 Great. How are you all? We'll come over here at 6-11. Good. So as Angela and I have incited, we are going to have to go through this meeting as quickly as possible because we have so much to cover. So I'm really hoping that you reviewed the packet that Angie sent you and that you're ready to go. Is everybody ready to go? Yes. Okay, so the only ones I know that were scheduled not to be here are John Hansen. Is that true? Okay, so let's get going. Angela was gracious enough to send us our minutes. So we need an approval of our minutes. Anybody would like to motion to approve our minutes? I have a suggested change. Okay, great. Item seven G strategic plan. Number one. I read this and I read Holly passed out and I went, I don't remember that. I suggest we change passed out to distributed. Okay. That's the only change I have. Did you call the meeting to order? Yes, we just did. That's 6-11. Are you going to do roll call or? We can do that. We usually don't always do that because we just did it, but let's do that. So I have to go, but it's a little trickier with this, but let's go ahead. Cindy. There. Marsha is here. Susan. Pamela. Here. Holly. Andrea. Here. Peter. That's you. Laurel. I know she's there. She just, she forgot to unmute. That's why I was like going by what I saw online. Is that okay? As long as you acknowledge that you see them, I guess for the record, that would be good. Yeah, I see. I can add to the minutes if necessary. Thank you. I've got a list and I've got everybody checked off. That's here. Thank you. Randy is here, but she's muted. So. Pamela is here. I'm here. I'm here. I'm here. I'm here. I'm here. I'm here. Marsha is here. Listen, it's here, right? Kim is here. I'm here. Kim doesn't have to be here, but she is here. I've got it. I've got it in the notes as well. Thank you very much. Susan is here. Pamela is here. I am. Kim is always here. Right. I'm here. I'm here. Why doesn't my computer like go further than that? Okay. We'll talk about that another day. Hey. Um, we had a motion to start, but thank you for correcting us. Um, we need an emotion to approve the minutes. From March 12th, 2020. Okay. I make a motion to approve the minutes as amended. Second. We need a second, please. Second. Right. So anyone wishing to speak during first call public to invited. To be heard. Um, on a public hearing item. We'll need to watch the live stream of the meeting. We'll be asked to state their name, address, and for the record. Um, their proceeding comments. At this time, we will go through this again. Do we have anybody who wants to do that? Chair, not at this time. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. I'm sorry. Again, do we have anybody who wants to do that? Chair, not at this time. Excellent. Thank you. So we are about to move on to number four on our agenda, which is call your park. Um, and I will defer to my friend and colleague, Angela. Amy. Yes. We have a motion, but nobody voted. Oh. Thank you. Uh, we have a motion on the floor to vote for, um, moving on. Do I have a second? And now we need to vote on approving the minutes. Yeah. We just did that. No, we got the, we got the second, but we didn't vote. All in favor. All right. I'll oppose. Okay. I'll start over. Minutes are approved unanimously. Does anyone who would like to speak public, invited to be heard. Chair, if we're going to get to that, uh, agenda item, I need to display the, um, Slide with the information again. For a minimum of four minutes because of the delay with the stream to give people an opportunity to join us. So let me go ahead and share that slide. Excellent. And, um, you are welcome to take a four minute break during this time. I will learn some more in this next four minutes. Yes. We should be pretty close, right? Susan. Yes, we are. I'm timing. So. Y'all ask me to time. So I'm timing. So chair, we do not have anyone that has called in as of this moment. Okay. Great. So we've already approved our minutes in a really backwards way. I apologize. This is my first time doing this. Um, so. Does anybody have any questions or concerns? Um, Miss Tiger did a beautiful job of. Amending those. Do we need to do anything else? I think we're all set to move on to point four, and then we'll move on to the next slide. Okay. So quickly. Um, I do think with the amendment, we need to have a vote. So with, um, Miss Tigers of, uh, amendment, can we get a vote to, uh, approve the minutes? We did. We're good. Okay. All right. So public projects, correct? Angela. Yep. Yep, we're set. Go ahead. So the Collier Park project is still in a state of, um, state of the art project. The contractor still has outstanding, uh, points with his vendors that he needs to take care of. So it's tabled at this time. Okay. Thank you, Angela. And, um, the ninth and Alpine, um, I'm really excited about this. I won't pipe in much, but, um, you all should know a little bit about this. And Angela will update you and Noah, but let's start with Noah. Okay. Okay. Okay. So the ninth and Alpine barrel. Uh, thanks. Yeah. The last update I got that, uh, artist Pat Milbury is still working on a redesign for our poor mural. And we expect to have an update in mid-June. Aside from that. Um, we're kind of just waiting on them. And I can, Angela, you. Yeah. So I can also add that I talked to Mike. Who is our graffiti specialist today. And there was damage, my minimal damage at 20th and hover. So we're going to go back to the, um, the mural shield project, uh, product. So that's that two part with the wax underneath. Functioned just as it's supposed to. So, um, It's, it's good to know that the product that we are investigating for ninth and Alpine once it's finished is working in other parts of the city. So, um, Patrick expects to get us something in June. If you haven't seen what he's doing in Denver, he's going to get a sketch. Um, right in front of the capital. Um, So he'll get a sketch to assume. Thank you. That's beautiful point, please. Was that a graffiti remediation at 20th and over the two part one. Thank you. Absolutely. So that's the, the shield goes on and protects the painting. And then there's a wax that goes on top. Um, And then the graffiti specialist goes through removes the top layer that hopefully has all the spray paint and the graffiti. And then just replaces it. Um, It is a removable product. And so in comparison to the other one that we've been talking about that needs it's permanent and needs sand blasted off. So we've gone between the two, but this product is being used in other parts of Longmont and other parts of the city. Um, Any other comments on that? That's great news, Angela. Thank you. All right, we'll move on. We're doing great. Hey, everyone. Um, So, uh, we're on to then, uh, direct purchase of Ursa. Our beloved Ursa. Um, we've gone from a forestry contractor and also a forestry contractor to talk about removing the stump. In the location that we had identified, which is the second location we've identified. And unfortunately there is conduit that runs in the same location. So it would mean a very large sum. To remove concrete. Um, So we're going to ask for the price because he said thousands and that takes us above budget. So what do y'all think right now? Can we just. The task. The task force will have to reconvene or have another conversation about the next site. So we will ask the task force to investigate and then let's table it for now. Did the first site there. Um, It didn't. So the goose, as you'll recall, that is there before the COVID monstrosity that it is was scheduled to be moved. Uh, The building owner and the owner of the goose have not had that conversation further as I understand. Um, So we need to move forward and we just cannot continue to wait for that. So. And we just cannot do that. That's fine. We can't do that. So it'll be another task force getting together and looking at some of the other options. Um, Ideally city on property rather than doing ease management. So this sounds like something that we should take offline. And form a task force and. See what we could do with that. So we have an existing task force in place. So those folks will just, we'll have that conversation again offline. Fantastic. Any other discussion on this item? Karen, might I ask you to adjust your video camera? Me. Yes, please. We barely see you. Sorry, I don't want my cat out. So I apologize. I told you, but you're by yourself. You have to like do some strange things. I'm like looking at the camera right now. Can you see me? If you could tilt it a little bit further down toward you from the nose up, we see you. A little bit more. Can you see, can you see yourself in the screen? No. Are you on gallery view or speaker view? I think I'm on speaker view. So. So move your mouse over the screen where all the video, where your video is. And in the upper right corner, you should see the ability to change the gallery. Oh, lucky you, you guys. I'm so pretty. So it's okay. All right. Can you see me now? Yes. Thank you. Thank you. Excellent. All right. Maybe we move on to the next item. Direct purchase. We're done with sister cities. Angela or Susan and or Cindy. Who would like to go first. Susan, you're muted. I can do a summary if you'd like. Of our meetings with them. And so the installation is going to go on a. Hilltop and maybe. Not quite a hilltop because we don't know the height of it yet. So a portion of ground that. We're going to go to the next item. And maybe more like a mound. Would I be right in assuming that Angela just thumbs up. Okay. So, and this is at workman park. Which will be renamed. And. They've confirmed a Steve. I forget his name. Rand's well or. We're on the ground level. The cost will. Not be as prohibitive as if we had chosen a place that already was completed. So we're kind of on the ground floor of this. And they approved it, which. Is fantastic in that. The sister cities project said the cost was going to be. 15,000. We're going to match it. And we're going to add about 5,000 onto that. For. Some. Butterfly design and the design phase of. Deciding on the work. And that, that's something that you would like to add. In order to make that happen. And not have to go back and forth. With a budget. Are we okay with that? If the group agrees that this sounds like something that you would like to go forward with. In matching sister cities and then adding contingency for some. to make a motion and second and then there can be further discussion after the motion or I'm sorry rather discussion after the motion is made and then a second to move forward. Susan, how much money are we talking again? I think that these guys are bottom line. So how much money? So it's $20,000 bottom line for us. For us, they're matching 15,000 of that. So the group, including Cindy and Susan got together with commit committee and community members from the sister cities looked at a number of pieces that would be similar to what they would like to commission and looked at a variety of different kinds and price points for work. And I would say that the group concluded that much more than this, the sister cities group would either have to raise money or we would need to contribute more. But for the $30,000, that would be the artist stipend. And then the 15,000 would be or I'm sorry rather the additional five. If there was an artist who came into town, we needed to fly them in, then that wouldn't come out of your artist budget. So the piece itself commissioned would be the 30 total and then the five would take care of any ancillary cost. So if the group is agreeable and sounds that this is something they would like to proceed with, then a motion needs to be made with discussion. I'll go ahead. I'd like to propose that we have a discussion. Okay. I think we pretty thoroughly discussed it this time and last time. I'm going to move at this point that we meet the sister cities. Uh, sorry, I'm having a moment contribution of $15,000 and we add an additional $5,000 from our funds to, um, can to buffer any possible contingency we might have. So I move that we, a lot $20,000 for the sister cities project and, um, and that's what I move. So now, now's the discussion time. Oh, so we didn't have a little bit of discussion. We allowed about one and a half minutes. Is there any other discussion? I was just interested in knowing what, what kind of, uh, what are we looking at as, as far as the design goes? Has a, as a call for artists gone out on that yet? No, because budget needs to be approved before an RFQ. Okay. So I would dance or Pamela's question, I think that discussing, um, the gathering place concept from your discussions with sister cities would help, um, with the direction. Okay. All right. Thank you. So we have a motion on the floor to approve, um, the money that I believe is 15 grand is total correct, Angela $20,000 total and Andrea raised her hand. I second, I second the motion. So I can't make that motion. I need to make somebody have the original motion. I did move that. Right. So we have, um, Cindy and Angela. So do we, um, we have to vote all in favor. Hi. Hold on. All opposed. Wait, whoa, whoa, whoa, hold them up. In favor. Okay. Thank you. And do we have any opposed? The motion passes unanimously. Exactly. Okay. Thank you. So let's move on to our next item and, um, Angela, if I skip something, don't mind me, but the agenda you sent is coming all double mixed. So we need to talk about shock art next. No, we need to take a quick pause. I'm sorry. I messed this up before the, after the original motion, we need to now pause for citizen comments. So there's going to be a four minute break while we allow folks to come in, comment on the motion on the floor, and then we will come back and do the voting. My apologies. Okay. Thank you. Okay. So four minute break while we put the citizen comment slide up. Excellent. All right. You might want to mute yourselves if you have not. So we should be close. Chair, I see it about three minutes, uh, almost four minutes, three minutes, 45 seconds. So I'll take the screen down, um, and I will let people continue to, uh, join for the next couple of seconds here, give them another minute, the, when I turn the screen off, it's still live for another few minutes or another few seconds. Thank you. I've been timing too. Great. Yeah. Amy's not a person of time. So you guys are probably like, whoa, I know this is offline, but from what I can see, Angela, the agenda you sent me was all double text. Yeah. I think I tried to annotate the second one and I'm having to go between the house computer. Are we on shocker next? Yes. Okay. And I think in all technicality, we need to revote. For which one? Are we good to go, Susan? Yes, you may begin. Okay. So, so forgive me. Cindy made the motion initially. So someone we just need to re-second and revote, please. On sister cities. Yes, please. So the motion on the floor is that we will vote to support $20,000 to sister cities. I need a first. Cindy made the first. And now I need a second, please. I second that motion. Andrew, please. All opposed, please. Okay. Thank you. Unanimously. Again. Thank you. Thank you so much. Okay. I'm sorry. Andrea. Thank you, Andrea. All right. So now from what I understand, and Angela will correct me, we are ready to move on to our favorite thing. Just really, if I could just ask or just make a comment. The last time we met, we had talked about kind of like incorporating a project charter with our projects. And so maybe because we're at the point with sister cities where we've decided that we've got a financial commitment, this might be a good time to start that project charter. And Susan or whoever, I'll be happy for a minute. So we should have done this with discussion. And what we probably need to do is form a, the sister cities committee probably needs to get together. Angela. So the task force already exists and yes, yes, we should have included that and we should go forward and using the charter every time, which is an excellent point, Holly, but I don't think it was necessary to move forward with the project itself. So I think we're good to go there. But so yes, we'll send the project charter to Susan and Cindy to get it going. And then Holly, does it need to be distributed to the entire group after it started? Or does it stay with the task force? Yeah, normally it would come to the meeting at least initially. So there would need to just be a review and kind of a general approval of that charter. I'm happy to help with some of the details with that though guys. So if you need help, just give me a yell. But we probably should have done that earlier with the task force. So I don't know if we can resend things, but Angela is the lead. Okay. So because the project is funded now, we will institute the charter and at the next meeting bring it forward. And every moment that it updates with the task force and updated version will come to the committee or rather to the board. So Angela, do we need a motion for that? No. Okay. Holly, are you okay with that? I voted in the minutes. Holly, you okay? Yeah, sure. Everybody on the committee, okay with that. All right, so I'm going to give you a minute, but it's time to move on to our shock art. So shock art is very dependent upon, of course, as you know, the scale models for markets to be delivered, photographed, and then the community engagement portion. Really, we're relying on both the museum being able to be open to accept scale models, as well as our friends at the DDA who have agreed to hold them and to store them. At this time, because of course, our city, Longmont and the city leaders are doing an excellent, excellent job in communicating to city employees how they want us to move forward, keeping and maintaining social distancing, maintaining masks when you cannot achieve the social distancing, et cetera. So at this time, we do not have an exact date when the museum will open, but the task force and I will just work together to come up with the most engaging voting opportunity for shock art as possible. That may be in person and it may not, but it really will rely, the program to proceed will rely on being able to accept those artist submissions. So I guess at this point, it's stay tuned. It won't be exactly online with the timing because typically this happens in the summer, but I think that we should be fine if it goes into the fall a little bit. We start creeping into October. It's too cold for those paints to adhere, but I think we should still be able to achieve the program and holistically, no matter which way we go. So yep. So, Angela, I have a question for you. So do we need to move to let you just like figure it out? Nope. Okay. Just discussion. Any discussion on this? I have a question. Yep. The city needs to prep the boxes we checked with the boxes we decided. Are they going to be in a position to do that? Are they going to be open and working in a position to do that? Great question. As I understand, yes, because we'll be able to maintain social distancing and we'll be able to do that from my superiors in discussing our AIPP budget at this time. These programs have been funded and are set to go. So we have been okay to continue. Has the city made any comments on the ones that we decided on? Have they said yes or no? Or have they said some of them are all of them are good or none of them are good or anything? Okay. Yep. Including our backups. So we have, I looked to the task force. I think we selected. Five to seven, ideally, and have two backups. Andrea. Have you collected any of the maquettes yet? Have any come in? We'll know because the city has been closed. So not the city, but city buildings. Right. Just this last week, the public information team, which is the pit team. There's one person who is on museum staff who is a part of that team. And continues to inform the rest of our staff of how we are to move forward as our city manager and. We're still not able to collect. The data about the certain ordinances. And so until the museum can be open for some number of people to come in, we are not able to collect. Scale models or maquette. So as soon as that's ready. We're all moved to the next phase. And so we just put it up on the website and then we just put it down. We were wanting to put a call out. We put it on our website and immediately took it down. Art on the move. We will get to that in a minute. And I promise. Right. Excuse me. Yeah. So we had just put it up on our website. We had just completed the form for submissions, that we have to that we intend with everything we got to continue the program in 2020 but that it would be delayed and we haven't had anyone email or any problems. People are excited though they want to participate. Great okay thank you. Hi there's I'm looking through the agenda and you guys hit on like nine things at once. So move to 4h or sorry 4f. Okay so listening down let's talk about listening gather enough people. No no strategic plane Holly's update about the strategic plan. Yeah if you saw it I see it's all the though it's all on top of each other. Okay I'm just gonna kind of quickly review what we talked about on our last meeting which seems like it was eons ago back in March. If you remember I handed out a commissioner self-assessment which would be the beginning phase of our strategic planning to get an idea where we are as a group and I'm happy to say that we got 10 different submissions back on that. There might be a couple more out there and I'll be happy to compile that information in to the data that I'm going to give you today but if you remember initially there were eight questions that were asked and they required an answer from anywhere from strongly agree way over to strongly disagree. There was five different choices so with that I had the ability to actually quantitate some of the findings and some of the results and to tell you the truth all of our responses were either ended up either being in the agree or strongly agree range which is what we would help for for this type of a survey and the two top scored comments or questions were follow the following. The number one question the top score was I feel my views are heard and my role is meaningful as an AIPP commissioner and that came in with a actually a number of 4.66 with a total of five so that's one that you all appear to feel strongly regarding and the second highest number was the comment art in public places adds value to the people and communities of Longmont. So those are the two highest scoring numbers that came in with 4.55. The two areas where we have opportunity also came in with numbers above four so that means strongly agree or agree. The lowest one was AIPP currently uses its mission and vision to drive the selection site selection display and or placement of art in Longmont and then the second lowest was I have a clear understanding of the goals objectives guidance and expectations that well let me to be an effective public places commissioner and now that we have an idea what our opportunities are it's a good a good chance for us to really put in some strong work around those two lowest numbers and that's really a good place to begin. You want to add anything Angela? No I just I'm very excited to look at those guidelines to look at our vision because as you'll recall the last time the strategic planning was done the end time was 2020 it was called vision 2020 and it really does encapsulate what this group has done over the last number of years and so I think that looking at the diversifying our collection really looking at different parts of town and also with the work that Alexis did of that traffic data and pedestrian data bicycle data of how many views we receive over and throughout the year which if you'll recall was 17 million. Art in public places has a true opportunity for a serious impact so it's a perfect time to really evaluate and I'm glad that people will find value in in your position on this commission because it is it is valuable and the data is showing that so. I would add that we just need to keep going we have to keep going we don't know what's gonna happen and we know that the value of art is important we just go. Do we have any other comments about strategic plan or evaluation like Holly said she'll be sending that data to you so you can and look at some of the comments and thoughts of your peers. Okay so I think we're moving on to conservation and maintenance Amy you're muted I can't unmute Amy but it's me anyway so the maintenance spreadsheet hang on one moment. Sorry Andrea did I miss you so and the maintenance spreadsheet is all set to go with the new form for you to fill out and really I've been holding off again because our leadership has instituted stay at home and safer at home but I am happy to announce that I'm going to release it into the wild and everyone can sign up for the pieces that you would like to go and assess with of course the words of please look to the city of Longmont and the requirements and suggestions for maintaining social distancing maintaining physical distancing and keeping a mask on at any given point when you are not able to maintain that distance as our community gets back outside they are encouraged and they very well may be hovering around some piece of public art without a mask that you are trying to assess and so if everyone it's just your responsibility to make sure that we on behalf of the city are keeping our distance and and assessing these objects in the right way so that is very exciting so you should be seeing that here in the next week or so ideally the beginning of June the assessment sheet is going to look a little bit different than what you have done in the past I would really really like it if you could take photos and upload them so there'll be a common drop box for everyone to upload so when you're talking about delamination or paint chipping you can you can take photos and I can see where where those pieces are and then we'll be able to make an assessment of which pieces might need more attention than others so you should see that coming soon the Unity project again same oh sorry Cindy is this going to be on the artwork archive the assessment will not but I will include the login information for that again and you absolutely can go in to artwork archive and upload those photos I can still not get into artwork archive I don't know why so where is this maintenance and spreadsheet gonna be I'm gonna email it oh separately to everybody I mean group lead to everybody we have to we can't have just a live document out in the world that everyone can assess at any given time it just has to be one to one truth be told it actually is not a bad thing if more than one person signs up for the same object because two eyes four eyes are better than two etc etc if there is a work that someone does not sign up for I'll circulate you know please revisit the spreadsheet and consider one of these other sites should we tell you what we've signed up for I'm hoping that you can just put it into the spreadsheet and send it back to me okay great that's all my questions sure and if the directions aren't aren't straightforward and don't make sense just let me know great it'll be fun and some of the some of the work really does need some love so this is it'll be a great time and something to do not in your house so that'd be good with masks or social distance okay I'm sorry go ahead I said any other comments on that Randy yep Randy hold your space button down on the on the computer you can talk during that time and then let go I have three screens going so that's my mouse I didn't know where it was look like Angela correct me if I'm wrong or that we should be two administrators report nope not yet um my question is we had reports I did some of the reports for the powder coating of the I think it was Animal Farm or that this is called over at the barn park any movement on that the only maintenance that has been approved since I have been on board is the Unity project and the Youth Center but so are you saying that there was bids conducted on those it was a venture contacted to bid out the powder coating I possibly I think it was getting it either got to that point or is right before that point I don't recall okay I'll go back and look and see if I can find those I didn't see them but that's not to say that they aren't there okay the spider bicycle rack was the other one that was completed right when I came on board and was reinstalled so those are the three okay okay I noted that um any other questions about maintenance spreadsheet okay the Unity project so same thing holds true Mario has older older parents and is not out and about as of yet but the he is under contract and the weather is good enough so the adhesive that he is working with is warm enough for him to continue so I imagine that that'll happen at any time documentation of that will be really exciting to watch that come back to life and hopefully when we can all gather together and we can celebrate that work so and totally recall relocation projects I have not worked on at all you'll recall from our last meeting we were encouraging each other to consider and think about places particularly the gather enough people I have not looked into what the guts of that piece look like but you'll remember that I think it needs to be on water for it to truly be effective so Dickens park had come up as a suggestion it's a little unfortunate of course because that park has just been completed so getting machinery in there it's not impossible but a good place say one more time golden ponds just because there's a lot of space out there and I think it would be a lot more visible and it would be used yeah my question is why why does it need to be near water it just needs to be in a gathering place it does but as I understand without seeing any schematics or talking to the artist there's some very unattractive guts that when the weight happens that makes the action on the other component happen and right now those guts are underwater so either it would need to be hidden or I don't know exactly so I need it might need to drop off for the for the weights to do the swingy thing some some there is certainly a mechanical component that the location will be need to be specified so yeah so I think at this point I just need to get more understanding of what it is and open up the conversation to the artist and let him know we need to move it is anyone interested in preferably two people total to be on a task force for this particular issue and project okay Cindy and Laurel that would be great I wonder if while people are out doing their maintenance they can sort of keep an eye open for places to move these sort of things these three things and revisit it if you have not in some time obviously you need to be it gather enough people with social distancing to make it work but yeah go revisit so you can recall how it's size and etc. okay helps her again gather enough people by Richard Tolley where's located right to somebody know yeah go ahead it's it Isaac Walton right now right off the path I'll write off the path on the east southeast side yeah if you just drive into the parking lot right there where the club the building is it's right there as you start to walk down the path and it's right on the pond it's like a big butterfly that opens up when you get enough people to stand on the platform I've never seen it I'm sure it's cool yeah and maybe that would be boy something we could rally around as AIPP to like we can gather now let's all gather at this piece and gather enough people that's a good idea Susan we should do that once we're all able to get together in one close proximity we should that get a big picture of that that's a good idea sign perfect so the other the other two pieces of Tolley's which are along the St. Brain also need to be moved at some time it is not the same timeline so at this point we can just same kind of thing consider those works and where they should be relocated as you're out and about so and those are the listening stones and the details of nature can the listening stone just be moved closer to the river where or doesn't have to be a special alignment with the river to get the echo going I don't think so I think it just needs to be yeah closer because right now as if you've been down there the river of course has been rerouted and isn't close to it at all so it it's not functioning so yes closer I think would be completely sufficient do we need to get approval from the Army Corps of Engineer or anybody to move it how about the city of Longland Angela yes parks no on Army Corps the Army Corps of Engineers is who we're going to be who is going to be I don't want to use the wrong words but building that dam where gathering of people will be so that's why that needs to be moved are you going to get Robert Tolley the artist to be involved in the movement the moving of listening stone yeah I think the artist needs to be as involved as much as possible across the board all right so we get on conservation and maintenance one more question yep do we have to eat the cost for moving that big rock yep okay yep it's our collection and luckily we as you'll recall have instituted you know a larger maintenance budget so that will fall under maintenance well and we'll be fine yeah we have the money we just have to like be original and Angela will let us know when we don't right Angie that's good all right so we could we are on to from what I can see new business my quick administration report for six is just that obviously art walk was was postponed to September so at this time we'll have a booth the same that we would have had in May and hopefully it will go off without a hitch so I'll just keep you posted on that yes new business now you're next Andrea I was I just want to propose if possible if social distancing rules relax a little that we have the shock art maquettes at that time or around art walk time just just an idea would you like to make a motion no don't need a motion Andrea if we wait until September to have voting on the maquettes then they will they still be able to paint before October that's a good question yeah are they maybe they'll start the second Friday thing earlier than September and we could do it during one of those that's a good idea too I think if we do have to do voting earlier maybe at the very least the maquettes of the winners could be on display we just have to watch what happens with our leadership team and in guidance of how we can proceed with these kinds of engagement events but yes absolutely noted another issue I think is is going to be in terms of voting and people having access to these when we are allowed to do certain things is one issue but when people are comfortable doing those things becomes an entirely separate issue and we don't want to count on a large number of people being willing to gather even in September I don't think I I'm attending online conferences from some performing arts organizations and nobody is confident that they can get started again in the fall so I think that we need to be very cautious about expecting certain things to happen at that time and people being willing to do them at that time and luckily there are a vast number of resources that are have been opening up through this when it comes to cultural in online programming and engagement so even new voting I know how it sounds like in the past shock art online voting had been problematic and now there are all sorts of websites that are free for doing this kind of voting on art where you and it's not a ballot box stuffing situation because they either have to put in their email to confirm or it uses their IP address so I think if we are allowed to be in person there will also be the opportunity to engage with people digitally and through other other means so we'll be able to reach further I have one more question and this is a contingency question at what point will it be too late for us to have shock art this year I think if we don't have artists under contract by the end of July we're pushing it it's just because contracts need to be notarized and they require may or all signature so it just based again on experience with performing arts organizations and when they've been making announcements should we have a firm deadline should we be aware of a date by which we really have to make a decision instead of sort of saying well late July should maybe more specific than that and I agree with Peter I think it really helps to have a firm deadline with so much unknown even if it's a late deadline just say some date so we can plan it really helps in the planning process than just waiting until that time that we think it's going to be too late to do it but I think it's it's important to have it have you looked at the packet that Angela sent you today yeah yeah so um how long does the group feel that if the voting went 100 percent online how many weeks should voting the very least take place two weeks Susan saying two weeks anybody else Cindy says two weeks Laurel sends says two weeks I think Cindy has three figures so you all realize that so today is May 28th so we have to traditionally have had everything in place by the end of July at the latest so how many weeks does an artist need to complete a mock cat I think for I think for so if we announced the program opening June 1 which we can do because everything's all set to go that gives the artists four weeks to create presuming that the museum is open by July 1 if the museum is not open by July 1 then we have to cancel the program then they drop off the first two weeks in July voting happens if you say three weeks that's the end of July that gives me two weeks to get artists under contract Angela can't do that gang August 17th no that would be fine that is that why are we we have everything that we need we don't have everything we need I cannot execute this program unless it's city building that I can manage receiving artwork and at this time the museum is closed and we do not have a date when it will be right I'm sorry so so again I think it's completely possible we do need to give artists enough time a lot of them have these scale already created or an idea in their head so maybe we cut it a little bit maybe we give them three weeks two weeks to deliver two weeks to get under contract and then it starts in August and they have to have a complete by October 1 that would be fine if if we set a schedule here and we're anticipating that they might be able to drop them off as a city building by for example July 1 if that proves impossible the buildings are not open and so they have no place to drop them off then what happens do we tell them that those can be accepted later and will be considered for the following year I mean I think artists should understand if they go to all this work and then things happen that they're not able to to to get the artwork considered and used for this year they need to know what's going to happen to the work that they put into those are good questions wait wait wait wait I think it's Noah Cindy Andrea Yvette I'm curious if we if the city buildings aren't open and we can't do the physical moquette thing is there a way we can compile virtual models onto a city website and have people vote there that makes it really difficult to gauge that the artist who is doing the model could actually execute a larger scaled version and it makes me a little uncomfortable but maybe that makes sense great um well I almost don't even remember my question oh if we if we accept art or if we are if they make something and the buildings not open and we say oh no we can't accept it now you can do it next year we're not going to store those moquettes because they're huge I mean they're not as big as the real thing but there's lots of them so they would have to take it back and hold on to it for another six months or a year yes is that correct potentially I could get the photos of them and return the moquette yes storage is definitely an issue now yeah so be it if they wanted they can bring it back Andrea you are next no question anymore thank you Yvette did you have something actually I was just turning on my lamp so good Randy how long has it typically taken the artist to paint the box because I know this past year there was a lot of extensions that we had to grant it typically we give them a full month because we want them done by the end of September yeah okay that's a great question Randy Angela maybe with social distancing and everything should we consider an extension it's the the situation is two-fold when it comes to the paint it has to be warm enough from day to day for the paint to be able to adhere to the primer yeah so if you get into evenings where it dips into the 30s or below yeah it's it's very it's just it won't withstand the weather so really I was trying to buy October one yeah thank you yep so I think we can continue and move forward with this timeline if the Commission feels comfortable knowing that if if her chance July 1 comes about and I am not able to effectively collect scale models that we will have to postpone the program I'm excited to continue because I think artists need to get paid and they're hurting very badly right now so I would like to do everything that we can within reason to continue this program so I'd like to see some discussion on this what do y'all think I mean that sounds good to me yeah can you run through the timeline one more time just the one that you wrote down and do we need to incorporate that into a motion I know but I mean she we don't have it in the minute or the agenda but I'm sure Angela is so clever she can figure that out programs funded it doesn't need a motion it's just how to execute it so we are looking at from Angela correct me if I'm wrong we're looking at a deadline and now we are all suggesting October mid-October correct to higher program executed completely by October 1 yes giving the artist four weeks and then we would need a motion the program is funded yeah we don't we don't have well it's it's fun it if we go like through July 15th right I don't care oh I didn't say that discussion okay yep that's that's what I would feel comfortable with if the Commission agrees yeah Angela the the timeline was called artist at least right now I will call the artist June artists under contract July painting August September completed October 1 where's the voting in there yes call the artist June so dropping off markets July voting July under contract painting August September completed by October 1 I can do that we can do we we can do that cheer you're muted well okay we'll need to form a task force zoom meeting and talk a little more about this so task force to be on a zoom meeting are two people and me aside from that then it becomes an open meeting and we have to do an open meeting like this we already have a shock our task force I thought we do yes we do we can't meet other except for via zoom I'm thinking right just a few representatives right two members of the four of the task force can meet with with Angela well Randy Randy and I are kind of co-chairs maybe we should be the ones so the governor will announce on Monday what we can do okay so for now we'll move forward with Randy and Andrea if you're both agreeable okay let's do that thank you all right so wow that was good y'all did great I'm fascinated okay business Tony or take a mural you want me to take that go and I'll back you off you need it sure yeah just to sum up that press release that the Longmont Museum and the Dia de los Martes committee are looking to partner with a IPP bring Tony Ortega's work to Longmont he's a well-known Denver artist and a regis university professor a lot of his murals consist of color colorful depictions of daily life in the community and with the kind of paint my numbers quality he invites children in the community to help make the mural that they're going to be living with which I think is great it would be paint on panels tentatively plans to be mounted somewhere near fifth and Kimbark and a piece contribution would be up to ten thousand dollars I think that's a little bit slim that's what I heard I don't debate that but I'm a little concerned because we've done this ten thousand thing before and we ended up going to to 20 so are we pretty confident that that's where he's at well it's the other two contributors would be the Longmont Museum and the deal at Dia de los Martes committee so if they're if we put up ten grand and they can't cover the rest you're right it wouldn't get done okay so it's after the commission but I really think that it's a great thing to do I agree I've looked at his work I really like it and I think it would be really fun to do we looked at some more locations it will be on panels and so that is the key point of this is that the panels will then become part of AIPP's public art collection and so while they're looking for a place that will be located to positively impact Dia de los Martes and the 20th anniversary of the celebration in Longmont despite what that looks like for social distancing so if it's done on panels if he needs to do it alone or with limited number of community members then that helps execute the program versus if it were in a installed permanently in a public place does that make sense let's open this discussion Noah right sure but I I just want to say that I like the fact that it would be done on panels ahead of time and then mounted that way it gives us plenty of time to apply like anti-graffiti stuff you know we can be responsible in creating those panels and then mount them later and then we could always unmount them and move them around if we need instead of having to knock down a building and take their walls exactly hold on it's planned for fifth and kimbark according to the press release I got but I looked around that area and I didn't see a lot of great spots so we'll have to keep looking probably well that is one of the great things about it is that it can be moved and it can go other places can I chime in so this is Kim and I just want to make sure that there's some clarity here so we've been working with LDDA to try to identify some locations and there's actually a Comcast building right there that they have been talking to in the past about this just to be clear we have not talked to Comcast about this yet at all but LDDA had talked to them previously about that location so that's why it came up as an option when we approach them about it and the other thing is that we as the museum have a meeting scheduled with Tony I believe it's tomorrow to find out a little bit more about his availability and that sort of thing we are having an exhibit of his work that will celebrate the 20th anniversary so in theory this is kind of an extension of the Dia de los Huertos exhibit that we'll be hosting after museum I've got nothing else if you're waiting for me any other discussion on this if there's no discussion or further discussion we can make a motion if anyone is interested in moving forward with this project I motion I'd like to have a motion on this yes I motion that we make this happen I second right so I love you guys to say things like we make this happen I love you all and you're amazing but we need to have a little more specifics let's make this happen so make it so so I I motion that we make this partnership with the museum and the Dia de los Martes commission and to get Tony Ortega's work on our walls excellent for $10,000 $10,000 do I have to put that all in one sentence or can we just uh Angel and I would probably say yes got it all right I motion that we uh AIPP contribute $10,000 to a panel mural by Tony Ortega with what was it the museum and Dia de los Martes 20th anniversary uh yes thank you Noah and do we have a second so do we have anybody or let's all in favor do we have any opposed the motion passes thank you all right so I would like to say at this point in time we have 30 minutes to through art in on the move preview um Susan Wallach how do we feel about this time and going over our eight o'clock timing I'm here as long as you need to so it's up to you and the board I guess does everybody have their choices made yes so um I guess was definitely not clear on a couple of pieces uh firstly that the art on the move selection committee initially said that we we have a couple of options for potential indoor and we were going to investigate sandstone ranch you might recall from our February meeting uh about Roy's world which lives in at sandstone uh to move that over potentially to the safety and justice building but we were never able to get in there because they didn't open until May so that 16 foot wall is available potentially for indoor art as is the entryway into the safety and justice building which is very visible very large windows uh so there could be some indoor or installation uh there as well to be clear that would be included with the five to seven options so in total seven options uh this is just a preview we're going to be going through and if there is a piece that you would really like to advocate to have included in the program this year then a quick discussion of advocating is best and really if there's something that you're not fond of we'll just keep that to ourselves and just keep moving on so does anybody have any oh and the voting piece of it will come to you from call4entry.org with directions of how you log on and how you you yourself will vote um the cumulative scores whichever one one's rise to the top will be the ones that are included if we can get under contract if we're not able to for whatever reason then we'll just move down the line of high scores low to the lowest and those uh sheets those scores will be included in the minutes for the next in the minutes for this meeting um anybody have any questions yes Cindy no surprise um so five to seven we're only looking at downtown sites we're not looking at any of the other sites we've had in the past so the museum recycling center yeah that's a really good question um if the work that is selected uh if it's base size um will only fit something somewhere else um say the recycling center has a very large concrete pad or something like that and that's where the art and the move committee would like to put it then that's completely fine um yeah does that answer the question yeah uh downtown has a lot of locations yes Laurel you're muted Laurel the selections right now going to be uh say that one more time i i missed most of it i'm muted by the host you're good i got you okay okay are we having to select based on where it's going to be no just what do you like first we're just going to select the artwork that we like right that and then we decide where if and where it can go yep okay thank you any questions so the way that this meeting will conclude is we'll go through these uh pieces if you have something that you would like to comment on just raise your hand and i'll call on you a quick um comment and we'll move along uh then we'll have to go to the citizen comments so that'll be a four minute four minute break and then the meeting will come back and we'll end the meeting yes Yvette when when we actually vote will we have access to the artist statement and who the artist is yes artist statement not the artist angelo one point to consider when the screen is up that we're displaying for your presentation it may be difficult to see all the members for them to let you know that they want to vote you will see if you change your participant view you might be able to see a few of them in the sidebar but if somebody does need to comment they may need to just speak up so does everybody get that if you have something to say maybe say your name and then i'll call on you so if i wanted to comment i'd say angela and then i'd say yes angela and then you go ahead and comment okay um again this is not voting it's just advocating uh everyone will vote independently online sound good yeah okay are you comfortable this is a party time um so are we eliminating any from this list at this time or are we just saying oh i like that yep trying to get general consensus so you know how your your colleagues are going to be voting so if there's something that the group feels strongly about this is the time to advocate for that and also if you'd like to say i could really see that in uh saint peter i could really see that in that breezeway at 400 that would be a perfect place um you you could include that as well right okay okay soundly fun yep okay are you ready angela are you ready for me to begin i am ready okay this is what we're doing submission preview slide this is what we just went over we're advocating uh just for the comments and following this meeting you'll receive your digital jury voting and instructions so if you have any questions you'll just email me okay next slide these are the works that uh would be outdoors okay slide lined on point it's six feet tall by one foot by one foot it's steel and high fire salt any comment average okay slide yeah sometimes life goes in a different direction so it's 10 feet tall by 18 inches by 18 inches i think that we have more interesting sculptures than this one these do these balls spin in the wind you know uh so i am looking at the descriptions and it does not and i will also send this to you the description which is different than the media and i it does not say that it is kinetic so i do not believe that they move but if they do it the artist did not indicate that here and i'm wondering about space do we have something that we could we have that high for and yes so i went through each of these pieces to be assured that the mounting system and the height would be something that we actually could display so yes thank you yep okay slide warning life changes direction nine feet high by three and three quarter feet by two inches deep i like this one i thought it was not i think it's ugly as heck let's try and advocate because there's 50 to go through so if you like it or second that you like it so i i do like it because i like things that bring color into whatever space they go into so amy will shh amy shh okay great slide starburst four inches by so that's nearly four feet high by 15 inches by 15 inches these are recycled pieces doesn't do it for me i don't understand this piece these are i understand that it's rusted metal welded together with crystals that that top piece is crystals okay it's nice that it's recycled material but it's just it doesn't do anything for me yeah i'm not sure i understand what we're doing here i thought we were just kind of indicating which ones which five to seven we were most interested in are we raising our hand are we commenting on the ones that we like we're commenting on the five to seven that you like so as you previewed if you are an advocate and you are you are advocating for a work great imagine we're eating dinner and we're having a good time are you bet and we're like thinking about all these beautiful pieces that's what we're supposed to be doing right now okay well i i will tell you which seven i like now i'm clear perfect okay and also yeah if we think of these pieces downtown imagining that downtown is reopening and people are waiting in line to get into their favorite restaurant and they're waiting out in the breezeway so this is something they're interested in or maybe we we do a tour of these things so really we're looking at those five to seven that you would like to see if you were out and about all right so laurel excited the last one anybody anything positive about this continue okay great love love love next slide ambiguous family is 84 inches high by 36 by 36 it's steel and crashed truck hoods i have an affinity to that one it's holly i like it yeah i like it too yeah this is francis um yeah it's got a real dub uh like a dead butterfield feeling with the truck parts very nice yeah i like it and he likes it too um can you hear me yes yes that okay yes thank you got it yep so it sounds like a vast majority of folks really like this work or a fifth of us it's not my top but it's okay okay i don't eat it me neither okay all right next slide i love this one love it i like this one called tree it is hill and copper nine feet by six feet by four feet does the lady come with yes that's what i was going to say who i am i'm like can she come too yeah i i suspect that is a model but i can clarify with the artist okay next slide embrace one 120 inches tall by 22 inches by 26 it's steel so how how many places has this one been uh not indicated here it looks very rusted if it's just me it looks like it would be a really good companion piece to the um i forgot what it's called in the park by the train and can see can sington no all your right that's a really good point thank you amy just as a point of clarification um i'm sure this is courtence steel and it's actually kind of designed to rust on the outside and it makes it actually a very very durable material um because then it doesn't rust deeper into the the metal thanks kim yeah i wish we had a different art dork i'm learning you guys i'm learning uh yes this artist did not supply more than one uh image you will see on some of these that there if they provided a different uh view i tried to include every view that that made sense to give you an overall uh feeling of the of the work here just the one image was provided i don't hate this one this is cindy i don't hate this i like it next slide i'm wondering um on that curved piece that the that we have the front view up does it go through the okay this curved front does it go through imagine it may but that again there's no other view that was provided i don't hate this i like this too yeah okay next slide short stack this is 80 by 20 inches by 14 inches i really like this again i love the color house okay couple people i agreed birdhouse yeah that'd be great it may become a wasp house and we will have to take care of it that way yeah i'm not a fan not a fan me neither all right next in these nine my question on this one is does it come with the bird bath i do not think so bird bath is not included in the materials oh i believe so it is copper i like it too i'm a dork i like this one i like this one better than the other one the other tree because it has more color yeah and more substance okay i like it next this is called rock candy it is 11 feet 11 and a half feet by four feet by 18 inches it's stained glass mosaic on metal base one thing to note about this work is i am not clear if this is newer to be or if it uh it exists in time i have a feeling that the artist if this were selected would be creating this work uh that's fine it just would be obviously on display for less amount of time because the artist would be creating the work it's really hard to see it's really hard to see thank you i don't think historically we've chosen an unfinished piece yeah andra you're right from what i can i know too just i mean we can do it but there's no guarantee the artist will have it completed ever so i mean that's one of the reasons why we haven't but we can always you know there's a first time for everything i i would want to have a full idea of who he looks sorry hold on hold on uh susan whorewitz um i was this same artist um i mean her name is right there on it it's Annette Coleman um had us another one the whirling dervish and i liked both of them i didn't understand that i didn't understand that it wasn't already in existence and the AIPP had never done something that wasn't already in existence so again i'm not clear um i would imagine that if it wasn't existence we would have gotten an image like the others so well the description doesn't say if you read the description and and visualize from what she's done it sounds kind of intriguing um the one that i liked better was the whirling dervish and i didn't know if that one moved or not yeah i like that one too i love it too but don't you think we should have a real image i don't know it's being the first time that we've i've ever done this how have you it sounds like you've never done that before and at the same time new times and you know maybe you want to give that a shot for the first time or not i don't know it certainly would be a part of the contract language that we would require that the work be done in some amount of time so that we don't have pedestals hanging out empty um how many of you just looking at this would approve it well i like stained glass i like the glass um and it's lit with solar and so that it's lit at night and so i'm sure it it would be beautiful with all this glass but wait wait one at a time so peter peter you're next two observations one it says see examples of finished work which implies that this is not finished work i mean that that seems to be clear to me all right my other feeling is that i'm i would prefer to actually see the work because i'm i mean i agree that the stained glass and and translucent with the lights and so forth would be very attractive could be very attractive but i don't have a very strong idea of what the finished work looks like and so that makes it more difficult for me to split that so azure you're you're next um i think she submitted about five different pieces some of them we can see and some of them are mock-ups i really like what she has done in her other examples of finished work and i think i would have enough trust for this artist to show something i also like the whirling dervish a little bit better than this one um that one was not completed either okay but uh she does have a couple other submissions where we can see what she's actually done okay so let's continue unless anybody else has something very strongly to say about this work um angela can you send us some of our other works you'll see them in five minutes thanks love okay here we go next one more question oh yes go ahead the question is um we we didn't have very much luck this year with the solar panels on that uh three tubular piece and the lights working and everything and i'm just a little cautious about this one we have many pieces of the stained glass sculpture in this uh series and um i like some of the other ones better i would say that the solar panel fail was a site specific site failure because the site that was chosen was underneath bistro lights those lights then counteracted the fact that at night it needed to be dark so i think we can get beyond that but yes excellent point okay okay next slide door gets in travels to this one i like and i would like to note that it is stained glass mosaic exactly the same media as the piece prior i like this one i like this one too i like it and it's done and it's done i like it too tall yeah two and a half feet and 28 inches i like it too i do too but i it's because it's done okay so it sounds like there's a good third third of x that uh agree this okay next slide petite jardine small garden 111 inches by 44 that is wrong for it's going to be 44 inches i like yeah it's i don't like it at all sorry is it the colors but i don't know is it 44 feet really no that's that's an that's an angela air that's 111 inches by 44 inches so at its widest point it uh is is four feet wide probably at the cone element along the top and so 111 if that's about 12 feet high 111 feet high no it's it would be 10 feet high right 12 inches times tan is 120 yes so it's just under 10 feet okay 10 feet okay thank you i like its size and color wise um i just it's striking i find it a bit simplistic yeah i don't know i know i have to find the right place for it i like the feathers i really like the feathers i like it i think it's a pretty strong large piece for the right location i'm not sure what that is lauren once told me that in kencington park they have three pads but i don't know how close together those pads are or whatever um this would be nice there because it would stick up above the planter in front of the pads but and i like the colors because they're colorful but the piece itself the tulip is a little is that a tulip is that we're calling well that's what i'm gonna call it i don't know what it is okay well there i know we we can't go on but is that a tulip i don't know what else you'd call it those are leaves probably not feathers then it's called small garden yeah it's a it's a tulip all right andrea you're all right more advanced than i am okay he put a large piece in front of the civic center once i don't know well and the civic center is now yeah the civic center is now complete on that new side so that really opens up a very large opportunity and it's it's such a the civic center is so kind of blah brown there's no color at all this would be very striking but we should probably go to the next slide didn't you think angela yeah we'll keep moving along but yes we should keep that location in mind certainly so next slide oh the woman you know me i really like her i really like her i love her i want a marier okay queen is cement and acrylic and um i believe according to the description that she is lit from the inside but is not indicate here that that is self-sufficient power source so i would say as you're looking at this work to consider it without the lighting bonnet present i'm having your trouble playing with you mute your phone sister so i'm not a fan of this one just not why i you know i don't know she's just i think she's fucking beautiful i really like her all right i think she didn't be great at st stevens and yeah she represents a mother all right sounds good next slide this is called monolith 110 by 30 by 24 steel and bronze nope nope nope i like it okay all right next slide the point also steel and bronze this is 64 inches by 16 by 16 hey is this an inside one no it says that it is outdoors yeah it's steel and bronze why wouldn't it be outdoors yeah but i don't have the 16 by 16 that's tiny like that's just the that's just the width and the height is 64 so it's five three feet not nearly six feet tall um yeah i mean i would say that that orange is certainly a patina um if it has been outdoors it's that patina has likely changed but um yeah it's just boring boring boring yon next slide i love it i like this one too so big tries to take that to their house um i'm sure it should be bolt bolted in right of course all all of these pieces have a mounting system which will secure them uh yes susan horowitz um because it's so inviting i like it a lot but would people be able to sit on it can they um eat you know on it i mean is it that piece of usable art yeah same question so it is steel and bronze uh i cannot imagine that the artist would submit this work knowing that it is going to be on public display and that my kids would jump off of it right you know but i think that uh certainly that will be written into the contract of all of that liability piece and we'll make it epically clear to this artist that because of no matter where we put it in the public domain that that invites public to interact even if we say do not climb do not sit which we would but yes well i liked it i thought it was unique and different there was um a time before the flood it reminded me so much there was an enormous table of wood um right after the bridge um that had been put in place and that people just love to gather around and picnic at and it was enormous um it was probably a little bit bigger than this but it was a quite popular place and then when the flood happened that wood went down the river but it it it reminds me of it and it was very pleasing yeah i like this a lot especially with a thought in mind that you could sit on it and have a picnic or whatever right okay all right next slide this is springy blue skyscraper it's five feet tall by 13 inches wide by 12 inches deep nope kind of a small guy i don't like this one so much no anybody feels strongly about this guy the howling has begun outside by the way next slide this one i like i like this one a lot this is my favorite one i like it okay sounds like there's a lot of people who are really interested in this yes yes i really like it just in and of itself but especially out of these three cloud related ones in a row this is the best one right really i agree it does look in this p in this picture to be quite larger than it is it's only five feet tall so uh certainly placement on a plinth will be will be necessary good good piece for st stevens yeah nice great plinth is really fun to slide please no one that bothers me about this is it says it's electronics electronics what does it do i don't i'm not a fan um it's just electronics just means something else it can break maybe maybe it's like the lightning lights up or something lightning strikes you get too close description it doesn't say in the description what the electronics portion yeah it could be sound uh it could be a thunderous sound that came from it i don't i mean that'd be something we find out about okay next slide please this is pillars of society six feet by 15 by 15 and it is bronze and we have seen this before no interesting concept but just not really nice to look at right yeah okay all right next slide please i don't understand this piece this is the serpent waiver i really like it i don't understand it either um the description will um assist a little bit with talking about petroglyphs etc right yeah it reminds me of a kachina doll so what about the the side in the the other picture what is i don't it looks to me like that is a photoshop version of it placed in situ and the scale is very wrong well it seems to me that it's one of those things like we see later where as you go around it you see different things you know like this side is this uh cool kachina doll thing but then 90 degrees later it's supposed to be something else but i i can't tell what that is and these are the images that were provided yeah and you when you're voting you will see all the images which um you know sometimes it's the same thing twice you know okay this is francis um i just wanted to say imagine this juxtaposed with the snow queen that could be some interesting context yeah that's a good idea and it's colorado yule marble which is interesting mm-hmm i like it but i can understand why somebody wouldn't angela do you have i don't know if you want to answer this question but um are you able to tell us whether this is a native artist or not i i only ask the question because i think it does have so much uh relationship to native art that if it's not a native artist i think it's very problematic the artist does not state in either their artist statement letter of interest which will be included for the jury or the description of the work that this person is native um and not that a name ever gives you any clue whatsoever with reality but um that too does not have any indication yeah um i will say the artist says that the the artist hobby is to hike and look for petroglyphs um yeah mm-hmm yeah all right next slide please i like this one so transcendent same stained glass mosaic with a metal base yeah i like this one too i kind of like the idea of having an artwork for the first time and not have it be all over Colorado before it gets to us and from what i've seen from this artist i like her work so i think it could be interesting i like i like it and of course if there is um if the jury does vote for one of these unfinished pieces ahead of time we can always put a stipulation um of that time yeah that is a very tall piece yeah it's almost four feet on the base and then another eight feet above so that you need a space that would take that larger object well that's yeah it'd be very striking i think yeah we would have to put this in a place that gets a lot of sun right solar panels civic center there you go could go to me civic center again okay and oh yeah Susan yes um does it say in your description more i mean does it move uh there is no indication that it is kinetic okay um says solar led lights bring nightly delight to the sparkle of the stained glass mosaic depth is created by metal substrate for strength add stained glass contrasting with the patina on the base for a wonderful just juxtaposition in design for colorado weather nice i like it a lot i think it's so different um and and i would have confidence that the artist could have it done and prepared and i agree okay all right next slide please migration transformation that r did not be capitalized that's um that's my fault um this piece is a finished piece obviously and it is also that stained glass mosaic with metal base standing nine feet tall by four feet wide by two and a half feet deep so i like all her pieces and i think she gives us i think it's two finished stained glass pieces mm-hmm i this this piece does not have the solar panels or the led component okay i like the first one that we picked better the george jatson one yeah that one better too i like this one but i like that one better yeah and i really like the world in dervish so okay all right next slide please i really like this i love this piece this and i think we've had something from this artist before by the museum is this the same artist that had her pieces by the museum a couple years back uh okay i don't know i guess this this artist has been included in art on the move very very recently okay that's it looks like the bench it looks kind of like the bench i like this idea i like this one sort of on in a breezeway you know like one on one side and two on the other or something i like so this so you get that surrounded feeling i like that yeah i agree this is really nice yeah it's yeah i really like it so it sounds like there's a lot of advocacy for this trinity yeah i probably wouldn't want to have it by the museum again if it were at the museum before the similar one not this right yeah makes sense we absolutely can go back and look at some of those sightings to make sure that we're not duplicating that way okay all right next slide please this is beyond my ability to understand i think it's a fly for fly fishing yeah i thought it looked like it does really look like a lure yeah i know it's very very very tall uh but that's not problematic it's also quite wide from its longest point to its longest point so but i did some investigation and we can cite it our sightings would be limited but we can we can hold it this is nothing to hurt somebody it doesn't yeah it does not move me no no not at all that's too bad it wouldn't take much to have made it more interesting and amazing looking yeah in color yeah one groovy thing it has going for it is it takes something tiny and then flips it to this really novel giant scale and so i think that kind of puts you in this like interesting headspace to sort of reevaluate everything else around you after you stopped looking at it i'm not sure you know as far as the aesthetics but i do think it's interesting headspace yeah good point yeah i think if we were fisher people we might appreciate it more but i'm never enjoyed fishing i would say don't go ahead Susan i do fly fish and so that's why it immediately struck me um but i feel like there's something not here in town maybe uh i just have a memory of of some fly fishing art um but i mean it's intriguing and i like the head space comment a lot uh but it just wasn't one of my favorites for art in public places even though i love anything that does with fishing but yeah the composition is just a little off somehow to me and i find that the setting in which the piece is photographed is very distracting i'm having a hard time looking at the whole piece it i have to focus to see the work beyond the shed uh yeah so the forest through the trees but that might be an indication too that it might be difficult to find a great site because it's so tall you know the back i i don't know that's just maybe okay let's go to the next one ancestral totem concrete and steel i like it yeah maybe artist peter but i can't hear you terribly i ask if this is a native artist or if the artist's ethnicity is part of what this is about the um the artists uh background is not indicated either in the artist's statement uh or the description at all is this is this triangular or just two sides i'm obviously four sides but is it triangular i believe that it is a it is rectangular because the the dimension is eight inches by ten inches right look at it right in the city view it's uh narrow yeah and so is it the same on the other side do we know or is it different these are the only images provided of the detail okay thank you uh susan wallach our uh chair is in the waiting room one moment thanks well i like it but there are things that i like better so and when you're ready susan we can move on to the next slide chair can you hear us amy are you back yes i apologize i'm sorry um i had glitch something happened my computer became unplugged thank you no worries but it wasn't so thank you for your patience we're good uh angela yep next slide thank you this is double cross 79 inches so over um over six feet by 36 inches by 21 inches powder coat of steel kinetic i just want to hang on all those handles on the end is is it kinetic or stable oh it's stable okay it looks kind of fun but at the same time it's very simplistic i agree yeah i don't really like it but i will i like the shadow that it has if it had colors it would be more attractive to me different colors i'm not i don't like it okay anyone other positive okay next slide please this is abundance it's 69 inches by 39 by 12 core 10 steel and hot rolled steel so the core 10 is the orange bases and then the hot rolled steel obviously is the is the red i really like this and then i think it's another piece that would do well in st stevens okay anyone else uh it's a man for me yeah just looks kind of whimsical looks i don't know looks fun i like it okay next slide please this is the one i have trouble with angela yes so clearly this is not mixed media on paper fact is in fact steel and outdoor quarry sculpture clay um and the dimensions are not sorry sorry peter say again those are not the dimensions either right those are also not the dimensions it is 84 inches tall by 30 inches wide by 17 inches deep so it is that i mean i imagine the 84 inches obviously is the tallest of the two components um yeah i like this a lot it looks like a cactus garden i really like this a lot yeah i like it too it's fun it's very different this is Susan i like it too but when you say it's very different i feel like we've had a lot of bead um play sculpture um i i really like it but i i i worry about getting repetitive in that same visual okay anyone else would comment for router eyes okay next slide please yeah i like it because it reminds me of people in long months yes i really like this and i think it would be great at the recycle center they have a good idea yeah you would see it as you drive by i like this a lot yeah it that's a good idea i really it didn't really i didn't really necessarily like it for any reason but it would fit the recycle center really well it would i just think it historically fits long mon um the fact that it's truck bumpers and that it reminds me of cruising down main and i think it also appeals to a different audience and i think part of being a ipp is to have things that maybe you wouldn't have in your yard but you know a whole gang of people are going to go oh that's the coolest motorcycle now that's the first thing i thought of too is oh that's the coolest motorcycle i like it because it's well i like it and then it's recycled and i think it would be popular with kids and adults and adults a lot of adults especially vouchers all kinds of adults a problem keeping kids off of it at the recycle center when a few years ago i took a picture of the thing that was there and it's really not very i mean it's completely accessible but you have to pull in and park and walk over i think that it wouldn't be a thing if we put it there it wouldn't be a thing that kids would exactly have the ability to climb on yeah yeah the it's more about drop by sea it isn't that cool good point all right next slide please i love this one this is with things like eagles why do i love this one i have no reasoning behind it i actually like both of the pieces i think they're probably by the same person the next one too i like both of them this one's fascinating because the shadow is part of the art if you look at it from one direction it's a cowboy if you look at it from the other direction it's so true now uh so true yeah yeah and and i like the texture the texture is really interesting so there's two questions i have if we put it someplace outside though there are pieces on this that look like they might cut someone now that i'm a puppy and a god mama i'm like oh that looks like something a kid would like hurt themselves on it all depends on how tall the base is yeah well the entire piece of course is 69 inches so yes putting it up on a plinth rather than having it directly on flat concrete would be necessary well i'm five feet tall so i'm 62 inches so that's a little that's like almost six feet yeah it's five and three quarters feet thanks brandy for your math if uh children or damage to society is a real concern with this one it might be a good fit for the indoor and then have the specific light you know illuminating it i don't know though we don't have that much for indoor now i thought we talked about that whole room that needs uh art in it yeah the lobby the big lobby we do have the um the safety and justice building that's correct right okay this has to be putting a corner so the shadow works right correct right so that safety and justice building is that place where no one can go because uh in the building uh because the security guard is there but can see it from outside the outside windows that's got three wind on three sides you can see it so there might be a lot of light in there to throw the shadow okay next slide this is wings of the wind nine feet by four feet by two feet steel plate this one reminds me a lot of the piece we have deliverance out on what is it county line road defiance defiance yeah not the same artist though it's it is this is not the same artist as that yeah but the the subject matter reminds me a lot of that piece very this very similar and also the donated piece that's by sunset park the sunset pool the eagle there eagle that's bronze yeah yeah but i i like it you know i like that it looks like a real eagle it does so many eagles they don't have this like i'm trying to show you guys but i can't they don't have that chin okay next slide please this is epiphany 136 by 89 so it's tall and and long it makes me think that's just me yeah i have my notes on this say tortured horse yeah it's cool it's very Picasso-esque it's like something out of Guernica but it's got that whimsy it's like it's um it's again got that like kind of nice um crossroads to it thank you francis for being positive i love you so much no it's i think i like it too it's nice and bright and like she said when whim's a call and you know we have to think about children someone mentioned children earlier um and you know the younger population would have a good time with it no it makes me laugh i think the same thought i had that it looks Picasso-esque it looks like Guernica and uh but it's it's a nice color it would add color to the right spot um but you need a place to can take a big piece of metal yeah so the artist calls out Picasso directly as inspiration ah okay i think it would look nice or something it looks like puff the magic dragon to me it does it does well i agree puff should we sing it no no you don't you're fine no no no no no no no no no no no no no no no no no no no no Angela do we still have a spot by the jester's dinner theater where we had this giant um tool oh that's a That's a good just south of gestures. Yeah. Oh, well. Yeah. So yes, I think that I don't have gestures. I know them very well because they were they're my daughter's grandparents. I don't know if they would dig it, but we could try. So we could investigate that space for a temporary piece for permanent. We would not because of future intentions for that lot. But yes, we could look into that. Yeah, I think that spot needs a lot of color. And this would really Could I check in one other little piece is I think the blue horse at the at DIA for better or for worse is sort of because of Colorado icon. So I feel like there's sort of like a nice little callback there. Yeah. Yeah, this one's one of my favorites because it's so expressive and silly, but not literal. Exactly. And I think excellently, you know, if we're shipping repairing these that it would go great with angry woman, which is like five down. And that's why I hate this one. Just love it. I'm like, I do not like DIA man. I do. He scares me. She's missing the demon eyes though. She needs the red eyes. Yeah, I love the DIA. It's actually quite gorgeous. If you look at his eyes at the top, the artist did a beautiful job of withholding his eyelids. You see it? He's not really gorgeous, but golly. Okay, we're gonna keep. So the next one is next slide, please. Gregory feel. Oh my gosh, right rather slice of life is the piece. No. Great. Glaze, ceramic, steel, cement, boring or motor and go boring 43 inches tall. boring. Okay, any abby? What do you think? I like it. It's okay. I mean, it's okay. Yeah, just okay. If we had lots of slots to fill, I would say sure. Yeah, but I think we have better choices. I do too. I agree. I agree. Totally Miss Tiger. Okay, we'll move on to the next slide. The kiss, which is silver powder coated well. I want to like charcoal finish. It's not very tall. It's 47 inches. So just under four feet tall by 16 by seven. So it would require a plan. No, I like the much earlier metal one we saw with the three interconnected pieces more than this. Just this could be nice, but it almost looks like somebody dented it in parts and I don't know if that's on purpose. I guess it's on purpose, but I feel like it takes something away from what could be a very beautiful piece. I love this piece, but you're right. Well, no, that's just my opinion out of it. Thank you. Okay, next slide. No, I want to climb on this. I can't imagine putting seven year olds near it. Yeah, and it's 119 inches tall itself. So it's a neat this one. Sorry. I want to climb right up it. Anyone strongly for this? Okay, next slide, please. Third degree 96 by 28 by 22. I hate this one too. So no, shut up. No, I don't like it strongly for this one. Does it move? It looks like it moves to me. It does not stay in the description that it's kinetic. I was tend to suggest that for the justice building, but just on the basis of the name. Good one, Peter. All right, next slide. Just tell the judge we've got an artwork for you. We're going to give you the third degree. I love this. A couple of years ago, we had the wider man in St. Stevens and it was instantly vandalized instantly. People pulling on the wires and everything. I don't know if you could guarantee this one not being. I love him dirt damaged. I'm not sure all of the materials because I don't know what industrial objects mean. You don't have a site by the center. Do you? Say one more, Pete. One more time. I said, do you have a site by the service center? They kept it just because of the name. I think the industrial objects are the plugs like things that the wires go into on the on the stem. Yeah, I think it needs those little beads like the little kids toys. Yeah, I like this piece, but I don't know if we could display it publicly without it being destroyed. I think Marshall also makes a good point if we have it next to a building that's occupied pretty regularly, that might be the way to ensure some safety, but library or the Justice Center. Yeah. I really think that we need to start putting play pieces where we wouldn't think that they should go. Does anybody else have something strong about this one? Okay, disagree. No, I think, yeah, I think we can find places for all of these things. I love him. Look at him. Look at her. She looks like a bumblebee to me. How about you guys? She looks like she forgot what she was doing. Whoever made it, him. I love her. All right. All right. Slide. This is, oh, back line. There we go. Angry woman is 60 by 66 by 64 and is painted steel. This is also the view that I have of this work. So I can't, I can't articulate what it looks like from the other side in the round. This is, this is massive. It's five feet square roughly. Yeah, that's just okay. It kind of reminds me of laundry rack where you dry your clothes and it's painted not powder coated. Painted steel, which may mean like the new automotive paints and yeah, more durable holding up for Colorado rather weather rather than the powder coat. I hate it. I'm not sure about the title. I mean, I don't know the title totally. You know me totally piss me off. Come on. Yeah. I mean, it's kind of offensive from a woman's perspective. Sorry, but I'm done. Is there anyone else advocating Noah? I quite like the shape and the aggressiveness of it. So as a, I'm a feminist. So what do you think about them calling it the woman thing? Oh, yeah, that's fine. I saw it as the, if the artist is female, this is just, she was angry when she made it. Exactly. It looks pretty sharp. Like you cut your foot on the place where the red comes off of the concrete there. Yeah. Well, we would have a different. Yeah, hopefully that'd be bolted down. If you kicked it maybe. Feminists aren't angry. We just want to change things guys. All right, move on. All right. Next slide, please. This is home away. Six feet by one and a half feet. It's steel patina. So what you can and yo, yeah, you can see it. I have to move my, so it's home in one way and then away in the other way, right? Yeah, no. What's the point? I just nothing. Okay, so that concludes the pieces that were designated for I get so I'll vote for it. So, um, again, when you're looking at these consider your options of really voting for seven strong works, whether outdoor or indoor. So, um, yeah, it doesn't have to be one or the other. So moving along to pieces designated for indoor space. Oh, here is a just quick little view to remind you of what the indoor space looks like. So from the fire hydra or extinguisher over where the skeletons are, that's about 16 foot wall. So we selected and tell me if I'm incorrect art on the move committee that if we selected some works that were work on paper or anything that was framed, we would ask the artist to lend us either a series of work of the same aesthetic or from the same series to fill the entire wall for the full stipend. Yes, the artist five works for long for the length of the year and those five or however many fill 16 feet long would be would receive the thousand dollars. And the next slide. This is the two images of the indoor space. I should I wish I would have gone over there to get new images before all of this business happened, but so if you can imagine it's it's quite cavernous, but it's very visible from the outdoors. So when you're in that that entry way is quite visible from a number of different perspectives. So an installation work or there's a large wall that work could be displayed. So the next slide. I like that a lot. Me too. I like this a lot, but is it backlit? Yeah, I think it is. Yeah, anything that's backlit neon and this is super cool and like I really like this, but is there any electricity on that wall? There is. Yeah. And like you said, if if that interior space is visible from the outdoors, especially if you lower the lights in that room walking by would be really Hey, Angie, call me here. Call Mayor Bagley. He'll do it. No, I I really love I can see it on that wall really just that's cool. Very beautiful. And they're huge too. It looks like the size. Yeah, they're gigantic. Which is I like it. I really like the artist cry, but yeah. So the artist says that the sculptures are lit with LED inside each sculpture. Yeah, I think I think it doesn't need electricity then or just batteries. Good question, Sydney. I'm betting on batteries is what I think. No, you have to change it all the time. Yeah, it doesn't say and it's so I imagine that. Yeah, they're independently power. And they're probably timed. Excellent. So Sydney, how long have you been in Longmont? 20 something years. So do you remember when they had a color fountain in front of the city building? No. So really fast. We had color building or a color fountain from the city building and my parents took us to swim there. All right, we're going to move on ready. Please. Okay. Next slide, please. Now this is the dance painting of an unknown memory and abstract painting with limited colors. And again, you know, these were all submitted independently, but if you voted for one, then you would receive the same aesthetic or series, etc. And then he would get to basically curate that 16 foot wall. So that is a dark, boring wall and I don't think these will do anything to improve it. Agree. Yeah, I agree. I agree. All right, moving on next, please. I love that one. This is, yeah, the, you are the dreamer of the dreams and to where you or your dreams are 3648 by one and a half. So they're, you know, three feet high, four feet high. So that's okay. I think it was very calming for that kind of building safety and justice center. And if I were, if I had committed a crime, I would want to look at these while I was waiting for justice to be served. I think that really well with, I think we were asked when we first went out there to look at the site. We were asked to consider trauma informed environments and these definitely adhere to a lot of those guidelines. Yeah, like you'd find it doesn't look great on that wall. It looks like they're crying. And it is an opportunity for us to get the display mechanism put up so we can continue to treat the wall going forward, which certainly I think this adheres more of what justice Frick was asking. Judge Frick was asking. So I would, yeah, I would absolutely agree with that. Angela, are the 48 inch measurements tall or wide? The first one is 24 by 48. So it's two feet tall by four feet long. And then the second one is three feet high by four feet long. So that space quite well. Okay. All right. Next slide, please. No, you missed one. Then the soul can hope you missed one. Oh, what did I miss higher than the soul can hope. So this is a 48. So it's four feet squared. No, no Angela. There was another, another blue one that was tall. In the, in the, in the slide presentation, I got there was one called where your dreams are higher than the soul can hope. Never mind. You're fine. Actually, I think this one goes with the last two. It could very well. Yeah, that's true. It is the same artist. Oh, okay. Looks like paint can goes to me. Yeah, I like it. I like it with the other two. I would like it. I don't like it on its own for some reason with the other two. It splits up the other two very nicely. Yeah, that's what I think, but not by itself. I don't know why doesn't do anything for me. Right. Next slide. No, I find these colors garish. It looks like bad fabric. I absolutely love that a great pink Floyd reference in there. I don't like it at all. It's very different. Definitely a lot more. There's a lot of energy in them. I think we were trying to bring a space up. They would be brilliant. So where are we going to put this? Yeah, it's nice up. It's just, I think it's the wrong location and I don't think it works, but I think it's energizing and maybe needed in another place, but not where we want to go. Yeah, I love the energy, but not for the justice. No, okay. Next slide, please. Obviously the same same artist here. Same thing. I mean, yeah, I use that one better actually. Yeah, I like this one better, but. It would be good in a use center or a daycare center. Or if you spoke a lot of weed. Okay, next slide. So this is a series Rhapsody in blue. Look on canvas. There's their 48 tall by 36 wide. So four feet high by seven. Sorry. I'm sorry. I'm sorry. Are you guys, doesn't it relax you? I like the other blue ones better. Really? Yeah. I like these blue ones better. Okay. I like all three of these for the justice center because again, sort of calm. I'm like the most excitable person. I guess you guys couldn't guess that. Um, that's my cat comes in. I love this. Okay, let's try the next slide. This is what was offered in the series. I'm like that one better just because of the color. You guys agree? Now this one's a little is taller. It's a 48, but it's not as wide. So 24. So they do change in size a little bit. It's the only one that has red in it. I like the different color to expand the justice center. And say one more time. Could they make this to expand to the justice center? I don't quite follow resize it. I don't think so. To the justice center. I mean, yes, that would be the only place where we at this point in your school for the justice center. I still don't understand. Yeah, it would be in the justice center. Okay. I think this would be great for the do I think? Yeah, on the committee. I don't get a say. Yes, you darling. No. All right. Okay, let's move on. No. This is three views of C H V and so the entire piece of course is the hundred and fifty two. And then the height is 48. It reminds me of a cell block. I thought we were supposed to be making them feel better. I like this one because I like the way they move and change heights. I don't know. I know you probably offered if you had it, but is this like a paint on on clear acrylic? Is this cut acrylic? Is it dimensional? Yeah, it says this. I like this one. I think it's wait, wait, wait, wait, wait, wait, hold on. Hold on. Um, I think it's flat. I think it's flat too. Uh huh. Yeah, it's one inch. The depth of the canvas, but it's the it's visually moving. I I like this. Yeah, that it's really no indication of yeah, I am. It's not clear. Um, I, I don't, I do think that it is one it is it is flat on plexiglass and the plexiglass is one inch and I think it's a plexiglass, but I it is not clear here. There's something happening where there are I think nails at the bottom of it. Do you see that in the image? And there's kind of it. There's a shadow there. Yeah. Um, next slide. Now this is the same artist and it says plexiglass and resin. So, um, this is tiny. This is very small to look at this one in the next one. I really appreciate it. I like them, but they're, they're really small. They're only eight inches tall. Right. And also if we're, Oh, no, no. There it's eight feet long. That's not correct. It's 34 inches high and the entire installation is eight feet long. Okay. Thank you. Um, again, if we're putting this in a justice center where people are potentially facing incarceration, I don't think a series of tiny rooms is a great point is a very good point. That's exactly what I thought when I saw it too many of those look like cells. Okay. Next slide. Same thing here. Same thing. Okay. And it's called 2020 life cycles. That's so depressing. Winner. Next slide. I like that. I love it. So, um, right there. This would be an installation in that front area of, of safety and justice. Yes. Wasn't this just at the firehouse? Yes. That's the firehouse area. Yeah. I really like it. Okay. Next slide. This makes me think of nooses. Yeah, it makes me. Um, I'm not sure that I got all of the images for this, but it too is a very large work. Very similar to the last one. It's 14 feet long and nine feet tall. It just makes me look like somebody didn't clean up after they did a project. You know, they forgot to get the. This is not my favorite of these three. No. Me neither. Hey, next slide. Real quick, Angela, are these with, were these the ones that were communities created or had community involvement at firehouse? Um, while I think possibly she does not, uh, the artist does not say that here. It doesn't matter. And the next slide. I like the first one better, but I like this. I like the first one better too. Mm hmm. Definitely different material. So this is, um, certainly held to the wall, whereas the other, uh, was more suspended. The ties are not a good idea. That's handcuffs. Right. My thought too. Can we see the first one again? To back. Or that one. Um, I really like it. It has zip ties as well. Um, this one is more appealing because the sections are bigger. It's got color in it too. It's, it's, you know, it's got the blues and and I just think it's real organic. It reminds me of the monster and stranger things. So I don't like it. It does. All right. I don't like it personally myself. I'm trying to like it because everyone likes it, but you know, no. No. I like it, but I wouldn't be disappointed if we didn't vote for this one. Yeah. It's been a peer pressure. I'm considering the venue. Yeah, I think it would look great app in the venue. But Okay. Do we need more discussion about this artist's work? No, just really quick. Am I remembering correctly that we looked at something similar last year and we sort of thought that maybe when the Civic Center came back online, those big cavernous spaces might be something that we looked at even though it's not formally on the table right now. Maybe we should expand our thinking a little bit beyond just the waiting room there at the Justice Center. So the artist which you did go under contract with last year for that piece was invited back and this is in fact that artist. So we invited that artist saying that to accommodate a work that we wanted to install last year, that this is what we were able to be able to work with and invited this person knowing and spelling out the exact space. And this is what the artist proposed. We've made sure that we made right by that person here. Yeah. I will put off by Sorry, go ahead. No, that's okay. But obviously that was so the artist didn't know the space and you know to and the work that was submitted previously was not submitted. Yeah, I'm a little bit off by what Peter said that the zip ties look like hand the handcuffs these now and I think that that might be. Yeah, but could you really tell? Can you really tell? I don't know from these days. I think you look for close up. It is clear that there's a time. Yeah, is it? It might be little ones. So All right, let's move past this one then. Oh, I love this one. I love this one too. I love this one. Yeah, this artist is really great. I like all three pieces. Me too. I like all three of them. I agree. I love all three of them. My only concern with this work is that because it says zero inches, we would need to make sure that this artist is prepared to have the work mounted and presentation ready. Okay, so that would be a stipulation to presenting this work. Yeah, that indicates that it's on the flat paper instead of on a canvas. Exactly. Exactly. And magnet mount or some sort of mount that museums would use to display flat work will not be conducive for that space. Number one for protection and number two for theft. So even though it's a safety and justice building, we would want it framed. Yeah, or mounted in some way. They made minimalistic frames. We could fit it in. Where would we put it on the wall in the safety and justice building? Really? Right now, I I just have a comment at it being in the safety and justice center. It's people of color and it just I don't want to send the wrong message because lately people of color have been getting the raw end of the deal in justice. Lately? More lately. The last 400 years. Colors that are going into our justice centers right now. They're got black people. I think it highlights people of color in a really positive way, though. I don't think two are negative in any fashion. I totally agree, but we're not honoring our Latinx people. Well, I really I really like that the attitude that comes is very positive and dignified to me, even with all the color and stuff. It's like a true individual to me. I agree. I love the I think the works are really nice. I'm just not sure it's the right place for them. Okay. We don't have black people in Longmont, folks. I wish we did and I'm going to be that person that's going to like advocate. We have a 25% Mexican people in our country or in our county and why are we doing this? Well, because it's a nice piece of art. I thought we were picking art. Okay, so we're getting we're running a little late and it's almost an hour over. So let's I am supposed to do that. So, okay, next. Next. Yep. All right. Next slide. I love this too. Also a wonderful work of art. I think. Oh, yes. I just love the face. The composition is beautiful. She is so gorgeous. She is beautiful. Friends, I'm sorry. I have a stop. I'm going to hop off. Okay. All right. Next slide, please. This is my least favorite. But I like it and I love the title and the two love birds. Yeah, I agree. I think it's the least of effective of those three. Yeah, but now I get it more. What do you think, and I would love to see some work in the safety and justice building. I would like all three of them. I think they're just because it includes everything I was just talking about. Okay. I love that he's keeping score. I'm not keeping score. No. No, that in that last picture, there was little hash marks on the man side. So these next couple works are by the same artist. I just couldn't make the slides fit them correctly. So 60 by 60, they're quite large acrylic on canvas. Yes. Average to me better choices. Yeah. I think the blue would blend in with that. Fabric wall, but I don't know if that's a plus. Yeah, exactly. Okay. All right. Next slide. That's pretty cool though. Again, the three together look kind of nice. So again, this is the same artist. Hmm. Steve by 60 by two. I like this one better than the other one. I like the movement, but still. I still think we have better choices. Exactly. It's just average to me. Okay. Next slide. I like the name of this one. Yeah, the name. And this is six feet. Six feet long by four, four feet tall. So it's quite large. Mm hmm. Okay. Next slide. We're not in Boulder. Just past bronze and racist. I think that this is a panel that goes on a wall, but it, um, it's not clear. So I'm, because of its eyes, I'm presuming that it's cast from the wall hanging. Yeah. I think the texture is really interesting. On this. The work is interesting, but why, why do we have a Boulder panorama? Well, exactly. Yeah, exactly. Yeah. Right. I would agree. Next slide, please. I like this. So this also is back lit. Yeah. I like the, the feather colored led ones better. Yeah. That should be on the wall of a car dealership. Yeah. Yeah. Yeah. Oh my gosh. Yeah. Okay. And last slide. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. Yeah. And last slide. Last slide. I don't understand the point of this. I didn't. Yeah. I kind of didn't get it either. So. Oh, but I'm not nearly as pretty as that. As, as right as. Right. Yeah. Yeah. Yeah. Yeah. Yeah. I don't see it making sense in the justice building. Exactly. Yes, I agree. I mean, it's lovely, but it, it doesn't suit what we're trying to do. I don't think. Are you even allowed to smoke in the justice system in the building? I'm sure you are not. Thank God. Yeah. All right. So. With that, we have our last citizen comment portion of the discussion. So we're going to go ahead and do that. And then we'll come back before quick minutes and then we'll come back and then we'll have some commissioner comments and then we'll put this baby to bed. All right. Angela. Actually, it appears that we were having some difficulty with the audio. So I was not able to troubleshoot that. Well, I had to drive the slide show. So I knew that we were almost done and I went ahead and ended the stream for now. And then we'll come back to that. And then we'll come back to that. And then we'll come back to that. And then we'll come back to that message. So you could continue as you would like. We're going to have some people. Okay. Just four minutes. Oh, get them. Okay. So, um, with that, if, if anyone has anything, uh, or a last thing you need to say to advocate for something you feel very strongly about, and then we'll move on to commissioner's comments and then tidy it up. Um, when are we going to be voting on these? Um, I'm going to be sending you hope I have all of your passwords and jurying sheets and instructions ready to go. Uh, I was going to do a quick test myself. Just to see if I run into any bumps in the road tomorrow. And then hopefully tomorrow afternoon. Um, So I have to tell you something. You have to send it to me before I send it to them. I'm sorry to say one more time. So we have to all like agree. Right? You all have to vote on your top ones and then. Whatever shakes out with the high scores. That's how it goes. Is it right? Is it just winter take all. It is the top seven or five to seven pieces. Um, and then I'll bring those to you and hopefully. I'll send it to you. I'll send it to you. I'll send it to you. I'll send it to you. Those artists will agree to participate. And if one falls off the one that goes from the bottom, we'll. We'll just go up the ladder. The reason I was asking about the timeframe was, is there any chance you could get, um, a feel from, uh, The artists about my case, I'm interested in one, but the artists that didn't present finished pieces. Um, I don't know. You know, what's some kind of timeframe as to, you know, this would take me four weeks from now, or I'm half done with it. Or yes, I can meet the end of June or whatever your. Can you get any kind of indication on that? Sure. So now would be a great time. So I will open up the journeying still tomorrow. I'll give you a week to finish in the, I can ask any artist, any question. Uh, asking that artist if it was approved. Uh, and what that timeline would look like for finishing. Great. Any other, and, and of course, if you think of these questions. Uh, while you're journeying or mid-jury. I'm trying to figure out your haircut. Well, but, um, now would be great. If anybody has any specific question for any artists, et cetera. Okay. I have a question. Okay. Are we picking five to seven outdoor and two indoor. Or. Total five, five to seven total. Your favorite. Oh, indoor and outdoor. Five to seven. Total. Okay. How many, how many spaces are there at St. Stevens? Five. I think we have nine, but we're only three. I think there's five. Why are we so limited this year? Yes. Why are we so limited? Well, I don't understand. We've gone up to 12. So, um, that's a good question in the charter, uh, in Longmont, the Longmont art, art in public places charter. You are limited to spending $7,500 every year on art on loan pieces. You're limited to spending $7,000. You're limited to spending $7,000. Total. You are bound by that. Uh, at the beginning of this year. We agreed the $1,000 stipend. Was what we were publicizing for the artists. So at the very most. At $1,000 stipend, you can choose seven. Can we ratify that? This year we had eight. Before that we had nine. We had eight. We had eight. Well, oh, no, no, no, no. You, you, your $1,000 stipend is what was posted in the RFQ. You're bound to that this year. No, the, the 7,500 we can vote. That takes an out, an active city council. Yes. Not going there. I think, um, I think it was, it's 7,500 or 25. Of your annual budget, whichever. Right. So I think the 1,500 is your max. Okay. So what are you guys upset about? Well, we, I think everybody was hoping to get a few more, but it sounds like this is what we have to do. Right. We have a lot of money kids. I mean, that would literally that's probably going to take up three or two. can go together. Yes, so we would ask an artist to loan a series. So what do you want? Skype in for the wall. We'll figure it out. Got it. Was that clear for everyone? Yes. Okay. But we can we can vote for two indoor pieces but they would go in the Justice Center, correct? Yes, and then we would only have five for the rest for and that and keep in mind that you don't have to vote for an indoor piece at all or we could just vote for one indoor piece. Yes, that's right. It could be a separate project. Maybe we purchase, maybe we purchase one of those. Or it could be in the future. In the future. Right, in the future. Once the transition and turn art on the move two-dimensional and an art on the move one no three-dimensional or if you want to purchase a piece in perpetuity for that space that's fine. Yeah, absolutely. Angela is totally right. Guys, we have to shut up. We just need to calm down. We have no art right now. We are lucky to be meeting right now. So we're a little bit bound by the way that the call for entry was written and of course that was pre-COVID so we're bound by some limitations. But so vote for something indoor if you feel strongly about it. If it doesn't make the top seven then we don't have to treat the space at this time. So if you feel strongly that we should have St. Stephen's full of work this year then vote for those. We've talked about this because we have to be quiet and just get our art passed. But I think we're at the end of this conversation for this point unless anyone has any other comments or questions for me at this time. And if you have other questions later you can absolutely just email me or call me directly and we can handle it that way. I just have one quick question. Yeah. Which is we're limited this year to the $7,500 but next year we could we could write the RFQ or we could do more for for art on the move. We could do more artists by giving them less money. Yes. We could go to city council to change the charter. No. But that is how the charter is written. And I will make sure to send it to you and the language so you can read it. Oh thanks. Yeah. Okay. All right. Any other questions that way? No. Thank you. Troopers. All right. So the very last thing before someone's gonna make a motion to adjourn this meeting would be are there are there come hours ago commissioner comments? I just wanted to say thank you, Angela. You did a great job in moving this meeting along. So very good. Thank you. And it's to Susan Wallach and Lucien who are with the city staff in the city clerk's office. Big, big thanks to them. Thanks to them. Thank you. Thank you for your patience. Yeah. All right. Motion to adjourn anyone? Move. Move adjournment. I suck in a few hours ago but motion to adjourn. Okay. I'm doing Peter and I think I got Yvette was too. All right. Meeting right now. Nice seeing everybody. I think it was Randy. Good to see you all. Yes. Definitely. Was it Randy? Maybe next year next month we can do it live maybe. It would be great. Everyone's safe. Walking on it. Bye. Bye. Stay safe.