The Broker’s Building Art Gallery Board is the organizing body for the venue. The board coordinates scheduling, advertising, clean up, etc. If you’d like to join the board, partner with our artists for shows, volunteer, intern, etc. please contact us with the form below or directly via our email


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Broker’s Building Art Gallery Board

402 Market Street
San Diego, CA 92114
Tax ID 82-1962496

Acting Chairs
Helena Espinoza
Jo Caldwell
Dan Camp
Marie Miller
Qamar Bradford

Please send all inquiries to



Branding, Constituencies and Objective

Membership, Participation and Patrons

Board of Directors and Offices

Exhibition Guidelines


APPENDIX: BBG/ BBAGB Marketing Materials

APPENDIX: EEO Guidelines

APPENDIX: Artist Code of Conduct

APPENDIX: Exhibition Forms

Brokers Building Art Gallery Board Bylaws



Brokers Building Art Gallery Board Bylaws

Our mission is to provide informed, stimulating and valuable art experiences that compliment the diverse demographics of San Diego while reflecting and preserving the heritage of our historic building in dedication and support of freedom of speech and the proliferation of creative professions, their history and technical studies.


To provide informed, stimulating and valuable art experiences;

To fit and compliment the diverse demographics of San Diego’s Gaslamp district;

To compliment the heritage of turn-of-the-century craft and art as celebrated by the Broker’s Building Management and the Gaslamp Historical Society;

To maintain the tradition of freedom of speech and expression as enshrined by the US Constitution;

And to be an institution dedicated to the development, proliferation and preservation of creative professionals of San Diego County.


The branding of the named Broker’s Building Art Gallery Board (BBAGB) will reflect the historical qualities of the Broker’s Building and align with the aesthetics emphasized by the Gaslamp Historical Society. The branding will be decided by consensus and revised as needed by the BBAG.


Brokers Building Art Gallery Board Bylaws

The constituents of the BBAG begin with the benefactor of the building who maintains it in accordance to the standards of the Gaslamp Historical Society as an integral historical building of San Diego; the resident artists who maintain their creative vocational traditions under its roof; the community partners of arts and culture who contribute to innovation and preservation of information and aesthetics for society; and the general public who receive direct stimulation and benefit of our concerted creative efforts and products.

Brokers Building Art Gallery Board Bylaws



Brokers Building Art Gallery Board Bylaws

Membership for the Board, Artists, Partners and Patrons shall be open and non-discriminating to any person regardless of characteristics as outlined by the U.S. Equal Employment Opportunity Commission guidelines. (Please see appendix, Section 2 for policy details).


The BBAGB will reinforce membership guidelines as a way of managing human resources, providing accountability and documentation for the building’s managing body’s audit needs and also create supplemental funding for in-house arts and culture programming. Membership will occur at four levels: Art Gallery Board, Resident Artist, Community Partner Member and Public Patron.


Art Gallery Board Member:

Board Members must be a Resident Artist of BBG.

Attend at least 90% of all meetings and 75% of general programming.

Contribute to the coordination of group shows.

Reinforce safety of the building, artists and their work.

Reinforce management policy.

Contribute to executive decision making of the Board with full voting rights.

Resident Artist Member:

Brokers Building Art Gallery Board Bylaws

Membership is included with Broker’s Building rental.

Must cooperate with management rules

Resident Artists can run for Art Gallery Board election

Can attend monthly Town Hall meetings with limited voting rights.

Can reserve gallery space with proper submission proposal and $250 liability deposit

Can display work in the lobby

Can invite guests to private shows.

Community Partner Member:

Must be an executive or documented member of a fellow arts and culture organization

Can attend monthly Town Hall meetings

Can partner in sponsorship by a Resident Artist Member or Art Gallery Board Member to reserve gallery space.

Must contribute to Gallery promotion through advertisement, programming, donor or financial sponsorship on an annual, biannual or quarterly basis.

Can participate with gallery as a volunteer, intern or docent with proper application

Can split costs and profits of art sales and door fees.

Public Patron Members:

Public Patron membership is open to the public and is by optional donation only.

Membership donations can be paid at the rate of at-the-door (100%), monthly (75%) or annually (25%).

Members will have access to reduced rates with special guests, limited entry/ exclusive exhibitions and private events.

Members will receive Patron service which includes seating, refreshments and docent hosting.

B. Cancellation of Membership

Public Parton and Community Partner Memberships naturally expire from non-renewal of contracts, non-participation, or a request to unsubscribe in the case of subscription services like newsletters.

Resident Artist membership cancellation occurs upon non-renewal as a renter.

Art Gallery Board membership cancellation requires a written resignation addressed to at least two other members of the board in at least two business weeks in advance in consideration of pending duties or planned events.

C. Involuntary Termination of Membership

Involuntary termination of membership and expulsion can be initiated when substantiated reasons are brought to the attention of either building management or the board and discussed and voted on at a meeting specifically regarding that grievance. Violations of the building rental agreement, Artist Code Of Conduct or any legally sanctioned criminal activity will be considered as grounds for termination or expulsion from membership and the gallery.



These rules are modified from the Colonial Folk Art Studio and Gallery’s Code of Conduct. These are to provide common expectations of BBG Management, Board Members, Resident Artists, Community Partners and Public Patrons. BBAGB is committed to maintaining a safe, nurturing, professional environment in the studio for all community members.

General Code of Conduct

Treat each other with dignity and respect.

Use all tools and equipment safely.

Wear clothes, hair, jewelry, etc. that allows you

Brokers Building Art Gallery Board Bylaws

to safely use tools and equipment.

Report any unsafe conditions or actions by employees or other patrons to CFA management immediately.

Listen to and obey safety instructions from BBG/BBSGB, especially regarding hazardous or noxious materials.

Take responsibility for actions and those of any guests/observers

Keep work areas safe.

Clean up exhibitions and work areas in a timely fashion, prior to departure.

Be good stewards of the environment and all common equipment and supplies.

Respect the workspace of other patrons, including keeping personal noise levels to a minimum level, and cooperatively negotiating gallery scheduling.

Label any tools that you bring to the studio, especially if they may get left out.

Be constructive, contributing and collaborative in instances of group interaction.

Refrain from smoking within BBG premises.

Refrain from excessively borrowing/ steal tools, supplies or equipment from others.

Refrain from touching, disturbing, damaging, or playing with artwork created by (or being created by) others without their express permission.
(See appendix for more detailed guidelines)


Brokers Building Art Gallery Board Bylaws

The Board of Directors shall be elected at the annual Membership meeting by a simple majority and serve for a period of two years. Initial terms will be staggered with a simple majority of the initial board serving 2 years and the remaining members serving 1 year. There shall be no less than four or more than ten members elected to the Board of Directors. The board shall meet at least quarterly. Board members will be notified of meeting time and place at least two weeks prior to the meeting date. At least four of the Board of Directors will also serve as the Officers of the Cooperative. A quorum for a board meeting will be a simple majority of the members of the board.

Board vacancies will be filled by appointment of a simple majority vote of the remaining board members at an announced meeting attended by a quorum with the appointed board member serving out the term until the next scheduled board election.

A call to vote for the removal of a director can be called by the president, a simple majority vote of the board or a petition signed by at least 20 percent of the general membership. A call to vote for the removal of a director will result in a written notice of the call to vote along with a special ballot sent to each member via certified mail. A quorum of ballots must be returned with a 3/4 majority of ballots deciding the vote.

Board members will not be compensated. Board members may be reimbursed for mileage or other approved expenses related to their board duties.

It shall be the duty of all board directors to make prompt and full disclosure to the board of any personal, professional, or financial conflict of interest in a matter under discussion. When a conflict of interest is disclosed, the board member must not participate in the discussion or vote on the relevant issue.


The Board shall designate a time and place for at least 2 general member’s meetings annually. Notice of meetings will be given at least one week prior to the meeting.

Special meetings can be called by the Board, a simple majority vote of the board or a petition signed by at least 20% of the general membership.

Meetings shall be governed by a current edition of Robert’s Rules of Order.

Voting shall take place at member meetings and members must be present to cast a vote.

A quorum for membership meetings will be 30 percent of the membership.


PRESIDENT: First in command and has override powers over the VP and Secretary but not the Treasurer. Is the primary spokesperson and oversees representation of the BBAGB to management and membership. The President shall delegate meetings, set the agenda and delegate the execution of necessary documents for the Board.

OFFICE OF THE PRESIDENT: Executes duties under the direction of the President and is staffed in the fashion of employees, outside contracting, ad-hoc committee, volunteer or internship. The President can appoint ad hoc committees as needed.


VICE PRESIDENT: Second in command and has override powers over the President and Secretary but not the Treasurer. . Is the secondary spokesperson and oversees representation of the BBAGB to management and membership. The Vice President shall be responsible for daily business operations of the Board and regular contact for staffing and customer grievances.

OFFICE OF THE VICE PRESIDENT: Executes duties under the direction of the Vice President and is staffed in the fashion of employees, outside contracting, ad-hoc committee, volunteer or internship. Insurance: The cooperative shall have the power to purchase and maintain insurance on behalf of anyone acting for the cooperative.


SECRETARY: Third in command and has override powers over the VP and Treasurer but not the President. Oversees or executes duties held by the Office of the President, be it staffed in the fashion of employees, outside contracting, ad-hoc committee, volunteer or internship.

OFFICE OF THE SECRETARY: Shall be responsible for documentation, records keeping, PR and advertising for the Board..


TREASURER: Third in command and has executive powers over the President, Vice President but not the Secretary. The Treasurer shall be responsible for all financial matters such as account transaction notices, audits, quarterly statements and purchases. The Treasurer shall also have the power to execute documents the same as the President.

OFFICE OF THE TREASURER: Executes duties under the

Brokers Building Art Gallery Board Bylaws

direction of the Treasurer and is staffed in the fashion of employees, outside contracting, ad-hoc committee, volunteer or internship. Equity investments are non-refundable buy-ins into the cooperative. Each Member will pay an equal share of the expenses on either a biannual or quarterly schedule. Fiscal Year: The fiscal year runs from September 1st to August 31st.


BBAGB Meeting will usually be on a selected day at 7:00 PM in the Gallery on the 3rd floor. The meeting may be general or ad-hoc including logistics of the next event, hanging the show, the amount of work we will try to include, volunteers tasks such as watching the downstairs door, assisting with hosting or to docent assistance for visitors. Shows may have a core subject, specific medium, size or consist of an open studio event. Meetings may involve donation collections used for advertising or used for replacement of hardware and supplies (nails, lights, cups, napkins etc.). A registration sheet for each group show will be post on the second floor including registration deadlines, drop off dates and removal dates. Updates will be posted on the second floor Bulletin Board


Docent –Will guide patrons through the exhibit.

Curator – Will coordinate the pieces that will be shown during an exhibition.

Le bas-bleu – A facilitator who conducts activities and programming during the exhibition such as films, salons, dinners, etc. in conjunction with featured artists.

Door Reception – Will man the door and screen admittance of listed and non-listed guests.

Security – Will monito exits and the atmosphere inside.

Brokers Building Art Gallery Board Bylaws



Brokers Building Art Gallery Board Bylaws

The Brokers Building Gallery pursues and represents art in its finest forms. To see this vision come to fruition we ask that all art work is presented and shown in a professional manner in order to enhance and promote a lasting reputation for quality and cutting edge shows.

Good Steward Management, requires releases from all show participants, tenants, guest artists and others using the Gallery. If Good Steward does not already have one on file you may be asked to complete one before a group or shared show or you can get extra copies from Danny Jones. To set up a date for your own Gallery Event please check the Gallery Calendar for availability and then contact Danny Jones regarding the required deposit and details about accessing the Gallery.

If you would like to participate in one of the group shows please check the calendar on the Bulletin Board for information. Our goal is to make the exhibits work and provide the public with the best we can. When we curate the shows we try to utilize the existing space and work it to our advantage. Not all the pieces you submit may be used, or, we may ask if you have additional work. There is a security deposit required for all group show participants.

Art work submitted for Brokers group shows must have a double tag (on second floor bulletin board) with artists INFO completed to identify their work for lists and wall markers.

All art work including mixed media items should be finished off in a professional manner and ready to hang or display safely in the Gallery. Sculptures are to be secure in their presentation. Those installing the work for the group shows will not be liable should any damages occur. We may ask for volunteers to assist.

Art that needs to be hung in a certain way should be clearly labeled using a special instruction sheet (on second floor bulletin board) or it may be hung as best interpreted.

Installations should be well-thought-out with nothing unsecured or unsafe for public viewing. If you are submitting one as part of a group show you may be asked for measurements or you may want to ask for a specific place in the gallery for exhibiting this piece. Contact a Board Member for more information.

All art must be appropriate for viewing by the general public, per Hughes Management. To keep each show fresh and interesting, we request that participants not submit repetitive work for each event.

All Gallery users will be responsible for providing “door sitters” for the lobby, cleaning up and leaving the gallery in the same condition that they found it. This may require paint touch up and spackling the walls.

Please note: the Gallery may use photographs of group show events to be included on the websites or other printed advertising for promotional purposes. Artists may be contacted to use photos of their work on future Gallery Card Announcements. (See appendix for further detail)


Brokers Building Art Gallery Board Bylaws

Brokers Building Art Gallery Board Bylaws


Fiscal Review: An annual third party fiscal review will be conducted within 90 days of the end of each fiscal year. The results of the audit will be made available to all members of the cooperative.

Hiring Employees: The board of directors shall have the authority to create positions that will be filled by hiring or contracting for skilled non- member or member individuals as needed to fulfill business and operational needs.


Dissolution of the cooperative will require a dissolution motion to the membership. If the dissolution motion is passed the board of directors will select a member amongst themselves to carry out the necessary steps to complete the dissolution including filing paperwork with state and federal agencies and tending to the distribution of the remaining assets.

Upon dissolution, the remaining assets of the co-op will be returned to its’ remaining members. Alternatively and by a 3/4 majority vote of all remaining members remaining assets of the co-op will be distributed to a non profit arts group operating in Wisconsin.


If a court of competent jurisdiction judges any section, clause, provision, or portion of these by-laws void or invalid, the remainder of these by-laws will not be affected.

These By-laws can be amended by a 3/4 positive vote of the Members provided written notice of any proposed amendment is mailed or delivered to each Member at least 10 days prior to a meeting.

The articles of incorporation are hereby made a part of these by-laws. In case of any inconsistency between the articles of incorporation and these by-laws, the provisions of the articles of incorporation are controlling.

These By-laws accepted Jan 15th, 2009 by the following:

Brokers Building Art Gallery Board Bylaws


Brokers Building Art Gallery Board Bylaws

APPENDIX 1: Marketing Materials

For consistency in language and thoroughness in public engagement and marketing, BBAGB will maintain a set of standard marketing materials including press releases, event announcements, media copy, social media SEO hashtag coding, etc.

Standard Press Releases

Brokers Building Art Gallery Board Bylaws

RULE #1: Use the press release as a sales tool. The idea is to communicate a message to customers and prospects, through the vehicle of a print or online article, hopefully adding the authority and credibility of the publication, website and/or reporter to the message.

RULE #2: Have a newsworthy story. To get your message communicated through the publication, you need to convince the reporter/editor that your message (or the story surrounding it) is newsworthy. So it’s got to have appeal to the entire readership of the publication.

RULE #3: Write it like a reporter would write it. If your press release looks and feels like a real article, reporters will often just file it as a story with minimal editing. Therefore, it’s up to you to make sure that your press release looks and feels like a real article. No biz blab!

RULE #4: Provide some good quotes. Even if your CEO is [hard to quote], don’t make […] a quote that’s a series of business clichés. Have him say something memorable and personal, if possible.

RULE #5: Contact your top outlets personally. In addition to sending a press release, personally contact the reporters that you really want to cover the story. Send them something personal. You might even want to rewrite the press release to fit their beat.

Ref: (

Supplementary Rules

Rule 1: Make Your Headline Irresistible

Just like writing the perfect blog post title, setting up your press release for success starts with your headline. You only have one line to work with, which can seem scary, but consider diction carefully to make your headline captivating.

Use action verbs, clear, understandable language, and keep your headline simple and short — fortune (and search engines) reward the brief, so keep your title to one line to clearly focus people’s attention on your topline message.

Most importantly, make it interesting: Keep in mind that reporters get dozens, if not hundreds, of releases each day, so invest the time to write a compelling headline. It’s worth the time and effort on your part.

Rule 2: Don’t Play Hard to Get

For reporters, analysts, influencers, or followers to be inclined to share your announcement, you have to tell them upfront why they should care.

The first paragraph of your release should cover the who, what, why, where, and how of your new launch, update, or development. Reporters don’t have a ton of time to sift through details and fluffy background information — they just need the facts that’ll help them tell your story to someone else from a position of authority.

There shouldn’t be any new, crucial information covered after this section that the reader could potentially miss.

Rule 3: Offer a Tempting Quotable

Once you’ve set the scene, it’s time to bring your details to life with a quote that reporters can use for context around your announcement and help paint a picture of how your news affects the given industry, customer base, and landscape.

Ideally, quotes will be from key stakeholders in your company including your executive team, project leads, or those directly impacted by your announcement. Quoting key figures and authorities underlines the importance of your development. The chosen quote should shape your narrative and emphasize the core of the announcement. Don’t ask everyone in your office for a comment or feel compelled to quote all 25 people included in the acquisition — pick one or two critical spokespeople and focus the quotes around their unique perspective.

Rule 4: Provide Valuable Background Information

In this last paragraph, keep in mind that the reader already has all of the vital details and information they need to file a story or spread the word.

It can be tempting to provide superfluous facts and tidbits about your company or the development of your announcement — we sometimes think a piece of writing is lacking if it isn’t drawn-out and just shy of being a novella. However, a press release needs to be helpful and concise.

Offer details here that strengthen your narrative, like creative or noteworthy ways your company developed the project or announcement at hand. Or, when applicable, comment on future implications of your announcement.

Rule 5: Make the “Who” and “What” Obvious

Twitter is chock-full of reporters lamenting press releases or pitches that don’t clearly explain what the company does or what the announcement is actually about, so instead of being the butt of a joke, make your release incredibly easy to reference.

Describe what your company does in clear, plain English, include a link to your company’s homepage early on, and

Brokers Building Art Gallery Board Bylaws

make your boilerplate succinct and straightforward. If you cite data, include a reference link for the data source, and make sure every name in the release has an associated title and company as well.

To keep yourself honest on this front, ask a friend or colleague to read the release without context and ask if they can easily and readily explain why the announcement matters, what your company does, and why the executives included are quoted. If the answer to any of those questions is no, get back to the drawing board.

The key to keeping your PR strategy new school is forgetting preconceived notions of what public relations is and instead focusing on creating highly remarkable content. Traditional press releases can still be really valuable when executed well, so instead of ditching releases as a tactic, give them a modern makeover to make them more useful for your marketing.

Think about how you’ve used inbound methods to transform your marketing strategies to be more personalized, approachable, and build relationships. Those same principles apply to your PR strategy: Create content to craft your own story and use tactful outreach to get reporters and analysts familiar with your brand.

When Should I Distribute a Press Release?

While there’s no cut-and-dried formula for when a press release should be written (and distributed), here’s a few reasons when it’s a good idea:

New product launches

Updates to existing products

Opening a new office

Introducing a new partnership


Promoting/hiring a new executive

Receiving an award

A regular cadence of (meaningful) news can help a company stand out and build mindshare with journalists over time, so that’s where the press release (or news announcement) comes in.

Press Releases Can Be a Viable Content Type

So instead of stuffing your next release with jargon, take a page out of our book (okay, fine, ebook), The Newsworthy Guide to Inbound Public Relations, and brainstorm some creative approaches for your next announcement. Can you include new data? A remarkable graphic or video? A shareable SlideShare? If so, a creative angle will often help carry your content and increase the likelihood of social sharing.

Even so, a press release can still be a really valuable medium for communicating news to your audiences. You just have to make it readable, relevant, and relatable.

Tips for Publishing Press Releases

1) Reach out to specific journalists.

Instead of blasting a press release out to every journalist you can find an email address for, focus on a few journalists who have experience covering your industry (and company, hopefully) and send them personalized messages. Connect the dots. Show why what you wrote connects to what they write.

2) Don’t be afraid to go offline.

Most journalists have mountains of emails (and press releases) to sort through. Try sending your release through snail mail or another offline channel to differentiate yourself.

3) Send the release to top journalists the day before.

Give journalists some time to craft a story around your press release by sending it to them — under embargo — the day before it officially goes live. (FYI “under embargo” just means they aren’t allowed to share the information in the press release until the time you specify.)

4) To avoid competition, don’t publish your release on the hour.

If you’re publishing your press release on a distribution service like PR Newswire or Business Wire, avoid publishing it on the hour (e.g., 1 p.m., or 3 p.m., or 5 p.m.). The reason? Most companies schedule their releases to go out on the hour, which means if your release goes out on the hour too, it’s more likely to get lost in the shuffle. Instead, try going with a more distinct time (e.g., 1:12 p.m., or 3:18 p.m., or 5:22 p.m.).

5) Share your media coverage.

If all goes according to plan, and your press release gets picked up by the media, your job still isn’t finished. To keep the buzz going, you can release a “second wave” of distribution by sharing the specific stories that news outlets write based on your press release.

Ref: (

Brokers Building Art Gallery Board Bylaws

Brokers Building Art Gallery Board Bylaws

APPENDIX 2: EEO Policies

The following is a sample EEO Policy for an organization. The EEO policy must be:

Written on official company letterhead

Signed by the appointed EEO Officer

Posted in the office and at all job sites

Equal Employment Opportunity Policy Number ___





To state the commitment of the system to Equal Employment Opportunity.


1. The XYZ Company is an equal opportunity employer. No person is unlawfully excluded from consideration for employment because of race, color, religious creed, national origin, ancestry, sex, age, veteran status, martial status or physical challenges.

2. The policy applies not only to recruitment and hiring practices, but also includes affirmative action in the area of placement, promotion, transfer, rate of pay and termination.

3. Executive, management and supervisory levels have the responsibility to further the implementation of this policy and ensure conformance by subordinates.

4. Any XYZ Company employee who engages in discrimination will be subject to suspension or termination.

5. Any supervisory or managerial employee who knows of such behavior and fails to take immediate and appropriate corrective action will also be subject to disciplinary action.

6. Any individual who is the target of discrimination is encouraged to discuss the matter with the Department Director.

7. Any individual who feels such a discussion would be or has been futile, unsatisfactory or counterproductive should contact the Human Resources Department.

8. A member of the Human Resource staff will be designated to investigate the claim.

9. The accused individual may be suspended pending the outcome of the investigation.

10. Retaliation against claimants will not be tolerated.

XYZ Company is proud to be an equal opportunity employer. We are committed to providing equal employment opportunities to you and all other persons without regard to race, creed, color, religion, national origin, sex, marital status, citizenship status, age, veteran status or disability.

Furthermore, we will not tolerate any form of discrimination or harassment of our employees by co-workers, supervisors, customers, or vendors. This commitment extends to our policies on recruiting, advertising, hiring, placement, promotion, training, transfer, wages, benefits, termination and all other privileges, terms and conditions of employment.

Disaster Backup and Recovery Plan Policies and Procedures should include a Disaster Backup and Recovery plan to ensure the business can continue operations in the event of a disaster. This includes keeping the business running, recovering lost data, testing of backup procedures and replacement of equipment.

Brokers Building Art Gallery Board Bylaws

Incident Response

Policies and procedures should be implemented to include incident response. This information should be used to identify security incidents and how to respond. The security officer for the organization along with management should evaluate the effects of any incidents. Documentation of any incidents should be made along with the outcomes for the possible modification of the policies to prevent any further incidents.

Training of Workforce

Organizations should provide a training program to raise awareness of HIPAA rights. Every individual in the organization must be trained on a regular basis. Training should be provided to include employee awareness, password safeguarding and changing, workstation access, software use, virus and malware information and other mission critical operations.

Records and Information Access

Policies should define roles on who can have what access to programs and information. These policies should further define the roles in information technology of the IT personnel who have the rights to modify the access.

Audit Methodss

Audit mechanisms should be in place for all hardware, software and data control.

All employers with 100 or more employees and all federal government contractors and first-tier subcontractors with 50 or more employees with $50,000+ contracts must file EEO-1 Form.

EEO-1 Form: Must File By September 30

The EEO-1 report must be filed annually with the EEOC by September 30. Employment data must be used from one one payroll period during the third quarter of the current year.

EEO-1 Form Codes

The EEOC defines a set of codes to be used when filling out the EEO-1 Report Form:

EEO Code EEO Description

Exec/SR level officials and managers

First/Mid level officials and managers



Sales workers

Administrative support workers

Craft workers – skilled

Operatives – semi skilled

Laborers – unskilled

Service workers

EEO & Discrimination in the Workplace

A complaint of discrimination may be filed by any employee or group of employees. The aggrieved individual has the right to be represented at all stages of the process.

EEOC prohibits workplace discrimination based on the following factors:




Brokers Building Art Gallery Board Bylaws


•National Origin



•Sexual Orientation


•Compensation Level

•Filed a Charge

Handling EEOC Complaints

The chart below details the process for filing complaints of discrimination based on race, color, religion, sex, national origin, age, disability, or reprisal. The complaint may arise from a specific personnel action, such as employment, promotion, work assignment, selection for training, disciplinary action, or separation, or it may relate to prevailing conditions in an organization.

A complaint of discrimination may be filed by any employee or group of employees. The aggrieved individual has the right to be represented at all stages of the process.

If you feel that you have been discriminated against, get all the facts on the matter to make sure there has been no misunderstanding. Feel free to speak with your supervisor, administrative officer or personnel representative first.

If you are still dissatisfied and wish to utilize the EEOC complaint system, you must bring the matter to the attention of an EEO counselor within 45 calendar days of the occurrence of the alleged discriminatory act or effective date of the personnel action alleged to be discriminatory.

The EEOC counselor will listen to your problem, and advise you of your rights under the EEO complaint system. The counselor will make inquiry into the matter, if you wish, by discussing the problem with your supervisor, associates, personnel representative, etc. and will attempt to resolve the problem informally, acting always with your approval.

Brokers Building Art Gallery Board Bylaws

APPENDIX 3: Code of Professional Conduct

From the Academy of Design Professionals, Diane Bywaters John Hartman Spyros Heniadis Mary Ellen Pollock Ann Singsaas


Art professionals have certain fundamental obligations to society, to clients, to the profession, and to peers and colleagues. The Code of Professional Conduct states guidelines and rules for the conduct of Art professionals in fulfilling those obligations. The Code is arranged in three tiers of statements: Canons, Ethical Standards, and Rules of Conduct.

Canons are broad principles of conduct.

Ethical Standards are more specific goals to which Art professionals should aspire in professional performance and behavior.

Rules of Conduct (Rule) are mandatory; violation of a Rule is grounds for dismissal from BBAGB. Rules, in some instances, implement more than one canon or ethical standard.

The Code applies to the professional activities of all categories of art professionals, across the many industry disciplines. Membership in Broker’s Building Gallery is voluntary. By accepting membership, an artist assumes an obligation of self discipline above and beyond the requirements of laws and regulations.

Compliance with the Code, as with all law and rules in an open society, depends primarily upon understanding and voluntary compliance, secondarily upon reinforcement by peer and public scrutiny, and finally, when necessary, upon enforcement through disciplinary action against members who fail to comply with the Rules. The Code does not, however, exhaust the moral and ethical considerations that should inform An art professional, for no worthwhile human activity can be completely defined by laws or rules. Even so, the Code is wholly concerned with ethical constraints for professionalism; the Rules are not compromised by elements concerning social agendas or activism, but simply provide a moral and rational framework for the ethical practice of design.

Where it appears, commentary is meant to clarify or elaborate the intent of a rule. The commentary is not part of the Code and is included to assist those seeking to conform their conduct to the Code.

This Code is intended to promote the highest quality of practice in all forms of design and to strengthen public confidence in the profession. Toward that end, BBAGB sets forth the following.

Section 1: General Obligations

Canon: Art professionals should maintain and advance their knowledge of the aesthetics, craft, and science of aesthetics, respect the body of aesthetic accomplishment, and contribute to its growth. Art professionals should exercise learned and uncompromised professional judgment over any other motive in the pursuit of the aesthetics, craft, and science of aesthetics, even at the expense of personal advantage.

Ethical Standard 1.1: Knowledge and Skill

Art professionals should strive to improve their professional and technical knowledge and skill.

Rule 1.11: In practicing aesthetics, art professionals shall demonstrate a consistent pattern of reasonable care and competence and shall, at minimum, apply the professional and technical knowledge and skill which is ordinarily applied by artists of good standing practicing in the same locality.

Ethical Standard 1.2: Standards of Excellence

Art professionals should continually seek to raise the standards of aesthetic and functional excellence, art education, research, training, practice, and professional excellence.

Ethical Standard 1.3: Human Rights

Art professionals should uphold human rights in all their professional endeavors.

Rule 1.31: An art professional shall refuse to engage in or support discrimination against individuals on the basis of race, sex, age, religion, national origin, sexual orientation or disability.

Ethical Standard 1.4: Promotion of the Design Professions

Art professionals should promote the profession and contribute to the knowledge and capability of the art professions as a whole.

Section 2: Obligations to the Public

Canon: Art professionals should embrace the spirit and letter of the law governing their professional affairs and should promote and serve the public interest in their professional activities.

Ethical Standard 2.1: Conduct

Brokers Building Art Gallery Board Bylaws

Art professionals should uphold the law in the conduct of their professional activities.

Rule 2.11: Art professionals shall not, in the conduct of their professional practice, knowingly or unknowingly violate the law.

Commentary: As ignorance of the law offers no mitigation of offense or punishment under the law. Therefore, ignorance offers no mitigation of this rule.

Rule 2.12: An art professional shall neither offer nor make any payment or gift to a public official with the intent of influencing the official’s judgment in connection with an existing or prospective project in which the designer is interested.

Commentary: This rule does not prohibit campaign contributions made in conformity with applicable campaign financing laws

Rule 2.13: An art professional serving in a public capacity shall not accept payments or gifts which are intended to influence their judgment.

Rule 2.14: An art professional shall not knowingly engage in work where the aim or result is misleading, deceptive, or false by intent or substance.

Rule 2.15: An art professional shall not engage in conduct involving fraud or wanton disregard of the rights of others.

Commentary: This rule addresses serious misconduct whether or not related to a designer’s professional practice.

Rule 2.16: If, in the course of their work on a project, An art professional becomes aware of a decision exercised or prescribed by their employer or client which is fraudulent or violates any law or regulation, the artist shall: (1) advise their employer or client against the decision, (2) refuse to consent to the decision, and (3) report the decision to the appropriate authority, unless the art professional is able to cause the matter to be satisfactorily resolved by other means.

Rule 2.17: An art professional shall not counsel or assist a client in conduct that the designer knows, or reasonably should know, is fraudulent or illegal.

Ethical Standard 2.2: Civic Responsibility

Art professionals should be involved in civic activities as citizens and professionals, and should strive to improve public appreciation and understanding of art and the functions and responsibilities of artists.

Rule 2.21: Art professionals making public statements on art issues shall disclose when they are being compensated for making such statements or when they have an economic interest in the issue.

Rule 2.22: An art professional, while engaged in the practice or instruction of art, shall not knowingly do anything that constitutes a deliberate or reckless disregard for the health and safety of the communities in which he or she lives and practices or the privacy of the individuals and businesses therein.

Rule 2.23: An art professional shall consider environmental, economic, and cultural implications of their work and endeavor to minimize the adverse impacts.

Rule 2.24: An art professional shall not knowingly make use of goods or services offered by manufacturers, suppliers or contractors that are accompanied by an obligation that is substantively detrimental to the best interests of his or her client, other individuals, or the environment.

Section 3: Obligations to Clients

Canon: Art professionals should serve their clients in a competent and professional manner and shall otherwise act in the client’s best interest within the limits of professional responsibility.

Ethical Standard 3.1: Competence

Art professionals should serve their clients in a timely, lawful, and competent manner.

Rule 3.11: In performing professional services, an art professional shall take into account applicable laws and regulations. An art professional may rely on the advice of other qualified persons as to the intent and meaning of such regulations.

Rule 3.12: An art professional shall undertake to perform professional services only when they, together with those whom they may engage as consultants, are qualified by education, training, or experience in the specific technical areas involved.

Ethical Standard 3.2: Contracts, Fees & Billing

Project contracts should embody clarity and be functionally comprehensive, and project estimates should be reasonably specific and accurate.

Rule 3.21: An art professional shall in the conduct of professional practice produce work only as clearly described in a mutually executed contract(s) that accounts for the project’s scope, deliverables, costs, terms, and the relevant obligations of all involved parties.

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Commentary: This rule is intended to require that all professionally contracted work be performed according to a binding scope of responsibilities, rather than with mere verbal agreements or undefined elements. In short, all professional design work must be accomplished under clearly defined, legal, and mutual constraints.

Rule 3.22:An art professional shall not materially alter the contractually defined scope, objectives, or catalog of deliverable components of a project without the client’s consent.

Ethical Standard 3.3: Conflict of Interest

Art professionals should avoid conflicts of interest in their professional practices and fully disclose all unavoidable conflicts as they arise.

Rule 3.31: An art professional shall not render professional services if the designer’s professional judgment or quality of performance could be affected by responsibilities to another project or person, or by the designer’s own interests, unless all those who rely on the designer’s judgment consent after full disclosure.

Commentary: This rule is intended to embrace the full range of situations that may present An art professional with a conflict between his interests or responsibilities and the interest of others. Those who are entitled to disclosure may include a client, owner, employer, contractor, supplier, or others who rely on or are affected by the designer’s professional decisions. A designer who cannot appropriately communicate about a conflict directly with an affected person must take steps to ensure that disclosure is made by other means.

Ethical Standard 3.4: Candor and Truthfulness

Art professionals should be candid and truthful in their professional communications and keep their clients reasonably informed about the clients’ projects.

Rule 3.41: An art professional shall not intentionally or recklessly mislead existing or prospective clients about the results that can be achieved through the use of the designer’s services, nor shall the design professional state that they can achieve results by means that violate applicable law or this Code.

Ethical Standard 3.5: Security

Art professionals should employ reasonable safeguards in systems and practices to protect the confidentiality of project materials—both analog and digital.

Ethical Standard 3.6: Confidentiality

Art professionals should safeguard the trust placed in them by their clients.

Rule 3.61: An art professional shall not knowingly disclose information that would adversely affect their client or that they have been asked to maintain in confidence, including all knowledge of a client’s intentions, production methods, and business organization, except as otherwise allowed or required by this Code or applicable law. Details of all work in progress prior to the completion of a project shall likewise be kept in confidence except as allowed by the consent of the client.

Commentary: To encourage the full and open exchange of information necessary for a successful professional project relationship, Art professionals must recognize and respect the sensitive nature of confidential client communications. Because the law does not recognize a designer-client privilege, however, the rule permits a designer to reveal a confidence when a failure to do so would be unlawful or contrary to another ethical duty imposed by this Code.

Ethical Standard 3.7: Integrity

Art professionals should uncompromisingly maintain their integrity.

Rule 3.71:A client or employer issuing instructions that involve violation of this Code should be corrected by the designer, or the designer should refuse the assignment.

Section 4: Obligations to the Profession

Canon: Art professionals should uphold the integrity and dignity of the profession.

Ethical Standard 4.1: Compensation

Art professionals should uphold the fundamental morality of profit, free from destructive interests or conflicts of interest.

Rule 4.11: An art professional shall work only for a fee, a royalty, salary, or other agreed-upon ethical form of compensation.

Commentary: This rule is meant to preclude the design professional from retaining any kickbacks, hidden discounts, commission, allowances or payment in kind from contractors or suppliers.

Rule 4.12: An art professional shall not participate in work that, in aim or substance, denies or works to deny the inherent value of design, the value of an individual’s genius, effort, or creation, or the value of an individual’s property.

Commentary: This rule is intended compel Art professionals to carefully evaluate pitch invitations and

Brokers Building Art Gallery Board Bylaws

preclude their engaging in any form of spec work.

Rule 4.13:Independent Art professionals shall not be party to a contract or engage in work that compromises the integrity of their copyright ownership.

Commentary: This rule is meant to prohibit the designer’s engagement in work for hire or other schemes that compromise a designer’s legal property rights.

Rule 4.14:An art professional speaking or writing in a professional capacity shall not knowingly make false statements of material fact.

Commentary: This rule applies to statements made in all professional contexts, including communications with clients, employers, employees, in instructive articles and white papers, or while speaking to individuals or groups.

Ethical Standard 4.2: Dignity and Integrity

Art professionals should strive, through their actions, to promote the dignity and integrity of the profession, and to ensure that their representatives and employees conform their conduct to this Code.

Rule 4.21: An art professional shall not make misleading, deceptive, or false statements or claims about their professional qualifications, experience, or performance.

Rule 4.22:An art professional shall make reasonable efforts to ensure that those over whom they have supervisory authority conform their conduct to this Code.

Section 5: Obligations to Peers and Colleagues

Canon: Art professionals should respect the rights and acknowledge the professional aspirations and contributions of their colleagues

Ethical Standard 5.1: Professional Environment

Art professionals should provide their associates and employees with a suitable working environment, compensate them fairly, and facilitate their professional development.

Ethical Standard 5.2: Professional Development

Art professionals should recognize and fulfill their obligation to nurture fellow professionals as they progress through all stages of their career.

Ethical Standard 5.3: Professional Recognition

Art professionals should build their professional reputations on the merits of their own service and performance and should recognize and give credit to others for the professional work they have performed.

Rule 5.31: Art professionals shall recognize and respect the professional contributions of their employees, employers, professional colleagues, and business associates. When not the sole author of a design, the design professional shall accurately state the scope and nature of their responsibilities in connection with work for which they are claiming credit.

Rule 5.32: An art professional leaving an agency shall not, without the permission of their employer or partner, take designs, drawings, data, reports, notes, or other materials relating to the agency’s work, whether or not performed by the designer.

Rule 5.33: An art professional shall not unreasonably withhold permission from a departing employee or partner to take copies of designs, drawings, data, reports, notes, or other materials relating to work performed by the employee or partner that are not confidential.

Ethical Standard 5.4: Honesty & Courtesy

Art professionals should pursue their professional activities with honesty and courtesy. Rule 5.41: In the course of pursuing business opportunities, An art professional shall not seek advantage by criticizing another designer or agency or attempt, directly or indirectly, to supplant or compete with another designer or agency by means of unethical inducements.

Rule 5.42: An art professional shall be objective in publicly criticizing another designer’s work and shall not baselessly denigrate the work or reputation of a fellow designer.

Rule 5.43: An art professional shall not accept instructions from a client or employer that involve infringement of another person’s property rights without permission, or consciously act in any manner involving any such infringement

APPENDIX 4: Exhibition Guidelines & Forms

Brokers Building Art Gallery Board Bylaws


BBAGB invite submissions from individual artists, groups and independent curators working in various media to submit proposals for exhibitions. Your proposal should include:

cover sheet which includes the name and contact information (e-mail, phone number). In the case of group exhibits, there should be one person designated to submit the proposal and act as contact person to the gallery.

a brief, clearly articulated description of the proposed exhibition

10–20 images or media files (CD ROM or online digital portfolio)

list of titles, dimensions, and media

current curriculum vitae

are there any dates when the work is not available?

would you be prepared to share a show – with an alternative medium – i.e. 3D with a 2D?

Type of work

2D– painting, drawing, prints, photography, fiber, glasswork, multimedia, able to be hung using the wire hanging system. 3D– sculptures in 3D are limited to traffic access and available pedestals. We encourage artists or groups to submit a proposal for a sculpture exhibition that can be displayed safely (and aesthetically) if they can provide the necessary display supports. The gallery committee reserves the right to restrict subject matter.

Security and insurance

As noted above, the BBG is a exclusive facility. Artist are liable for their artwork and gallery; and due to the nature of the space, artists are responsible for one hundred percent (100%) of the value of any broken, stolen or damaged artwork, whether or not a claim is filed with the BBG Management’s insurance policy on the damaged or stolen work. If chosen, you will be required to supply an inventory with value of the work.

Length of exhibitions

Exhibitions will run for 3 weeks depending on other programming activities at BBG. The exhibit will remain for the full allotted time.

Installation and removal of work

All paintings, drawings, and photographs must be framed, wired, and ready for hanging using the installed wire hanging system. Artists accepted for exhibit must have enough work to aesthetically fill the space. Artists must supply their own labeling, which should be mounted to do no damage to gallery walls. Labeling may include title, medium, date of creation, etc., but may not include purchase information or pricing.

Installation will be from NOON the day before the show opens.

Removal will be before NOON the Monday after the show ends. Shows will normally end on Saturday, so if you need Sunday after 12 noon to dismantle the show, please make prior arrangements with the BBAGB at

Exhibitions will be installed by the artist(s) with assistance and supervision from BBAGB. If special requirements are necessary for the installation of an exhibition then the artist(s) will

work with BBAGB staff to ensure safe and appropriate installation without damaging the gallery walls. Artists will be responsible for any additional costs if specialized assistance or equipment is required. All artwork must be removed from the premises by noon on the Monday after the close date unless other arrangements are made with BBAGB staff.

BBAGB will ensure gallery space and walls will be ready for hanging prior to installation of work. At the end of exhibition, the artist will be expected to return the space and walls to the same “ready to hang” condition.

Sale of artwork

Artwork may only be purchased directly between the buyer and the artist or their designated local gallery. The BBAGB and management staff are NOT allowed to assist in any purchase transaction. Pricing information may only appear on 8 ½ x 11 printed pages on a single pedestal positioned by BBAGB staff and may not be displayed with or adjacent to the artwork. We encourage you to keep a supply of business cards, contact information and a guest book on the pedestal. If a work is sold during the show, it must remain with the show until the show’s conclusion.

Publicity and promotion

BBAGB will support artists to the best of their ability and resources by networking with the local town mailing list, BBAGB membership announcements, and other

Brokers Building Art Gallery Board Bylaws

organizations to promote exhibitions via the web. Other promotion options can be discussed with the BBAGB. Costs associated with the design, production and direct costs of distribution of promotion materials and opening reception is the responsibility of the artist(s). Artist(s) must notify the BBAGB in advance if an opening reception is requested in order to schedule and coordinate.

Exhibition agreement form

If an artist or group is offered an exhibition at the BBG they will have 2 weeks to accept or decline the offer. If accepted, an Exhibition Agreement Form must be completed and returned to the BBAGB by the deadline. 4.1 Group Shows & Open Studio Guidelines

The volunteer sign up sheets will be on the 2ond floor Bulletin Board. Your participation is appreciated but only with approval of submission of digital images are required for marketing purposes. Please watermark if concerned of copyright or trademarks.

An Electronic “mail out” will occur for both events. All artists that have signed up will receive one. If you have any contact, email or social media addresses that you want added to our list please contact BBAGB at

Good Steward Mgmt. has to have your original signed release form if you want to participate or use the Gallery or Lobby. All art work has to be ready to hang, no wet paint, canvas staples should be painted over, and appropriate ID tags attached. The drop off date in the 3rd floor gallery is always the weekend prior to a show.

Because of the large turn out please submit 2 or 3 pieces of your work.


Please read to the bottom even if you think you know how to do this!

1. Pick simple frames complimentary to the work but not dominating. Elaborate carved frames may kill a sale or may enhance the final product. Try to be flexible A frame that is deep from the wall (2+” instead of 1”) rather than wide, may give your work a look of more importance. Shallow or flat to the wall may cheapen the look of your work. Be aware of what works with your individual piece.

2. Choose a neutral (black/white/silver/gold/or wood finish) or complimentary color, but not dominating. Think of the frame as part of the artwork.

3. If using a mat, use a neutral color (white/ecru/beige/grey/black). Colored mats may distract buyers because “they don’t go with my sofa, etc…”or distort the colors you have used. Mat should be proportional to the frame & image: usually 2” or more inches wide. The bottom margin is traditionally deeper than the side & top margins by an inch or more. If the background color of the art piece is white, choose a white that matches, or the mat may look “dirty”. Or contrast to black or grey instead.

4. Most galleries would prefer that you wire 2 dimensional art pieces on the back rather than using hangers in the top &/or center back. Many galleries use a hanging system that hooks to the back via one or two (or more) suspended hooks or clips. Place screw eyes or other holders to attach a wire across the back of your artwork down 1/5th of the depth (top to bottom) of the frame & on the inside edges of the frame so it will hang flat to the wall. Suspend wire so there is distance from the top of frame with looseness in the wire so it comes no more than 1 inch from the top of frame in the middle. A taut wire can be very difficult to hang with some systems. (Figure very small pieces of art proportionally.) Attach screw eyes & wire securely (loop wire through each eye twice & knot & wrap ends.) You do not want your piece falling off the wall! Use proportionate weight screw eyes & wire. The tension on the wire increases as it hangs. Test to make sure everything is secure!

5. IF NOT USING A FRAME follow #4 directions but put screws on the inside edge of the stretcher bars, if at all possible, so your work will hang flat to the wall. DO NOT expect the gallery to edge hang your work. It will not be secure & may fall off the wall! Make sure stretcher bars are NOT warped! Reinforce large works as needed additional bars or metal brackets to insure they will lie flat to the wall.

6. Use a measuring tape! DO NOT GUESSTIMATE!!!

7. Be sure to put your full identification (address/phone/email etc…) on the back of your piece, plus “Title, Medium, & Size”. If you have different ideas about framing and/or hanging your work, check with the gallery to see what is preferred or permissible, in advance.

Brokers Building Art Gallery Board Bylaws


Artist Name & Studio No.

Name Of Work & Medium

Phone & Email




Artist Name & Studio No.

Name Of Work & Medium

Phone & Email



Brokers Building Art Gallery Board Bylaws


Questions? contact


Questions? contact


Artist Name & Studio No.

Name Of Work & Medium

Phone & Email




Artist Name & Studio No.

Name Of Work & Medium

Phone & Email



Brokers Building Art Gallery Board Bylaws


Questions? contact


Questions? contact

Brokers Building Art Gallery Board Bylaws

BBAGB Release of Liability

I hereby agree to accept full responsibility and assume all risk associated with displaying artwork in the lobby, stairway, hallway, courtyard or in any other location on the property known as:

Brokers Building

which is located at:

402 Market Street

in San Diego, California.

In addition, the property owners, landlords, management, their agents or employees of the property (hereinafter referred to as “the Landlord”) are specifically held harmless in the event of any damage, theft, or devaluation of any displayed artwork. Likewise, the Landlord will not be liable for any injury to me or my helpers caused directly or indirectly from displaying artwork on the premises.

No artwork or signage shall be placed upon the premises without the Landlord’s consent. I acknowledge that there is no charge, payment or consideration to the Landlord for allowing me to display my artwork.

BBAGB Release of Liability

I hereby agree to accept full responsibility and assume all risk associated with displaying artwork in the lobby, stairway, hallway, courtyard or in any other location on the property known as:

Brokers Building

which is located at:

402 Market Street

in San Diego, California.

In addition, the property owners, landlords, management, their agents or employees of the property (hereinafter referred to as “the Landlord”) are specifically held harmless in the event of any damage, theft, or devaluation of any displayed artwork. Likewise, the Landlord will not be liable for any injury to me or my helpers caused directly or indirectly from displaying artwork on the premises.

No artwork or signage shall be placed upon the premises without the Landlord’s consent. I acknowledge that there is no charge, payment or consideration to the Landlord for allowing me to display my artwork.

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I agree that I will remove all of my artwork upon request or demand by the Landlord. If I fail to remove it within 72 hours of such request, I agree that the Landlord may remove it and store it at my expense at the rate of $20 per day. In the event the Landlord removes and stores my artwork and I do not claim it by paying the storage charges within 15 days, I agree that the Landlord may dispose of my artwork in any way whatsoever and I will have no basis or claim.

Name & Studio No.




Questions? Email

I agree that I will remove all of my artwork upon request or demand by the Landlord. If I fail to remove it within 72 hours of such request, I agree that the Landlord may remove it and store it at my expense at the rate of $20 per day. In the event the Landlord removes and stores my artwork and I do not claim it by paying the storage charges within 15 days, I agree that the Landlord may dispose of my artwork in any way whatsoever and I will have no basis or claim.

Name & Studio No.




Questions? Email

Brokers Building Art Gallery Board Bylaws

(Updated September 12, 2017)