 get it started. We're at 602. I'd like to we've got a quorum and let's get rolling. So I'd like to call the meeting to order. It's really easy to do roll call for today, because I can look at your names. I've got Nicole, who's just our best buddy ever. I've got Laurel Alterman, Pamela, bachelor, right? Yeah, Jennifer Miller, the one on the only Angela Grill, Holly, the great Holly Brandish Lane, Peter Alexander, Aaron, who is diligently writing these names down. Thank you. Noah, who doesn't look like an art piece anymore. Tricia, we're really glad you're here. You're kind of a newbie and we're so glad that you're here. Andrea, she's an old is that how we say it? But not ageism at all. But thank you for being here. Eileen, thank you for coming back. Randy is here. Daniela is here. Susan is here. Kim is here. And Pamela is here. Does that sound good? We all okay? All right. Excellent. So we do I'm seeing some things here. We wanted to see if there was public invited to be heard. No, no public invited to be heard. Okay. So now we need to have an additions or corrections to the January 21st minutes. And we need to see if there are any additions or subtractions, and then do an approval. I know there's one typo at the bottom of page two. It says Peter Martians for art of the move. I'd love to see art of the move. But I think that's what we mean is art on the move. Okay, great. Thank you very much. I didn't see anything else. I don't see Cynthia here. So anybody else? There was just one other correction that I saw. There was the word working. And it was missing a G at the end. And it was toward the end of the document. Sorry. Thank you, Holly. Sorry, just a transcription and how people say, you know, working working. All right. Any other any other additions? I think Angela, did you have one? Oh, but Cindy sent me a note and said that they looked very good. So we all need to give Aaron a big round of applause because this is not a fun job. But it is a rewarding job. We reward you with applause and dog snorts from the back of me. I apologize. Great. So then we need a motion to approve the minutes from January 21. I motion. Okay, so that motion I should say add them with the corrections, correct? Correct. Okay. All in favor. All opposed. All right, the minutes for January 21 are solidified and good to go. Second the motion just you can put that in. Yeah, we had two seconds. We had Peter and Andrea. So great. Thank you so much. Wonderful. I'm glad you're all on top of it. I have a quick question, a procedural question. It seems to me we should do before we get too far into the into the agenda. Sure, Peter, I noticed in the instructions for online meetings, it says that you're supposed to have an actual roll call for every vote. Are we all right on that, Angela? I guess we should do non attendance, right, Angela? I call I did roll call as far as everybody that's here. Would you like on each vote, it says it should be by roll call. I mean, I imagine that the city attorney who wrote this is thinking about city council who has five people. And if we go through every motion and ask each individual person of 15 what their vote is rather than a hand, it's going to make this process more laborious. That said, it is in that policy. So I defer to you on your decision. If you trust that the votes that we are doing by putting a hand visibly in front of the camera, this is being recorded. And if there was ever something that was contested, one could go back and view the documentation on YouTube that will exist until the end of time. It's up to you. So I would suggest that the chair should look, as you can see all the people and say, visually, it appears to me to be unanimous and that would be good enough as long as that's in the record, then you show that Well, as Angela mentioned at the beginning of the meeting, we are at quorum. And we are I'm happy to do whatever you all want me to do. And it hasn't been problematic in the last six years I've been here, but that's a really great point that you raise, Peter. I'm glad you have reviewed all the rules. That's wonderful. Well, because we're we are being required to accept and adopt this policy in this meeting. So it is question. Well, how about we go hands forward and we'll make sure that we do that. Would that be okay with everybody? We start from his point on, we can vote on it. This point on we'll make sure that I do a roll call on every vote. No, I don't think you need to do a call. If you can visually see that everyone's got their hands up, say that. So that's in the record that you have looked at the pictures and everyone got their hand up. And that being said, those who don't have their cameras on. I would ask that when we vote, you make sure you turn your cameras on just for our votes. What do you think, folks? Yeah, that'd be good. And also you can, you know, with wrote when we do vote, most everybody always raises their hand. But once in a great while we do have one person or two that doesn't, then you can write down maybe those with that one or two persons that dissented. And then it's the same thing. Everybody else and we know who is here voted for it. So excellent, Andrea. Thank you. That's great. And we'll just make sure to note any abstentions. And we'll make sure to call for them. Okay, right? Is it that's yeah, that sounds good. Good point, Peter. Thank you, Peter. So Angela or anyone else here? Do we have any additions to today's to today's agenda? Excellent. So strategic planning, Holly, Amy and our friend, Angela, have been working on this. So I'm going to let Holly start and then we can kibitz in if that's okay. That sounds good. So I will just start by saying that the three of us have been doing quite a bit of behind the scenes work to determine the most effective way to not only create a strategic plan within art in public places, but we're also exploring other avenues about how we might be able to pull other creative art bodies in Longmont into our planning process. And so we're really very thoughtful in how we process through even a plan about how we're going to go forward with strategic planning. And I'll start by saying that over the last two weeks, we have looked at many of the other plans that are within our area. You know, we looked at which ones did you look at Amy? I'm sorry. I looked at economic 2.0, which is about 42 pages. And my goal was to look through everything that mentioned cultural diversity, quality of life, things that might be connected to art in some way. And then yesterday we met and Holly did a really you did vision longlock, correct? And vision longlock correct. Yes. And we looked together and I'm not at all explaining disappointment, but we did have some things that we would love to see more mentioned about the arts and culture in both of the plans. This was written before COVID and before 2021. So we took that into consideration. So there's some good stuff. They would they have great ideas. And we would like to enforce that. We would just like to see some more. It just doesn't seem to me. And maybe I'm just being and you all stopped me, Angela and Holly, we need to dig deeper. We need to be looking a little more at some sources. So Holly, what do you think? Yeah, I agree. And the reason we're looking at all of these sources for what our community considers to be culturally and creative is because we need to be able to consider our plan when we're looking at everybody else's plan and ensure we're all working kind of in the same direction. So our next step will be to try to put together a proposal to see our exact steps going forward. And I'm going to turn it over to Angela because she may want to share some additional information, but that's where I am. The last time arts and entertainment was really assessed in a deep dive in within our community when it comes to focus groups and surveys and set et cetera was 2010 2011. And there were other entities that existed at that time. And I think that with between a number of stakeholders in who are addressing culture in Longmont, particularly LDDA in the creative district and ourselves, we need to be certain that the way that culture and the arts and other creative community is being supported is holding up some of these other plans. So I looked at and went through 140 pages of the sustainability plan. It's called bribe. It's actually in 2.0. And so we're just trying to find ways that other cultural or I'm sorry, rather other city bodies who have done plans that are driving the work that they do when they put and culture, we're going to do this and culture, like what does that mean? And we're asking them because they've done their amount of work and getting all sorts of data to support them. And so by collecting the various bits and pieces of how and culture has been included, that'll help drive the work that we do, which ultimately will hold up envision Longmont as as the larger city plan. So certainly the museum as a partner and stakeholder, absolutely the creative district and LDDA. And I know that there are a number of other large organizations who will certainly be a part of this. So again, the goal right now is just to make sure that we know we could articulate what we're doing, what the goals are before we start inviting people to come to the table to support us. So I think we're getting there where we've been meeting weekly. Yeah, so questions. Yeah, I'm curious. So are you envisioning that people representing LDDA and envision Longmont, for example, would actually participate in our strategic planning meeting? I'm not quite sure. I think it's a great idea, first of all, because that we have always collaborated and worked with LDDA. And sometimes there's been friction or miscommunication and I think working with them would be great. But I don't understand quite how they would be involved in our own particular strategic planning. Would they be at the meetings that we hold? Or what what are you envisioning? I'll let you go ahead. I'll let Angela so just from a commissioner standpoint, and then Angela can tell you the details. We thought about this a lot, because we don't want to reinvent the wheel. We don't want to be on the hamster spin. And we're like, Oh, they already did this or somebody already did this. So we think it would be great. And correct me if I'm wrong, that we kind of meet initially and we find out what everybody's doing. And we find out what the entire community is doing, and what we can focus on within our little sections. I think that's a great point. But we I'm all about like trying to keep things why why would we do a study if so and so is doing a study? Why would an angel and I talked today, and actually Holly yesterday, about there's so much research that still needs to be done. And we can all of the cultural groups in Long Mock can benefit from that. So we should do that together initially. That also being said is I don't want to be sitting here in seven months, and we don't have anything done. So I think that's something that we need to look at. Andrea, you I know that there have been admin, a little, never mind, I know it's it, there have been situations where it was a little challenging to work with other groups. But I think we have to right now, we are in an entire different environment. Then we were a year and a half ago. So you're suggesting that it sounds to me like we would do it's really us doing the investigation, like someone from AIPP would go and go to an LDDA meeting or and we have worked with Envision Long Mock, you know, where we all get together and walk around. So that's what we first go and do our homework, investigate. And then we come back as a group. Is that what I agree? And I want to tell you that Angela has already done a lot of our homework for us. She has been involved in meetings. I'm sure there's more to do. But Angela has really worked hard to partner with these folks in leadership positions, because that's part of her job. And so I'm sure she could speak to that better than I miss Angela correct? Well, and I don't know how you might have something to add to and Kim as well. But I think that really, because creative culture in Longmont hasn't been directly like focus groups and going out into the creative community and saying what is it that you need? How do you need to be served? And so instead of just art and public places doing it ourselves, while the creative district intends to try and get to the meat of that same question. And, you know, inevitably, other organizations, the symphony I can think of, Firehouse, there's all sorts of creative bodies, creative industries within Longmont that are asking all of these same questions. So rather than just doing our job for ourselves for art and public places, we have an opportunity to really be the champion for kind of a larger cultural assessment. And so by partnering with other organizations and getting a plan of how we're going to do that, and how we bring people around the table to do it together. I think that that that's really the intention and the goal. So we have been so creative district and I have been talking to some of the resources that they have through the creative district, which is Colorado creative industries with the state, and saying, you know, can you give us advice? Can you give us some frameworks we can look at to see if we want to do an assessment ourselves if it needs to be facilitated? So I have a meeting next week to sit down with some people who have addressed facilitation of cultural plans and cultural lenses. And we have an opportunity to start looking at creative culture through the lens of inclusion, of equity, of diversity, all of these things that we've been talking about as our priorities, and how is it that we can bring that into the fold, not just within art and public places, but within cultural enterprises throughout the city. So I think we're just scratching the surface. What do you think, Collie? Is that a fair enough statement? I agree. I think we're really still in the assessment phase of determining how we're going to go forward. And I'll say personally that I envision when we do come down to making making progress and deciding what direction we're going. In my mind, it would be best to include the majority of the people that are right here on the commission who want to participate, as more knowledge we have that can bring forth ideas, the better off we'll all be. And that may only be my vision. And I apologize for just shooting it out there. But I think that's what we'd like to see in the long run. I agree for just facing from everyone. And I don't as I'm leaving in May or June, whatever I have to, but I don't want to pass the buck. But this should be our focus for a little while folks, I think. Because this could really historically affect long line. I mean, we're talking about things that have mattered to all of us. And some of like Noah and I have talked about this. This could really, really affect the way long mod is viewed in the future. And it's not like a five minute discussion. So I think this is something that we should focus on. And I'm not just saying inclusive and diversity, I understand that. But like I just mentioned, I won't go on a high horse, but 26% of our population in Longmont is Latino, and or Latinx, whichever you prefer. And we don't have that represented in our area, in this area. And I think it's our jobs as commissioners, and as volunteers and servants of our community, to start reaching out and looking at that. So I mean, you're saying that I think that's very important. I'm finding a way to have inclusion of people who have not been represented. And my experience, I just have a little sideline here, my experience with musical organizations for which this is a huge issue is that saying diversity is not enough inclusion, inclusion is the word that needs to be used. This is something that we are going to be people are going to look at AIP in 50 years and be like, Wow, this is when they first first started doing this. And this is when they first first started doing this. I'm not saying that what we haven't done is important. It's awesome. But we are 25% of our community needs to be involved in our decisions here. And the reason I discovered this, I mean, if you go look at economics, what what my friend Angela told me to go look at, I mean, they do a complete demographic breakdown of our town and what's going on. And it's important that they have that impact. And I don't truthfully feel like they have had the power or felt like they could. So it is our jobs as commissioners to feel like to empower them and say, Come on, we want to hear your opinion. Right? I'll stop now. I agree. I like the whole concept of the project. It sounds like a little bit of more work externally and internally for each of us. But I think it'll to super be worth it. Yeah, it will it will be work and we're going to get there. And the goal is that when we bring the work to you that it's very clear of what it is that we're all doing how each of our participation and impact will will add to this larger plan. So stay tuned. But yeah, we've been working really, we've been working really hard. So it's it's going to it's going to be totally worth it. And this will lead also to those code changes that we've been talking about, and really understanding how how those code changes can then directly impact the work that we're doing and what what they need to be because it's not just going to be one, it'll be a series, right? While we're raising thorny issues, I just want to throw out there that we might want to be aware of the fact that all this public art that we select and erect and then take care of is all on lands that was historically the home of the Cheyenne and the Rappanoke people. Thank you, Peter. And the museum is working on land acknowledgement and for for the city, which then will go in front of council. And the hope and Kim is here, but correct me if I'm wrong is the goal is that that that is read at every city council meeting. And then hopefully for dedication for all art in public places pieces as well. In addition that Northern Rappahoe sister cities connection that is happening and coming about this year should be coming to art in public places for a project as well. So you can anticipate seeing that too. Yeah, I'll get a killer. Thank you. Thank you, Peter. I'll just clarify our advisory committee for the museum that last night, where we discussed the land acknowledgement, we've been working with Cheyenne and Rappahoe consultant who's done some fantastic research for us. And so the direction that I have received is that that's really the best avenue for this to become something that the council sort of discusses. And so we just last night talked about it at our meeting. So it may be a while before it gets in front of city council for a bigger discussion. But but the wheels are moving. Awesome. Thank you. Alright, before we put this to I don't want it's never going to be to bed. This is going to be something that's going to come up for many, many years long before all of us will all be gone. Hopefully our kids and grandkids will be working on these issues. Anything else that would you like to bring up because I know it's sensitive. And this is a good space. Let's talk about it if you need to. Excellent. Are you sure? Alright, then I'm going to move on to more comfortable things. And we're going to go to our public art project updates. My friend Angela. Susan, do you want to give an update about workman Park and sister cities meeting? On the spot. Maybe maybe not. Good. Um, yeah, I have those notes somewhere. But we did have a long not a long meeting. We just had a meeting to clarify mostly dates as to what was happening. And we got a little sideline not sideline, we just some of the dates got extended more than what we had anticipated. And we let sister city organization know about that. We created more of a current timeline. And it wasn't it, what it boils down to is it's not parks and recs problem. I mean, it's not the fingerprinting can't go to them. Fingerpointing can't go to us. Fingerpointing can't go to anyone except for COVID. Just because of that, and the original timelines weren't going to be met. But I think it was clear to them. And I think they came out of the meeting feeling copacetic. And you want to add anything else. Am I missing any part of that? We we did get a date down for call for artists. And I don't have that paper in front of me. But that's all right. So it's back. It's back with with Steve for review. And I anticipate getting it any minute. And then it'll go to to Cindy and Susan into sister cities to basically vet the language. One thing that did come out of it was the meeting that was very apparent was that our selection panel application needs revisited. And certainly not only because chances are good chances are that the selection of this art piece will be done in the virtual format. So that will be new for everyone, but also not so new because we're all pretty used to this. This now. So if anybody is interested in being a copy editor, I would very much invite anyone to give me a hand on given a look see over that that application. But the call for artists should be going out very soon. We'll leave it up for a little over 30 days. And then go through the process. And there was some discussion about boundaries borders of where the call for artists would go out towards. And I think we came to a consensus of that it would be mostly within color that would be within Colorado and extending a little bit into New Mexico, Arizona, Utah, just in the very corners, because we didn't want to add costs to things like transportation. And we also wanted availability to the of the artists for future events that would come up surrounding the dedications or different things that sister cities would want to involve the artists with. So we kind of consolidated that area of thought. They had they were thinking of going far flung. And I think we reigned it in with good understanding of why. I don't I am. I just think that they weren't aware of all the fabulous artists that we have right in our state. And part of my discussion was that I wanted to try and keep the funds that we have in Longmont going to funds of artists in Longmont during this time that's been really, really difficult for artists. So that was part of my argument was, I don't know if I made that clear to that that was part of what I was trying to push forward. Add to it or delete Angela. No, I think that that's about right. Aaron, do you have your hand up? The digital hand, the blue hand, the blue. Yeah, go ahead. I do. I was just going to volunteer to be a copy editor for you. So send that my way. And then Laurel also had a comment. All right. I forgot what I was going to say. I forgot what I was going to say. Yeah, all right, well, then you're done. It'll come. No, you can come back. We'll come back to my friend if you need it. So write it down next time. I have to do it all the time. Like write down so I can remember what I because I get so excited about all this stuff. So do we have any other feedback that we want to hit on that? Thank you so so much for your hard work. That's amazing. Okay. All right, we're going to move on to we got Western Park, Sister City, RSVP are down the move. So Angela, and Neighborhood Improvement, I'm going to let you pick from the top to the bottom. Well, let's start with let's start with the Boston Bridge. So I got to meet all sorts of new people who work for the city and ask them about RSVP in the bridge. And it's actually really exciting and it's moving forward. So they this senior engineers with the city who are working on this project, are going back to the consultants, and they are getting us an elevation drawing of the space, which will give us exactly the square footage that we're talking about. So that'll be step number one is figuring out what that what that space looks like. The second thing is then if you'll recall, we were discussing potentially looking into a project that was more textural, ball relief, if you will. And the great thing about doing something along that those lines is this project could really be accessible to a lot of different kinds of artists because such a design wouldn't have to come from the most experienced artists, but somebody maybe who's starting to get their foot in the door when it comes to a public art project, etc. So but we still need to understand what that cost looks like and what that will be for square footage. So we're still a little bit in the investigation. I'm going to share my screen. And you're going to be excited about seeing the opportunities of concrete form liners. So I can't see you all now. So if there are questions, you might have to just let me know. But what I am hoping to get back here in the next week or two is again, that elevation, understanding the square footage. And then I have a couple of contacts to reach out and start looking into how much these repeated patterns of form liners will cost. The great thing is that they're reusable. So once you do them, it's completely possible to reuse them over and over. It can be a singular image. It can be a repeated pattern, which is probably what we will be looking into. And then that repeated pattern can be something that is thematic. For example, we could say it is Longmont's 150th year. Oh, this one's really great with like mountain forms, but with there's ball relief. And this won't necessarily affect the structure of the wall itself. The depth of the relief is a really important part. So this project could end up being something where an artist will have to go through the city process. We'll learn all about that. We'll get to work with engineers. And it doesn't, you know, since the artists themselves isn't necessarily creating this. But it can be very conceptual. So it's a it's a good starting point for including something of a relief fashion. So that's the that's where we're headed. Now, maybe when we get the elevation back, and we start looking at what the opportunity is with that bridge, we start looking at where the road is because I can explain it to you. But this might not be the direction that the commission wants to go. But at the very least, the next time that we get together in the RSVP task force, and I will get together before our next board meeting. But we'll have some harder cost related to it, but should be a very impactful area. I think Alan had told me initially he thought it was some 90 feet long by potentially 10 feet high. It's it's a large space and very visible from Boston and also from left hand. The patio is looking. It's not directionally exactly south or exactly west. It's kind of at an angle. So yeah, so that's that's the update. But I met with the upper ups in the departments and on their radar. So it's good. They're doing work for us now. Any questions or comments? Yeah. Randy, maybe you have ESP and you know what I'm thinking about these? This what you just showed us? Maybe not. Okay, you do. Our wonderful Pratt Parkway bridge with all those little square or triangular puzzle pieces might be nice to do something like that there. Well, and that's the great thing about these forms. There's the cost isn't just for the form. There's the cost for the artist's commission for the for the design, the cost for the form, and then the heavier cost is is incorporating using the forms in the construction project. That said, we're going to find efficiencies because rather than creating an artwork and then installing it, it's an integrated piece, but absolutely. So once we have these forms, then they're ours. And there's a theme across Longmont. Could be. Yeah. Yeah. Okay, so the idea that I was going to come up with before was maybe pop up kind of experience for these artists that are out there and something quick and informal. Having them just bring their artwork down well just to pop up art show a couple of times to showcase the artists, you know, they're actually doing that at the LDDA office. They have a pop up. I think I don't know how long they last there. But yeah, couple of months, they're doing it through the creative district. Okay. Thus another reason to partner with LDDA. Yeah. Yeah, Peter. With with those forms and it can be reused and presumably you have a multiple designs that are used. That would be a great opportunity to incorporate some designs that reflect Latino heritage and Native American heritage in the larger picture. I can think of two other cities, you know, Las Vegas and El Paso also has got these, you know, these big texturing walls, different large. Phoenix does too. What? Phoenix does too. And they use a lot of Indian graphics on on their their walls and under bridge Native American graphics. Yes. Yeah. Very cool. Well, and it's one of those kinds of projects that could be very accessible to any kind of artist. So a design that is in someone's mind, if they needed assistance in articulating that visually, it's something that could be all sorts of artists could participate in submitting a design for this. And it an award wouldn't be required on their technical ability, but yet just just a good solid design. So again, we're going to figure out first how much square footage we have to deal with it could be that this is a very expensive project and that you decide maybe not to go this way. I have a feeling that it's going to be in the ballpark of something that would make sense for a project of this size. I just don't know. So the task force and I will get together and we'll just do do some more research, but needless to say you can expect to see at the very least an elevation and square footage and I'll do, you know, all the research and what it would look like if we did some mosaic project or a mural project or something like that and bring all sorts of numbers to you. So everything's on the table. Great. Okay, now I'm a little lost. I think we're on art on the move. Yep. So that call for entry is ready to go out and the big bad question is when does the commission want to get together and do the selection process? Now, we did decide that we are going to do them as two separate calls, but I still think we should do selection on the same date. I hate to say it, but this is going to be the format folks. So we're just going to love our cozy little homes for this and just keep all of our fingers crossed that in 2022 we get to get back together and do this election the proper way. Yeah, but not this year. And that's okay because it's going to be fun. I'll bring music and you'll bring refreshments. That's like a plan. I'm sorry. It is what it is. So needless to say, end of April beginning of May would be ideal. I'm thinking that potentially Thursday nights is probably best because most of you have already allocated this Thursday night. So my suggestion would be Thursday April 29th. So our meeting would be the week before, which would be the 22nd. And then we would just meet a week later to do this. And the reason that I think that that will be will be well, that or we could postpone it till like the sixth. And that would give maybe another opportunity for anybody if they have questions, we're going to go through the during process. Anybody who has questions with that doggone cafe during system, we will walk through the whole bit, get in caboodle of it. So rest assured that. But does anybody have a feeling or thought about the best dates? I would prefer the first week of May. I would go with the sixth as well. Thursday the sixth. Sure. Me too. Does that not work? Is there anyone that Thursday the sixth of May is just a really the worst day there could ever be ever? It might be that I can't attend that. But it's tough for me because that's the end of the semester too. And I was going to advocate for the 29th just to get the ball rolling a little faster. It's just a week before it. But knowing how these things take time and then there's always a glitch. Contracts for art on the move just tend to be trickier than other contracts, which I don't exactly know why it might be that some of these artists aren't used to city contracts. 29th, is that not work for anybody? Good for me. Good for me too. Okay, so Cindy Francis, Marsha. I think that that's it. I'll send out a doodle poll for the 29th or the sixth. And you can just select and if it works for both of you, you do two greens. I think we'll stick with the six to eight. Okay. Or does everybody just want to decide right here? Then giving other people an opportunity to weigh in is so we can have the most participation possible is my preference. But is that everybody? Okay, so I'll send out a doodle poll. And if I don't hear from you, I'll call you. Okay, sounds good. Thank you. Hey, that was easy. So now we are on to Aperhood improvement. Yep. Yep. Sorry, I lost my place. Yes, ma'am. No, that's fine. So if you'll recall the end of last year, I met with Wayne Tomak and he is with the community services division of and we're a part of that too. But he and I have never worked together before until until recently. And I'm not sure if you all are aware of your neighborhood improvement project grant, as well as the sustainable neighborhood solutions grants. So they're available to certain groups or not certain groups, but all groups, not just HOAs, but community groups that come together. And there are a number of requirements for these grants. This grant cycle or a rather grant program has been going on for nearly 20 years. It's really successful. And thus far, there's been interest in including art in public places, but it never seemed like the the right project came about. Some of you who have been on the commission for a while might recall that there was a project once of decorative background for a tennis court or something along those lines, but it just didn't ever match and wasn't exactly the right project. So Wayne, I'm kind of in the on a learning curve of figuring out what it is that he would like from the commission and how he would like us to participate. And I'm still kind of feeling him out of what is the most successful way that these projects can come and be presented to you. So we're not spending our wheels on a bunch of projects that really aren't going to come to fruition because the folks in the neighborhood have to contribute in some way. So whether that's participating by fundraising or contributing themselves to labor for seal cracking or painting or I don't even know what it could be. So we're still kind of feeling each other out. That said, the application cycle is all boogered up because of COVID, but he's made extensions and we will likely see one come our way next month. And I actually think that it's plausible. It's feasible. So I'm going to share with you. I don't want you to get too excited, but I think they're going to be awarded these funds and they're going to be asking art and public places for funds. So without further ado, if I can figure this one out. Oh, shoot. Hold on. I have to switch my screens and need a bigger boat, you know, do you know what neighborhood Kitely? Kitely neighborhood? Okay. They have a basketball court. There we go. They have a basketball court, which is as as I understand is going to be re ass faulted. Is that a word is going to be redone? And you see that? Resurfaced. Resurfaced is totally the per the grammatical correct. Yes, that's correct. Can you see those? Yeah. Yeah, that's awesome. So this I'm a little weary, but this is a company who has done ground murals in all sorts of states on the two coasts, but not anywhere in the middle. And they have this this process by which they go about getting the artwork and suggestions of materials that actually adhere. My concern, of course, is UV sealant and protection as all murals as we consider, but they're really excited of bringing this to the commission. I don't know how much the application costs that they're looking to ask. I also don't know these exact materials that they're using. So Timber Toste with the parks department and I will be reaching out to this company to make sure that the amount of monies that the Kitely neighborhood is looking to to ask for this project that we can actually make it come to fruition and not have it be, you know, two colors or one color. And then also the neighborhood really has to to define how it is that they would like to arrive at a at a design. Are they going to open it up to local artists? Is it only going to be local? Do they have a kid in their neighborhood who's it's their plan to make the the design? There's a lot of questions that need answered. But I still don't think that it's anything out of the realm of possibility or reality. It seems like this is a is a project that when all the questions are answered the right way is absolutely could come to fruition. I think that it is likely something that will be able to be accomplished with a reasonable budget. And I also think that if we we go through the exercise of doing it, it could be something that isn't just in the Kitely neighborhood, but in fact, we start incorporating into neighborhoods and that any neighborhood who would like to have a really jazzy basketball court could go through this grant process and we would have it pretty well figured out that anybody could apply for something like this. So really, this is more of just an FYI that this is going to be coming your way with more clarification. But I was really excited about it. It's nice to see the community coming together and that they have vested interest. They have they will be boots on the ground for making this come to fruition. Yeah, so Angela, can that be used for tennis courts too? I don't see why not? That would be cool. I mean, I would have to make sure that whatever the material is that is applied to the surface could be to the surface of a tennis court. I don't play tennis, so I don't know if that is different than asphalt or concrete or but timber would know. So I will ask that question. They're really interesting. Yeah, I love the idea and the designs and the fact that each neighborhood could kind of collaborate and build their own kind of mural or their own idea of what's perfect. That's awesome. Yeah, the colors are great. Yeah. Great. So yeah, you'll be so as I understand this neighborhood improvement project cycle is set to be awarded in the next month. And so then that's when the work begins and because of their grant, it has to be accomplished within the fiscal year, which is great. So that they can't say, oh, yes, we're going to participate. And then it just doesn't shake out or whatever that looks like. We will write art in public places. If this does come about, I imagine even if we were to be painting and having painting days in the fall, it's going to take a lot of work. It's going to take, you know, volunteer coordination, making sure that we have the paint brushes and stations is socially distant that we are sanitizing things. It's but it's it's not on it's we can absolutely do it. We can absolutely pull this kind of thing off. You know, having signups where families come together and they're participating with each other so they can be in close quarters with each other. That kind of thing. So it really is a collaborative effort. And then, of course, in the age of covid like it's it will just be a little bit more. It'll just be tricky. But we did the Tony Ortega mural. We can totally do this. It's far greater space. So yeah, that's that one. All right. Awesome. So good. So good. So good. So neighborhood, we are onto conservative maintenance, maintenance and report feedback. Thank you, everyone, for who was able to go through and do your forms. I know that entering comments in that dog on hazard field is just is just kind of the pits. But Eileen and I have a very good idea. Very strategic way of asking very nicely to get an open comments field. So we're we're working on it. But needless to say, thank you for filling out those forms. I'm just wondering now after you have gone through the process of, you know, taking your notes and then uploading them. Do you have any feedback of again, other than the comment field? If it's if it's answering the right questions, where there's something that you want added? Is there anything that you think is missing? I was just a little confused about if there was a sealant or not on the object, because I don't know. I didn't know whether I did like a guardian of golden ponds and its brass and or bronze. And I wasn't sure if that had a sealant on it. It had a lovely patina. So that was the only thing that kind of like threw me for a loop. I went, do you have a sealant? Do I mean if it's paint, I can tell the paint. But so that was the only thing that kind of threw me for a loop. That is a perfect, actually a perfect example. If you didn't notice that that bronze is wax was starting to fail, then then it looks good. And so if it was a sealant that you could see and you thought, oh, there's there's a difference between the patina and and what should you would say, oh, there's the sealant. But the fact that you couldn't see or tell actually means that the wax is holding up quite well. So not all of them are going to have sealants and and it's not surprising. There's going to be probably a lot of the questions. They're like, oh, that's really not applicable here. But but if you were looking at a bronze where the wax was failing, you'd, you'd you'd notice it. Yeah. And it was really interesting to go around and see all all the things that I missed. So that was nice. I just want to say that I took a picture of one of mine and posted it and it was shared by Visit Longmont on Instagram. Good for you. I have connections there. Well, I had a little trouble, although this is really such a fine point that the names in the drop down menu didn't really match what you gave me and then I and then but I, of course, was able to figure it out mostly. But I don't know if Dora is not helping too much here. I don't know if that would be useful to make those a little more consistent, whatever. No, that absolutely is the case and Eileen will just make a note of that because I'm not sure which version of the master spreadsheet was used for the upload to ETS for that. So we'll just go through and I mean, it's only 80 pieces. So it should jump out of this. But yes, some pieces are labeled one thing in one place and something else somewhere else. And it's not that we just define there. Yeah, we're on the subject of names. I mean, I sort of jumping ahead, but under the under conservation maintenance, I believe the name of the piece is colorful poetry in the middle pages with a P. Oh, oh, well, that's good to know because I actually, you know, know some about the Middle Ages, and I couldn't figure out what the connection was that. Yeah, that's a number of documents, colorful poetry in the Middle Ages was about but no, it's pages. Yeah, it should if it's Middle Ages, then it should have some reference to illuminated manuscripts, which I didn't. Anyway, there are no unicorns. There are no unicorns. I look. Well, I had a heck of a time with the sheet. I'm sorry to say I'm a computer illiterate. So I had I had a tough time. And that is totally OK. So if you would like the good thing for me on the the form is that it's printable. So if you'd like me to print you off 20 copies and there you go, I'll come by and I'll pick it up downstairs at the desk. You got it. Let's connect offline and we'll figure out time and date for that. That would be awesome. Great. Thank you. Also, Laurel, you're not the only one I had. I found the artwork assessment paperwork or digital paperwork, whatever, to be pretty cumbersome. I don't like the fact that I can only choose one additional issue, like if there's graffiti and cracks and broken parts, I can't label all of them. Oh, that is really good to know. So and then, yeah, I just I found it very restrictive, like surface coating, like like it was said, yeah, paint is a surface coating, but is there something on top of that? I don't know. And then, yeah, I just I found it to be a little cumbersome and kind of unhelpful. I would have much preferred just kind of an open spot where you can describe what's going on. And then, but I know that that information doesn't trans well into a translate well into a spreadsheet. So kind of got to do both. Well, and Eileen and I are trying to mimic the fields that are in the database. So the the overall a bigger goal is so then that the work that you're doing doesn't have to be manually changed by a human. But that, in fact, then that spreadsheet just connects straight to the database and those fields are just populated. It just takes a human out of the the the middle. But the fact that you can't select more than one and there's more than one issue actually isn't helpful. So that is excellent feedback. Thank you. They have work to do. But it's it's better. It's working better. OK. Any other. Oh, sorry, I'm just looking out color for poetry. That's that's on a agenda item number, color for poetry and our maintenance. Do we need to address that specifically? And did some of our commissioners go and visit the Civic Center to assess and take a peek at that? Yes, I did. And I think I wrote you a note about it. But actually, it's better than I was expecting, but some they are unevenly faded and sort of dusty. So I I recommend replacing rather than trying to conserve. I would I would recommend because these kinds of banners are really not designed to last forever. And I think we could update and do something interesting and new. If we have the money, I mean, I think that's what I would recommend. I would recommend replacing. And so I did look at the CIP and the overall construction or I'm sorry, the overall project for the Civic Center was four million dollars. And so of that four million, whatever the construction line item was, went into art and public places. I will determine exactly what that is. We don't have to use that as a one to one. But it was a significant construction project and seeing that we are celebrating the 150th anniversary of of Longmont, it would be apropos to do a project, a couple of projects at the Civic Center. I did speak to Chelsea. Chelsea has a last name, which I can't recall, but she's the project facilities manager of Civic Center. And she said that they do intend to replace those skylights in the next couple of years, but it is not going to be happening this year. So that's not really impeding a project that we would want to do if we remove those and commissioned a new work, just that in some amount of time, chances are they might have to take whatever it is down potentially or work around it. Skylights, so. Okay, any other discussion? I just agree. They look a little faded and beat up. And I think it's time for something new there. Yeah, I do too. Would you like me to read you the deaccession policy or would you like me to forward it? I think forwarding is great. Yeah, I'll take a copy. Forwarding. Yeah. It's not very long. I think it's just a paragraph, right? Why don't you read it? I lost it, but I mean, okay, why don't we? Why don't you like come back? We can come back and then you can read it. Can we come back to that table for just a minute and yeah, sounds good. Yeah, great. Thank you so much. New business. Yes, ma'am. I heard somebody. Yes, Susan. I'm going back to the banners in the, that's just what I'm going to call them. So if they are going to put new skylights in there, I'm just wondering if they're going to be different sizes from what they are. Oh, it'll be exactly the same footprint. Okay. Nevermind. Okay. He said replacement. Okay. Okay. Anything else? And then Angela. I'll come back. Get a minute. Do you want to keep going? You guys want to talk about election or electronic policy? You want to go? I think we're on, I thought we were on a new business, St. Verne Greenway. Do you mind if I pipe up real quick? I'm sorry. Sure. To go back just a second, but I wonder if they are going to replace those skylights. If there, if there might be an opportunity to get UV protection, because whatever might go in that space is going to be susceptible to light damage. And so if we were able to get in on the front of that and be able to get some UV protection, it might expand the opportunities for our public places. When I talk to Jeff Cedar and Chelsea next week, next week, I could just ask that when that day comes, that that could be a part of art and public places maintenance contribution to that project. But it's not this, it's not happening now. Got it. Okay. Yep. Anything else? I, I had a couple of things. Are we on new business? Not yet. Okay. All right. Angela was still looking for one thing. And then we were just going to, we'll move on here in one moment. Anything you can move on to new business. If you want to talk about that elect, just skip over, hover real quick and go to the electronic meeting thing. If you guys want to discuss that while I continue to look. I have an agenda that does not have electronic stuff. It says electric participation. Yeah. Under where? I agree. There we go. There we go. Yeah. All right. So. Electronic. Electronic participation. Okay. I mean, we're all electric, right? Not me. I'm, I'm like, not even battery operated. Yeah. Adoption of electric participation. Go ahead. Who do we need to honor in that field? Well, I read the policy and aren't we just supposed to approve it? Yeah. I mean, we can't really. You expected to observe it. Yeah. Thank you. Understanding. And so what they really need from us is an acknowledgement that. Yes, we will observe it. We need to adopt it as art in public places policy. So we'll probably need to vote on it. Correct. Angela. So we're going to need to get a motion on that. Who would like to do that? I moved. Let's, we have to state the whole thing. Peter. I moved that we adopt as official art and public places commission. Policy that we will observe the city's electronic participation policy. Excellent. And do we have. Thank you, Laurel. Thank you. All up. Now I'm scared about this. All of the hall who approved say. Raise your hand. So we can all see it. So I need those who are not Pamela. You're not on camera. I need to see your hand. Yeah, I'm on. I don't have a camera on you. Sweet P. She's got, she's got two square. Remember, I have two. Oh yeah, you're two. And Andrea, I could not see your hand. Because I don't know what the electronic policy is. I just don't want to approve something I don't understand. I'm sorry. I must have missed the email. Saying, you know, with the policy. So then we need to move this back to discussion. Anybody have discussed. Can anybody help explain this please? Well, it was attached with the. Agenda and the minutes. All three were together. And document when I got it. Sure. Was it on the bottom? Maybe I just. It was after it was after the agenda and the minutes. Okay. I apologize. That's my bad. So I can, I can chime in just a little bit. Thank you. Yeah. Essentially, this is just a policy that recognizes what we have already been doing the city manager's office and the county clerk. I mean, I'm sorry, the city clerk have realized that in order for us to be able to operate with these zoom meetings that we really need to be able to adopt to this policy. And so it doesn't do much beyond recognizing what we've already been doing for a long time. Okay. One part of it. I noticed was that beyond COVID when, when we were unable to get together in person at all, and we do this by multiple zoom meeting. If someone for some reason is unable to attend the meeting. They could potentially participate electronically. As long as certain conditions are met that everyone could see them that there's, you know, they're able to participate in discussion. If I read it correctly, then that's also part of it. Yeah. Yeah. Do is there, is there any, like, is it, you know how I think. In the old days, we could only miss two meetings a year. Is it the same that way. And that. Yeah. Is there, was that part of the policy about absences? No. Okay. Okay. Yeah. But presumably if, if you were, you know, housebound for some reason or other, you could use this as a way of participating and not missing a third meeting. Oh, that's great. Correct. Yeah. Yeah. Yeah. That's right. Okay. Okay. Thank you. I apologize. I didn't see that. Don't worry. Thanks. Skip. We get work in the world of virtual reality. We get so many emails and so much stuff. Yeah. All right, folks. I know I can't keep track. I just say, uh-huh. A lot. Pamela, did you have a question or a concern? No, I'm fine. Thank you. I just saw that you lit up when people light up. I try. I try and get people called on. Okay. Some of us just light up naturally. Yeah. Yeah. No comment. Okay. I think we just need to finish that vote. All right. So we, we had a motion and let's go backwards. So we had a moment for discussion. So Peter, can you repeat your moment, your motion again? I know it was complex and beautiful. I can't. I move that we accept as official art and public crisis commission. Policy. That we will observe. The city's electronic participation policy. Hey. Seconds, please. Second. All right. Before we do that, any other discussion. All right. Um, please. If you're in favor, let us know with a hand. If you're not on camera, shout out an I. Excellent. So moved. Thank you very much. We are now on to our new business of St. Marine Greenway. Hover updates. Okay. So. Um, Marcia was unable to attend today. But she and Joan Peck were having a conversation about the greenway. Underpass at. Hover and third. Does anybody cruise along that way? Anyways. It is in pretty bad shape. And I reached out to parks to ask about if it is on the docket for. Um, Demo related to RSVP and the answer is. No, that's where the project stops. So it potentially could be a location for. Um, An underpass mural that said. What we have learned from the ninth and Alpine project is we really need to have a little bit more work. So I was wondering if mural committee would be agreeable to just go scope it out. Take a look at it. And then I'll also put you in touch with Mike before we go forward on anything to make sure again that we're going about this the right way. The hope was that we would have our mural policy really locked down by now, but. I don't think that that should prevent us from, I don't have a picture, but even if I did, it's not a very good one. Um, so mural committee that's Amy and Noah. Um, does that sound like. Come on, Noah, you're in charge now. Noah. Uh, yeah, I'm. I'm surprised to hear that there's an underpass there. I've not walked, uh, that corner. So I've not seen it. Where is it again? I don't know. I don't know. I don't know. It's, it's right by Rogers Grove. Right. It's the one that goes to Golden pond. It goes to golden pons. And so if you see, this is going to sound weird, the meat packing. There's a box is it says boxes, smoothing boxes available in meat packing. You go to the right. And I haven't. I haven't gone to the right. I've been here 50 years. actually really beautiful except for the storage unit on the other side, but it's very rural and beautiful water. No, call me or text me, Noah, and let's go together. Yeah, Amy, I've been trying to get a hold of you for a while, so I would like to do that. You get real close to the water under there. Yeah, it's pretty. That's a little bit why I was surprised that it wasn't on the docket for when they work on the RSVP because the project right now currently ends in Sunset and then anything west of that is another section of the project. But I talked to Steve and I said, is that pedestrian going to be changed? I said, any chance of it at all. And he said, no. The other piece that's really interesting about that location is it, of course, is a corridor for rhythm rhythm on the river, rhythm on the river, but rhythm river for twenty twenty one is canceled so that does give us a really fair timeline to be able to research, investigate, look at it if there was some work that would need to be done and then be able to accomplish something by by rhythm on the river twenty twenty two. So kind of again, the beginning of a research part project. But if if y'all are interested, it Marcia brought was bringing it to our attention. So guys, I'm on the mural committee to and Randy. Good, Randy and Noah, you guys can have a good time. I've already been there. I know what exactly what it looks like. Yeah, me too. Great. Well, no, and I will go and then you guys can catch us up and then we can meet together. How's that sound? Sounds great. Excellent. So we are now. Adoption of electric partitions. Oh, we did that. All right. Oh my gosh. We're on administrators report. Holy moly, we're just cooking along. I have a couple of things that I think might go. Should I wait till comments? You should wait till commissioner comments. OK. So we're I'm I'll start my administration report with the deaccession policy that I have. This is the adopted and correct one. So our in public places commission carefully evaluates each project site for installation of permanent artwork, working with various city staff representing many departments, thereby minimizing any need to relocate or deaccession artwork after it's been permanently installed. On occasion, however, circumstances required the consideration of relocation or deaccession of a work of art from the city's permanent collection. Any reasonable request for relocation or deaccession will be carefully considered by the commission in accordance with this policy. The definition of deaccession is the removal of permanent artwork from the city's permanent collection. Relocation relocating permanent artwork to a different location than originally intended or then its current or permanently intended site or moving an artwork that was intended to be permanently located in a particular site to another site. Permanent artwork is any visual artwork intended for display for one year or more, including works acquired by the city, displayed in open city-owned area or on the exterior of a city-owned facility, inside city-owned facility in areas designated as public areas or any non-city property if the work of art is installed or financed either wholly or in part with city funds or grants procured by the city. This is the important part. Reasons for relocation or deaccession. Reasons for relocating permanent artwork include but are not limited to. The artwork proves to be endangering the safety of the public in its current location. The use of the site has changed significantly since the installation of the artwork. Governmental improvements requiring such relocation permanently or temporarily. Unanticipated deterioration of artwork at the current site due to including not limited to whether materials or an emergency. Deaccession, the piece has undergone extensive maintenance or is deemed not cost-effective to continue to restore it. The work is irreparable. The artwork endangers public safety structurally in its current location. Government improvements or an emergency. Is that clear? I think that we need to read, Angela, that's too much for us to observe in a meeting. I will send it to you, but the piece that's important is that the piece has undergone excessive maintenance or is deemed not cost-effective to continue to restore it. That totally makes sense. I don't have any problem with, I don't have any need to review it, but there are some folks here that might want to read that again. Yep. And so. It would not be me who would like to read that again, but the emergency thing like sets Peter. It sounds to me like we would have the authority to say, this is no longer viable where it is, cannot be repaired further. But do we need some kind of input in making that judgment? Can I ask- Can you just look at it and say that's, we can't fix that anymore? Kim? Yeah, can I ask a quick question? It seems to me that when Lauren worked with the conservator who assessed, oh, now I'm gonna forget the piece, the ceramic piece that we had conserved. Yeah, yeah, yeah. That she also got a quote from that same conservator for this piece. Do you remember that, Angela? 2008 Paula Reading. And the cost just to rent the lift to get the single banner down, the report came out that redying the piece was, it was exorbitant, but they, it was a minimal assessment. I mean, I guess it's kind of like when you total your car, like is the conservation more than the cost, they're the value of the piece. And so we would need to try to understand what the value of the piece is on some level. Also that whole fading aspect, can you even restore it to its original, you know, the way it looked, because with the sun fading and the fibers burning from the sun, I just don't think it's even, you can ever restore it to the way it once was. No, I mean, that's the thing about light damage is that it is cumulative over time. And so you can't restore it to, I mean, you can, you could read diet, which is kind of a different thing. That's not exactly conservation. That's restoration. So there's kind of two different things going on there. But the other piece of that is that any fiber arts under those conditions are going to have light damage, period. So it's just gonna get worse over time too. The piece was installed in 1994. It was originally commissioned in 1992. I would say it's- So just for the record, I was 21. It certainly lived its life and more than the requirement of a lifespan for a piece of artwork. So yes, so I can certainly send this along to you and you can think about it for next month. Can we, yeah, let's put it on the agenda for a vote next month, if that's okay with everybody. Because that to me, I mean, maybe it's just a 726 when we've all been, I've been in nine Zoom meetings today. So maybe that's why I'm a little fried, but is anybody else, does anybody like ready to move on and just say that's what it is? Or would we like to revisit this in March? I don't think we need to revisit it, do we? Don't we have- Well, I just want to point out that I think according to the policy, there needs to be some assessment of value and repair costs. So maybe at the next meeting, we look at how much the piece was commissioned for and then the conservators estimate of how much it would cost to repair it, at least to get a baseline of what it might, what those different values, how they compare to one another. Great, and do you think that somebody, should we have some research in advance so we can just bring it to the commission next month? I don't know that there needs to be research. I think that probably we have the data in files, which is that conservators estimate and the cost of the piece when it was originally commissioned. Okay, good. Laurel and then Peter. It seems to me that's the waste of time because you have already stated that there's a deterioration in fabric. This thing has been up for 25 years and the cost of restoring it or whatever. Does it really matter? It's been up for 25 years. Isn't it time maybe for another piece? I think sometimes legally, it's very important to have it down on paper. Sometimes the artist can come back and make complaints about it. And so we have to have really good reasons. And Andrew, you wouldn't know. I'm sorry, Andrea. I think we need to, go ahead, sorry. I was just gonna say, I think that we need to follow the policy. And if I'm understanding the policy correctly, I think we need to make that judgment. And I think it would be wise for everyone on the commission to have actually read the policy and have it clear in the record that that's what was done, that it was done in the fully appropriate manner. I can't, I'm sorry if you buttoned in, yeah. I get it. I don't disagree with Laura's assessment, but I think that it's important for us to show all the legal steps on the way. I also think it's really, really, really our due order to do so as a commission and something that we need to do. So I don't know if we technically should form a task force or I'll ask Angela what she thinks we should do to review that and then get it passed through as fast as we can. What do you think, Angela? It's up to you. If you wanna designate two people who I can send all of this information by and I will also send it to the entire commission. So you have an opportunity to read it. Then the task force could make a recommendation to the commission at the next meeting as an informed body. Or again, I'll just send all of that. That would save so much time if we had two people, honestly. And I don't wanna be one of those two people. I'll be happy to be one of those people. Okay, Noah and Holly, anybody else? We could have more than two people. But then I can't send emails because it's not an open meeting. So really task force at two people allows me to be more efficient. All right, sorry, nevermind, you all are out. Noah and Holly have been agreed to do this. So you will investigate this and then come back to us the third week in March and let us know what's going on. I'll send it to you tomorrow. Excellent, thank you. Do we need to have a vote on that? I don't believe so from what I've read about our Rogers. Nope, okay, excellent, good. I keep saying excellent. A different mode of operation, all right. Angel, when you send that email, could you give us all the information that you have on the piece and its commission and price and all that? Okay. I'll send you everything. And I know I'm not on that task force, but if you might need any assistance, I'm happy to help in any way, like as a chair, okay? Questions, concerns on that item. Thank you Andrea for bringing that forward as far as making sure that we vote. Laurel, I know we all wanna get through things as fast as we can, but sometimes we gotta keep on rolling, you know? I get it, I get it. I've been very impressed with us all trying to really get back into the mode of following procedures and that's a really cool thing. All right, from my understanding, we are now, unless Angel has anything on her administrator's report. Great, commissioners, oh, yeah, yeah. You're good, we're good. Okay, awesome. Commissioners report. Comments. Well, I would say that please tune in to Front Range Community College, who's got a student art show, who's got a lot of art stuff going on with our, we've been a little bit dormant in our community with art. Google Front Range Community College Art, that's my plug because they're doing some really good work. Okay, I have a couple of things. Yeah, Jennifer. I heard a rumor that a piece had been stolen or taken down somehow off of the main bridge, the bridge on Main Street going right over to Ken Pratt. And so I just wanted to see what is the real story here on that? No, that's not true. Okay. There are an odd number of pieces and as I understand, and that was before my time, Andrea could speak probably to that exact moment, but when the work was commissioned, it was commissioned at a certain dollar amount for the bridge as it was designed at the time. It was there too, yes. When CDOT came back and I think CDOT, there's two entities who have more power than Mother Nature and that's CDOT and the railroad. And when CDOT came back and said, you know what, actually this bridge needs to be longer for the flood, water, whatever forces of nature and we need to make this bridge longer. And then they added another pillar which wasn't accounted for in the original call for artists. And so that one is not addressed. You got it, exactly. Okay, thank you. Okay, next item. On the 150th, the sesquicentennial of Longmont. I'm wondering if there's a list of the things happening. I know there was some kind of celebration at the museum and so forth, but the main reason I'm asking about this is because there are three time capsules outside the Civic Center building that say right there on the plaque there to be open this year. So I don't know, I'm just wondering if there's any schedule for that, if you know about it and if we should have fun going there or maybe they're gonna postpone it because people can't gather very well. But anyway, there are three time capsules and on the plaque it says they're gonna be opened in 2021. Kim, do you know three time capsules? This is what I know, I don't know much, but this is what I know is that there is a committee that is city-wide and it includes Eric from the museum and then Marika who's in the communications department and several other people in the city. And those time capsules have come up in conversation. I don't think that there is a specific plan for open those yet, but it is very high on their radar. So I suspect that it will happen. I just don't have any details. Okay. So I don't know if that's one of our responsibilities and on this commission. So maybe Angela can check on it and just as a piece of information, she can let us know. But I don't think- It's more of a piece of information, but on the other hand, it might be kind of an interesting thing to be representative of. So we do have a historical society group that might be really cool to get, find out if they're involved as well. I know we have a commission that's dedicated to that. Yeah, I don't know that Art in Public Places has any authority or reason to open those open capsules. If there's some art in there, that'd be awesome. I'm not that we would be the opening, but maybe just, I don't know. Anyway, I thought it would be interesting. I mean, because the main reason it made me think of Art in Public Places is because there's this big kind of rock boulder thing which is over the site, which is almost an art piece in itself with that plaque on it. Oh, that's cool. Then maybe that would be something for us to be able to look at preservation, preservation, persevering. That's what we've all been doing in the last year, persevering, so preservation, maybe that's what I wanna think about. What do you think, Angela? Well, I have that meeting with Jeff Cedar and Chelsea about the Civic Center already scheduled. So at the same time that I'm talking about skylights and colorful poetry of the middle pages and potentially that plaza area that I don't know if y'all are aware of that corner of the Southwest corner that is just begging for color or something. Yeah. Just there's a lot of opportunity there certainly with 150 years and because there's CIP funds that are coming from Civic Center, it seems appropriate that we could launch a project this year at the Civic Center and it could be associated with any variety of these things. So I will make certain to ask that question at the same time. And if you find any mate, my family members in there. Yeah. Because we've been here a long time, just put them away. I don't need to hear from them. And if you have not watched the video of the, I can't say the word, sesquicentennial. Sesquicentennial. And centennials, I don't know. The museum program wherein Eric did unveil that the one time capsule, it actually was a really lovely program. So you can go back and see it on the, through the Facebook page. I'll go look at that. It had a real Vaudeville vibe. I liked it a lot. Longmont was quite the place, y'all. It was quite the place. All right, so from what I can see any other commissioner comments? I just have one real quick. I worked for Sticker Giant, which is a local startup company here in Longmont. And for those of you that are creatives, no creatives, please encourage anyone to enter. We are having a sticker design contest right now. There is no monetary award. However, if your design is chosen, you'll get 250 free stickers, which is kind of good for local artists. You can pass them out. Hey, I designed this. And those stickers will be shipped out for the month of March with all of our orders. And our orders go worldwide, mostly nationwide. But yeah, they're going all over the world. Hey, Erin, can you send us like an email on that? Yeah, because I know like, you know, like art students would love to be involved in that. My son designed a sticker. Yeah, so if you would send a link and if you want to send it to me or to Angela, she'll, we'll get it out to everybody. That's flipping awesome. Thank you. Fantastic. Awesome. That's the kind of stuff we like to hear. Anybody else have great news like that? I have one thing that I know that I forgot, so just moving. All right. Go ahead. I forgot to eat dinner. I know I couldn't wait. I had to eat. I forgot to add Eileen's database update. Oh, look at her. Oh, come on, Eileen. Just quick. If everyone has a few minutes, I am updating the databases. That's mostly what I've been working on. And I know that there's been lots of chat about the website, the AIPP city and pages. And I would like everyone to know that I'm working on it. There's one chart in particular that is a list of the permanent collection that has only about 60 items on it. And in fact, you guys have about 85 art pieces that you're keeping track of and taking care of. So I am working to make that a little bit more dynamic and a more useful list that is both Google-able by the public and more interesting than a chart. So we're working on it. Yeah. If anybody has any comments about the artwork archive that, which is a separate website and a separate database that exists of almost all 85 pieces, please let me know. Maybe email Angela, she can forward it to me if you don't have my email address. If anybody's really attached to that database or enjoys using it or researching or updating it or anything like that, I'm struggling at the moment figuring out how best to use it, I guess is the point. It's designed to be public facing, but I'm not sure how useful it is. Thank you. No, thank you. And please all of you be in touch with us if you want more specific information. We didn't mean to crowd you end to end. And all of us are like, I can see us kind of going, ooh, so we're trying. You're doing such a great job and we are so glad to have you on board and we are so thankful for you. So your contribution is amazing to us. And believe me, we love it and we appreciate you and we want more. And why don't you just stay here and do this forever? Okay, awesome, let's see here. I think we are really close. Is there any other commissioner reports? I thought I saw a few hands pop up. Eileen, thank you. Anybody else, okay, anybody else? Okay, because this is it. Forever hold your peace. I want to welcome the new people who've been here. We're ending early tonight, which doesn't always happen. So many of you like 20 more seconds to think of things that might come up. Yeah, don't get used to these early endings. I remember the days that were done at 648. So those were the old days, but now we have a lot more going on. Again, if you have questions, concerns, we've talked about a lot of stuff tonight between, yes, Pamela? No, I'm sorry. No, I just see your light go on. So I'm trying to be attentive to that. When I'm in a Zoom class, when a light goes on, I'm like, okay, student, what would you have now? So that's good. Any other concerns, questions, anything you want to bring up? So again, we've talked about a lot of things, the strategic planning stuff. Oh, sorry. Other questions or concerns? Move adjournment. That wasn't me this time, it was the dogs. Sorry, I moved to adjourn now. Seconds? Second. All in favor? So adjourned, it's 643. Thank you everyone, have a great night. Wonderful meeting. Thank you. Bye. Thank you Amy. Thank you.