at the following link: https://docs.matthewspaint.info/substrate-application-guide/ for recommended application procedures for substrates involved in the Project. Matthews technical bulletins and Substrate Preparation Guides contain basic technical requirements for proper application of all Matthews’ products. Fabricator is responsible for contacting Matthews for formal written responses to questions, concerns or clarifications in connection with the Matthews technical bulletins and the Substrate Preparation Guide relative to the specific Project.

Applications which fall outside the technical bulletins’ recommendations shall be the sole responsibility of Fabricator. Fabricator warrants that any surface area will not evidence any of the following defects within the Warranty Period from the documented date that the surface was properly painted with Matthews’ products:

1. Cracking or checking of the paint film.

2. Loss of gloss in excess of 35% of the original gloss as measured by ASTM D-523 60° gloss meter.

3. Color change in excess of 5-ΔE in CIE Lab units (Photometric Instrument Comparison with “control” sample) measured by ANSI/ASTM D2244 method for opaque materials.

4. Peeling of the topcoat or other layers, either from the painted metal or from one paint coat to another
Training, Process Verification, and Process Control Documentation Fabricator agrees to use properly trained, professional painters on all Project work. Fabricator acknowledges that Matthews will provide training assistance to Fabricator upon City’s or Fabricator’s request, but it is ultimately Fabricator’s responsibility to ensure the proper qualification of paint department staff. Fabricator represents that it has the proper qualifications to perform the work and restore the Artwork to its original condition under the Warranty Agreement, including, without limitation, the application of all finishing systems. Fabricator also agrees to perform routine in process and final product inspections to ensure and verify that coatings are consistently applied in accordance with Matthews’ instructions as set forth in this Warranty Agreement. Fabricator agrees to notify a Matthews’ representative and City representative within 24 hours in writing and immediately halt painting if routine quality inspections identify issues in finish appearance or other quality concerns such as color and gloss, dry film build and initial adhesion to substrate.

Fabricator agrees to keep written job records of all surfaces painted for a period equal to the Warranty Period plus two years. Records shall include dates of Project painting, shop conditions (temperature and humidity), relevant procedures, work instructions and training records, listings of all product and lot numbers, used, and routine process/quality inspection records. In the event of warranty rework, Fabricator agrees to maintain copies of invoices for paint purchased for warranty work to be used for reference by either party. Fabricator agrees to make all records available for Matthews’ and City’s review upon written request, particularly in the event of a claim.

Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -26-
B0785-0001\2846815v26.doc
Fabricator shall utilize the following materials and methods required by Matthews as follows:

Shop Locations Involved Ironwood, 1514 Flower Street, Glendale, CA 91201
Estimated Number of Signs 3 Stainless Steel Sculptures
Installation Geography Beverly Hills, CA 90210
Project Start Date __/2026 Estimated Project Complete Date: est:
__/2026
Substrates 316 Stainless Steel 1/8”
thick
MP Colors 01223, 07268, 09270, 08744 mixed at 75%/25% 25321 w/23558, 23467 w/23558
Substrate Guide MPC Substrate
Application guide for
applicable substrate
Chamfer or knockdown all sharp edgesAll edges 1/16”r
round over
Product Category Prod Code Tech
Bulletin
Prod
Code
Tech
Bulletin
Product
Code
Tech
Bulletin
Cleaner 6410SP/01 MPC 226
Primer 274530/01 MPC 208
Topcoat MAP-LVS MPC 210
Clearcoat 290228SP MPC 194
Remedy
In the event there is a covered failure as defined in this Warranty Agreement for fabrication, including paint, coatings and finishing systems, City shall be entitled to the following under this Warranty Agreement: Fabricator will supply all substrates, colors and coating systems/products/finishes needed by Fabricator to apply the finishing systems in order to restore the Artwork to its original condition. In addition, during the Warranty Period Fabricator will also pay the actual labor charges (including taxes) for restoring the Artwork to its original condition, and costs for deinstallation, transportation, storage and reinstallation of the Artwork. All restoration, repairs or repainting undertaken pursuant to this Warranty Agreement shall be performed by Fabricator, using standard practices and materials as selected and/or approved by Matthews. Repairs undertaken which affect the finishing systems including paint and clear coat will be the sole responsibility of Fabricator.

Maintenance Instructions Approved.

Fabricator acknowledges that the Artwork’s maintenance instructions, attached hereto and incorporated herein as Attachment 1 have been approved by Judy Chicago (Artist), the Gallery (Jeffrey Deitch Inc.) and Matthews. Fabricator hereby approves these Artwork maintenance instructions. ______________________________ Dated:___________________ SCOT MAHOTZ, General Manager
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -27-
B0785-0001\2846815v26.doc
ATTACHMENT 1 TO EXHIBIT C
Maintenance Instructions
Gallery and Artist have approved the following maintenance instructions to be performed twice a year:

1. Document the maintenance with a written report and high-resolution digital photographs before and after maintenance.

2. Dry brush all surfaces to remove loose soiling and particulate matter.

City shall hire a qualified conservator (currently RLA Conservation) to perform inspections, cleaning and waxing of the Artwork approximately every 6 months.

Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -28-
B0785-0001\2846815v26.doc
IRONWOOD:

By:____________________________SCOT MAHOTZ, General Manager MATTHEWS PAINT:

By: By:

ERIC YENCHE CHRIS REMER
Territory Representative Global Sales Manager
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -29
-
B0785-0001\2846815v26.doc
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 -30
-
B0785-0001\2846815v26.doc
Docusign Envelope ID: DC710797-0CBB-86EB-8127-6B4E83333BF4 Certificate Of Completion
Envelope Id: DC710797-0CBB-86EB-8127-6B4E83333BF4 Status: Sent Subject: Complete with Docusign: Trinity Judy Chicago Agreement CAO.4AUG26.FINAL.pdf Source Envelope:

Document Pages: 30 Signatures: 4 Envelope Originator:

Certificate Pages: 3 Initials: 0 Joana Torres
AutoNav: Enabled
EnvelopeId Stamping: Enabled
Time Zone: (UTC-08:00) Pacific Time (US & Canada)
455 N. Rexford Drive
Beverly Hills, CA 90210
[email protected]
IP Address: 198.245.189.181
Record Tracking
Status: Original
8/4/2026 9:10:14 AM
Holder: Joana Torres
[email protected]
Location: DocuSign
Signer Events Signature Timestamp
Jeffrey Deitch
[email protected]
President
Security Level: Email, Account Authentication
(None) Signature Adoption: Pre-selected Style
Using IP Address:
2603:8000:e43e:4688:181:500e:cb53:71cb
Sent: 8/4/2026 9:17:44 AM
Viewed: 8/4/2026 9:27:51 AM
Signed: 8/4/2026 9:28:11 AM
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Judy Chicago
[email protected]
Security Level: Email, Account Authentication
(None)
Signature Adoption: Pre-selected Style
Using IP Address: 50.168.13.90
Signed using mobile
Sent: 8/4/2026 9:17:44 AM
Viewed: 8/4/2026 11:14:19 AM
Signed: 8/4/2026 11:15:02 AM
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Chris Remer
[email protected]
Security Level: Email, Account Authentication
(None)
Sent: 8/4/2026 11:15:04 AM
Resent: 8/4/2026 5:17:35 PM
Viewed: 8/4/2026 7:51:20 PM
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Eric Yenche
[email protected]
Security Level: Email, Account Authentication
(None)
Signature Adoption: Drawn on Device
Using IP Address: 2603:8002:8d00:9a2b::1013
Signed using mobile
Sent: 8/4/2026 11:15:04 AM
Viewed: 8/4/2026 12:31:41 PM
Signed: 8/4/2026 12:32:01 PM
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Scot Mahotz
[email protected]
General Manager
Security Level: Email, Account Authentication
(None)
Sent: 8/4/2026 11:15:05 AM
Resent: 8/4/2026 5:17:35 PM
Signer Events Signature Timestamp
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Deborah Hakman for
[email protected]
Security Level: Email, Account Authentication
(None)
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Anthony Rodstein
[email protected]
Security Level: Email, Account Authentication
(None)
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Sharon L'Heureux Dressel
[email protected]
Security Level: Email, Account Authentication
(None)
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Stephanie Harris
[email protected]
Security Level: Email, Account Authentication
(None)
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Anthony Rodstein
[email protected]
Security Level: Email, Account Authentication
(None)
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Ryan Gohlich
[email protected]
Security Level: Email, Account Authentication
(None)
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Craig A. Corman
[email protected]
Security Level: Email, Account Authentication
(None)
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Huma Ahmed
[email protected]
Security Level: Email, Account Authentication
(None)
Electronic Record and Signature Disclosure:

Not Offered via Docusign
In Person Signer Events Signature Timestamp
Editor Delivery Events Status Timestamp
Agent Delivery Events Status Timestamp
Intermediary Delivery Events Status Timestamp
Certified Delivery Events Status Timestamp
Carbon Copy Events Status Timestamp
Keith Sterling
[email protected]
Security Level: Email, Account Authentication
(None)
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Jackie Galeas
[email protected]
Security Level: Email, Account Authentication
(None)
Electronic Record and Signature Disclosure:

Not Offered via Docusign
Witness Events Signature Timestamp
Notary Events Signature Timestamp
Envelope Summary Events Status Timestamps
Envelope Sent Hashed/Encrypted 8/4/2026 9:17:44 AM
Payment Events Status Timestamps

August 11, 2026
Attachment 3

AGENDA REPORT
Meeting Date: September 10, 2024
Item Number:

To: Honorable Mayor & City Council
From: Stephanie Harris, Director of Community Services
Patty Acuna, Assistant Director of Community Services
Brandy Scott, Arts and Culture Program Associate
Subject: RECOMMENDATION BY THE ARTS AND CULTURE COMMISSION

AND CITY COUNCIL LIAISONS FOR THE ACQUISITION AND
INSTALLATION OF THE ARTWORK TRINITY BY JUDY CHICAGO;
AND

APPROVAL TO AUTHORIZE THE CITY MANAGER TO EXECUTE

ALL AGREEMENTS AND PURCHASE ORDERS IN A NOT TO
EXCEED AMOUNT OF $589,000 RELATED TO THE PURCHASE OF
TRINITY BY JUDY CHICAGO; AND

APPROVAL OF AN APPROPRIATION FROM THE FINE ART FUND
OF $589,000
Attachments: 1. Photos of Artwork

2. August 7, 2024, Arts and Culture Commission City Council Liaison Report (without attachments)

RECOMMENDATION
The Arts and Culture Commission and City Council Liaisons recommend approval of the acquisition and installation of Trinity by Judy Chicago. Staff recommends the City Council authorize the City Manager to execute agreements and purchase orders necessary for the purchase and installation of Trinity by Judy Chicago in the not to exceed amount of $589,000 and to appropriate $589,000 from the Fine Art Fund for this purpose.

Page 2 of 4 ends

and Councilmember Nazarian) met on August 24, 2022, and March 27, 2023, to review the proposed acquisition and installation sites. These recommendations from the Arts and Culture Commission and City Council Arts and Culture Liaisons were then brought before the full City Council on May 16, 2023, August 15, 2023, and March 18, 2024.

On December 4, 2023, the proposed installation location of Beverly Gardens Park was brought before the Council Liaisons at the time (then Mayor Gold and Councilmember Bosse) and received full support. Subsequently, on March 18, 2024, the current proposed Wallis Annenberg Campus location, and additional funding requested for the increased ancillary costs, were presented to the full City Council for approval. The increase in ancillary costs was due to several factors. This included the need to update original quotes that were acquired in 2022 and had become outdated - along with extensive site preparation of the existing cement base from a previous installation and current lighting, landscaping, irrigation, and bollard modifications required at this location that was not required at either of the previously proposed sites: City Hall or Beverly Gardens Park.

City Council was supportive of the location, however, Council requested that staff return later with reduced ancillary costs associated with the installation, as well as a reduction in the height of the base back to the initial specifications to better suit the artwork.

It should be mentioned that two previous sites of Beverly Gardens Park and City Hall campus were deemed unsuitable for a myriad of reasons ranging from the anticipated heavy public interaction to the conflicting aesthetic backdrop that such locations would offer. However, the Wallis Annenberg Campus, which is the 3rd proposed installation site has received unilateral support from the artist, the Fine Art/Public Art Ad Hoc, the Arts and Culture Commission, the City Council Liaisons and the previous City Council.

DISCUSSION
Previously, the anticipated “all in” cost of the acquisition of Trinity by Judy Chicago presented to City Council in March was $650,000 to account for the purchase of the artwork at $400,000, and the ancillary costs of $250,000 for the transportation, design and fabrication of the preferred anchoring system, fabrication of the integrated concrete colored base, engineering, inspections, permits, landscaping and lighting. This preferred anchoring system will allow for the artwork to be deinstalled for future conservation efforts, without impact to the concrete base.

After receiving direction from Council, revised quotes were obtained and modifications to the site amenities were made to reduce costs where possible. Modifications to the type of lighting fixtures and quantities were made, as well as adjustments to the type of landscaping, and then some fabrication costs were able to be reduced, allowing for a reduction in the previously anticipated cost of $250,000 to $189,000. This will bring the overall acquisition and installation total to a not-to-exceed cost of $589,000.

FISCAL IMPACT
The funding for acquisition and installation of the Artwork is available in the Fine Art Fund, a restricted fund that can only be used for fine art related expenses. The current balance in the Fine Art Fund is approximately $1.6 million dollars with $700,000 available for artwork acquisition/installation through the Arts and Culture Commission Fine Art Priority Exercise process.

Meeting Date: September 10, 2024

Page 3 of 4 ends

City Council is asked to appropriate $589,000 from the Fine Art Fund for the acquisition and installation of Trinity by Judy Chicago.

Stephanie Harris,
Director of Community Services
Approved By
Meeting Date: September 10, 2024

Page 4 of 4 ends

ATTACHMENT 1

STAFF REPORT
Meeting Date: August 7, 2024
To: Arts and Culture Council Liaisons Councilmember Mirisch and Councilmember Wells
From: Brandy Scott, Arts and Culture Program Associate
Stephanie Harris, Director of Community Services
Subject: Recommendation by the Arts and Culture Commission for Acquisition and Installation of the Artwork Trinity by Judy Chicago Attachments: 1. Photo Montages of Artwork

2. March 18, 2024, City Council meeting packet

INTRODUCTION
The Arts and Culture Commission conducted a Fine Art Priority Exercise on May 16, 2022, and selected the sculpture Trinity by Judy Chicago for acquisition and recommendation to City Council. The previous Council Liaisons (Councilmember Bosse and Councilmember Nazarian) met on August 24, 2022, and March 27, 2023, to review the proposed acquisition and installation sites. The recommendations from the Arts and Culture Commission and City Council Arts and Culture Liaisons were then brought before the full City Council on May 16, 2023, August 15, 2023, and March 18, 2024.

At the August 15, 2023, City Council meeting, staff was directed to secure a 10-year warranty from the fabricator, Ironwood, and return for final approval for installation at the secondary location, Beverly Gardens Park on the corner of Parkway and Canon.

Following the Council meeting, the Deitch Gallery secured an extended 10-year warranty. The warranty will be effective for 10 years from the date of completion of Trinity for the City of Beverly Hills.

Following the August 15, 2023, City Council meeting, staff met with the Arts and Culture Commission Fine Art/Public Art Ad Hoc and Jeffrey Deitch from Deitch Gallery to review the next steps. At this time, we were informed that the artist, Judy Chicago, no longer supported Beverly Gardens Park as an installation site due to the various concerns raised at the Council meeting, including the possible heavy public interaction with the artwork. The artist also felt that the site lacked the imbedded back drop and protective barrier that the City Hall location would provide.

The Arts and Culture Commission Ad Hoc proposed the Wallis Annenberg property on the corner of South Santa Monica Boulevard and North Crescent Drive. This proposal was supported by the artist and gallery and presented to the full Arts and Culture Commission at the November 14, 2023, Commission meeting. The proposal was Meeting Date: August 7, 2024

Page 2 of 3 ends

approved with a 3-2 vote, 3 in favor and 2 abstaining. This location was then presented to Robert van Leer, Executive Director and Chief Executive Officer of the Wallis. The location and orientation were supported and approved by The Executive Committee of the Board of Directors of The Wallis.

On December 4, 2023, the new proposed location was brought before the Council Liaisons at the time (then Mayor Gold and Councilmember Bosse) and received full support. Subsequently, on March 18, 2024, Director Stephanie Harris presented the newly proposed location and additional funding for the increased ancillary costs, to City Council for approval. The increase in ancillary costs was due to several factors including that the original quotes were outdated and acquired in 2022, and the extensive site prep of the existing cement base from a previous installation, current lighting, landscaping, irrigation, and bollard modifications that is required at this location that was not required at either of the previously proposed sites: City Hall or Beverly Gardens Park.

City Council was supportive of the location, however, requested that staff return at a later date with reduced ancillary costs associated with the installation, as well as a reduction in the height of the base back to the initial specs to better suit the artwork.

Staff will present updated information related to this proposed Fine Art acquisition and corresponding installation costs.

DISCUSSION
The City’s Project Administration Team completed photo montages reflecting a lower base and protective hedge as requested by City Council. The montages depict the sculpture on a 6” base with a protective, manicured, box hedge that is 12” in height and 24” in width. The team has included Kurapia, a low maintenance, drought resistant groundcover, between the base and hedge, and decorative shrubbery will be planted in the northwest corner of the site to bring it all together.

Previously, the anticipated “all in” cost of the acquisition of Trinity by Judy Chicago that was presented to City Council in March was $650,000 to account for the purchase of the artwork at $400,000 and the ancillary costs of $250,000 for the transportation, design and fabrication of the preferred anchoring system (that will allow for the artwork to be deinstalled for future conservation efforts without impact to the concrete base), fabrication of the integrated concrete colored base, engineering, inspections, permits, landscaping and lighting.

Following the March 18, 2024, City Council meeting and receiving direction from Council, Staff reviewed the quotes and worked to reduce costs where possible.

Modifications to the lighting fixtures, landscaping, and some fabrication costs were able to be made allowing for a reduction in the previously anticipated cost of $250,000 to $189,000. This will bring the overall acquisition and installation total to a not-to-exceed cost of $589,000.

The Arts and Culture Commission Ad Hoc and the Gallery believe this proposed site location will provide an ideal back drop and protective barrier, and is considered ideal due to its visibility from both vehicular and pedestrian traffic on Crescent and South Santa Monica Blvd.

Meeting Date: August 7, 2024

Page 3 of 3 ends

FISCAL IMPACT
The funding for acquisition of the artwork is available in the Fine Art Fund, a restricted fund that can only be used for fine art related expenses. The current balance in the Fine Art Fund is approximately $1.6 million dollars.

The “all in” cost of the acquisition and installation of Trinity by Judy Chicago is not-toexceed $589,000.

RECOMMENDATION
The Arts and Culture Commission recommends that the Arts and Culture Council Liaisons support the lowered profile of the installation, and the newly reduced ancillary costs associated with the acquisition and installation of Trinity by Judy Chicago. If supported, this item will be brought before the full City Council for final approval.

August 11, 2026
Attachment 4
Los Angeles: PO Box 480069 • Los Angeles, CA 90048
Miami Studio: 852 NW 71st Street • Miami, FL 33150
323.377.8425 • 305.573.7011
http://rlaconservation.com
1 UPDATED PRE-FABRICATION REVIEW

JUDY CHICAGO - TRINITY
Prepared for: City of Beverly Hills
Greystone Mansion & Gardens
501 Doheny Rd.

Beverly Hills, CA 90210
Attn: Brandy Scott, Arts and Culture Program Associate
Paul Paolone, Senior Recreation Supervisor
Tel: 310-288-2265
[email protected] | [email protected]
Prepared by: Christina Varvi, President & Chief Conservator [email protected]
Nelson Hallonquist, Director of Operations
[email protected]
Date of Original Report:

Date of Revised Report
June 6, 2022
June 22, 2026
RLA Conservation is pleased to submit the following updated pre-fabrication review to the City of Beverly Hills regarding Trinity, by Judy Chicago. This sculpture is being considered for acquisition into the City’s public art collection. The following review of materials, fabrication process and potential ongoing maintenance needs is based on updated information and provided by a representative of the artist, Jeffrey Deitch Gallery. RLA understands that the artwork has not yet been fabricated, though it is expected to be in excellent condition upon completion. The artwork is to be cited at the exterior of The Wallis Annenberg Center for Performing Arts, at the southeast corner of the property, at the northwest corner of the intersection of N. Crescent Drive and S.

Santa Monica Blvd. An engineer will be required to review the mounting/anchoring system. T All updated fabrication documents and product data sheets can be accessed via this link:
https://www.dropbox.com/sh/1ihxvn78lxisedo/AADAFFT_ovzHjueNNzzzBzgga?dl=0 Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150
323.377.8425 • 305.573.7011
http://rlaconservation.com
2 Artist: Judy Chicago
Title: Trinity
Date: 2021 - 2022
Materials: 1 8# ” Grade 316 stainless-steel, Matthew’s® Paint system Overall Dimensions: 63 5 8# “ H x 127 ¼“ W x 60” D
DESCRIPTION:

The artwork will be composed of three (3) triangular polyhedrons that progressively decrease in size. They will be fabricated from 1 8# ” thick Grade 316 stainless-steel with welded seams. The angles at the top of each shape are 90° and the angle at the bottom, where it touches the ground, is 45°. Per the Matthews Paint warranty, all edges are to be chamfered or knocked down prior to coating. There does not appear to be an internal armature or support system, though this may not be necessary due to the size and shape of the objects. The topsides and faces of each polyhedron are to be painted with bright shades of warm colors (red, red orange, orange yellow, and pink).

The undersides of each polyhedron appear to be light to medium gray in color.

The paint system to be utilized is Matthews® Paint MPC340, which is produced by PPG®. The paint stack consists of Matthews® 2.1 VOC Epoxy Primer (274530SP/01), Matthews® MAP-LVS ultra-low VOC acrylic polyurethane topcoat, and Matthews® Super Satin Clear Kit (290288) fluoropolymer clear coat on all sides. The number of coats for each product has not been specified. The surface is then polished to a high gloss with a 3M® system comprised of a compound, polish and hand glaze.

The artwork is to be mounted with four (4) 5 8# “Grade 316 stainless steel anchoring bolts through a ¼“ baseplate at the undersides. Each polyhedron will have a total of eight (8) anchoring bolts for a total of twenty-four (24) total throughout the entire sculpture. The polyhedrons exist independently with no connections to one another. Per documents provided by the City, the artwork will be installed upon a cast concrete base/pad with integral color (SikaColor®-120G).

Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150
323.377.8425 • 305.573.7011
http://rlaconservation.com
3 COMMENTS ON LONG-TERM CARE:

The long-term care of this installation will partially depend on the level of public interaction as well as siting and the frequency of routine maintenance. The materials that comprise the sculpture are considered to be very high quality and appropriate for public art, with some caveats. Grade 316 stainless steel is marine grade and recommended in a climate such as Beverly Hills. However, it should be stated that stainless steel is corrosion resistant, not corrosion proof. If stainless steel becomes scratched and is exposed to a corrosive environment (i.e., salts, chemicals, corrosive exhaust particulates), it can begin to corrode if left untreated, though to much less of a degree than lower quality steel. The type of filler rod to weld the seams was not specified. RLA recommends using Grade 316 filler rod for the welds, as to inhibit the possibility of corrosion in these areas.

The Matthews® Paint system specified is considered to be high quality and very durable. There are durability limitations with any painted object that may receive heavy public interaction, though the Matthews® Paint system specified is considered a top-tier product. In the updated packed of fabrication information provided, the number of coats per product has not been included/specified. Per the manufacturer’s specifications, at least two (2) wet coats of the Super Satin Clear Kit should be applied before additional coats are applied. Though not directly stated, RLA assumes that a minimum of three (3) coats of clear coat may be required to satisfy Matthews Paint’s updated warranty of ten (10) years and a 5Δ for color shifting/fading. Delta color shifts are mathematical measurements of a color’s difference from an original target or application.

Specifically, a 5Δ typically denotes a moderately noticeable visual difference that is easily spotted by the trained eye and noticeable at a glance, but may be considered acceptable for many standard commercial and industrial products.

Breaches in the coating system are possible through interaction with the sculptures, such as climbing and impact from sharp objects (blades, keys). This is particularly true at corners where coatings are naturally thinner due to surface tension pulling away from the corner/peak. Per the Matthews Paint warranty, edges are to be rounded/chamfered to help mitigate this issue. Aside from scratches, chips and losses will most likely occur first at these areas. Should a breach occur, the possibility of underlying corrosion is expected to be limited due to the usage of Grade 316 stainless steel. Should a lesser-grade steel have been used, bubbling corrosion underneath the coating system would be a serious concern. However, coating losses should be addressed and inpainted as soon as possible to prevent additional coating loss. Once a breach occurs and there is a stepped edge around the loss, additional material can delaminate and dislodge from the artwork outward from the original loss.

The satin sheen will help to mitigate/deflect some UV light. Originally, the sculpture had gloss clear coat applied to the skyward facing/top surfaces and undersides while the vertical faces were satin. The current iteration includes a satin finish throughout the sculpture in order to utilize a different clear coat than originally specified in order to obtain/meet the ten (10) year warranty requirements set forth by the City. Presumably this visual change has been approved by the artist and City. Though gloss finishes generally provide more UV protection than satin finishes as the Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150
323.377.8425 • 305.573.7011
http://rlaconservation.com
4 surface reflects more light, Matthews has indicated that this recommended product (which only comes in a satin finish) has superior UV resistance than available products that come in a gloss finish.

Even so, pigments in the red/yellow family are known to be particularly light fugitive, meaning they fade and/or shift color over time with prolonged exposure to strong UV light. If purchased, the sculpture is slated for installation at the southeast side of The Wallis property and will likely receive full sun throughout the day. Sun from the south is the strongest an object can be subjected to in this region. Many advances have been made in pigment stability through various automotive and industrial coating manufacturers, resulting in an extended service life and color retention warranties. However, some pigments are so unstable that even the most state-of-the-art coatings manufacturers will not warranty these pigments. Similar to clear coatings, the service life of the system can be anywhere from 10 - 20 years before the work needs to be repainted when assessing shifts or fading in color against a 5Δ. The warranty for the Matthews® Paint system has been updated to ten (10) years at a 5Δ with the specific satin clear coat utilized throughout the installation.

The City should anticipate people climbing on the surface of the work. Scratches and incised graffiti can likely be in-painted, though may be visible at a close viewing distance. Applied graffiti may etch the surface of the applied coating, resulting in ghosting of whatever image or text was applied by the tagger. Applying a sacrificial wax coating over the artwork may help mitigate damage from applied graffiti. However, brush marks from wax application may be visible and this will dull the surface of the applied clear coats to some degree. Furthermore, Matthews Paint does not outright recommend wax application to their clear coat finishes. Sprinklers should be directed away from the artwork as overspray can result in mineral deposit build-up on the surface in the form of droplets. If left unmitigated, the minerals can etch and dull the surface coating. The work should be sited in a way where lawncare equipment will not need to be close to the surface as it can scratch and mar the paint coating. Scratches of various sizes/widths and depths will form on the surface overtime with public interaction. It may be possible to polish out some of the finer, superficial scratches. As more scratches accumulate, the sheen will begin to dull overall, as it will with prolonged UV exposure as well. If necessary, entire sides/panels may be treated edge-to-edge in-situ to restore the original finish.

RLA Conservation recommends a bi-annual maintenance frequency. This will allow corrosive environmental products (i.e., salts, chemicals, corrosive exhaust particulates) to be cleared from the artwork’s surfaces, as well as inspect the sculpture for damage regularly before it worsens. If a wax coating is acceptable to the City and the manufacturer (i.e., Matthews Paint), this will act as the first line of defense from corrosive environmental products and UV exposure. Bi-annual application of a wax coating may help to extend the lifespan of the coating system; however, one should only be applied at the express recommendation of the clear coat manufacturer, Matthews Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150
323.377.8425 • 305.573.7011
http://rlaconservation.com
5 Paint, and they must specify what product is compatible with this coating so as not to void their ten (10) year warranty.

ANTICIPATED MAINTENANCE RECOMMENDATIONS:

1. Document the maintenance with a written report and high-resolution digital photographs before and after maintenance.

2. Dry brush all surfaces to remove loose soiling and particulate matter.

3. Clean all surfaces with a solution of distilled water and a conservation grade detergent, using soft, microfiber cloths.
a. Clear detergent residue with distilled water and dry all surfaces with fresh microfiber cloths.

5. If recommended by the coating manufacturer and only using a product that they specify/approve, apply a high-quality wax suitable for exterior-grade clear coat surfaces to all surfaces of the sculpture.
a. Allow wax to dry and buff to seal.
b. Wax application may further dull the satin sheen of the existing coating.

ESTIMATED MAINTENANCE COST:

Note: Costs are inclusive of labor, documentation, materials, and access. We recommend performing maintenance 1-2 times per year depending on siting and frequency of public interaction. The costs outlined below are per individual maintenance.

Total Estimated Costs Per Individual Maintenance: $ 2,000.00 - $ 2,190.00 Prepared By:

Nelson Hallonquist, Director of Operations Christina Varvi, President & Chief Conservator PLEASE NOTE: THIS PROPOSAL IS THE INTELLECTUAL PROPERTY OF RLA CONSERVATION OF ART & ARCHITECTURE AND MAY NOT BE

SHARED WITH ANY OTHER PARTIES OR INDIVIDUALS WITHOUT THE EXPRESS WRITTEN PERMISSION OF RLA CONSERVATION OF ART & ARCHITECTURE OR USED TO CREATE A REQUEST FOR PROPOSAL (RFP) TO SOLICIT WORK FROM ANOTHER CONSERVATION FIRM.

Los Angeles Studio: PO Box 480069 • Los Angeles, CA 90048 Miami Studio: 852 NW 71st Street • Miami, FL 33150
323.377.8425 • 305.573.7011
http://rlaconservation.com
6 Prepared By:
(sign name) (print name)
(title & agency) (date)
CLIENT: CITY OF BEVERLY HILLS
PROJECT: BI-ANNUAL MAINTENANCE OF JUDY CHICAGO’S TRINITY SCULPTURE INSTALLATION

EXCLUSIONS AND CAVEATS
• This price is valid for a period of 90 days from the date of the proposal. • No work will be performed until a mutually acceptable schedule for work and payment is agreed upon. • Costs are NOT based on Davis Bacon, Service Contract Act or any other legally mandated prevailing wage rates beyond minimum wage. If prevailing wage compliance is required, we reserve the right to modify our proposal accordingly.
• We require clear access to the worksite in an uninterrupted schedule during daytime work hours, Monday through Friday, unless other arrangements are made. • We will require access to water and electricity within 100 feet of the work site. • We will require access to free parking for at least one vehicle in close proximity to the worksite. • We will require access to bathrooms at the worksite.
• Non-toxic trash will be deposited into dumpsters provided by client unless otherwise arranged. • This price does not include any special insurance, permits, licenses, or bonds. • Notwithstanding anything in the proposal/agreement to the contrary, any material or equipment prices provided herein are only applicable to work performed in the next 90 days. After this period, material and equipment prices will be subject to further increases due to any shortages, unavailability or increases in market pricing from any cause whatsoever except to the extent caused by RLA. If, during the performance of the proposal/agreement, any material or equipment price increases, the price shall be increased by an amount necessary to cover such price increases. Where the delivery of material or equipment is delayed, through no fault of RLA, RLA shall not be responsible for any additional costs or damages associated with such delays.
• RLA shall not be considered in default because of any failure to perform the above scope of work under its terms if the failure arises from causes beyond the control and without the fault or negligence of RLA.

Examples of these causes are (1) acts of God or of the public enemy, (2) acts of the Government in either its sovereign or contractual capacity, (3) fires, (4) floods, (5) epidemics, (6) quarantine restrictions, (7) strikes, (8) freight embargoes, (9) earthquakes, and (10) unusually severe weather. In each instance, if RLA determines that any failure to perform would result from one or more of the causes above, the delivery schedule shall be revised.

Beverly Hills City CouncilAugust 11, 2026

Beverly Hills City Council
August 11, 2026