 This is a baxter, three-side. Danielle, have a name. Jennifer Miller. Nity Pettin. Melody. And that's, don't miss anybody. Okay. And just for the record, Susan Horowitz, Laurel Olderman, and E. Lacy R. T. Hope you can buy it, let me hear it. This is Bertha Kanlis, the AFP intern this semester, I guess? Yeah. Do you have something to say? Yeah, I have. We also have two visitors. Susan. And Isabella Alexander. Do you guys have anything to say? Just visiting. Because we're so great in terms of this with the best meeting to come to, or are you thinking about joining the convention? I actually do. Okay, good meeting. Okay, so the next item is corrections for the February 15th minutes. This is going to make sense if you let me sit all night. You could vote to approve the minutes if you were not at the last meeting, but you cannot make the motion because you were at the last meeting. So I want to know if the meetings were actually reflective of the meeting legally. Yeah. Okay, so I need a motion to approve the minutes from the last meeting from February 15th. Jennifer, second. All in favor, aye, nay, abstain. Okay. So I have five ayes, zero nays, and two extensions. Thank you. Are there any additions or corrections to the agenda for today? I am not. Okay. Susan DeVal Boferi is on my meeting, she might come later, but so there's no council comments from her today. Okay, number seven. I'm going to layer felt into a grip. She has agreed to the purchase price and so the work will stay in St. Stephen's until such time that we find a place for it. So that was fantastic news. A protector, the artist is also agreeable to that purchase. We will have to make some decisions on, so it's in storage right now. So once we get through the art on the move conversation, then we know about if we have an appropriate place for it or if we just want to remain in storage until such time that we find a place for it. The protector is the big bubble. Yeah, I can show you pictures. And then processing is of course as previously discussed moving to Kensington Park while we take the temperature of the community. So we have renewed that part of the contract for another year for protecting and we're going to go from process to process contract, which is a roll-on in front of four last year in front of Firehouse. Okay, I did this. Any questions? Discussion? I have a question. This is moved to the plinth that we have at Kensington. Moving on to the third. What's on the rock, rock, but yes. Yes. Anybody else any comments, discussions, questions? Okay, great. Eight. Are there any of our work selections? Stop. Okay, no. Oh, no, you're right. I'll just let you go. I don't know. We're done. Okay, so we have a question. We have a question we have beside us. Which is, many of the people that have, not many, several of the artists that have submitted items this year are more than one. So our question that we have to decide is whether or not in one year we want to accept two artworks from the same firm or if we want to limit them to one a year. I think from remembering, right, last year we had a competition reference to that and we talked about only having one from the artist to be able to get other people the ability to have others. But remembering correctly, I believe in that. I think we remember that. I have memories. And that would give more people opportunity. Yes, that is what you have to do. That is correct from last year. But it's not written into the rules. Right. So you just, before we go through this process of selecting artwork, you as a commission need to determine how you're going forward this year. The factor is that we only have five to choose this year. Actually. That is what I was going to say. That's a mess. It's segue. Okay, so do people think that that's the right decision that won for artists so that we get more people the opportunity to be displayed? Do we have the vote on that? I think just for formality sake, yes, please. I know. Motion to accept only one artwork for artists this year, should I say for this year? For art on the move, all in favor? My discussion point was is this going to change our policy entirely or just this year? Do you clarify? Okay. Okay, so we're going to go on six. Six days. Day? Sorry, did you mean motion to accept it? Oh, I was thinking. Thank you. So I got six days, zero days, and one extension. Okay, all right. Thank you. Motion to accept the LVDA contribution of $4,000 to allow us to choose four more artworks. We need a motion to accept the LVDA contribution of $4,000 for four additional artworks for this year's art on the move. Second? Do you think this will affect our budget? I mean, we still have to pay our movers in the city to do all of that. We're hiring our antlers and removing things from the grain anyway. It is the so just a reminder, the guidelines of art in public places, we have a limit on temporary artwork every year. And the LVDA proposes this because they would like to see more. Most of the art places are downtown. It's really better for everyone. It's a very popular program. So yeah, when it comes to affecting the budget from where the other is, that is the downtown. Okay. We're going to move where we just died right here. Maybe for our guests, I'll just say really quickly, art on the move is the program that we do every single year where we borrow our works from artists on them. They go on display for one full year and we pay them $1,000. So it's a win-win for everyone. In some situations, the commission may or may not consider doing a direct purchase, albeit it's not best practice of course to do all direct purchases, but sometimes there are people in the community that just really love it and so then we have to be a part of it. So the commission has received their preview of this artwork in advance. Everyone kind of went through to take their temperature and the yes, no, maybe kind of way about it. So everybody kind of has an idea about how they feel about these different artworks. So what we're going to be choosing today is we're going to review all our works. We're just going to go through it all so everybody can ask any questions that you have about any artwork. I can answer those questions. Then we're going to go back through again and everybody participate of course. You have a score sheet in front of you and you have five votes. Your votes are your chocolates and if you eat them have an extra one. So you can keep track of how many times you have voted. The other way that you can keep track is you have a round one, round two, round three on here. So you can keep track of what you're liking as you go through this process and then we're going to go through, we're going to raise our hands, we're going to vote, we're going to tally and it's going to quantify it in the program that we use. Anybody have questions about what it is that we're doing? Sure. Absolutely. If you like it too, absolutely. If you don't want to participate, you do not have to. Thank you. I appreciate it. We're meeting. I can click participating. I will clarify that the footprint of some of these work. Some of the footprints don't. Some of these things risk management might say, you know what? That's climbing hazard. That's sharp. I did not edit this. I did not go through on sensor or anything. Everything is here for you to see. But I am going to go to it as we look about them. So when you're taking your five votes that you get, you might really want to think about how you're spending that vote. And then we're going to narrow it down. We're going to get it through shortlist. And because we're just doing one piece for artist, there's going to be like sub votes, right? Here's five things actually each artist only has to do three. Here are three things. All three of these things were created by this artist. They're all in the tops, bit of the list, shortlist. Which one do you want to go through? And so as we go through this process, I'm going to let you know you get one vote this time. You get three votes this time. We're going to narrow it down to those 10 pieces. And probably three alternates. Because we're not the only show in town who does this loan program bit. Some of these works might be under contract with other communities. And so when I contact the artist and say, hey, you're a piece which wasn't for a long time, they may say, hey, sorry, it's loan program. And then I just go through with it. The other thing is if you are passionate or have a feeling about where something like this should go, that you would like to see the Long Main Street on a tree grid. If you would really like it in St. Stephen's, if you think a breezeway would be most appropriate, by all means, please let me know that. I'm not ever going to promise you that is exactly how that's going to be. Because some of them are bolted, some of them are welded, and I just do my magic of making things fit where they fit. But I try and do my best to make sure that like two things clash visually, dearly, trying to turn those things next to each other. Some things might be smaller, some might be a little bit more appropriate. Any other questions before we get it? Yeah. Is that five votes total for the entirety of the rounds or for just the one? We'll do round one and you get five votes. And then I'm going to take you to a short list. We're voting for what we like. You got it. The other thing just to be a reminder is these artworks are by someone who put their heart and their feeling and their passion into it, and we don't always like everything. We don't. And just because you don't like anything, you can just keep that little nugget to yourself. If there's something you really do like by all means, yes, I really like this. If we get into a heated discussion of what I don't like about it, is X, Y, and Z. Just remember that what we talked about first on the other side. And your neighbor who might really love something. I'll look at art. Can we pause please? You may. Thank you. So, eye motion for the staff to move forward with contracting the final adjustments as requested by the official. I need a second. All in favor? Opposed? 7, I, 0, 8, 1, attention. Thank you. So, moving on then. A, us. Nature's Way. Maintenance. Moving on to maintenance. Yes. Nature's Way. The executive could be met and we're going to examine. We're going to go walk around Nature's Way all five parts and see if we want to spend a lot of time doing maintenance on it. Or if we want to accession them or what we want to do about it. Verified parts of that. We have a quote from the for doing everything. And what we would like is to have the commission make a motion to authorize the executive committee to spend up to $45,000 to do the maintenance or treatments on pieces to keep them in the collection. I think that we spend after $45,000 to keep Nature's Way maintenance for the executive committee. Okay. 7, can we go on that please? 6, yes. 1, no. 1, no. 2, no. 2, no. Did you vote yes? Okay. So, I'm sorry. 6, 1, 1, yes. So, what we're going to do about the conservation report, it's basically a card menu. It says here is the treatment that we would suggest because of the state of the piece. Here is the state of the piece. Then there is also here is what you could do to make it as close to perfect as possible and here's what you could do to just kind of keep it okay. Here is our recommendation. The executive team is going to go walk it, assess what that sound is going to fall over. We need to do this one thing and it's going to cost this amount of dollars. You'll authorize them to do that. That does not mean that the executive team is suddenly just going to go in and say we're going to spend all this money based on these recommendations. But to get some of these stabilization things going, we're going to get in line and in the queue we need to get moving. And we also don't have a maintenance task force. So the executive team is working on half of you as a maintenance task force. You said that so much better than me. Well it's like I do. I'm feeling saucy today because I'm just going to go to our gift. So then that's it. It will probably be the bulk of the maintenance that we do to share. They're making some room for some powder coating or some paint. But this is a big one. And we've done it. What did you say? Good question. From here, the museum, if you were to take quail and go west into South Carolina neighborhood, there are five components of Dangerous Way. The biggest and most obvious one are two, they say trees, I don't know if they're trees, but these like pillars that's got some leaves on it. There's a couple of benches that are shaped like leaves. There was a bath box before the flood. There's a bath bench. There's a water fountain. There's ice biologists. I lost that. But the stability of one of the pieces is not well. It is not well. So it either needs to be west or east. It's just from cannibal to park down to what's left in the park. And if anyone is interested in joining the site visit, let me know. Monday morning. Is that funny money? So who this is? I just wanted to make a brief report on the task force. Susan and I are on the task force having to do the piece called Altra. The Altra piece. The Altra piece that we met with the library director and another library staff member and evidently there had been some history of the previous library director saying that they did not want this piece in the library. The new library director was really, really great. He said you don't have to convince me. We have a good place and we have a prominent place. It's going to be a hallway on the first floor. There's a nice kind of indented wall there. And there it is. That piece. It's a memorial to the two men who died in 1980 at Bruce Hans. It's, you know, now it's been 45 years or 44 years since this happened but it's still in very much present in the long run history. So very excited because it's been in storage, right? Yeah. And same thing holds true with the interpretation. We'll make sure that it is that there's plenty of interpretation for folks to learn more about it. And Grace Gutierrez, who was the curator of the exhibition which was the first library. She was, I mean, the good library director I would just so impressed. Very willing to try new stuff, do new stuff. But it also will be behind Plexiglas because those flowers on the top and bottom are a sculptural newspaper and we don't want to touch you feeling you're getting excited about it. So there will be an investment there in Plexiglas, much like that teacher up there. Probably each component will have its own individual case. It was like newspaper photocopying version. It's not real. And the interpretation is already done. It's already translated into Spanish. Everything is ready to go so it should be really great. All right. Other new business? The safety and justice building is fairly imminent. We have this up top that needs to be moved somewhere. And the executive committee was thinking maybe we should put it out in the recycle center. But that recycle center would be there. I would like to see it there. I'd rather see it there in some place. But what about the people? The bigger thing is that this is coming down while we have the art handlers, while we have the women we're doing our own move. We're just going to be efficient about this. So I think basically, growing this into the art on the move mix is how to shake out. But in the long term, y'all need to think about where this ends up. I think the recycle center is a good idea. And can we permanently fit it in the recycling center? Okay. So it doesn't have to be your marked for art on the move. I say we put it there. It is definitely. I also think if you don't want to do fire houses. But I would not propose that. Just weave red ribbons into it. And no comment. So we're going to be doing a recycle center in some amount of time. Like, hey, this has been here long enough to go to see something else here. And with that day comes, then that day comes in the meantime. This time we've got to get moving. And utilizing our services that we are already paying for is the responsibility to do. So just kind of more as if y'all are okay with it. I just wrote this right into that. So I'm going to go back to the structure to make the motion to go uptown to the recycling center. Okay. One more new business and your traffic boxes are being installed on the April. Monday, Tuesday, eighth or ninth. And broke has is nearly complete. All of the interpretation for that. So all of the two are limited info that's going to go on QR code that somebody can read about those. We're just done with all that. Okay. Any commissioner comments? Chance. You can eat your chocolate. From somebody anybody. All in favor. Seven eyes. Eight sixteen. Thank you very much.