 I am calling the meeting to order. You go, girl. I just want to remind every one of you that, and we just saw that, but the meeting's being recorded. So, you know, decorum decorum. What? Sorry, I'm yelling at my dog. Oh, you know, use, use decorum. Since this will be on file probably for the end of time. I'm going to do something a little different at the beginning. I'm going to read our mission statement just to make sure we're all, it's top of mind for us. And I'm going to look over here because I have another screen going. Our mission is to provide, manage and promote a diverse and ongoing collection of public art for the enjoyment of the citizens of Longmont. I was adopted in 2015. Okay. Also a little bit. Some more kind of pre-meeting stuff. If you have to, if you want to say something, just raise your hand. And I'll call your name. So let's get started with roll call. I'll just know a hi. I see you. Hello. Pamela, I see you in both of your. Yeah. Hello. Trisha. Hi. How are you? Peter. Hi. Hello. Susan Horowitz. Hi. How are you? Holly. Wonderful smile. Cindy. There's your smile. Erin. Welcome. Jennifer. Welcome. I don't see Joanne Eileen or Joanne. Well, I lean, we don't need to see, but. There you are. Hi, Eileen. And Joanne doesn't have her camera on either, but that's okay. Because she doesn't need to. Okay. Angela, is there any public to be heard? There is not. Okay. Excellent. Raise your hand if you've read the minutes from last month. Wow. Okay. Probably 50% of us. Thank you. Thank you very much. Does anyone have. Corrections. Do you have any questions or edits or anything of that nature? Wow. Nobody. Okay. I read them, but I didn't really have a chance to go through them. It's been a weird week. But I was expecting something from Cindy and I was afraid I had missed something. I was sure Cindy would know what it was. For the record, whoop, whoop, Erin. I think Jennifer was saying something, but you were on mute. Maybe you weren't talking to us. Okay. She wasn't talking to us. Okay. So, um, We need a motion to accept the minutes. And a second as well. The minutes is written. Okay. Who, who's making the motion. I made the motion Laurel. Okay. Laurel is making the motion to. As you said, except the minutes. Who's seconding. Okay. I'll take a second then. Holly. So, um, we have made a motion to accept the, what was it? March minutes. Without any changes. Those in favor, raise your hand. Opposed. Okay. Motion passes. Wow. Did I do that right? I've been so out of practice. I've been doing it. I've been doing it. I've been doing it. I've been doing it really well. My first time chairing after it's been a while and then the next time I kind of. Anyway. Uh, do we have any additions to the April 15th agenda? Angela. We do not. Okay. So let's continue on. Uh, let's talk about commission seats. So, uh, we had. Susan and Laurel. And it would be wonderful if you guys could update the commission on your findings and your meetings with each member. My hand, Laurel. The executive committee members. Do you want to know who the executive committee members are? Yes, please. Okay. So Amy is the chair on the vice chair. Um, Holly, you are the. Secretary or treasurer. Treasurer. Treasurer. Okay. And Erin, I think you're the secretary. Yes. All right. Woo. Sorry. The quorum. Okay. So, um, Laurel and Susan, take it away. Great. Laurel, did you want to start? Go ahead, Susan. Okay. Um, so what we had done was, um, talk to Erin, Randy, and Holly one on one. And we had a list of questions, um, pertaining to their role, um, positives and things they wanted to see improved in the roles that they had held. Um, Susan, I can barely hear you. Oh, I'm sorry. It is low. Let's see. Can I had to change rooms and I'm not in my regular. Heidi whole. Can you hear me better now? Can you hear me now? Okay. Don't know. Oh, I know what's going on that pillow is probably hide my mic. How's that? Better. Yeah. Okay. So, um, Laurel and Angela and myself, um, we had one on one interviews with Erin, Randy, and Holly, and we had, um, a set of questions that we went through with each of them, pertaining to, um, the description of the role itself, um, things they would add to the role, um, items that they thought could expand the role or things they needed to see as far as help in the role. And, um, it was great. It was a great opportunity. I felt like it was just so informative. For myself and I think Laurel to, and, um, Angela to really hear that one on one conversation. With those people. Um, and. Um, particularly because we've been virtual virtually the whole year. So that was really great to have that interaction. Um, do you want me, Angela, to say who was keeping their position or. Okay. Um, so Erin and correct me if I'm wrong. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. She's interested in staying in that role. And, um, Erin felt some of the things that she brought, um, to the table was that we could do. She has a really strong background in marketing and that. For the diversity piece that we continue to talk about. And, um, I think it's really important that we create that to help that. Move on and be able to, um, Know how to move in the action of diversity. Um, So. That's all I'm going to say about Erin's. Did you did Laurel? Did you want to add anything, Angela? Did you want to add anything to. Um, I think that Erin has been in the secretary role. I think that our process is released very smooth and I really appreciate it. Um, right now that once the agenda is drafted, I throw it into a Google doc and, uh, Erin is able to take notes in situ, which is a serious skill set is a serious skill set. Uh, and she shoots it back to me at the end of the night, but I think it's really important that we do that. Um, I think we're able to populate it and put it straight into the format. And then of course, as many of you may or may not know, um, we have uploaded now to a new, um, Program with the city. So it's called prime gov. And anyway, so it, uh, helps with the formatting. So anyways, I think it's, it's working really well. And I'm very appreciative that Erin is continuing her position We're really lucky. Yes. Very, very fortunate. And, um, her skill sets are enormous for that position. So I was, I think we're all very delighted to hear that. Randy, um, is our vice chair and she really wanted to continue in that position. Um, she wanted some of her, um, comments and advancing that position and helping it along, um, would be to that the vice chair, sit in and actually do a meeting, a quarter so that their practice, and this is your practice tonight. Um, and they're practiced and how to run the meeting and gives them, um, just more opportunity and, um, more skills. If there's an emergency and they have to do it, then it's just not so far into them. Um, Randy, is there anything else you wanted to add to that Laurel, Angela? Um, I do want to say that it is not hard to share the meetings. It's actually fun. Cause you could put your own spin on it. Um, I also wanted to say that I am very much happy to stay in the role, but if there is someone that does want to, um, go for the role, I'm willing to step aside and let that person, uh, explore the role. It's, it's fun. It's really fun. And, um, our last person that we spoke with was Holly, who is our treasurer handing out the money there, girl. Um, and I just have to say all of our people, the roles that they're in at this time, um, their backgrounds and, um, are just so suited for the roles that they're in. Holly's is just amazing. If you don't know her background, maybe she can give us a little more information in a minute. Um, and, um, we, Angela, do I, do you want me at this time to say that we had talked? Is that okay? Okay. Are you reading my mind or should I put it in a chat box? Okay. Um, anyway, Holly was, um, totally okay with staying as treasurer. Um, and, um, she thought there should be a little more reporting on the budget to commissioners, um, whether it was quarterly or twice a year, um, but that there needed to be a little more roll out on what was happening to the commission, um, instead of just the, um, executive committee. So, um, that was a great suggestion. Um, she was interested in seeing that, um, the treasurer's role also have, um, some more strategic planning added to it. Um, and, uh, then with each of these people with, um, Aaron, Randy and Holly, because we have a open, um, chairperson Amy's position, we asked one of the questions was, do you want to stay in your position? Do you, are you looking to move up in a position or just move to a different position? Um, what kind of interests do you have there? And Holly voice to that, she was quite open to moving into the chair position. Am I correct, Holly? Have I paraphrased that correctly? Okay. Correct. Thank you. So, um, that was, I was quite excited by that. Um, and because of her background is huge in, um, Holly, explain what your background is rather than me say it, but you have all these master's degrees in different, um, organizational skills and, and just massive amount. Yeah. So why don't you talk for a minute about that? Okay. Okay. Just kind of a, a in a nutshell, I've been in the healthcare leadership field for about, about 35 years now. Um, so I think that has really helped me immensely in working with teams and groups because I've been in leadership roles and had several people that I worked with in teams. I mean, I think what Susan was talking about with my background is I actually have a, my undergrad degree is in organizational management. And so the forming of teams and how groups work together to be able to strategically, um, meet objectives is really one of the things that I'm, I'm just passionate about it. And so that's one of my degrees. And I also have a master's degree that's in business, which kind of lended to the part of the trailer piece. Um, that I'm certainly happy to help with. One thing I realized is that Amy's shoes are going to be really big to fill. I'm not near as humorous and I don't have good jokes like Amy, but I'm hoping that when Randy and I, if, if indeed I do become chair, Randy and I can work together as a team and we can help to move, um, um, aren't in public places through strategic planning to be the most effective group in the state of Colorado. And that's my goal. One of my goals. So yeah. Laurel, is there anything you wanted to add, um, that I missed, um, and recapping what we did or comments that you remember? No, I think this, uh, you put it all together in a nutshell and Holly, you were really, uh, uh, just superlative and really, really excited and Randy, great, you know, that you're stepping up and being the chair. And no, I think the, I think the group is terrific. Okay. So Angela, when do we vote? Oh, the next step, according to the guidelines is, um, and, and again, normally this would happen quite organically and we would have more personal relationships because we would all be in the same room, yada, yada, yada. That being said, uh, I, as the email said that I sent today that I, I anticipate, um, you know, us continuing in a virtual format, um, for some time until such time that we can then turn into a hybrid situation and have the infrastructure to be able to support that. Um, so all that to say that there is an open seat of availability in the executive team as right now, um, potentially the treasure and, um, I have been involved now for the first year in the budgeting process, which is happening right now. Um, and also the reporting piece of it, which is really exciting. So I do think, uh, there are opportunities for anybody who's interested in stepping into a leadership position, but you know, dipping our toes, right? We're dipping our toes. Um, while I would like to delegate a little bit more and involve everyone a little bit more, again, it will continue to be in this virtual format. So if anyone is interested, this is a really great opportunity and it's a really great time. Um, so these are wonderful people that you will be joining. We're really looking to meet quarterly as an executive team. Uh, so. If you are uncomfortable and speaking up now, but you are more interested in sending me a note offline. Um, I can have Laurel and Susan, uh, you know, we can all meet and kind of sit and, uh, go through what the expectations are, but also what the role would be. And then, uh, in May is where the nominating committee will say, you know, these are our suggestions and we'll go forward. Um, but if anybody is, you know, bent on being the chair, like, of course, we can go through that formal process too. So, um, I've only done this with art in public places online. Uh, so and every, every other time that we've ever done nominating, it's been in person. So it's a little funny, but we're going to get through it. Um, I encourage anybody who's interested in a leader, leadership position. Uh, this is a really great opportunity. Uh, I would say that, that I've been, um, curious about taking on more, more responsibility within the commission, but at the same time, I don't think that I would be a good choice for a treasurer or not a good at math. So. I can say Holly, do you have to be good at math to be a treasurer? I don't think you have to do much more than maybe a little bit of adding and a little bit of subtracting. Okay. Can you keep your banks account straight? Uh, the internet usually does that for me. I don't pay too much attention. But it is, it is an interesting way of seeing how funding for art in public places happens, how it's happened historically, how it looks now, and potentially how it happens in the future. And I do am understanding where we, you know, every art in public places, um, you know, or organization municipality is a little bit different. So, um, but we can talk about that. And again, you don't have to be super good at math, but, um, we'd be happy to have you around the table for sure. Sure. I am certainly interested in checking it out. Whoever that person is, I would endorse the idea of more regular treasurer's reports. I was a little surprised the whole time I've been here that there is never in the agenda a treasurer's report, because that's been a part of every other organization like this that I've, uh, belong to. Um, and I, it would just provide a, you know, a framework for all the decisions that we make to know, you know, overall we spent this much and whatever. Yeah, that was, um, Peter, one of the things that, um, Holly really felt she would like to see happen, um, in the future as far as the treasurer's role. Um, and so yeah, I agree. Okay. Yeah. Thanks everyone. So just to reiterate, if you are interested in any of the executive committee positions, please send Angela a note and, uh, the task force will meet and discuss and we'll hear more later on. Great. So, uh, moving on to, um, the recruitment strategy, we have at least two open seats, uh, coming up. So if your term is up, please consider reapplying. If you're here today. Um, you know, we've got a lot of momentum and I was, as I was talking to Laurel and Susan, in my one-on-one meeting yesterday, I think it was yesterday. Yeah. Um, I've been on the commission for five plus, maybe six years or something like that. And I'm really excited about this group. Um, we've had, we do have a lot of momentum. Um, Angela is, I mean, we can't praise her enough. She's kicking butt. Even in this strange time. So it's, it's a really cool time to be on the, on the commission. There's, um, a lot of capital projects happening as well. So our budget. Yeah. We don't have regular treasury reports, but I mean, I think we all know that we are in the black. So we do have money to spend. And with the capital projects that continue throughout, um, Longmont, that seems to be, we're going to be in that position for a while. So we have money to spend and we need ideas and we need momentum. And we need. You know, you guys. Plus two other people at least. So if you have friends that are interested, uh, Peter, I did see you, um, you know, let them know who we are and how they can sign up. Peter, what's, what's up? What do you got? I believe my term is up this summer. Is that right, Angela? I'm one of them. I would be happy to reapply. Cool. I've been, I've been, it's been a fascinating experience. It's been a fascinating experience. Excellent. Okay. So you came on right before I did. So you and I have had you and Susan and I, we've had a similar experience that we were just getting our feet wet. And then COVID hit. So I've spent the majority of my employment in the COVID era. So, um, I don't think that that's really fair. Right. What we can do. Um, is so much bigger and so much more. Um, and we have this, this massive legacy in history, right? From this. This program. So, uh, we're just in a blip and that's okay. So I, I thank you. I'm so excited that you're joining us again. Is there anything else I need to do other than just tell you that. You'll have to reapply and I will be certain. I think the city clerk's office sends it to you directly, but if it's not, you'll get a personal note for me. Okay. And you'll probably have to sit in front of Marsha. And, uh, Say hi, I'm Peter. And I really dig what we're doing and what we can do. And she's going to give you the two thumbs up. Yeah. That's not really a terrifying aspect. Not to put Marsha on the spot or anything, but yeah, there we go. But when it comes to recruitment, though, I do think that that's a really big piece of it. I can say that I sat in front of the lead students at front range community college, which was, is the Latino. Uh, leadership group and I did pump up, I pumped up art in public places, obviously, but across the board, just leadership positions as commissioners in long month. Um, to talk about shaping your community. And so we actually sat for an hour. They, they, they grilled me. I gave them a 30 minute presentation and they grilled me for another 30 minutes. We talked about barriers and we talked about opportunities. So I wouldn't be surprised if a number of those students, so younger and Latino that can, can join us and would be excited about shaping their community. So, um, if you can think about ways for folks within your community, within your group, I think that would be a great way to, you know, I think that would be a great way to, you know, I think that would be a great way to, if you can think about ways for folks within your community, within your groups, just people who are excited about shaping their community, because that's what we do, right? Um, and then if we can think about how that's more diversified, then that takes it the step further, but really just getting people excited about what we do. So Angela, um, I think that would be a great way to, you know, I think that would be a great way to, you know, to connect with the people that were there that showed interest. Okay. You would let them know that there was an opportunity to be on. Yep. So I told them I would send them, I'm going to make a flyer and I'll send it to them. And of course, again, selfishly, I'm going to put the art and public places application in there, but I'll also include. The link to all boards and commissions just because that's, we're working, we all work together, right? I'm wondering if, um, Amy would know where we could strategically place at front range. Um, in a diverse community area that, um, would, um, Spurs some interest that we would get other applications too. Um, maybe somebody can ask her or shoot her an email. Yeah. Yeah. I'll definitely send her the flyer once it comes about and she can distribute it. I mean, Okay. All of us is wide in as far as we can. Okay. Right. Um, the, and I'll make sure actually to put in there that the requirement is of course that you have to live within the city of Longla. So, um, That's a really good point. I'll make sure to, because some folks might not be applicable that way, right? I'll make sure to put that in there. Okay. Any more, uh, comments on the, our recruitment strategy. Or the upcoming open seat. Um, the, The firehouse is doing a, um, Where are they calling it? Summer on the streets. Kind of a prolonged art walk situation, um, every Saturday during the summer. And, um, If we had a booth at that, um, It would be a really easy public facing way to, to. Spread the news, so to speak. Are they doing booths? Um, so I know at the very least on the last day, art walk proper, they are definitely doing booths. And I imagine just because of what this group is that we could probably get in there for all the other, uh, Pre-curring weeks. Um, um, I think we, we as an organization, at least, uh, Art in public places has always supported art walk. So usually it's in May and September. Yes. At the May is not, is not having booths. But September, um, historically, Art in public places has signed up and, and, um, We did that. And who was there last year, Cindy? Uh, I know I was running a booth somewhere. Yeah. So, um, yeah. So we'll, I mean, I imagine that anytime there's a booth, we'll probably do that. Yeah. That's always a vehicle that we use for recruitment. Okay. Thanks Noah. Um, let's move on to our strategic plan and our creative culture. And Holly's going to give us some info on that. All right. Yeah. So this month we've really made some strong forward progress with our strategic planning. And as you can tell, it's, um, this, this month on the agenda, it's not listed as strategic planning anymore, but it's moved to a creative culture plan. So that's big movement in itself because we really feel like we're, we're going in a specific direction at this point. So kind of three basic things have happened since the last time we've met. Um, one of them is that there've been some super strong talking points that have been created about what it is we're trying to do to move forward with our planning. And I'm not going to read it all to you right now because we're still in the kind of the refining stages, but some of the language in our talking points have to do with engaging our most creative thinkers, shared vision of a creative community and the lineage strategies for coordinated mutual support, meaning bringing creatives together. Um, reflective, inclusive, reflective of our community's makeup. Um, our plan hopefully will inform and align with city's comprehensive plan and vision long line and guide the trajectory of art in public places. So there's some really kind of strong movement in how we're going to define what it is we're trying to do right now. Um, some of the other things that we've been able to get our hands on recently were, um, kind of some other, some other public input that's been gathered most recently. And so we're looking at what the community is saying and what their hopes are for long line. And with that, we've recognized that we're at about the point where we need to start determining how we're going to gather community data ourselves. So that's a really big, big step to be taking. Um, the third kind of leg of what's been happening over the last month is we're at the point where we're going to start looking at developing a request for proposal to see how we can, um, procure the money to help to develop our strategic plan and solidify our goals. So with that, we're looking at the, the overview of the project, um, basically kind of define what that project looks like, what the scope is. Um, and so it's, it's a lot of exciting stuff. And I know every month when we come through the meeting, we say we've, we've made inches, but this, this past month, I think we've made some major strides. And Angela, you may want to add some more to that. I mean, it's fascinating stuff. I think the, uh, the biggest piece is that, you know, naturally you would go and meet with someone who is your colleague within the city and you would go knock on their door and have coffee and unfortunately, um, you know, folks have been pretty much siloed and they're, they're, they're in with what they do. And, and so I've been virtually knocking on doors for months now. And I, I've met a lot of people and I've, I've had a lot of conversations. And so, um, with the city intentions of really aligning and also being very efficient in finding, um, common ground, uh, in, in ways that we can be asking and engaging our community in smart ways, um, about multiple things when we, when we have them. So, um, of course all of the work that the museum is doing, I mean, I don't know how much right now, of course, it's a Thursday and all of the amazing, um, museum museum programs are happening right now. But, but everything that the museum is doing and, um, work that they've been doing too, we're looking to align ourselves, um, with envision long, with the museum and with our city partners and then also our external partners who have to do with creative culture and, and, um, find common ground and making sure that everyone's around the table. So, um, yep, we're making, we're making our strides and I'm, I'm looking forward to being that leader, um, from art and public places perspective of, of moving creative culture forward. So. Yeah. Angel, I didn't mention that envision long month later on this year, I believe in the fall is about to be re-looked at. And so we're hoping to be able to help drive some of their creative culture, uh, wording and the, what they're trying to create. We potentially could be giving them some very good input from art and public places just because we're going through this process and that's later on in the year. So that's very exciting that we think that maybe there may be room for us to be able to feed them some information that we're gathering ourselves. So. Holly, thanks so much. Um, I hate to put you on the spot, but who, who else is on that task force with you? Right now it's Angela, Amy and myself. Yeah. Would you be taking new recruits? Open to take new recruits for that task force. You can't see, but I'm looking at Angela like. Yeah. So, um, the other piece of this that I should say is, I mean, thus far because of the, the COVID situation and open meeting situation that keeping task forces at two people so we can have email conversations and, um, you know, without the open meetings requirement from the sunshine law, which is a state mandated law. Um, that said, I mean, now I have access to this zoom portal. I understand how to, you know, capture the meeting. I understand how to put the agenda out into the world. So task forces, um, at this point could be larger. Um, again, anything beyond two people and myself then becomes an open meeting, which requires an agenda minutes. And, um, you know, uh, posting 48 hours in advance. So, um, I, I think we're able to. To accomplish that. Um, I still think that keeping it at two people just to be able to email back and forth makes it easier. Um, but if anybody is gung ho. We'll make it happen. Also with Amy leaving. So Laurel, you said maybe yes. Was that a. Oh, you were saying hi. I was saying hi to saying hi to Kim and Kim was saying hi back. Gotcha. Um, I actually have just one other thing that I wanted to add to the conversation, which is I want to really thank Holly and there may be other people involved. So please forgive me if I'm missing anybody, but the amount of work that they, that Holly put into assessing all of these other citywide plans was remarkable. Um, and so I just want to make sure that she gets some recognition for a lot of really, really detailed and probably mind numbing, but very, very important work. I agree. I agree. So you guys can put me down as someone who is interested in joining that task force sounds really, really cool. And I'm all about frameworks and getting stuff moving on. So if anyone else is interested, just if you don't want to say it here, just send Angela a note. The other thing they just quickly is that the creative district is really ramping up their, um, involvement and, uh, working very hard to engage creatives. And when we think about creatives, who that is, uh, I think we're talking about people who have a creative mind, people who look about work and solutions in different ways. Um, so the owner of roost and heffa's is involved. Uh, there, uh, I mean, a gamut, a massive, massive array of people. I think it's some 50 people. Um, but we're really looking to work together to bring the creative minds around a table and to start talking about solutions in different ways, things that you can't cookie cutter from another community and then plug into our community. So that's something that is really unique because we're unique. Um, so that's, that's really the opportunity that we have. And if you are interested in being a part of even, um, a, um, representative of art in public places on, in that arena, uh, also let me know. Um, they're meeting in person, which I'm not there yet in my little bubble, but we're probably going to be trying to get to the next time we get there. Okay. Uh, let's move on to our public art projects, of which we have two. Uh, we'll first talk about Art on the Move for 2021. Um, the jury event is Wednesday, May 12th via zoom or final voting. And, um, Angela, I think you're going to give us a. tutorial on the voting process. Yeah, so can everybody raise your hand if you watch the YouTube video of of juring, juring, it's a weird word. Okay, so it was a lot of information and when you go through our jury process, some of it is going to make sense and some of it is not. So my hope is here that I will have abbreviated that for you to make it specific for what we're doing. And what we're doing is backwards of last year because we've of course, as you know, had to completely augment an in-person situation to a virtual and now we're going to try and do a hybrid right. So last year, we looked as a commission at all of the works together and had commentary, and then you went online and voted. This year, where you're going to go online, you're going to look at everything that's available, and you're going to basically give it a yes, maybe or a no. And it's completely up to you. But I've created parameters so that basically we're taking the field and we're minimizing it. And I will minimize it based on quorum. And then when we come back together in May, we will go through the top echelon, if you will, of selections, and then we'll have the commentary and then we'll talk about the strengths and what we want to see. And we will come up with the final selections. Does that make sense to everyone? So hopefully we've refined this whole virtual world into something that makes more sense for everyone. So I'm going to go through this. It's going to just, again, just be patient. But the second thing to remember is we did agree to separate the opportunities to two-dimensional and three-dimensional. So the two-dimensional option is one artist who is going to provide a number of works to be displayed in the safety and justice building. Okay, that's one. We're going to call it an event. The second event is three-dimensional works, sculpture, etc., which will be displayed on our number of plinths, right? So we have like up to six, seven plinths. And so you'll choose up to, you know, six, seven of those to be displayed. So you're going to jury two different times. All right, so I went through this multiple times today and I think that it's pretty clear. Here we go. And we'll have time for questions at the end. Okay? Okay. Okay. I'm going to share. And I'm going to know who and you don't get to see it from the beginning, but I'll get there. My job is beginning. All right. Laurel, I see you, Randy. I see you. Thumbs up. Can you see what I'm seeing? Okay. So here we go. So the art on the move, 2021, this is the preliminary voting, right, to make a short list, if you will. The portal is going to open on May the 3rd at 5 p.m. And it's going to close on May the 9th at 5 p.m. You will receive all this information in an email along with this presentation, along with your username and password. So if you are thinking that you don't have that right now, don't worry, it's coming. Okay. So the online voting portal is intended to narrow the field of submissions. This preview is going to allow me the time to ask artists any questions about how it's mounted, where it could stand, if I have any questions about hardware, those kinds of things. It will also allow me time to figure out if we have ample locations, if we have too many that's too big of a size, and that kind of information. Ultimately, you're going to go to this big website address that's up at the top, which is admin.callforentry.org, admin, backslash. Again, you're going to receive this whole presentation, so don't worry, you don't have to memorize that bit of it. This is where you're going to put in your username and password. And it looks like this. Username, password, and then you click the login button. If you forget your username or password, just shoot me a note, just shoot me a text and I will send it to you, but it will be within this email information. So it should be all together. Once you log in, you're going to choose an event. Again, the events are twofold. We have Art on the Move 2D and Art on the Move 3D, 2D being that it's going to be indoors and on the wall, and 3D, that it's going to be out of doors. You do have to be in this jury section. So when you look at the upper field, you'll want it to be on jury. Obviously, that's where you log out. There's a help button, but to jury, you have to be selected in that field. And then you're going to pull down on this drop-down menu, and you're going to either choose Art on the Move 2D or Art on the Move 3D. So we're going to first start with Art on the Move 2D. Art on the Move 2D submissions is a little bit different because they're going to give you three representative images from a body of work. So the body of work is what's available for the wall. Obviously, if we have three huge pieces, they're not all going to fit on that wall. It's a 16-foot wall, but they're also going to give you an artist statement, and they're going to give you a list of available works. So the task force is eventually going to decide which pieces will all fit on the wall. But your job as a juror is to look at the three representative images, potentially look at the body of work that's in a subsequent document, and decide based on that body of work that that's something that you would like to see. After you're done, and we're going to go through the whole process, but after you're done with the two-dimensional work and selection, you're going to come back, you're going to end up here, and you're going to choose, again, by pulling down, you're not going to choose 2D, but you're going to choose 3D. And the 3D submissions, the sculpture outdoor submissions, they're going to give you three images, and those three images are going to be of the same work. They're going to give you an artist statement, and you're going to look at those three images up to three, that is to say. They have one to three images of that exact work. So that work is what is available for choice. And once we decide in our in-person meeting that this is something that we want to go forward with, the task force is going to determine the location of those works. So once you've chosen, if you're working on 2D or 3D, and you're going to do bold, you're going to choose your viewing preference. And this little box is going to come up here, and it's going to give you a couple of options. It's going by pulling down on the menu. It's going to give you a preview slideshow option. And that is if you want to see, for some reason, you want to see all of the images in all of the submissions that you're going to be looking at. You could choose that. You could. You could also choose a thumbnail scorecard, which is going to give you a scorecard. It's going to have tiny little images. And if you want to see them bigger, you're going to have to click on them yourself. Or there's the slideshow scorecard. And this is going to give you large images one at a time. And you're going to look at them, and then it's going to populate the scorecard, and then you get to make your decision. And that's the one that I prefer to use, because you're really considering them one at a time. The key to this on your computer for working, and I imagine that we may have problems, and you can just contact me, is that your pop-ups have to be enabled. You have to allow the pop-ups to happen on your computer for this to work. So if you run into any situation, again, you all have my cell phone number, and if you don't, we'll get it to you. You just text me, and we will walk through it together. So pop-ups have to be enabled. So once you decide Angela was right, we should do a slideshow scorecard, because it's the easiest and best method. You choose the slideshow scorecard, and here they are. The beautiful Machu Picchu is going to pop up. You're going to click on maybe this little right arrow to see any other views or visions of this work, and eventually the scorecard is going to pop up. And there's a lot of information on the scorecard. There's going to be information regarding—you're not going to see the artist's name because we're going to extract that, but you're going to see some tagging information. You're going to see all of the work samples. So every view, every image that the artist submitted of this work, you're going to see an artist's statement, and there's actually read more, and we've encouraged artists to submit a statement. The score, the big part. Yes, no, or maybe. Comments, feedback. You might think, you know, maybe, but I really like this one. So if it's not a yes, but it's still a maybe, that might be places for you to put for yourself. All these comments are for yourself here. And then the save my score button. Additionally, in the bottom left hand corner, you're going to see the number of applications and what application you are on. Oh, that didn't work. So here we are, the yes, no, or maybe buttons. Oh, well, here we go. So my animation was backwards. So a yes button would be something, at least from the 3D sculpture point of view, is that you love it, that you want it to be a part of participating this year. And a good number to to use for this would be five to seven, because that's the number of pieces that we have participating in the program. In the two dimensional, again, another event, right, completely separate, but a one to three, because we're only going to be able to choose one, one's ultimate submission. So from a no perspective, if it is something that you prefer not to be included in the program, then just choose no, and we can move on from that. And then from a maybe situation, this might be something that you might consider as yes, but you're just not sure. You can keep it as a maybe inputting comments for yourself. I would suggest maybe one to three at the very most of a of a maybe situation. So you can go back and make a different decision. And then ultimately, at the end of every single time that you push yes, no, or maybe, you want to choose and select save my score, because that is going to get you to move on to the next application. So once you're done at the end of the box, and I couldn't find an image of it, but it says that it prompts you back to the scorecard. This and forgive, I'm so sorry, but this digital art and media graphics and all of that business, we don't have anything along those lines. We only have applications. There's just that bottom line applications. And you'll see a total number, the total number that you have scored and the total number you have not scored. And, and the great thing about this is if you click on the total number, it's going to populate a list of all the applications. And so you'll be able to see once you've gone through the process, your score, you'll be able to see all of your yeses. And if you click on your score, it will filter automatically all of your yeses, it'll populate all of your images. If you want to change your score, so you have something that's a maybe, and you think yes, after I look at this whole list, that is absolutely something that I want in. Now that I've looked at it, you just hit this ID number, and it will take you back into the card, and you can change your score. So that's a nice and easy way to gauge how many maybes you have, how many yeses you have, etc. So again, by clicking that number, it clicks the number to populate, and then all of a sudden this screen will show up. Once you're done with say 3D or 2D, and you're thinking, okay, I'm done, all of my scored, there's a total number of 26, I have scored 26, I feel good about my scores, then you pop up here to the little drop down guy, the green drop down, you pull it, and you pull it to the next one, 2D or 3D depending upon what you did first. So you choose the next, I guess, event, right? So that in a nutshell is going to be how the population of Zoom votes happen. Again, we're going to do it to make a smaller field of ultimate votes, and then based on quorum, so number of people who vote, I'll bring a short list to you at the May event, and we'll have commentary thoughts, feelings, I'll have a nice list of our available locations, and we can go from there. So are there questions? I do have a question, and I see Cindy has a question. After we narrow the field for the next voting, how will that take place? All of that will happen in person, and so I will make a voting sheet with the images on the left and like one vote, two vote, three vote, and anybody who really wants a hand, I'll send it as an attachment for you to print out, or you can hand write it, or you can come to the museum and pick it up. It completely depends on the number of entries we have and hopefully getting it down to size, but we'll just, I think the process was really based on Peter's commentary about really valuing a discussion based on work, so trying to honor and have that involved, and also someone had said about just quickly going through and eliminating some of the ones that we're really not interested in, so I think that this is the best of full world. Yes, there will be a voting sheet, and depending upon the number of the short list, it'll be, and I'll frame it, like vote for your top seven, and then depending upon where we end up, vote for your top five, vote for your top three, and we'll just narrow it down based on form. Go ahead, Cindy. So we're supposed to only vote for the seven that we like the best? And that's why the maybe is in there, right? Because hopefully there's a bit of consensus about the things that you absolutely love. If you love nine, if you love nine, vote for nine, but don't vote for 40. Don't vote yes for 40. It'll be a lot easier to vote for the ones I don't like, I think, to eliminate ones. And really, and last year we did a one through seven, and I think that where we ended up was on a game of averages, and so we ended up with some of the things that ended up kind of in the middle, like everybody kind of loved but kind of didn't, right? So anything you feel strongly about, vote yes. Anything you feel strongly that that's not your jam, vote no. And if it's something that you would be on the fence about, vote maybe, right? And chances are people will agree with you. Peter? It says to me that the maybe vote is once you've picked the ones that you think should be the ones that are chosen, you recognize that everybody else may not like one of those. And so what are you willing to accept? That becomes a maybe, okay, well maybe this one, if I can't have the ones I want, maybe this one would be okay, right? And then the nos, of course, are the ones that you select that I'm moving to Alaska. So, but we still have to rank them? We just have to choose that many. Yes, no, or maybe that's the ranking system. Okay, got it. Thank you. And also just quickly, anybody who's not applicable because of the requirements of the call will have gone away. Like I will have, that's why I need that morning of the third. I need to go through, I have a number of questions that you won't see. And if they don't fit the qualifications, they just go away. So you don't have to worry about any of that. Anybody who applies is applicable and fits the bill. So, anybody, yes, no, or maybe is completely, they're completely qualified to apply. Holly, did you have a question? Yeah, Angela, can you just remind us again when the, when you're opening up the, the initial, the first part of the judging? Yeah, so the call is open right now. And we have folks who are actively contacting me about application requirements every, every day. And it will close on the 1st, May 1st. That'll give me Sunday night to just go through quickly and, and look if, if there's anything that screams to me that I just need clarification on, I can try and get a hold of the artist. But then Monday during the day, I'll, I'll comb through everything. And by 5pm, I will have 100, all of your usernames and passwords are all set up. Everything's ready to go. I will just have the list combed, cleaned, and it'll open. That'll give you seven full days. So depending upon what day works best for you, you can save, just save your work, exit, and come back. If you have any problems, again, you just text me, I'm always available. But that gives you seven days to go through and to create the short list, if you will. And then that'll give me a couple of days to create a report, if need be, contact the task force, if there's any questions. And then by that time on Wednesday, the 12th, we'll have a nice short list to go through and have commentary and voting in person, well, in person, Zoom in person. So traditionally, as Angela mentioned, we do this as a group and we order food and whatnot. So we're not paying for it, but go ahead, order yourself some food, make yourself a beverage, you know, have some fun with it. And Angela, I do appreciate the slideshow. It was fantastic. And your voice modulation throughout it is, I think it helps very much. So I enjoy it. Well, I've never gotten to have the art on the move in person party time. So waiting. So order from like DoorDash or something. Oh yeah, no, it's totally sushi night. Oh, there you go. Sushi night. Okay. So any more commentary on the art on the move process? The puppy wants to say something apparently. Phineas. Okay. I'm going to take that as a no. Let's move on to the shock art portion, which is letter B, a nine, it's number nine, but it is letter B under number eight. Basically tell your artist friends to start making their models because it's open. The shock art is open. We did select or you had emailed us on the task force or maybe did you just email the task force, Angela? Or was it the whole commission? I can't remember. Task force is working on locations. We're getting down to a short list. But everything thus far looks cool with Kevin with LPC. And so really just incur, we're a little early this year on shocker, which might surprise some of the artists, but I think that that's okay because it'll give them a little more time to paint and get money into their hands sooner, which is a good thing. But the old town marketplace did absolutely 100% confirm that we have in person voting, masked, socially distant and safe starting June 19th. And then we will have an event, a safe, lovely event on that second Saturday, which is what the downtown district authority is working on second Saturdays. So that'll be July the 10th. And in addition, of course, we will also have the hybrid model. So we'll have online voting as well with a weight toward folks who identify their residents as a Longmont zip code. Yeah, I mean, so some of the criticism, of course, is that you know, the folks who live in town should have more of a say. That's not to say that someone couldn't vote and choose a Longmont zip code is where they live. Like we can't legitimize that, but we can at least wait it a little bit. So if somebody is promoting themselves online, which they should, and that's awesome. But folks who live in town will have a little more say. It's the best I can come up with. Susan, there you go. Q, what is the date that it's going to be at the marketplace? We'll install them on June, probably the 18th. I'll have tables delivered. And the folks who last month said that you're interested in volunteering. I'm still honing in on the details, but I'm gonna need help. You can add my list, my name to that list. Yeah. So, you know, it'll be moving a bunch of boxes from the museum to the whole town marketplace. It'll be labeling. It'll be signage. It'll be, you know, it'll be a fun day of setting up basically in an art exhibit. So I will reach out. Again, it's I'm a little on the early end, but I just needed to know that I had support before I felt comfortable in moving forward with an in-person event. And I will be second-shotted and very well out by then. So yeah, so June 19th. And then the event, the second Saturday is July the 10th, which that's kind of a wacky weekend anyway. But people might be out, you know. So it'll be a really good, it'll be a really good engagement time. So yep, just stay tuned. And a lot of the, I'll probably use signup genius. It works really well for me of shifts and what it looks like. And if you have any questions, just let me know. Yeah. Um, I have moved the boxes from the museum to there. And I have a large minivan with no, with my seats folded down in the back. So they, it can accommodate like 30 boxes. So you got me is the key is making sure that the artist actually puts their name on the box. So your label go and we don't have to do the guessing game. So yeah, yeah. Okay. Anybody have any other comments or questions about shock art? No. Okay, let's move on to conservation and maintenance, which is continuation of the colorful poetry in the middle pages at the Civic Center. Does anyone know, do you have any updates or No, the only thing Angela sent out an email earlier today about the conservative tour that she reached out to. Is that right? Yeah, she said, yeah. I unfortunately did not get a chance to read that email. So it's been a little bit of two fold, if you will. So the you sent the email earlier this week that I finally got in touch with the conservator, but also the project manager for the Civic Center. And I think that the status of the project really is a little carton horse. So and this does not need to be decided today. And the conservator needs to get up close to the work, which means that we could bring in a lift and pay to have the work seen in situ. Or the artwork has to come down in the fall has to because of the solar panel installation. So do we wait to have the conservator look at the work when the work has to come down anyway? Or do we bring the conservator in in advance of the work coming down so they can see it in situ? This conservator has seen the work already has treated the work 10 years ago has ample pictures. I think that there's positive notes to both situations. Certainly we could have the conservator B or A conservator B on site when the work comes down to be assured that we're documenting what Banner comes down in what order all of those pieces and parts. But it's really figuring out I think dollars related to this and also the efficiency that we want to have. So Holly and Noah are are on that and I'm waiting back to I'm waiting to hear from the conservator of what that dollar amount would be. I think that just the assessment is is cheap like it's nothing really very very very little. But we will have to bring in machinery like if we decide to have the piece observed in situ prior to the fall we'll have to bring in a lift you know that's a couple hundred bucks. Would that be put to a committee vote to either do it do the assessment now with machinery or wait till it comes down in the fall? Yeah Cindy go ahead. Do we have to have the machinery when it comes down in the fall? Yes. Why should we pay for the machinery twice? Yes. I think we should wait until the fall. She can come and look at it before it comes down. She can be there when it comes down. She can do the conservator thing and then she can be there when it goes back up or not. I agree sorry it makes the most amount of sense to if it's already going to come down and that process requires the cherry picker or whatever. We should just combine that into one if the conservator really does want or need to see the material up close at a time we can always just get a tall ladder that doesn't cost hundreds of dollars. The challenges that some of them are suspended so there's not a place for the ladder to hold in the middle but that's not to say that we couldn't have the cherry picker. We independently couldn't pay for the cherry picker to come a day ahead of time and have her assess in place prior to the pieces coming down. It certainly seems more efficient. I think that I'm going to be really blatantly honest here that if the pieces do come down and the commission decides not to put them back up because of their date we just need to be prepared for that. I don't I don't know. Holly did you have a comment? Yep I know after our last meeting when we talked about it a lot of people expressed interest to going down into the civic center and taking a closer personal look. Did anybody have the opportunity to do that? What do you think Laurel? I think that the fabric is faded you know those colors are faded so it already looks old. That's my opinion. It's been up about 20 years yeah and the sun has been coming through it. I think more than that yeah so yeah one thing I found interesting is I happened to go on the art in public places um longmont.org website where we're represented just this week and interestingly enough that set of Banner's poetry is what is representing us right now on our really our our main page on the city website so very interesting but it doesn't look bad on that page. I think I saw that too. I would be interested in I don't know what the right word is polling the city workers that work there and see how they feel about it. If they think it's old and needs to come down or if they love it and want it to stay up I'd be interested in seeing input from the people that work in that building. And I think that that is absolutely possible because this really because of the funds that have been put into the civic center the folks that go there every day um I think that they genuinely would really appreciate an opinion here um yeah no I think that that's very valid and and also I I can't help but add um in the uh what hundred and some number of of instances that we we look through um the city planning documents the multitude of city planning documents of where art and public places illustrates illustrates the city so you have some grand vision of the city and then there's this beautiful color image next to it it's always of art and public places it's often not referenced or credited um so to Holly's point really what we're doing here what we do here is is illustrating the value um and you know the creativeness of our city so yeah it doesn't surprise me enough not one bit that art in the you know color in the middle pages is is illustrative of our on our home page right um yeah a polling of city workers it should be pretty easy to just send out a fast email and have them respond yes absolutely yeah absolutely yeah can do can do before the next meeting excellent no one would it make sense to um have some could be input for the people that are actually go into the civic center too I mean would there be any value in that do you think that is something that Amy mentioned last time um we just have to figure out a way to do that maybe like a suggestion box type of thing I don't know where they can just write a comment or I don't think I've never been in there myself but like that's probably the best way to do it as opposed to engaging somebody who works there and having collect comments I don't think that's it seems that uh the people that come into the city building to pay bills or meet with somebody or do something they kind of they have a goal and maybe they're not looking around I know I when I first saw those um that those banners the first time that I applied for the position here on the AIPP board I loved them I thought they were wonderful I didn't know they were fated but I I enjoyed them very much and I think that that's a testament to what art and public places can do for people that you enter a public space and you don't recognize it but yet it enhances the feeling and the experience that you're having and so while of course in Cherise Montgomery is going to come and talk to us next month about available places within the Civic Center for public art specifically related to the 150th and really looking into an art project there but if those pieces do come down for the long term and for the permanent that thinking about a suspended sculpture thinking about what kind of infrastructure something could hold there and what that space looks like I think it falls within our purview because people whether or not you recognize it the way that that space feels impacts your experience okay so we will facilitate the emails to the city employees that work there and report on that next month um is there a way that we would be able to pull the patrons that go into that building that's the other question I think so and I think that we can either we can even do um like uh I'll I'll have to speak with the communications department of course with the city because of like touching things and feeling things or whatever but like normally the way we would do something like that is a poster board with stickers and you would go and put a sticker you know maybe or whatever but um certainly a a city poll within workers within the building to get some feedback that way is easily done and I can do that by next month and then also um I think that we have an opportunity in something that's a little bit further in our agenda to talk about do some city polling for in public places so maybe we can meld meld the two we actually have a decent email list um and also there's a city list we can get on the city line I don't know if any of you receive the city line emails okay great so we can we can get on the city line too so so yeah I think that across the board blanket yes we can do that another option would be um puts you know a questionnaire in the long-term observer something like that people can send in you know or they can tweet their response you know we can make it a hashtag something like that um another more direct way to do it would be simply send somebody like me who doesn't have really much else to do these days in there with a clipboard and I can simply ask people when they you know come in and be like hey how do you feel about this stuff I'd like to just make a note for the future when we do pull those things down because of the extreme weight requirements that we are facing that we should be sure to weigh the whole thing just to make sure what it weighs yes absolutely I think that that's the key part of the conservator's job and like getting that person in on the ground level is that we're we're capturing all of that data and uh Noah exactly to your point I have very good contacts now with the with the Longmont leader and I absolutely can get in contact with Prairie um whoever Prairie immediate times call yeah great hey Angela you're up and uh administrators reports so I think that the big thing that I was going to say is just a couple of quick things that I did I I mentioned earlier that I met with the um the lead students uh with Front Range Community College about civic duty and being a civil servant which uh I have to again thank you all because I love what I do and it's been a weird year but uh just trying to encourage folks really to participate and recognize that they can shape their community and then second piece of that of course is that we will be recruiting come June so um that'll be a big thing and then uh the other training that I went through um well I've been through a number of diversity inclusivity uh accessibility trainings recently um but the um lost my train of thought but the big one um or art and public places what did I forget I totally lost my train of thought um accessibility Front Range Community College and well it was a thing and it was something and it was fantastic now I honestly I don't remember okay um yep so that's it um so we'll just continue forward with trying to do recruitment and finding ways of being smart in in reaching my community um yep okay if that thought comes to you we'll go back I know how awkward seeing your mom um yeah seeing your moment all right we've got some new business um again talking about art on the move so it's about getting that time to decommission our art on the move for this year to make way for 2022 is art on the move so um I'm gonna ask the commission if we are interested in maybe perhaps another direct purchase similar to Ursa Major the way we're gonna do this and I saw the postcard Angela I think we're gonna do it using the postcard okay um we're gonna do a commission vote of thumbs up thumbs down for the pieces that are currently out there uh for direct purchase potential and Angela is gonna show the postcard that has all of the current art on the move pieces on it I actually didn't go ahead and make a individual slide so we can go through them one at a time and without without knowing exactly how much the artist I mean I know what the insured value is but I don't want to presume that the insured value is the sale value because that would be inappropriate here um so I think that how we'll go forward is just um and I'm not sure how you as a commission have done this um or completed this with Ursa Major um because it was installed for art on the move and then there was a a gap of time and then you purchased it so I don't know how you've done this before but this is we're gonna try it this way now which is um prior to de-installing it right and having it go back to wherever the artist is storing it um that if we could consider if you're interested in purchasing it before moving it um you know that maybe we can have that conversation in in advance so that's the goal here um I don't know again the purchase prices but really a thumbs up if it's something that we're interested in investigating the purchase price because it's something we like um and maybe that we want to get community feedback if they love it uh I'm not a hundred percent sure or nope I don't like that at all and depending upon how what we get here um I likely will go to every artist and just investigate the cost and then we can continue this conversation um next month but that will just really help with the facilitating the de-installation of of this work right okay so and we also presuming that it has to be available go ahead randy um when we do have the if if any of the pieces do get thumbs up and we'll talk about pricing with the artist then we'll also talk about our budget you know what are at that time to to let you all know where we stand monetarily right okay so here we go presuming and I'll do you want me to tally yes that would be very helpful thank you tally uh make your thumbs very visible oh I don't see all the people even use the fancy right here we go everybody I see noa and randy do you see that I do okay all right here we go alphabetically just for fun starting with the 3d work uh this is iron horse by bill bunting uh the work is of all recyclable material upcycled bumpers and pieces and it is presently uh installed at the recycle center okay I can see everyone keep your thumbs up okay okay keep your thumbs up now I'm now I'm gonna count because there were some people that put their thumbs up later yeah keep them up for sure okay thank you okay great whirling dervish transcendence so whirling dervish transcendence is a new work that is glass um and is mounted with a solar panel to be fair and Cindy I look at you on this one that it was not installed in the most appropriate place because there is a streetlight that's right above it and so that prevents the solar panel and the um dimming I guess if you will necessary for the piece to self-illuminate so we're slightly I guess unsure if this if this piece is wholly successful that said again it's a new piece that was created just for this program um this the funds that you permitted and allowed um allowed this piece to come to fruition so there's something to be said about that I like this if we can find a place to move it to so that it actually does what it's supposed to do yeah I'd really like it if we could do that and I think that if there was a direct purchase that could certainly be a part of the requirement of the contract right that the um and with all of our art and public places purchases we always require a warranty of x number of years usually three so we would have at the very least that amount of time for her to refine it but there's some you know yeah okay for time for clarification are our options thumbs up or thumbs down or can we abstain if we have no preference yep you can absolutely abstain okay thumb time snow queen by steven landis I do have to say um is concrete over foam um I from experience cannot say um confidently the length of time that this would be able to be successful outdoors for an extended period of time that said it is holding up quite well over the year that it has been installed in long months sometime it could probably move inside it could I don't know where but we can always investigate a place prior perfect got it epiphany by jake gibb no finger um as you'll recall is evocative of a caricature from cacaso um in blue um it has held up quite well um and is headed to actually headed parker colorado this year so they've selected it for their program that's similar to ours but not to say that in time it wouldn't be available but I imagine that it would be your from now before it would be able to be installed anywhere thumbs so we can't see the other commissioners is that I only see you four over here can we see everybody or know what everybody is voting um if you hover laurel with your mouse to the upper left hand corner of your screen um of my there could possibly be a brady bunch grid option and that might change your view there's also a little handle next to the people's pictures that you can pull out makes the pictures of the artwork smaller but it gives you more people participants down here no right next to the right next to your little screenshots of people between that and the artwork there should be like a little double line handle that you can hover over and then oh I sure don't see it I have a how about is it helpful if we give you um account if we can say three thumbs up two middle thumbs four thumbs down is that would that help you in the short term sure there's like standard view where you have views and then everybody's listed across the top and there's a little arrow as you can click right and left to go scroll through the whole list of people that are currently in the meeting that's standard view is not you marcia but marcia marcia marcia uh no the brady bunch it's brady bunch never mind I got it I got it I got it ah the brady bunch view okay well we'll we'll try and help you um by at least illuminating what the vote is looking like okay again I'll I'll find I'll get prices on everything I'm going to contact everyone this is really just an exercise of gauging interest right okay and at the end I can tell you guys how many thumbs up great okay so this is trinity by sue quinlan and sue is local uh these are three pillars if you will with um that are mounted uh and and welded and then of course the the um detail that I have on the right is just so you can see the application to the totem because I don't think that it's articulated well in the original image so okay thumbs thank you and lastly on the 3d is petit jardine by charlotte zinc small garden um this piece I think is brilliantly placed I you know in the south kensington park area next to the rose garden which parks was was working on actually um fall of last year which was great because it was overgrown for sure so um I imagine this spring it will be lovely so um it's three pieces obviously that tallest piece is about eight feet high makes good sense there actually yeah it really it really complements the setting and it looks great there okay you guys can put thumbs up and talk if you want to continue to talk got it and so then the last three pieces and I have to admit again that um within the art and public places collection our two-dimensional work um is limited and and that's completely understandable because of course we have to find places within public um experience that these exist and and not just to be wall hangings for for for employees right so be mindful of that that um there are only so many places within the public sphere for two-dimensional work to exist we have this temporary space and that's wonderful but for consideration here is return to your dreams um and this is the series that Cynthia Ligueiros um has up in the safety and justice building and again um we'll remove these pieces all of them from safety and justice put something else up um so if we were to to purchase something like this I would need to go elsewhere um okay got it you should go us all three pieces are you voting on all three or just one each I I I did them all individually because I think if there was a purchase it would be individually uh I can I can absolutely give you this series if you would like quickly I can find it um this is higher than the soul can hope it's quite large you can do thumbs now I'm ready for you and this is to where your dreams are I like your work ready for thumbs okay so I think the next steps of course are that I will inquire to you the prices and the availability and report back um I didn't see Randy that there was anything that there wasn't there was some interest for everything so we'll at least get get um cost and then um if folks if there's something that you are very excited about um think about those and the location where it could be considered um and then I think the next step also would be um if we feel as a commission that we should reach out to the community and ask if and I I don't know the answer to that because sometimes that's a cooks in kitchen bit um or some major again I don't know how that transaction transpired I can tell you how that came up if you want to know um you don't care yeah well I mean I mean you not not that you don't care no I yeah how it's I don't know how it's well you know if it's nuts and bolts for moving this conversation forward and okay we can do it later we can do it another time because it is it is 740 and I'm right um and and also I will I will say that when we think about um the the purpose for these kinds of programs the whole purpose for these programs is for artists to get their work out there and eventually to get it sold right um that that it goes through a vetting process of community and that we enjoy it and it's something that we collectively want to have embrace and have a part of our story as a community um so as a commission you know of of citizens you speak on behalf of that so um right so that didn't happen in the past it wasn't a regular thing a question that was asked necessarily so it just got brought up one day hey what about purchasing this so thank you for for being proactive and before we take everything down asking the question that's a really good point on your part thank you very much that said let's move on to commissioners comments I have one question go for it um the building on Kauffman between fifth and sixth is going up a pace have they reached out to us again at all about doing any artwork for them they have um Justin Lightfield who is one of the developers with the spoke building is very interested in developing a project for the if you will um um barrage screen I'll call it um and so where he and I are with the conversation is understanding um the difference between ownership so if art in public places is going to own the piece the nest the necessity and requirements for us to own it and contribute to it or if they're going to if they the housing authority are going to own it um giving us an understanding of how it is that we will contribute to it I absolutely 100% that this project will come to fruition I wish I could say how at this time um but needless to say one way or the other it is public art in its finest moment right that we that we are taking an expression of creativity that we're we're applying it to a building that has messaging that's within vision long one of our staples and our our um pillars of of our community and how creativity can can um highlight that so uh he he has a little bit of work to do I've been working again with him and um also with uh Kimberly with LDDA so so it's on the horizon uh yep there it is exciting any other comments questions what not I just agree with that I'm excited about that project um to me the the greatest um expression of art is something that is both useful and beautiful uh something that is a piece of public infrastructure that at that size at that scale with that visibility that also expresses you know the something that the town appreciates that's awesome yeah okay um go ahead did you want to say something else we have we have good partners I think we have really good partners and um you know I'm still a little on the new front and and and getting to know people uh but yeah I'm excited about it too it'll be a grand project when the day comes yeah that's another reason for re-upping if you're getting ready to leave the commission anyway um I do want to thank Joanne McCoy for from the museum for facilitating the meeting and I would like to adjourn at 7 45 p.m just letting you know that our next meeting is on May 20th thanks so thanks all for joining except don't forget about the um art on the move on the 12th okay do we need a motion to adjourn I forgot do we yes sure who would like who would like to motion I move that we adjourn second cindy seconds everyone raise your hand if you agree all right bye