 So we'll call the meeting to order at 602. And let's go ahead with roll call. It looks like Laurel's there, Trissa, Peter, Pam, Jennifer, Randy, Cindy, Angela, Susan, Danielle, Hamela, and did I miss anybody? I don't think so. I can't hear anybody if I did. So it looks like Andrea might be the one that's not here right now. Is there anyone else that we're missing? Erin Helzer is excused. Noah is excused. Andrea should be joining us. And Marsha Martin will not be joining us because interviews for public service chief is this evening. And Joanne, it's on its way. All right. Is there any public invited to be heard? Can you guys hear me from my end? Yeah. Yeah, OK. So any public to be heard? Did anyone have a chance to look at the minutes? And if so, do we have an approval of the minutes? I have a question on eight. Creative District Town Hall pilot. It mentions a desire to have a bigger performing art space. And it mentions Johnson Consulting. It doesn't actually mention the concert hall, concert facility, and convention space, which is what Johnson Consulting was hired to deal with and what that all refers to. It seems to me that it should be a little bit more, in some way, a little bit more exclusive about what that's all about. Can you verbally say what you think that it should say and to make an amendment? I would say that there is a real desire to have a bigger performing art space. I would say that there is strong support, if that's appropriate for that. I wasn't at that meeting, but there is support for a performance hall and convention space, as has been proposed to the Longmont City Council. And then the next NB maybe say, in their feasibility report to the Council, Johnson Consulting suggested, I would suggest those two changes. Did we discuss that last month? Does that seem right, Angela? Because really the first question is really kind of a report on that town hall meeting that I went to about the downtown creative district. And it was really a brainstorming session. And the two top priorities that came out of this brainstorming session, informal kind of thing, was more education for people all over town about the creative district. And the fact that people want a bigger performing arts than you in town. Those were just the two top things that were talked about. So it's not really, I mean, you tell me, Angela, if it needs to be changed according to what Peter's suggesting. Well, if you pivot to Johnson Consulting, I think you have to explain what their role is, don't you? And if you do that, then you should mention that they were hired specifically to do a feasibility study for this performing arts center and convention space. I would just say, though, I don't think that was a part of the discussion for the minutes, though. And the minute should reflect what was communicated during the meeting last month. Angela, do you have suggestions about that? Yes, so we have two courses of action that can happen here. We can table the approval of the minutes and Aaron and I, Aaron is ill today, but she and I will review the video. Hey, positive for video. We will review the tape and alter the minutes and bring the May 20 minutes back to the commission with suggested alter of how she would say more detailed description of the conversation as it happened. And then you can review it and we can edit from there. But some, so we do, although still need to technically make a motion to approve the minutes or to table the minutes. The other option, yeah, no, well, that's really the option, I think, unless someone has better- You need to approve a table. Okay, I mean, if somebody took better notes and can recall here, that would be fine. Well, on B, regarding a museum's expansion, Johnson Consulting suggested a 1250 seat facility. That has nothing to do with the museum. That statement specifically is quite misleading, it seems to me. No, no, it totally has to do with the museum. They have three different plans. A 1250 seat facility for the museum? No. Yes, absolutely. It's what's in the museum, what they're adding to the museum. Yeah, they're talking about expanding the museum. A 250 seat facility that can be expanded. Well, the 250 seat facility is a totally different facility. It's the Steward Auditorium. No, it's not. They have three different plans. Steward Auditorium is 250 seats, and there is no possibility of extending it to 1250. The 1250 seat recommendation from Johnson Consulting is for an entirely new, separate facility. Not at the museum, right? Not at the museum. Not at the museum, correct. Yeah, I'm gonna come in and just say the point of order here is simply the accuracy of the minutes. And so while we can debate the accuracy of the minutes here, it is a moot point because what needs to be reflected here is the conversation that was previously happened in the last month's meeting. It seemed clear to me, and I don't wanna speak on behalf of Erin because she's not here and she's an excellent secretary, that this item needs to be reviewed. And so for the next meeting, we'll review it, alter it based upon the conversation that was had, and then we can take those minutes and approve them. Also, if we want to have this conversation, I completely think that it is very valid, but certainly not for art in public places. So the point of order, of course, is either tabling the minutes or correcting the minutes if you have the accurate information based on the last conversation. I would move that we table the minutes and empower Angela and whoever else to review the tape and provide us with a accurate and carefully reviewed revision. I have one comment about, and I'm working off my phone trying to find the minutes and for some reason I can't. But there was, when you listed at the bottom, this is aside from what Peter's talking about, and it was the upcoming dates. It said August 12th. Oh, now I don't know my calendar in front of me was one of the regular meetings, but it should be August 19th and Cindy. I can't believe you didn't catch it. Apparently I've... You're slipping. I don't know, I actually don't even know what you're talking about. Are there any, so that will be added to the motion to table the minutes with alterations of item six as well as the corrected date on the bottom for additional, or I'm sorry. Item eight. Future meetings. Is there any other changes to the minutes? Shouldn't that be item eight? It's eight on my copy of the minutes. Creating District Town Hall pilot, that's item eight. Item eight, got it. Okay. Do we need to restate the motion or is everybody clear here? Would you like me to restate it? I've got it. Yeah, go ahead. That we table the minutes and empower Angela and whoever she wants to work with her to review the tape and provide a carefully checked version of item eight B and also that at the very end, upcoming monthly meetings, August 12th, we changed to 19th. I second. Okay, is everyone in agreement with that or anybody have any other changes they'd like to make? Okay, then we'll move on. Are there any additions or to the, today's agenda? I'm not aware of any, and I can't hear Angela if you're talking, I'm not sure. Oh no, I'm just shaking my head, nope. I, oh, okay. Okay, then number six has to do with Andrea. I believe this may have been, this was going to be her last meeting. Well, cheers to Andrea again. I feel bad if she's some meeting. She said she completely got Wednesday mixed up with Thursday and just wasn't aware that it was Thursday. So anyways, but she will be attending our workshop though on the 26th. So we'll all have an opportunity if you are joining us in person to say hello, goodbye then. So that'll be good. Her, her terms up again? Damn. And she did not re or she, I believe is, I was hoping she said, but she's moving on to other pastures. I think physically going, leaving Longmont. So oof, it's a loss for Longmont big time. Okay. So number seven is public art project update. And the first one is art on the move, 2021. Oh, go Randy. And I'm working on sharing the screen, hold on. But just, you can talk about our citing. Okay. Hello everyone. So as you know, we have six 3D pieces to install for art on the move. Angela, Andrea, and Cindy as the task force last Tuesday at the roost, which if you've not been to the roost, I highly recommend going to the roost. Anyway, we have determined the locations for the six 3D pieces. Well, Angela's getting the pictures I can show you on paper. The Kala, which is acrylic and aluminum, it was this one. That one there, you could see it. That one, since it is quite delicate, that one will be placed at the museum. So there can be eyes on it. The under the lover's moon, which is the really tall powder coated steel moon, crescent moon, I'll show you that one too. That one, you're gonna show it. Okay, cool. There it is. That one will be placed at St. Stephens. Another, so there's four at St. Stephens. The next one is that one. Yep, that is called the protector. And that one will also be placed at St. Stephens. The third one called Wild Ones. Not that one. That one, yep. Will be placed at St. Stephens. And then cacti, mid-century mod cacti mini. There was a little bit of discussion about that one, but we ended up putting it at St. Stephens because the alternate location was kind of far north on Main, so I felt personally that it might get lost there. So St. Stephens is really a good location for our art on the move pieces. So that's where that's going, St. Stephens. And also the last subject, the artist is also taking work out of there and putting it in. And for the convenience sake of not having to move the crane, the welder and the grinder, that really helps me out on logistics. So thank you guys. Thank you gals and guys for efficiency sake. That one's pretty awesome. So thanks. It's all about you, Angela. And then I'm kidding. Anyway, the last piece, which is Molly, there she is, will be going on the west side near the theater. And this was pretty close to where Ursa Major, the big giant bear was, but the bear was on the north side of the breezeway. I think Molly's gonna be more on a tree grate, so it'll be closer to the street. Actually, no, the bear was on the tree grate. Is it going to the same spot as the bear was? I think it is. It is. Yeah, so yeah. Near the theater on the west side. Any questions? Ursa's on the east side, right? Now Ursa's on the east side. Ursa's original location was on the west side. So we're gonna have a big, big, big day on Monday. It's a big day actually. The crane is gonna start at the motorcycle at the recycle center. We're gonna crane that out. And then we're gonna start at St. Stephens and take out Snow Queen and the pieces that are Sue Quinlan's called Trinity. And then the Annette Coleman piece. And then when Annette arrives, we're gonna take cactus out of the truck and put whirling dervish in the truck. It's gonna be a real shuffle. It's gonna be really busy. And with my luck, it'll either snow or it's gonna be blazing hot. So I imagine the ladder and if you have any time between the hours of nine and two and you are interested in making sure that spectators don't get hit in the noggin, I would welcome you to come. Cindy Tiger, last time. I don't remember who else was there. Someone else was there. I was there. I was there. There was a gal. I think it was Annette Coleman's mother who almost got hit by the forklift. I was driving the forklift through roses and she just really wanted to get an up close picture. So anyways, I'm not gonna send out a sign up genius because it's such a long day and really I'll have vests there but coming and taking pictures and just talking to the public is super helpful. So again, Monday starting at nine and we'll probably end about, you know, 233. The one that is going to be the most intense and laborious installation that day is going to be Protector. The base is 300, 400 pound granite. And then of course you have a 1300 pound piece of marble and the installation is really interesting. There's a pin coming out of a plate. And so the plate has to be anchored to the concrete and then the granite goes over the pin and then the marble attaches to the granite. So I think that's fascinating. So anyways, yep. Angela, you're in luck. The forecast for Monday is a high of 71. Whoa. Right on. Yeah, right. I bring it. I'm telling you. I told you it's all about Angela. It's all about Angela. It's all about Angela. It's all about rain. Any rain in the forecast? Oh God, please. 26%. So that means no rain. What time do you think you're gonna arrive at St. Stephen's? The crane will probably roll up between 845 and nine. All of the businesses should have gotten their thumbs up today. Barricade Company comes at seven. I'll be there at 7-0-1 and I'll have just missed them and then I'll get to move all the things myself because that's how it always happens, right? No. And then so we'll close off the alley. Businesses will know that if they need to go in between the alley, they can move the signs and exit the parking lot. The crane will probably, yeah, 845-9. The crane closed up and the out will place him and then his outriggers should be out by 915. So at 915, nobody's going anywhere outside of that area. Okay. Hopefully. Well, I was there for many hours. When you installed Ursa Major. And so I just want to remind you that I was there for many hours. Ursa Major, that was a real bear. Literally. So it's seven pieces. It's a lot, in and out. So anytime you have, sorry, I digress. I have a question. What about the 2D piece? What's the, what's the... We're working on it, but I think that it's gonna be just fine. An MDF, I don't have an example. Thin, how's it wood? I think that that will be the application with D hooks on the back and then just hanging straight from the D hooks. My bigger concern really is just the height. And so I do think it's going to end up being just slightly smaller because the proportions are a little funny, but it's not a problem. So, but installation won't be now because he still has to have it printed and mounted but shortly, I mean, soon. He doesn't have an estimated time date. We have to figure out that dimension because, I mean, so it's more expensive if he, if we make it to size that will look the most proportional on the wall, it's more than one piece of MDF mounted together. So there's a seam, they come in eight foot sheets, but you can cut it down, which is also fine. But then it's a question of how the print is mounted to the board. So he's investigating the seam. But I think it should be pretty easy problem solving and to be very fair, I have not nudged him in five days since last week. So yeah, should look nice though. And I should say also just on the art on the move quickly, the other pieces are going Mali and the Kala piece that's at the museum are going to be installed on Wednesday. We will be doing Kala first. So my cheat, 9am, 9am at the museum. So that's going to be really quick and easy. I'm actually really interested to see that work because all we've seen is a model. So if you have just want to bring your coffee and your breakfast at 9am at the museum, that'd be great. And then Mali is going to meet us at the museum. They're driving up from Fruta. And then we're going to caravan over to the location on main and install her. So that'll be like a 10 o'clock. So yep. And I will send you a reminder. I actually, I'll send you just a schedule of these dates and times. Oh, if you're able to make it, that'd be great. We lost Holly. Oh, we lost our chair. Okay. We have momentarily lost Holly and I don't see her shoes. There she is. You didn't change your mind on being chair, did you Holly? You can't get out of it. I am so sorry. I'm back. I fell out completely. My internet must've just fallen right out. My apologies. Where did you guys go without me? Well, we didn't even, we kind of looked around and said, uh-oh, she changed her mind. No, not at all. I fell off completely. You all just disappeared. So I think we're on shock art. Shock art, since you'll recall, we bumped it up to try and get hooked up with the art walk for May, but that's not happening. So really those dates were a moot point and a number of artists came back and said, hey, you bumped up the dates on us. Do you think you could give us a little bit longer? So we just extended it till the 26th and really that date isn't so bad because it will allow the display to be up at Old Town Marketplace for even a little bit longer during the downtown summer on the streets, which is every Saturday starting July 3rd through August something, I'm gonna say 21st. But we will be on display there for about two and a half, maybe three weeks, so starting July 10th. So whereas we were having kind of a closing reception that night, now we're gonna do an opening, an opening reception that night. So dates haven't changed so much, just activity. So again, I'll sign up Genius for volunteers for doing some table setup and things like that, but it should be a really good time. Right now we have some 20 submissions. Wow. Last year we had 40, which was bananas, but I think people were bored in their houses. So we'll do some more marketing pushes and get that number up and then we'll photograph them and get them online. So that's the big stuff that way. Is that pretty close to previous years, the 20 as opposed to the 40? Yeah, last year's participation was significantly more than, and of course it was my first year, so I didn't really look at the number until later. We also did it, we did the whole program a little bit later in the year. I think artists like the idea of painting in the fall rather than mid-summer, which makes sense, but that's not really a problem. So shock art again, the subcommittee will get together and look at those boxes options from Kevin. We've had a lot of people want their residential boxes painted and so I've had to have some conversations that way, which are slightly unfortunate, but Kevin said they're just not an even an option because the way that the staff is trained to see them in a residential situation, it's not as, it's very a pointed situation rather than if one of the pad mounts goes, it's like a whole block that goes out and they know where that box is. So whether it's painted or not doesn't make a difference, but the residential ones are sometimes hard to find. So we're not allowed to paint those anyway, but I think we should still have a very good turnout and if we want to, if y'all decide that you wanna up the number of boxes, if we have a very strong turnout this year and you decide rather than the five to seven, we wanna do 10, that is completely up to you and we have the funds to do it, so yeah. So we'll see how they come out and we'll be able to talk about it in July. Okay, that's great. Oh, right, it looks like Civic Center or land acknowledgement is next on the agenda. So what does any, after our meeting with Cherise, does anyone have any thoughts about Civic Center? I mean, I know that it was a little bit to digest about kind of the precarious nature of that building, but that bed is desirable for public art, at least from facility standpoint and I have now run it up the pole of communications and some of the staff that work in that building. Does anybody have any feedback or thoughts or ideas now knowing that the flags will come down in fall? They'll be assessed. There won't be any public art in that space because we also do have the outdoor place as well if we wanna just start there. I have one question. We're talking about the big pad in the stairwell, yes. I don't have any real ideas. I was just wondering that bricks around that's the stairwell can that be painted as part of the installation if it's appropriate? How do they feel about painting part of the Civic Center? Just thinking. I don't know, I can ask that there's a lot of brick, there's a lot of that brick in that building. I like where Cindy's going, like what if the artist has a mural along with their piece of art? I was thinking kind of like a diorama or something if we wanted to put a background in front of whatever installation we put there. I don't know, we haven't even discussed what kind of installation, but I was just... Yeah, but it's a good question. Really good question. Yeah, it totally is to incorporate it in it. I think that's part of the thing that keeps that building so cold and uninviting. And so if we can help break that up through an art installation, that would be really appealing. Well, if we were gonna do an art installation, wouldn't we have to do an RFP for it or a request? So before we could do that, we'd have to get an idea. And maybe, I mean, that way, if you talk to the folks that work there and do a multi-purpose, like Cindy was talking about a diorama or a mural in the back and then a 3D figure in the front to accentuate each other. So one of the things that we had talked about is that the city is working on going forward with a land acknowledgement. And the museum has been spearheading that. And for those of you who might, this might be something new or a new term for you, a land acknowledgement is a statement of residents within a location, recognizing verbally and also symbolically at meetings. So city council, almost like the Pledge of Allegiance for a city council, it would be said at the beginning of city council, which acknowledges that we are not the first residents of this land. And as appropriate, because the Civic Center has been, if you will, to showcase visually for, I'm gonna say the word paraphernalia, but I say that very gently, if you will, of objects that are representative of our connections with our other sister cities, that this could be an opportunity for an artist to be informed by the land acknowledgement. And then that could be the theme by which an artist takes off. And if we put the parameters, right? Facility says, yes, you can paint. I know that there's electricity which I think that that's a huge one. There's a lot of, I think a lot of creativity, things that we might not even expect could come out of it. So I have the land acknowledgement to share with you. I don't really want to read it, but at the same time, I only have it in an email now. So you're just gonna have to forgive me if you're like me and want to be reading it on your own full lungesism. That's clearly, I can't, I've got to lose you for a minute. Sorry, sorry, sorry. I should have had this ready to go. Boogers, sorry, I'll go on it. Here we go, here we go. So I should say also that this land acknowledgement is in draft form. We have had, and I say we, the museum has had consultation by a leader in the Northern Arapahoe community who has been working also with the Denver Art Museum. The city of Denver has a very lovely land acknowledgement and so here it is. Can you see that Laurel ICU? Can you give me a thumbs up if you can see it? Yeah. Well, okay. So it says, we acknowledge that Longmont sits on the traditional territory of the Cheyenne, Arapahoe, Yut and other indigenous peoples. We honor the history and the living and the living and spiritual connection that the first peoples have with this land. It's our commitment to face the injustices that have happened when the land was taken and to educate our communities, ourselves and our children to ensure that they do not happen again. And again, I will share this with you, but it is a draft. Susie Hidalgo-Faring who serves as a councilwoman for the museum advisory board has taken it to council and it is scheduled to be on their docket. They may have edits, they may have changes, it may change. Once it is adopted, I think that city will have a policy by which we, how we utilize this land acknowledgement, but it certainly seems appropriate for the Civic Center to me. So they've come a long way with this. So I wonder for the Civic Center project, if next steps is to get that city employee feedback with these ideas in mind, and then understanding from Cherise, a good number that was applied towards the Civic Center. Again, too, it's assessed, I can never say it, assessed Quintennial, 150th year of Vermont. So that- Susie Hidalgo-Faring-Susie, also lovely. Susie Hidalgo-Faring-Susie, Centennial. And it's C-Quint. So you're thinking along the lines of like an artwork to review the past and to the future of Longmont, something like that, to celebrate our past and hopefully of a more diverse future or something like that. Can I ask a question? Have we decided to take down the banners that are in the entryway of the Civic Center? Are those banners gonna stay? Are they gonna be refurbished? Are they gonna be cleaned? Are they gonna be redone? What's the deal? Question. So Cherise visited us last month to explain more eloquently than I have been able to say that because of the nature of the building and the improvements that have to be made to the skylights, they officially have to come down. So the contractor said that they do have to come down for the work that they have to do. So instead of hiring a conservator to look at them in situ, in place, up on a ladder, we will pay the conservator to come and do an assessment in the fall. And then that person will look at it and then it will come back to the subcommittee with the dollar amount that it would take to either restore them versus its value. And then the subcommittee will make a recommendation of whether or not those parameters or that those findings fit within the deaccession policy. They will make a formal recommendation to you. So that said, I know it's a long road but it should be because it's a really important aspect of someone's artwork, right? So because of the facility, they have to come down. So we're just gonna be more efficient in just waiting until fall, rather than having the conservator look at them now. If I were to guess looking at the work that Holly and Noah did of the conservator, the last time she looked at them in 2009, I would imagine that the cost to refurbish or bring them back to life is going to be extensive. And then it is a question of whether or not, what, what, which avenue to take from there. So I think that that will, it'll come back up in the fall. I have a question, two questions. Returning to the land acknowledgement. As people are planning for making this an official part of the city council meetings or whatever, is anyone concerned about people who will raise objections or people who may have a problem with that? And is there a strategy in place to deal with that? And second question is if we're talking about an artwork that somehow reflects is can we, should we specify that the artist be from an indigenous group? I can speak to the first question, which is luckily that is city council's prerogative and reviewing land acknowledgement, considering on behalf of the community, receiving feedback from the community, fielding any sort of question, concern, excitement, thrill, and city policy will then trickle down of how it will be for us. I think the important piece on the indigenous front, really, I think that that's, I have to look into that. I think we have to give all people, no matter race, creed, an opportunity to apply for any RFQ. I can just see if the artist is not themselves from an indigenous group, objections being raised then by people who are, that once again, their culture and their history is being exploited by people who are not of their ethnicity. Sure, and I think that that's where the sister cities connection is the most important aspect of this project is to be assured that the sister cities group, the Northern Rappahoe tribe are consulted and actually on the selection committee and participate in the Public Artwork Commission. So I think, this is just me, I think that that's how that happens, but. In these divisive times. It's only open for conversation. In these divisive times, I can see both of these creating problems for somebody. It's always something. We lost Holly again. That's what my mother always used to say, Laurel. You bet. Every time it gets difficult, she just leaves. Don't say something. So I will say too, for next steps, we do have a number of people who are sitting around this table now, Teresa, I know that you had something to note about being included in that as well. And because we can meet back in person, Carmen Ramirez, who is our culture, is a huge asset to this town. If you don't know her, cultural broker for the city is really excited about this partnership, is excited about the way in which the way in which we can include the tribe in the commission of the artwork. So I think, I'm not scared. And I think Carmen would say, if we don't start, because we're worried about what someone's going to save, then that's maybe not in the cities and that collaborative effort. I'm not suggesting that we should hesitate to do this. I'm just concerned about being prepared. Sure. So does anyone have any objection? I think next step is that the group needs to meet if city council has any feedback about the land acknowledgement from boards and commissions that you, the subcommittee would be the body by which would speak on behalf of art in public places, if everyone's agreeable on that one. And then I'm just gonna start running it up the pole, because once it reaches Harold's office, rubber meets the road, right? Okay. Hi, Holly. I'm sorry. We're glad because every time it gets tough, you leave us. Oh my goodness, I'm sorry. I think that's an excellent idea though. Do we need to agree that we need a subcommittee or how do we wanna proceed with that? We already have one. Oh, you did. Yeah, I just didn't, I didn't wanna go forward any further before the land acknowledgement. It was passed by the museum advisory board who's been working with indigenous folk to inform this land acknowledgement. So now that that has passed, and it is at least on, it's somewhere in the queue for city council, we're prepared to go forward, whatever that looks like with this project. It's the sister cities task for our committee, right? Who's on that task for us? Who is, oh, man, Peter. That's curious, that's not it. Lisa, Jennifer, who else is on the 150th, not the colorful poetry, but the 150th panel? Yeah. I think there's four. And is it Randy? I'm sorry to volunteer you. I will look back at my notes, but I have it. And also, I'm so sorry, we're getting off track. City council did approve the new board members last Tuesday, so we'll reshuffle the deck when it comes to task forces. So we will revisit this very shortly. But I will get that on the list. Sorry, Holly, you were saying, is that, so that sounds like a good plan to you? That does sound like a good plan. Yeah, and I guess, yeah, that sounds like a good plan to go forward with. So are we moving on to Boston Bridge? Can I just, if you're on the task force, then Angela, do you just email us for certain times to get together? Okay. And maybe if I'm vaccinated, fully vaccinated and happy to meet in person. Me too. However, anyone is feeling comfortable. I'm happy to wear a mask. I'm happy to put tables, but I think for this exercise, meeting at the space will be helpful. So I will send it out to you. I'm not asking if you are vaccinated, but I am, and if you are comfortable meeting in person in that space, great. And if you're abiding by, of course, all laws, but if not, then we'll meet another way. So I'll send that out. No, I'm zoomed out. I want people. I think you're on mute, Angela. I'm talking to myself and didn't think you guys needed to hear that. Sorry. Okay. Boston Bridge. Okay. Here it comes. Here it comes. So while I look, I spoke to our friend, Alan burning about Boston Bridge. I received the elevations last month, as you will recall, we ended up tabling it because our meeting went so long. And it actually was a good thing because it gave me a little more time to understand the financial implications and logistics of a relief sculpture. And I'm not sorry to say that it's really intense. Oh, I know why my problem, I know what my problem is. It can be very expensive. Concrete is not a terribly sustainable material and it doesn't make our resiliency and sustainability commission with the city very happy. I think that there maybe in the future could be something alternative that we could use and could work with. But the monies that we were looking at for how much it could cost for a single panel was a lot. And when I say a lot, I can't even tell you a range because it varies so much. Cindy Tiger pointed out something very astute which was down in T-Rex where if you've ever gone through there near DU's campus it's lovely. Anyways, it's a repeated pattern. So it does look different everywhere you go or as you travel, but it's a repeat almost like a textile, right? And so how they were probably physically or financially able to do it was it wasn't one composition that then you had to make multiple molds of. They made four molds and they used them over and over again. So needless to say, I really don't have a good number and so they're at 90% design. And I talked to Allen and I said, okay, well, we still are really excited about doing, oh shoot, I can't see it, can you? We really are excited. And he said, okay, can you, Laurel, I'm looking at you and Peter, give me a thumbs up if you see an engineering drawing. Okay. So this is the abutment art sketch that came recently. It's the most recent version. And so this is gonna be clear as mud to some of you. And because of the orientation of that bridge, there isn't a perfect way of saying what north and south is. So if you are headed on what will be the path or you're at left-hands, like patio, their outdoor area, place that is highlighted is going to be the most visible and is the most ideal for our partners in development to be considered for a public art piece. That said, it's 513 square feet, it's lovely, huge amount of space. So rather than trying to fit, what I'd say a square peg in a round hole is I think we should go back to the basics. And if on the sesquintennial, we are interested in looking at a mural for this location, it will be highly visible. That's what I would like to suggest for moving forward. We can execute it this year. We know what we have to do. It'll be brand new concrete. We'll have good primer and we'll certainly do the graffiti coating over it. So I don't think it's so much of bad news, but it also is just not turning out the way that I thought it was going to be. So does anybody have any comments or thoughts on this project if we continue that way? I have one question, which is from the other side of the river. Can you see any of the abutment? Is there any place, you're muted again. If there's any place on the other side, I mean, isn't there like a trailer park there? I'm not really sure. Well, I think there's river, mural, and then the bike path. Right, but on the other side of the river. I'm just wondering if we ought to consider whether or not we need something on the other side, on the left Hambury side that we wouldn't be able to see from there, but does there need to be something on that side of the? Is that where the landscape company with the big rocks is? I think they're on the other side. They're west of it. They're west of that. And there's a river road there or something and they're on the other side of that. But between the river road and the river, there's a trailer park. I think it's farther south. I'm just wondering if we even need to consider whether or not it needs to be a double-sided, a two-sided thing or just one side is fine. Driving by the areas that there are not any areas where that would be easily visible. Yeah, that's what I'm thinking too, Peter. I think that it's not visually accessible from the other side. There's a little road off of it and there's quite a distance between where the bridge is and where the trailer park starts. Yeah, I think it's not visually accessible. So I think that we probably don't, but I just wondered if we should consider that. When I asked Alan, I said that what we were looking at was when he came back to us with the drawings, was the area that was going to be the most visually appealing. And he said, well, aside from putting something on top of the bridge like Main Street, which that ship sailed a long, long, before I was even here, right? So structurally, we're past that. That this was the best option, but I will ask. Okay, well, I just wanted to make sure all our bases were covered, that's all. So are we thinking a mural then there? The other option is something like a mosaic, but that adds weight. Which that would be something I would have to ask. There is like this kind of massive desire for murals and because we have the 150th anniversary, I think that an artist could do a bang up job and make it very local. We could also engage, or we have engaged in the past, Front Range is mural class. They've done some beautiful things. Yep, we could totally go straight to Front Range Community College and get an IRA underway with John Cross. Yep, if you want. If you guys aren't familiar with the one, there's one at the overpass or underpass at Oscar Blues. That's like right at Hoover there. It's beautiful. It's like a tree that just comes out. Just a quick thought. From my understanding, left hand is supposed to be building an ample theater right there across from where we're talking about this mural would be. So I'm not sure if this is just rumored, but I do work for Oscar Blues Brewery. So I usually have pretty good connections as to what's going on with left hand. So I just want to say that I feel like that mural also could be visible from a potential ample theater that's going to sit right on that river. So just a little bit more in depth because I think that might be what you're talking about, Cindy, is across from where the mural would be would be where I'm assuming is the ample theater is going. Awesome. So next steps is I could take a look at cost per square foot for 513 square feet of high and low for you if you're interested in mural. Task Force folks, this would be RSVP folks, but again, we'll shuffle the deck shortly. So if anybody's just really interested in getting on this one, we can do it next month after we get our new commissioners. Yeah, it sounds to me like we maybe need to just do kind of a reassessment of the area itself. And I do believe that some of the RSVP people have are commissioners that recently transitioned off. I know I'm just, I believe I'm still on that committee, but I would be happy to for us to relook at it and just see what might be best. I think that the Task Force should contact the left-hand brewery headquarters there across the street and ask them if they're planning an amphitheater and what orientation it's gonna be and tell them we're planning a mural there and we would just wanna make sure it's visible or not, if it's not gonna be visible at all, they're gonna block off that whole area which I don't think they would cause river. But we should just double check with them to see what their plans are. If you don't mind, and this is where I'm out of practice because we haven't done this before, let me just check with my city partners first because I don't wanna make cold calls and be like, I'm not at the city. And I have questions where my city partners may already know the skinny and just haven't shared with me. So I'll start with Alan, talk to him about reassessing and see if I can get some maybe aerial maps or something and then ask him secondly, if he has connections at left-hand and if it's less that we may contact them on our own and Task Force will just go from there. Does that sound good? Yeah. Okay, am I missing anything? Okay. Sounds good. Okay. So are you moving on to maintenance reports? Maintenance and reports and nature's way. Maintenance, so we'll start with the maintenance report. So our Eileen did have her baby three weeks early. So she's not here, give this, but I'll do my best. So you have all been diligently, not all, but a lot of you have been filling out those reports, thank you very much. And so Eileen went through and assessed the ones that were in poor condition, and then the ones that were fair, that had something that was hairy scary on them. So Peter identified birdbath as well as the Macintosh Lake. Pam, you identified something. I think that it's a nature's way, one piece of it. Susan, you said 101 faces was in poor condition, which I imagine that's because a lot of them are missing. And then Cindy went back and looked at nature's way again. So I have some images, but I think we just need to kind of go down the list of these pieces. Our bronze man did come back and he is within our budget for the bronze remediations. They were less than $100 for those added guardian and the other one. So we're in good shape that way. We have 20,000 budgeted annually for remediation, but we can always change that and up that, especially in a dire situation. So did I start with, well, maybe we'll start with, start with birdbath, Peter. And I'm putting you on the spot here, but I can read the report if you want me to. Well, that's the one that was not there, right? That's the Tim up in one that is not. Was it removed over the winter or something? Okay. Well, there you go, poor, because it's absent. Well, there you go, poor because it's absent. It's either been stolen or removed. No, I think that that was the removed one. Okay. So when I did that last fall, it was, I think, I did not see that. Right, okay. So that's one. I assume that it must be back now. I could go back there and look at it again. I don't think so. That's the one when I reached out to, it's at Rough and Ready Park, actually Joanne's, she lives by that piece. That's the one that RISC had in a barn because the pond froze over and the kids were hanging on it and then they fixed it and then they had to remove it again. So clearly that is not in the collections file, but yeah, we'll need to update that. Okay. Sorry, y'all. Okay. The next one, Susan Horowitz, 101 Faces. I looked through that one too. I want to know where those are. So there are some on the Main Street Bridge when you're on Main Street driving over the river, looking sort of toward the museum, there are three or four there on the bridge. I don't know where all the rest of them went, but I know that there are three or four there on the bridge. They used to go down over towards whatever that street is, that well, Pratt that goes by Burlington School and the bike path that goes on. There were faces all along those trees and there, I couldn't find any. Yeah. I couldn't find any either when I looked. Yeah, and so Eileen's notes say that the collection file doesn't have a map. There are some installation notes, but they were never, back then, of course, they didn't do like GPS locations or anything like that. That said, because of the remediations that's happened along the St. Brain, if we want to contact the artist and talk about recasting, reinstalling, now that that area is prepared for 100 year flood, we could investigate that if you're interested just a thought. The last time I saw them was before 2013, was before the flood. Yeah. So I would be in favor, I enjoyed them when they were there. I would be in favor of contacting the artist and see if they can be recast or if they were all handmade, maybe not, but it doesn't hurt to reach out. Do we have any pre-flood images of what it used to look like? A couple that have been used for publicity, but they're not high resolution. One of them's used in the bike map, was up in a tree. Yeah, so the answer is no. And again, this was part of the collection file project that happened over COVID. So that entire hard copy file has now been digitized. And Eileen has gone through, she's done a really good job of getting that all squared away. So I would dare say that chances are, there's not many left. And if we did have them recast, we could also make a point to when they're installed, we geo-tack them and then we'll know, right? And then we could take it to the next level and put it on an app and, you know, so, I mean, but we can also table this for now because if the condition is that they're not, they're not in bad shape, they're just not present on the maintenance front, you know, I mean, between your priorities, I don't know where that falls. It's not really a maintenance issue. Yeah. As possible, the artist might remember where she put it or if they couldn't, you know. I think it's a fairly safe bet. We lost several of them, if not most of them in the flood. That left hand creek got pretty high and a lot of them were in the reeds there. So I think that, I think that it would be nice if we reached out to the artist and asked, is it a her, asked her, him and her, if they'd be interested in revisiting that, we would probably have to repay. We'd probably have to pay her again. Of course. Yeah. I'm pretty sure we want to make, oh, go ahead, sorry, Susan. I'm pretty sure it's who I think it is and it's a male. Also, some concerns that I had when they originally all went up, was the size. I felt like because so many were on the other side of the bike path there, they were difficult to see. So I don't know if that's something we'd like to reconsider that they'd be done in a little bit bigger size. I mean, I got the idea that they were kind of hidden figures in these trees, but they were pretty hidden, a lot of them. So I don't know, it's just something to, when you have that conversation or we get there. Maybe fewer and bigger. I'm sorry? Maybe fewer and bigger. Yeah. Instead of a hundred and one, we could do 21. So I think I can continue with the maintenance so you can see everything that we have to consider here and then depending upon how you're feeling, we can make motions of about actions and assign a task force if necessary. Does that sound like a good way forward? Yeah. Okay. I have a question, Angela. I had one other that I looked at that and maybe it's already something's happened to it, but it's had its handstone. It's the hands that come out of the cement. Yeah. And those had been, all the nails were crayon dover. That's new from when I looked at it because I saw that was, that's its handstone, right? Right. Yeah. By the soccer fields. Yeah. I looked at that. I've looked at that two years in a row and it's got a big chunk out of one of the fingernails. Yeah. And some of the places where the bike racks are mounted around, they're a little, they're not, none of them are unstable. None of them are wobbly or anything, but they're beginning to look a little worn down there. A little shabby. And it's such a great piece. I really think it's a wonderful thing. I'm just voicing that I'd love to see that part of the maintenance happen to that right away. There's so many people there. Okay, that's called a merging hand. We had it as fair. So that's why I didn't rise to the top, but I agree. It's very visible. It's functional. Okay, so that's on the list as well. Okay. Okay. And then I think, and then Nature's Way. Nature's Way was the big one that multiple folks who visited it. As well, I believe this or not. I talked to Lauren just this week and she had some tiles. So I actually have some of the tiles. Oh, and then the zinc piece, I'm sorry, and the Charlotte Zinc piece around Macintosh. So those are the two last ones. Do we wanna talk about the Macintosh Zinc piece? Charlotte Zinc, I don't, what is the name of that? The Myle Markers. Myle Markers, yeah. Well, we were talking to the game at the meeting. One of them is bent way over. Okay. I thought I'd send you a picture of that at the time that I walked around the lake. You may have put it in the report as a fair, not a, Oh, okay. But that's okay. But I didn't- I thought I remembered one of them having had some paint sprayed on it or something, but not. Again, I'm not absolutely certain about that. Oh, there it is. Landmarks, it's called landmarks. Okay. All right, so landmarks. Okay. And then, okay, and then Cindy, if you wanna talk about nature's way, I can show some pictures. I can. Let's see the pictures. Let's bring up the pictures, Angela. There we go. Here we go. Here we go. Think after a year, I'd be better at this. Okay. How's that? I see Peter. Peter, do you see fish? This is inside the fish's mouth is a water fountain that does that function. I do not know what the water function. You can see here on this loop out of the body part of it, it's missing tons of tiles. It's missing tons of tiles on the head and it's missing tons of tiles on the tail. It's, if we replace the tiles, I don't know how they were put in first. They would definitely be some kind of a hazard to the little kids, but I mean, I don't know how they would be reattached. It looks to me like they were attached by pushing them into the cement and letting the cement harden around them. There's cracks. There's two pieces in this group that are made out of this sandstone colored cement and both of those pieces have some significant cracks. This is a moderate crack, I would say, compared to the other piece. But you can see all the missing tiles. Are there also some missing plaques? Yes, there are, but this plaque is here. Right, right. When I look at that, I remember they were missing plaques. You can see where it was supposed to be and it was just gone. I pass this sculpture all the time. And my thought about it is that with COVID, I don't think that the water fountain, I don't think it will ever get turned on or not this year or whatever because of COVID. Nobody's using water fountains. Yeah. Well, I also want to say that this whole series, Nature's Way series, is right on Left Hand Creek and I have no idea what the flooding did to the infrastructure of this place or any of the pieces, I mean. Yeah. I go past this one often also and it's just so shabby looking, deteriorated. It's not a... This piece is completely non-functional. It spins, that's all. Whoops, back again. But the bench... Go ahead, Susan. The chair that is there, that sculpture. Do you know what I... Yeah, there's several chairs. Yeah, and I met a woman and her two children that have their lunch there all the time. They love to sit on that bench. And I thought that was just so great. They really enjoy it. Okay, so this one's called I Spy and it's yellow. And it doesn't... It's filled up, there's something in it. You can't see through it. You can't see through it either way. You can spin it around, you can crank it up and back, but there's no possible way to see through it. It's filled with something. And it's starting to deteriorate at the bottom a little bit. I don't know if we can fix this one. I don't know. I do not know what would be involved in fixing this, but it is completely non-functional. It's just a pretty red and yellow thing that spins. And even that, it's starting... The red, as you can see, is getting pretty loose at the bottom. And the yellow part at the top is really faded. It's not bright and shiny anymore. Sorry, I interrupted you, Susan, when you were talking about the fish and I skipped over to I Spy. Oh no, it's fine. I was just saying, it's pretty shabby looking because it's missing so many tiles and everything that Cindy referenced to it. It's not a nice representation for art and pepper places. It just looks like it's been left to kind of walk away from you. Where is that located? It's a long Missouri Avenue between Kanemoto Park and Left Hand Park. It's between the sidewalk and the river and the creek, Left Hand Creek. And there's five pieces in this installation, five separate pieces in this installation. Okay. There's two of them that frame the cross street here, right? Yes, and hopefully we'll get to those. Oh, shoot. Ah, there, come on. So there, one I can talk about is that bat chair. It's in pretty good shape. It's a really nice big bench, the bat bench, and it has a plaque and it's really nice. It's starting to fade a little bit. The powder coating is starting to lose its shine. But that's the only thing wrong with it. It's pretty good. This one right here, this bat bench. It's starting to get a little bit faded. So you can kind of see where it's just, but it's all these things, the backs of this, the sidewalk is south of this bench so that anything, it gets a lot of sun. So why they're fading, I'm sure. What else have you got for me, Angela? Do you have my reports there? Because I, there was one, you're talking about missing tiles. There's one at Stephen Day Park that's missing tiles too. No. We also had a bunch of metal sculptures in, we call it the Barn Park. It's Southwest Longmont off of Fordham. And we talked about powder coating those at some point. So I wonder if the bench, is the bench painted, that bat bench, or is it? No, it looks powder coated to me. Yeah, so I think we have a lot of powder coating to do. Okay, this is the one that's part of the two on either side of Bowen Street, north and south of Bowen, which runs, no, east and west of Bowen, which runs sort of north and south. And this has some, this is tall and it has some serious cracks in it. Okay, I don't know. Some of them, these are bad. They're bad at the bottom. There's one that's really bad. I don't not know if these can be patched, repaired. I don't know. I don't know. This is again, that sandstone cement or whatever it is. It's missing a few tiles, but these tiles are just really rather randomly placed. They don't make a design like they do on the fish, but it's got some pretty serious cracking. I think there's a steel inside that the cement is around. So I think that it's not likely to fall over necessarily, but it's got some serious cracking issues. And that's not from anything, but I think age. Age and weather. Age and weather, yeah. So as you all may know, powder coating in Colorado UV are not friends. And the good thing is that since the 90s, when powder coating was really relatively inexpensive way to get color on both aluminum and steel, a lot of color has come a long way, particularly automotive paint. And so automotive paint, as you may have seen, not only is just shiny and bright and slick, but is also matte too. And the other good thing about it, the same way that you take care of your car, the same way that you would wax automotive paint into steel, is the same way that you can care for something now going forward. So as we conceive of how we go about preserving these pieces and taking care of them, we may wanna consider alternative methods for color. We may be introducing artists to new things. Powder coating into the future, if we remove, because you have to remove them, you have to sand them down, put them through the powder coating machine, the powder coat goes on, and then you reinstall. There might be ways that we can look at caring for these things in situ in the future. So, but I do agree that I think not only from a stability perspective, but also from just an aging and kind of an eyesore perspective, this is pretty serious. I have a question. When I was looking up the nature's way, it says that there's a kinetic arch, which I'm assuming is that last one that has the leaf things on the top. Does kinetic mean it's supposed to move? It's not moving. I can't figure out how it would move. There was one more piece there, the leafy chairs. Okay, this red one or orange one is pretty faded. The biggest problem with these is they're starting to get little bits of powder coating chipped off, little holes, little scrapes on them, stuff like that. If there's four chairs, and also this is one that doesn't have a placket also, I don't know what it's really called. I have no idea. I just was calling it leafy chairs because they look like leaves. The other thing is, see, well, that's just painter, that's a sticker, I think, that just needs to be scraped off, but there are other little problems with them. The other thing is that the explanation, the description of it in the artwork archive is surrounded by an aroma garden, and the original picture, it has a couple of little trees and bushes all around them. Well, that has suffered serious attrition. There's no more little trees. There's only a few plants back there. I don't know that it can really be called an aroma garden anymore. So you can see the scrapes on this one, right down to the metal. There was a resident that lives across the street along Missouri, and he used to take care of all of those beautiful iris plants and all right along that sidewalk. And it was just a resident that really took care of this garden around here. And he's since moved. There's nobody taking care of it in terms of private residences. It's a city thing. But that guy really took care of it for years. Well, shouldn't this be, I don't know, should this be the parks department around this sort of thing? It's not really in a park, but you can see there used to be, there's two empty holes on the side. There used to be a big, a little tree behind the yellow one and one in between the blue and the red one and no plaques, so I don't know what it's really called. So I believe that this is still part of nature's way. Yes, I do too. I think it's a multi-component piece, which in a collection file, you have the name and then there's component ABC and then even of that, then it's broken down into numbers. So we need to do that. It looks like it's on an easement and an easement would fall within the purview of the city, but that's not necessarily to say that landscaping does. Another example is the Rothrock Park, south end of Kensington, where we have a petite jardine right now of Charlotte Zinks are on the move piece. There's a lovely memorial rose garden there. And when we installed, it didn't look very good and then someone came through and cleaned it up. I sent it out, but I don't know who did it. So I think for our purposes, removing a Roma garden out of the description makes sense, but when it comes to landscaping, I can ask, but I don't know what that will look like. Meantime, the paint looks more stable to me and I think that Eileen would agree with me. It's not falling apart. The bolts at the ground look secure. It doesn't look like anybody's sitting on it. They're going to get hurt. It doesn't look like there's any burrs around where the paint... No, it's just something to keep our eyes on, because if the paint chips off more, you'll start to get rust and then it gets to be more of an ordeal. Yeah. So that said, we have a number of things on the docket as related to maintenance. Of course, again, our bronze came out looking really good and that is under control. One hundred and one faces emerging hand at Sandstone, the landmarks piece at Macintosh, and then this nature's way, both the kinetic not moving arch and the water fountain with missing tiles. So and the eye spy that just needs to go and the eye spy, which is also a part of nature's way. OK, so those nature's way pieces is going to be all one artist. So we could start just contacting artists, get maybe a task force for each of these pieces and start looking at what dollar figures could be or we could prioritize them and make decisions that way. It's completely up to you what you think that the best methodology for movement is. So I think it I think because we're starting to look at a larger volume of maintenance needs that it may make sense just to start to prioritize. And is it is it necessary? Do you think that we at this point make sure that there's nothing in that maintenance group that is a safety issue? Because that would be certainly the first priority. It sounds like some of the nature's way. There was a piece that was coming up that had a lot of cracks. I mean, there may be some risk involved with safety for a couple of those. So they may just need to take a higher priority at this point unless anybody can make suggestions if there's any other ideas that people may have. But if it's safety related, that probably needs to just be at the top of the list. I think that what Peter said about the one at Macintosh Lake where it was bend over, I think that that should be a priority because that's just more damage is just waiting to happen there. It needs to be fixed. The I spy one, it's not hurting anybody. You can't utilize it for what it was created for. But it's not it's not a danger to anyone. It can be a lower priority. OK, I will contact Charlotte, is anybody interested on being on the Macintosh Lake? Charlotte, Zinc, Land, Mark's Task Force, Susan, Pam. I would, but I can't I can't walk all the way around right now. So OK, well, do you want to just be included on the emails? Sure. Sure, that would be great, because I used to walk around it all the time and I kept my eye on those. So. OK. And then what about the nature's way? Again, I spy the water fountain and the two arches. Are very likely all the same artist. So I'm just they are. They are all by Tim Appam. Tim Waters, maybe something like this. Waters or Welters? He's on City Council. No, I'm sorry. I said there I took pictures of the plaques. So it's right on the plaques. And they're all by the same artist. OK. Got it. So who's interested on being on that task force? Sorry here. I'm there all the time. Easy for me. I'd be happy to be on that task force. I would like to as well, Tally. Super duper. But what is it? What is the piece of Stephen Day part that I reported on? It had missing tiles, too. Yes, I've seen that. It's that's really bad. It's right near an elementary school. So I think that they come over and pick the pieces off. It could be. There's a map. And there's seats around this little plaza. And then there's some. Yeah, it is that have taught that are supposed to have tiles on them. I did. I looked at that last year and it has a lot of tiles missing. And yeah, they're they're like a landscapes for things that you can see in the mountains. It's coming back to me. Oh, that is the piece that they contacted me in the paper about. And we were in the Times Call last month. They're the benches. Kind of, yeah. Yes. And it's the deal. It's the pointing markers. One's pointing at Meeker and one's pointing to where big Thompson and left hand come together and then they have coordinates. And they and the little the little if you want to call them benches, the little steps. Yes. At the top, they have sort of a little. Matt, three dimensional map of the thing that they're pointing at. Right. OK. Well, there's those that are along the path and then at the far east end of the park is this little plaza that has the map. Yeah. On the and there are pieces on that that have lost many of their time. I mean, they're obviously so they run down looking because there's so many tiles missing again, just like. It's like the ones that nature's way. OK, I forgot what those are called, but. OK, so we'll we'll prioritize zinc. I'll make that phone call and and contact first. Then we'll get nature's way up and going and then we'll prioritize the Stephen Day Park piece number three. And again, next month, once we get our new commissioners, we'll reach up full the deck on both maintenance and. Task forces. So if there's something that you're interested in looking at, just write it down and we'll get there. I know that that was a laborious and maybe not fun exercise. I recognize that maintenance is not always the fun thing. Mario Echivaria, his. A curb, his mower curb should be going in. You would be surprised that the Parks Department isn't excited about putting concrete curbs in, but it's the only way to keep from happening what happened previously. So that should be coming about to this year. And so when I was on the artwork archive, there are lots and lots and lots of pieces that are not on that archive. So I so I lean is going through all the collection files. There are pictures of some things. There are not pictures of other things. That's one of the reasons that we're doing these exercises. But our work archive does not merge with our collections database. So you have to manually go in and and make those changes. So. We can also add to maintenance. If you want to refer to artwork archive, look at the description and rewrite one. Yep. There's a lot of updating to do lots. I'm all ears to strategies. There's I mean, we could get a list of the ones that aren't that need pictures that aren't on the archive. Be happy to go around and take pictures. Sure. Okay. Let's talk offline and we'll make a strategy, maybe working backwards. Newest to missing to updating. Okay. Anybody else interested in taking pictures? I'll take pictures. Pam. Mm hmm. I take pictures. All right. I'm going to call you the artwork archive task force. All right. Again, I know that that's not fun. So. But. It'll be a lot more fun when it's only 70 degrees. Yeah. There you go. Are we ready to move on to our next topic? I think that might be our upcoming creative culture. AI PP workshop. The commission impossible. And most of you probably received your invite to this already. This is the nine core again, workshop that is very likely going to turn into an annual type of workshop. That is relative to planning. And that is coming up next Saturday, I believe, and it's going to be from eight 30 to 12 30. Did everybody receive their invite for that? Was I talking and no one was list was able to hear me. was able to hear me. No we got it. If you didn't receive it or fell in your spam it's also attached to your email for this agenda and it's the 26th so not this upcoming Saturday but the one not Juneteenth but the one following the 26th. Following. Yeah the following Saturday and I believe you want us to RSVP to AIPP at Longmont, ColoradoDark.gov right Angela? Or just raise your hand right now if you're planning on coming it is in person and also if you would like to institute any parameters on masking and distancing we're going to be pretty good about it and sanitizing. I think I'm going to be there with the friends. Great. Yeah I'm going to try to be there I have some other things scheduled that day if I can work those around then I'll make I'll make this a priority. Great. I will be there but probably not at 8 30 because I'll be sleeping still maybe. That's the breakfast it really starts at 9 30 but I gotta feed you and get y'all. I like free food. Incaffeinated. Yeah. Angela how many people do you think did we anticipate will be attending or how many have been invited at this point? Well so hold your hands up if you're planning on coming. I'm sort of I think so. That's all right one two three four five six seven eight. Okay so if we get 25 I would be really excited. I have confirmed three city staff who will be joining us which is really exciting. Erin Fosdick from Planning and Development. I'm hoping Wayne Tomak will come from Community Services. Francie Jaffe from Sustainability and Resiliency is coming. Justin Veach from the Stuart Auditorium is going to be there. Kim is going to be there. I'm hoping that Karen Roney comes. That would be really great and I'm hoping Marcia will come too and then the friends have been invited. The museum advisory board has been invited. The creative district. Anyone who is a stakeholder that way is invited and yeah so if we could get 25 that would be great. If we get 30 I'd be a little you know yeah. Are you going to put out a sign-up sheet for volunteers to help you organize and okay so we'll look forward that look forward to that for the in the next few days or weeks. Yeah I now know that I am picking up the breakfast so that was like a big linchpin. So setting up the breakfast and Cindy's going to do check-in so really setting up the breakfast and helping Brian get the room ready. What's that? What's on the menu for the breakfast? Breakfast items that also include things from the earth directly that do not have gluten or dairy. Any yeah. If you have any issues I got you covered. I just want to know whether I want to eat it or not. That would be delicious. Yeah do I want to wake up early and get breakfast or what? Yes. Yeah then it'll be good. I mean I see this as just such a big opportunity to have a lot of people involved with focusing on going in a similar direction as a group rather than just even AIPP. So this is just a giant opportunity for us all to be a part of how our our community moves forward in in how we develop a creative culture. So I'm just really excited about it Angela. I know you've worked really hard and it's the fruits are going to come up so yeah these thanks for all your hard work. Yeah thank you Angela for organizing it and putting it together and inviting the invites to all that will participate. I think there are going to be some great scenes playing it really exciting. Yeah I don't want to spill beans but I desperately want to spill beans but I'm not going to spill any beans though. It'll be good. Oh how about just one bean one bean. Okay just because it was in the news like two days ago and chances are if you're a nerd like me you might have read it. So the city of Denver had some drainage issues like some big drainage issues where they had to reroute water and so the city has this problem and black cube nomadic black cube project which is like a pop-up installation brain came in and said well why don't we bring a creative mind into doing this. So instead of making a ditch to move standing water they created a not a park but not a public art piece per say but a drainage ditch and chances are kids who are skate park lovers are going to totally love it but people who are from the west will see the mountains in it because the creative brain that they brought is from the west and so he worked with engineers and he is also a skateboarder and they made like basically a not skate park and so what it does for urban development is it keeps skateboarders in a place to to really conquer but they know that they're going to be there but it also doesn't fall under rec so since it's not a skate park they're not really liable for it so it was all the brilliant things all the brilliant things coming together and it wouldn't have happened if it didn't start with the city saying hey we have a problem and creative mind saying hey you address this problem the same way every time like what if this you know and so while public art is always going to have memorials and they're always going to have monuments and testaments and tell stories about our community there's also other ways that we can uh infect our little neighborhoods and come and meet them where they are with their problems even in infrastructure and turn it into something that's awesome so I get really jazzed about that I think it's great so yeah I'm super excited for the day I really really am and um so yeah and Brian's a lot of fun and oh I can say this too he is a meow wolf artist oh oh yeah oh yeah release the name of the artists in Denver who are the brains behind that and I won't be surprised when we walk into meow hope and see his glorious the meow wolf in Denver yeah you know opening this fall what next in the fall in August or something I've been to the meow wolf in Santa Fe so I'm looking forward to that opening here yeah last I saw Governor Polis was actually really well I mean that's a pretty big support behind that so very cool anything else on the the workshop Angela that you want to share that we missed now just that it's going to be a lot of fun and city council gets back in person on the 29th and we're meeting on the 26th but you're just whining anyways it'll be our first kind of get back but it's a workshop it's not a meeting it's it's a workshop so there's a difference okay yeah okay all right is it time to move then to Administrator's report Angela yep all the updates are in the agenda so I have nothing new commissioners reports comments anybody have anything they'd like to say is there any plan to do the to seal to repair and seal the mural at 9th and Alpine I was I wish he would commit to a date but he has not yet and I know it's because he's trying to do other work in northern Colorado um I don't really have any tools to hold his feet to the fire except that he has to finish it this fiscal year by contract so okay well we have new commissioners next meeting and will we be meeting in person I do not anticipate meeting in person because it's going to roll out from city council down so I don't I don't anticipate that maybe and then uh Marsha's not here but they did interviews uh Tuesday so I imagine that I should be receiving an email if those folks accept he oh well Peter you know did you get an email Peter no I was going to ask about that should should I expect to be continuing I've not heard how did that interview go I didn't have an interview did it oh you're returning they might not interview you because you're returning right I just I filled out I filled out the form I filled out the the form and said it in but I've heard nothing since then I said yes I want to continue I mean I had a three-minute interview maybe maybe I'm persona known products in the city council I don't know hmm okay I'll send a note to the city clerk's office and I will I'll find out but I anticipate that we should have Peter and Laurel returning um really a couple you haven't you had a second interview a reading I had a three minute three minutes by the time they got to me with and and had to leave so well that's basically what my interview was the first time okay I didn't have a second interview no right right okay okay yeah yeah that was that was what I had before they they basically asked me two questions what why do you want to be on the commission and what's your favorite artwork I put in a few good words for Angela Brill so they are darn lucky to have Angela running the show here boy I can't wait until I meet some of you in person for the first so ridiculous okay all right um I will I will check with the city clerk's office because that sure doesn't seem fair to me sorry about that okay any other comments from commissioners move adjournment so it looks like it's 753 we're done a few minutes early and Peter moves to adjourn second okay so we'll see everyone on the if not first then on the 26 right July June 26 is June 26 right the next meeting Angela with with art on the move help her with some of those things on art on the move if you've got the opportunity that's Monday the 21st right Angela Monday Monday Monday Monday Monday I'll send I'll send these dates and also the words that you can expect so if there's something you really want to see okay okay thank you all so much good night everyone thank you Angela and great job okay thank you everyone see you soon thank you Holly thank you Angela