 So can we call me in order? Yep. Angela did a beautiful job by sending us five minutes on Monday, which is fantastic. We have our motion for just a few minutes, but she sends us on Monday. That's a move. That's a move? Yes, I do. Wow. What's that? Right there in the side, I love you. All of them are. I am the chair of the AMA, and I've been on this for my fifth year. Angela Berla, I am the Art and Public Places Liaison, and I have officially been here for over six months. So I think you might be stuck with me. Right? So fast. There's all of you speak up so we can hear you tonight. I'm sorry, and we had Cindy moved. Cindy moved. So we're going to have a second comment. So I can say pleasantly that we have moved forward with the Collier Park and one of the three steps that needs to happen for finalization has come about. So the artist is working with the rest of the parties that T-subcontracted, and wants that all the agreements are made, then we will be able to finalize. So I'm hoping within the next two months. Yes. Did you just agree on that? They did. It's lovely. Cool. It's beautiful. As you also know, the city has gone through rebranding process. And so we're looking at what the art labels will be looking like. And so I'm also hoping that Collier Park, Lady in the Damsel, which is out along Dickens, the Greenway, as well as we'll all have new labels with the new. Oh, the Dickens Park piece, the rejuvenation. And that will be dedicated this year. What is not here. So Knife and Alpine is in very good shape. We are under contract with the original artist, Patrick Milbury, and he is working on a redesign for us. Once that redesign is done, it will come to you for approval. It will be similar to the original design, but with a more positive message. And Mike, the graffiti specialist, is measuring the underpass for us. The two sealant options that we have discussed previously are about the same price, but he has a preference. The trick with it is Rust-Oleum spray paint actually can penetrate that a little bit more. So we'll want to be very thoughtful about what product we use. So this spring, once the weather gets nice and the design is finalized, that'll be moving along. So gathered some of the traffic and pedestrian data that we've collected. Oh, like I said, I'm going to pay a little bit. There's some people that are a little bit here and impaired, some time is left, some time is left. And you might want to actually see it. So folks can see. See. See. Sorry. No, we don't want to. It's a big room. It may be. No, it doesn't. We have three sections on the map. We didn't have data for every single art piece. But obviously not all of them are just only traffic data. We have a little bit of pedestrian data as well. But you can see the colored dots are the pieces that are cross-reference with traffic data points. And so the number of views are in the thousands per day. So each point collected how many cars passed by and for the four hours in that area. And so you see there are many hundreds of thousands of views for each piece per day. The data isn't totally solid, obviously, because the data points are from different mirrors. It's an approximation. And most pieces are generally visible from the road. Some of them might be less so. But I tried to pull from the pieces that were most visible that people were very obviously using when they were driving past. And then you can also see the numbers for some pedestrian views downtown as well. And then the next slide, we just have some examples holding Google Maps of the pieces that you can see from the road. So obviously, some of these are very large. People will either go over them as they drive through downtown. And the next piece is the shock art boxes. So out of the 49, 24 pieces were visible were near a data point for the traffic data. And so we have 434.4 total views per day, which is in the thousands. And then there were some data points that were four pieces. The data point could have been from the year before the diesel install. And so that additional number is kind of an approximation based on previous data. So with at least one in 2018, but the data points from 2017, that one in times. But that's just a very brief overview. Do you want to share from this data? We extrapolated some required for SEFD reporting measures. So based upon this data estimations of some of our programs. Do you want me to go ahead? Yeah, go ahead. So the breezeway to Dustry and traffic data total was 136,000. Art and Move was about 332,000. The top 10 vehicle visible pieces were 190,000. The rest of public art was approximated to be about 1.2 million. Shop art was 17.8 million. And so the total annual views for all of the pieces is estimated to be about 19.7 million views. 19.7 million views. We're sorry, we're not going to do that. That's just unbelievable. We'll close probably about here. I'm just sure to load them. So ways to move forward is obviously asking GIS as they go forward in time of placing their vehicle tracking points to potentially strategically do that along places that we may want to have public art, say in the northern corridor. And then also we have a pedestrian counter in St. Stephen's Plaza. We can move that around. We can also work with LDDA on their pedestrian counters to get more accurate assessments of this. And then it absolutely points that this is a very conservative. Good work. We'll not hold up now. The only update is we are in conversations with the building owner at Fifth and Main. But as most of you know, there is a goose that is located there. And the building owner and the goose owner are working together to have that removed, moved, moved to a new location, moved, moved, relocated. But that's not really art in public places arena. So we stepped back just a little bit. But our contract with the artist is to have the work delivered by spring. If that ends up being a location, we may have to postpone it. Yes, we have received a sign contract. She is ours. And, well, it's on the mayor's desk and the mayor's at the time. But yeah, I mean, we're there. We're there. It's a boy, by the way. And so it's a manager. He's a big businessman. And we're in the pool. Because then the artist receives the first. Do you want me to pull? You bet. Would you like me to pull it up for you? Because. I want to have that for the first one. Their meeting is awesome. We sent them off to their meeting with three things they had to tell us. What things they had to tell us. They have to decide that they want a monument, a gathering place, or a gathering place. They have to confirm that they are OK with work in part, which is really all we focus on. They have to determine the firm donation amount that they want to actually. Because they're like, we still, what? Last meeting, what we came to the table with was quite a bit of research. And it demonstrated some things that you might experience out in the world and the cost related to that. And so really bringing some of these grander ideas to something that is more realistic, that is based on the number that has been floating around. And so that is what they're taking to their group today. So I think it should be a pretty tight pattern. Yeah, we should be able to get on the road pretty quick. Thank you. Oh, yes. Also, they have those. Susan! That's a good job. I was going to say that's her stash art. It was, no, it was really tough. We also had some ideas. The same artist and her name, sorry, Amanda Wilshire, she did her art WD. She did D-piece down all along the Greenway with the Volkswagen hood and the driving light. Yes, the same artist. So, I mean, it's looking to be in between a $20,000 and $30,000 product, likely, and that's completely in her ballpark is what she'll play as a little pill with the equipment. People, this was at RSVP. All you were, Cindy, you were. Just quickly, Steve Brandsweiler came and met with the RSVP group to go through the nine dots project proposal and look at all of those locations and identify places where city land is annexed and that would be an appropriate place for a piece versus something that maybe wouldn't be the best location for X, Y, and Z. And then from that list, the group is going back and prioritizing looking at those locations. In the meantime, I met with senior engineer, Allen, something, with an R, and to talk to him about the Boston Bridge because the Boston Bridge is the next bridge that is going to be going under way related to resiliency frame. So, the Boston Bridge itself is in first round of design, structurally, basically, and then the aesthetic piece of it will come a little bit later. So, there's an opportunity to start looking into a project related to that bridge over the next couple of years as well as some of these changes that's happening in the landscape along the way. Resiliency frame, as you know, is funded up to sunset at this point and then there is some area further to the west that has not, is not on the capital, is not funded thus far. So, really, what we're talking about is up to sunset. But, yeah, there's opportunity to sort of get in with the development. Yeah, more to come. I could deal with it, or she felt me. So, when the group met, well, Cindy and I went and did another site visit based upon some of Judge Frick's initial his interest in the space. And the truth is that there are a number of spaces that could be addressed. But the one who was initially looking at it as a really long wall, I think it is 16 feet long, but there are some pillars in the way and it's not very visually appealing but obvious. So, Cindy and I will be going over to Sandstone Ranch to investigate Roy's World. We understand Roy's World is a triptych of Sandstone Ranch, but it's in a place that's quite hidden. So, we thought that we would go and see the location and even if it could potentially be relocated. So, we're gonna look at that. The second piece of the courtroom is when you first walk in, if you've been in the safety and justice building and once you pass the security guard on your right, you go in and it actually is this very nice, round, lit area. And while we were there, one of the police officers had come out and said that some of the initial thought about having sculpture in that area is maybe on the floor would not be wise because sometimes there's altercations or there's a lot of people. And so, keeping that area, that floor area open would be his preference. That was very insightful for someone who's in the space every day. So, the third thing that the group had looked at is some suspended sculpture. And so, that's the way that the group is leaning now. So, we're all looking at research. Some of the images that I pulled together about what something like that would cost. Next step is going to be going back to Judge Freikin's end. This is the kind of thing that we're thinking. Very abstract, potentially colorful. Not a lot of, but also addressing that wall with a sandstone ranch. So, there will be something that is potentially landscape and figurative for maybe something also that's uplifting. We don't know a lot of people. Right. And so, it's not really showing that. It's when you walk in the door of the little house. Yeah. It's right behind all the taxidermy animals. A wall in front of you, you almost can't see it. The river from the bluff. Oh, okay. And it's really pretty, but you can't see it. And so, we're thinking of moving it to the core. At least if it's temporarily in there. We're going to sum it up and see how it goes. We need to go and visit it. We don't know if there's a place in sandstone ranch for it to move or how, what the history is. So, a site visit is the next step there. And we're hopefully doing it next week. Yeah, it's on the calendar for next week. AOTM. Oh, the, so, Art on the Move. That's fine. Art on the Move, the call is open right now. Last that I checked, we had 16 entries, which is good, not great. But as we all know, artists tend to wait to the last minute. I have lots of email inquiries about the application that they haven't applied yet. So, encourage folks to go and visit that call. Of course, it's free to apply. And it's open until the 29th. And then if all things stay on track, we are presently scheduled to do our Art on the Move selection April 1st, no joke, at 5 p.m. Now, that being said, if there need to be delays for the variety of reasons there need to be delays, we're not under contract with the U.S. What's that? Why would we be able to do this? Yeah, we could do a Zoom. Zoom or WebEx, do that I think most of us. Keeps us for everyone, here you go. And that's why we're here tonight, right? Yeah, so maybe not the face style. But I think in the next coming days, we will have more information. But right now, we're just following what the city is saying, which is following CDC guidelines, which is exactly that. So at this point in time, I think we've, please keep it on your calendars. And yeah, Peter? We may have the doodle hole or the call. Yes, do you need it again? I'll just send it to everyone. Unless Randy, we're going to go back and forth. I have, and again, it's another one of those things where the community has been so involved in the past that if postponing it one month, so we can have something live to re-engage the community, we can do that. The timeline of this program is not so drastic that we're beheld into this because of weather or contract or anything along those lines. And because our community partner was so engaged and very excited to have T-Cool back, I think that that marriage is also very important and valuable, particularly to this project because it is so community. I think that it's done in the past. And actually, I look around to some of you who have been here a long time. So there's the Mockettes. And the Mockettes would go on display. And in the past, they had moved from location. Working with old town media, he's prepared to have them on display for the whole time. And just live voting with the Mockettes happens there. That being said, we can create posters of the individual pieces, images of them, and have one on display here at the museum. You get a couple of stickers, and you stick a sticker. And I think that that's how Lauren had done it in the past, because I have some of those posters. We did that at Art of the Moon. So we would have easels with Art of the Moon, and people that would come up to the Moon with the culture. How about, unless somebody's there to know best work didn't pass or what you liked or didn't like about that process, you had to rather not transfer it. So I just finished our web training through the city. And after next Tuesday, we'll be able to make changes to our website, which also includes the screen reader and the ADA accessibility. I don't know if anyone has visited the City of Guam on our website recently. It's just been updated, and it's fantastic. It's far more accessible than it has ever been. And I actually went through the exercise of traveling through a website, through a screen reader, and I see, I understand how important that is. So it might even mean making a site or a place on our website in an accessible form where folks could vote on the form. And if you're in a three-year-five, that's what the task force is going to be charged with. It's to understand that ballot to cheat in the past. So I think that associating an email address and then when that voting moment comes, that voting night going through and basically doing an audit of email addresses means that we want to create fun emails. And so I don't know. If we had posters in the museum that have a ballot box. So the call for entry in the submission form is live. It's online now on locations to drop off moquettes for artists are here and at the LDDA. They'll be stored over at the LDDA. So really I think that coming up with these logistics of the how and the voting, there's still a little bit of time. But because again, this week has just been confusing, the hope was to launch the call for entry for artists and also say, and here's when the voting events are going to be. I think we should wait on that second part of the promotion piece of it, but certainly put the call for entry out. So you'll be seeing that coming up online and just disseminate it to your friends. A reminder too about Shopart. We this year cannot engage with a school or a school group that way because that requires an IGA and to execute something like that in this time period is not likely. So, but for next year, if you get approached by a school who's interested, we could get that underway now for next year. So what we want people to watch is what's better for business, be on our positive limits and what refuses to pay long-life city taxes would probably be enough for most of our folks. That's easily done with our vinyl. We have vinyl printing up here. Yeah. Yeah, that's a great idea. So I think it sounds like the Shopart committee should probably get back together. Certainly, everyone needs to just push out that call for entry because again, this very manual, it's just through our website and submission this way. But we'll reconvene and hone in on some of these details this week or otherwise. Sure, before the next meeting though. We're getting voting day eight through we have a town voting day. We do not. I forgot to put a place for you to write your name so anyone thought there's a blank spot because some of these questions are specific. Just anywhere that there's a white blank space. Thank you. From now on, people don't have to be too hard just to be honest. Like I was probably just going to say that. I'll just say no. Well, because some of this says, what are your strengths and do you have an opportunity to contribute to my ideas and then you have a great idea and it's got two of that. But the other good point is as number of you know, you're going off second turn or a turn on it. So we have likely for the best job in orienting our new commissioners. We also have ideas of a buddy system. So a commissioner who has spent some time and a new commissioner coming on board. So I don't know if we have any questions but we can get somebody up to speed so we can keep that momentum. But I'm sure that there are other ideas that you might want to be a buddy. Yeah, I thought so. I did look into this and you only have to take one year off. But that's not to say, and I'll have to look back at guidelines and charter, et cetera. Not this charter, obviously, about participation. You can volunteer. You can come to the meetings. You just don't get a vote. And but inclusiveness happens in all kinds of ways. So yes, you should keep coming. Just keep coming. Just keep. Oh, and as you look at this, if you want to take another copy, please do. If you see something glaring and you're thinking about the project that you're working on and you're saying, it's missing or that's the wrong word. Or while yes, of course, it looks very nice that it looks like it's going to work, there might be some misogyny. So thank you, Holly, because she's... Holly Gray. Yeah. And she's a Monday morning meeting pedicab. Yeah. Me too. So I wish I could tell you that I have the maintenance spreadsheet done, but I don't. Our registrar is about to go on maternity leave any moment. So she is cross-referencing all of our session numbers and getting it into a nice, pretty document for that. But that will be coming on just in time for us all to go into our maintenance check. So you might want to start thinking about which works you might want to be assigned to. And also I would encourage you, I don't remember who I was having a conversation with, about choosing something that's not in your backyard. Or maybe go onto the Artwork Archive and select something that you haven't seen before. Go down and see if you can count 101 faces and GPS all of them for me. Well, I think that means they're really cool. Maybe you're the first to have information. Go see things in that area. You may not have seen them. No. And you know they're okay. That's what I did. Because in the second area, I went a little bit broader. And the third area, I went a little bit deeper. Because I didn't know that there were so many things in my own background. So that will be coming underway, certainly this spring in. So think about what you want to sign up for. The Unity Project, we are under contract with Mario Echivaria. And of course, again, he, because he has to start with the structure. There's a word, you know? I'm without stabilizing the structure, I think. Stabilizing the structure. And that has to do with adhesive. So it has to be a number of warm days when he does that. But he is Johnny on the spot and ready to go. I have been working with Macy May about capturing some of that on video. So we can start getting some of these projects that we're doing visible to the community through our channel 8 and YouTube option. So that's very exciting. And then the pieces that we will have to meet, we will need to relocate. We talked about it the last time around. And this just came to light when RSVP group met with Steve Ranzweiler. So Tully's details of nature and the listening stone will need to be relocated. But that is not nearly as time sensitive as gathering enough people. So while you are out in the community and you are walking your dog around, if you could go, please go visit that piece and then think about a place where it would be appropriate. Number of places have come out. Diffense, of course, would be maybe an appropriate place. The odd thing about that, of course, is they just finished that part. And I don't know what the de-installation and reinstallation is going to look like. It will be extensive. Do you know how many places in your own mind? Do you have any idea? Does it have to be in water? Those are good questions. Does it? What kind of sub-structure does it have? Don't know that we know. Well, I mean, I do have a question. It really does. It does really be. I think even if we just all start anybody who's interested in going out and looking into the community so we have something to bring to the table and I'll contact the artist because I really need to know a little bit more from Steve. He says that the reason that it has to move, I don't know if we talked about this, is the Army Corps of Engineers is likely going to be doing a labi project. So we're held in to, of course, that project. And it will have to move because of that. So, I don't know, just wouldn't like it. He said, well, know that it's coming, but right now we know it's coming. Right? So, I think the next step is getting as much accurate information as I can before I go to the artist and start asking questions. So, if we can do some preliminary work in location searching at the same time that I'm getting some of these specific questions, then when we get the task force together, it'll be a marriage of the lines. So, we started out with kind of like this broad thing and then maybe next month we consider like narrowing it down because I don't think we can come up with a list. I'm going to operate on the idea that it has to be near water, right, to work. Yeah, I think that if it's not in water, how do the guts work? Yeah. I mean, has anybody visited the piece recently? So. And I thought it has guts. It does. I mean, obviously it works with weight and then there's a lever that engages the component. And you're held. You're going to a big hole, but that is a hole's another risk. So, why don't you just do an obstacle? Yeah, I think that those are the questions that I need to have answered. But what I will do is I will send some links to these pieces with their locations. So, as you decide to go and explore into the world, the listening stone needs to be moved near water because the river is now regretted differently. And that's how hard one is. It's very hard. It's very hard. Yeah. So, I will send you the location of these and then just encourage you to get on out there. Okay. Thank you. Yes. We'll just table it. And I will actually make it a project because it needs to move out of maintenance it actually is a project. Okay, art walk. Okay, so administrators report really nothing more than everything that's on our agenda with the exception of are we interested in participating in art walk? It's $300. I'm going to buy it with. Yes. So, I think we need to. We need to make a motion. We need to make a motion. We need to make a motion. That's a lot. Yeah, we need to participate in art walk. We have a second. There's two. What's that? And then we didn't have a special direct. Sorry. Oh, that's okay. It's a good question. Yeah. That's a really good question. So, art walk now falls under it is its own entity but is managed by a firehouse. Okay. And they are giving us the non-profit rate. And in an ideal world, we will have shop art boxes in old town marketplace and we'll ask them to generously allow us to have our booth across from so we can point and direct people to go and vote in person. Just so you know, as you know my reference, we should have had a discussion before we vote. Yeah, we have to go. There's two. There's one May and then there's another one in September and yes, it is per event. And we only voted for one. Yeah. That was the first thing that I did with y'all in the ball and we did those tiles and we had a line, the kids totally. The adults too, they really enjoyed that. So, we did something for our own, I think. We were getting crappy so maybe we can talk about being crappy again but if we have shop art going on, just an introduction to the program and what we're doing plus shop art is probably enough to talk. Yeah, and we could ask them if they're, yes, I will disseminate that via email. Yeah. Great. It's very fun. There are so many people who really engage. And since they've changed kind of their Zoom. So, right now, Asher and Noah are on Zoom right there. You can't wait about them. It is an application. There is an opportunity, I believe, for you to phone in. So. But if it hasn't happened to Colin, you don't even have to have a camera on. Is it free? Yeah. Well, I bet you the city already has it now. Yeah, we've got a web app. Web app? Well, it has to, it would... We should have called up. You've got that conference room that we used to have. We did our interviews and it's now there. We can do the PowerPoint presentation ahead of time so I can just send it ahead of time. And all of the voting, I think, yeah. We can get that locked down. And I will have time to investigate this and this is certainly a priority because... And we got a lot of time to... So we'll figure out how to do this. I mean, it's a visual arts for kind of... We can meet in that way, so. We have not, but I will inquire. We have not heard back from them. So the latest was, of course, at our last meeting, they were introducing you to a potential project to see if we were interested in working with them. And then they were going out to see if there were other partners who would be interested in partnering and doing funding with us. I don't think we even talked about the motion. It's interesting that we're going to meet them. Group effort and we're... Groups, sorry. Yes, those are it. Those are them. And how many of those are they? Would they all have... Oh, yes. There's a number of them. We'll just add one to the next slide. Yeah, the guy had to be... Garden makers went through a renewal some number of years ago and parks approached our public places and said, we're doing park renewal. Are you interested? And at that time, there were too many projects to accommodate. That being said, if you've been to that park recently, there's a very nice entrance. It's highly visible. So I don't think that it's out of the... There's also a bridge there if we looked at that park. So it would not be difficult to install an appropriate piece for that. What was the price tag on the mural, Angie? $158,000. It is massive. This is what you're talking about, Peter? Yes. Yeah. Oh. Yes, so they had a giant... I think it's six-story parking garage that's just a giant concrete bunker. And initially, the project was a steel figurative piece that had these flowing arms. Well, then the cost of steel went up and the artist team wasn't able to accomplish the work. And so they rewrote, they broke the contract, rewrote the RFQ and got that piece. The artist is Dosty, AAS. I can do this, too, if you like. He spends his time between Florida and Japan. And he came to the commission with a number of different Loveland and Colorado-inspired landscapes. And so on the one side, it's figurative with a little girl who actually is a child. It's very open. And who's painting. And then on the other side, there's a chickadee. It's really cool, you can look at it at any time. It's beautiful. Oh, yes. Yes. And the commission surprised the city when they invested so much. And we're told that really you shouldn't do graffiti seal or really you shouldn't do it. And it came about that they sealed the entire thing for UV. And it has a 25 to 30 year lifespan on the protection. And the artist also provided the city with basically a paint by numbers. So in the future, for maintenance, they can remove the seal and go back, freshen it up, and then reseal it. I think we've learned that we will be standing outside of anything. It will all take shifts. So for 9th and Alpine, the police officers did say we'll just close the trail completely, basically protect it. It's very hip. We can make it hard, yeah. But I did run into Officer Arnie. And she and the other officers who have been involved in the case are very excited that we are not just going to paint it white and give up on it. So that's really true. OK. The other commissioner, one more. I saw Melania came to her. She says, hi, everybody. She misses us. You're so old. I can't see. Well, a board is not. If you guys are not, then we're not going to paint it. No, I thought. I can't see. We're a lot of them. I'm sorry. We have to go. We have to paint it white. Yeah. It's a working board. Yeah. They still serve. I'm really excited. One more thing. Sorry. As you know, of course, I say it again, nominating committee is coming up in April. So think about if you would like to take a role in one of those ways. And also, because we will have a number of seats available, the application for commissioners is online. So if you have someone or know someone or don't know someone. If you're interested in an officer position. If you're interested in an officer position, but also if someone in your community is interested in a chair at the table, those applications are online. Yes. We're looking to diversify and reach different kinds of people within our community. Oh, and one of the other things that you receive is the demographic form from the city. So our board should mirror that age and ethnicity and all of those things. That's a perfect example of what we strive to look like. Right? So yeah, good data there. Come on. Let's have a look at that. I can hold her. I can hear her. I can hear her. I'm off. Yeah. Really fast. Somebody. Blue Twitter. Blue Twitter. Or not. Somebody. Peter. All right. All in favor. Good meeting. We hope you made up the time to leave all of us. And we owe you 36 minutes. We're getting...