Video Description:
Art in Public Places Commission Meeting – February 18, 2021
For a transcript of the meeting, please read below:
Meeting Transcription Disclaimer:
Note: The following is the output of transcribing from a video recording. Although the transcription, which was done with software, is largely accurate, in some cases it is incomplete or inaccurate due to inaudible passages or [software] transcription errors. It is posted as an aid to understanding the proceedings at the meeting, but should not be treated as an authoritative record.
To listen to the meeting alongside a transcript, please visit:
Note: The following is the output of transcribing from a video recording. Although the transcription, which was done with software, is largely accurate, in some cases it is incomplete or inaccurate due to inaudible passages or [software] transcription errors. It is posted as an aid to understanding the proceedings at the meeting, but should not be treated as an authoritative record.
To listen to the meeting alongside a transcript, please visit:
https://otter.ai/u/NvceQzW7S2WoxVOBkWdJhVm7Vcc
0:00
get it started. We’re
0:00
at 602. I’d like to we’ve got a quorum and let’s get rolling. So I’d like to call the meeting to order. It’s really easy to do roll call for today because I can look at your names. I’ve got Nicole, who’s just our best buddy ever. And I’ve got Laurel Alterman. Pamela Lynn. Bachelor, right.
0:24
Yep. Jennifer,
0:25
Jennifer Miller, the one on the only Angela Brill. Holly, the great Holly, brandish lane, Peter Alexander. Aaron, who is diligently writing these names down. Thank you. Noah who doesn’t look like an art piece anymore. Trisha, we’re really glad you’re here. You’re kind of a newbie, then we’re so glad that you’re here. Andrea? She’s an OB? Is that how we say it? But not ageism? at all. But thank you for being here. Eileen, thank you for coming back. Randy is here. Danielle is here. Susan is here. Kim is here. And panelists here. Does that sound good? We all okay. All right. Excellent. So we do. I’m seeing some things here. We wanted to see if there was public invited to be heard.
1:30
No.
1:32
No public invited to be heard. Okay. So now we need to have an additions or corrections to the January 21 minutes. And we need to see if there are any additions or subtractions and then do an approval.
1:48
I noticed one typo at the bottom of page two. It says Peter margins for art of the move. I’d love to see art of the move. But I think that’s what we mean is art on the move. Okay,
2:03
great. Thank you very much. Anything else? I don’t see Cynthia here. So anybody else in danger?
2:13
What do you want? Well, go ahead.
2:15
No, no, it’s just one other correction that I saw. There was the word working.
2:20
And it was missing a G
2:22
at the end. And it was toward the end of the document.
2:26
Okay, sorry.
2:28
Thank you, Holly.
2:29
So we’re just a transcription and have people say you know, working. All right.
2:37
Any other any other additions? I think Angela, did you have one?
2:44
No, but Cindy sent me a note and said that they looked very good.
2:48
So we all need to give Aaron a big round of applause because this is not a fun job. But it is a rewarding job. We reward you with applause. And dog snorts from the back of me I apologize. Great. So then we need a motion to approve the minutes from January 21.
3:09
I motion?
3:11
Okay. So that motion I should say addendum with the corrections. Correct?
3:15
Correct. Okay.
3:18
All in favor, Aye.
3:23
All opposed?
3:25
All right, the minutes for January 21 are solidified and good to go.
3:32
Second, the motion. Just you can put that in.
3:35
Yeah, we had two seconds. We had Peter and Andrea. So great. Thank you so much. Wonderful. I’m glad you’re all on top of it.
3:44
I have a quick question. Procedural question. It seems to me we should be before we get too far into the into the agenda.
3:51
Share Peters.
3:52
I noticed in the instructions for online meetings. It says that you’re supposed to have an actual roll call for every vote. Are we alright on that? Angela?
4:08
I guess we should do non attendance. Right, Angela? I call I did roll call as far as everybody that’s here. And would you like
4:18
on each vote it says it should be by roll call.
4:21
I mean, I imagine that the city attorney who wrote this is thinking about city council who has five people and if we go through every motion and ask each individual person have 15 what their vote is rather than a hand. It’s going to make this process more laborious that said it is in that policy. So I defer to you on your decision. If you trust that the votes that we are doing by putting a hand visibly in front of the camera. This is being recorded. And if there was ever something that was contested, one could go back and view the documentation on you YouTube that will exist until the end of time. It’s up to you. So I would
5:04
suggest that the chair should look, as you can see all the people and say, visually, it appears to me to be unanimous. And that would be good enough, as long as that’s in the record, then you show that you have?
5:18
Well, as Angela mentioned, at the beginning of the meeting, we are at quorum. And we are I’m happy to do whatever y’all want me to do. And it hasn’t been problematic in the last six years. I’ve been here. But that’s a really great point that you raised. Peter, I’m glad you have reviewed all the rules. That’s wonderful.
5:40
Well, because we’re we are being required to accept and adopt this policy in this meeting. So it is
5:49
a question. Well, how about we go hands forward? And we’ll make sure that we do that? Would that be okay with everybody? We start from his point on, we can vote on it. This point on we’ll make sure that I do a roll call on every vote? No, no, I
6:03
don’t think you need to do visually see that everybody want to do? You can do it. Everyone’s got their hands up, say that. So that’s in the record that you have looked at the pictures, everyone got their hand up.
6:18
And that being said, Those who don’t have the cameras on? I would ask that when we vote, you make sure you put turn your cameras on just for votes. What do you think, folks?
6:30
Yeah, that’d be good. And also you can you know, with rope, when we do vote, most everybody always raises their hand. But once in a great while we do have one person or two that doesn’t, then you can write down maybe those with that one or two persons that dissented. And then it’s the same thing everybody else and we know who is here, voted for it. So
6:55
excellent. Andrea, thank you. That’s great.
6:57
I will just make sure to note any abstentions? And we’ll make sure to call for them. Okay, isn’t that? Yeah, that sounds good. Good point here.
7:07
Thank you, Peter. So, um, Angela, or anyone else? Here? Do we have any additions to today’s to today’s agenda? Okay. Excellent. So, strategic planning. Holly, Amy and our friend, Angela, have been working on this. So I’m going to let Holly start. And then we can kibitz in if that’s okay.
7:39
That sounds good. So, I will just start by saying that the three of us have been doing quite a bit of behind the scenes work to determine the most effective way to not only create a strategic plan within art in public places, but we’re also exploring other avenues about how we might be able to pull other creative art bodies in online into our planning process. And so we’re really very thoughtful in how we process through even a plan about how we’re going to go forward with strategic planning. And I’ll start by saying that over the last two weeks, we have looked at many of the other plans that are within our area, you know,
8:30
we looked at,
8:32
well, Which ones did you look at Amy, I’m sorry.
8:36
I looked at economic 2.0, which is about 42 pages. And my goal was to look through everything that mentioned cultural diversity, quality of life, things that might be connected to art in some way. And then yesterday, we met and Holly did a really you did vision long lock correct.
8:58
And vision long, correct? Yes.
9:00
And we look together and I’m not at all explaining disappointment. But we did have some things that we would love to see more mentioned about the the arts and culture in both of the plans. This was written before COVID and before 2021. So we took that into consideration. So there’s some good stuff, they have great ideas, and we would like to enforce that. We would just like to see some more. It just doesn’t seem to me and maybe I’m just being y’all stop me, Angela and Holly. We need to dig deeper. We need to be looking a little more at some sources. So Hollywood, do you think? Yeah,
9:45
I agree. And the reason we’re looking at all of these sources for what our community
9:53
in idi considers to be culturally and creative, is because we need to be To consider our plan when we’re looking at everybody else’s plan and ensure we’re all working kind of in the same direction. So our next step will be to try to put together a proposal to see our exact steps going forward. And I’m going to turn it over to Angela, because she may want to share some additional information. But that’s where I
10:22
last time arts and entertainment was really assessed in a deep dive in within our community when it comes to focus groups and surveys and etc. Was was 2010 2011. And there were other entities that existed at that time. And I think that with between a number of stakeholders in who are addressing culture in Longmont, particularly LDA in the creative district and ourselves, we need to be certain that the way that Culture and the Arts and other creative community is being supported is holding up some of these other plans. So I looked at and went through 140 pages of the sustainability plan, it’s called thrive, it’s actually in 2.0. And so we’re just trying to find ways that other cultural or I’m sorry, rather other city bodies who have done plans that are driving the work that they do, when they put and culture, we’re going to do this and culture, like what does that mean? And we’re asking them because they’ve done their amount of work and getting all sorts of data to support them. And so by collecting the various bits and pieces of how and culture has been included, that’ll help drive the work that we do, which ultimately will hold up envision Longmont as the larger city plan. So certainly the museum as a partner and stakeholder, absolutely the creative district, an LDA. And I know that there are a number of other large organizations who will certainly be a part of this. So again, the goal right now is just to make sure that we know we could articulate what we’re doing, what the goals are, before we start inviting people to come to the table to support us. So I think we’re getting there. We’re we’ve been meeting weekly. Yeah. So questions.
12:21
Yeah, I’m curious. So are you envisioning that people representing LDD da and envision Longmont, for example, would actually participate in our strategic planning meeting? I’m not quite sure. I think it’s a great idea, first of all, because that we have always collaborated and worked with LDA. And sometimes there’s been friction or miscommunication. And I think working with them would be great. But I don’t understand quite how they would be involved in our own particular strategic planning. Would they be at the meetings that we hold? Or what what are you envisioning? All right?
13:15
Go ahead.
13:16
I’ll let Angela so just from a commissioner standpoint, then Angela can tell you the details. We thought about this a lot. Because we don’t want to reinvent the wheel. We don’t want to be on the hamster spin and be like, Oh, they already did this, or somebody already did this. So we think it would be great. And correct me if I’m wrong, that we kind of meet initially, and we find out what everybody’s doing. And we find out what the entire community is doing. And what we can focus on within our little sections. I think that’s a great point. But we I’m all about like trying to keep things why why would we do a study? If so and so was doing a study? Why would an Angela and I talked today and actually Hall yesterday about there’s so much research that still needs to be done? And we can all of the cultural groups in Longmont can benefit from that. So we should do that together initially. That also being said is I don’t want to be sitting here in seven months and we don’t have anything done. So I think that’s something that we need to look at. Andrea, you. I know that there have been add been little Nevermind. It said there have been situations where it was a little challenging to work with other groups. But I think we have to right now. We are in an entirely different environment than we were a year and a half ago.
14:48
So you’re suggesting then it sounds to me like we would do it’s really us doing the investigation like someone from a IPP would go and go to In LDD, a meeting or and we have worked with envision long lat, you know, where we all get together and walk around. So that’s what we first go and do our homework investigate. And then we come back as a roof is that way
15:18
I agree. And I want to tell you that Angela has already done a lot of our homework for us. She has been involved in meetings. I’m sure there’s more to do. But Angela has really worked hard to partner with these folks in leadership positions, because that’s part of her job. And so I’m sure she could speak to that a better than I miss Angela. Correct?
15:44
Well, um, and I don’t know how you might have something to add to and Kim as well. But I think that really, because creative culture in Longmont hasn’t been directly like focus groups and going out into the creative community and saying, what is it that you need? How do you need to be served? And so instead of just art in public places, doing it ourselves, while the creative district intends to try and get to the meat of that same question, and, you know, inevitably, other organizations, the symphony, I can think of firehouse, there’s all sorts of creative bodies, creative industries, within Longmont that are asking all of these same questions. So rather than just doing our job for ourselves, for our public places, we have an opportunity to really be the champion for kind of a larger cultural assessment. And so by partnering with other organizations, and getting a plan of how we’re going to do that, and how we bring people around the table to do it together. I think that that that’s really the intention and the goal. So we have been so creative district and I have been talking to some of the resources that they have through the creative District, which is Colorado Creative Industries, with the state and saying, you know, can you give us advice? Can you give us some frameworks we can look at to see if we want to do an assessment ourselves if it needs to be facilitated. So I have a meeting next week, to sit down with some people who have addressed facilitation of cultural plans and cultural lenses. And we have an opportunity to start looking at creative culture, through the lens of inclusion, of equity, of diversity, all of these things that we’ve been talking about as our priorities, and how is it that we can bring that into the fold not just within art in public places, but within cultural enterprises throughout the city? So I think we’re just scratching the surface. What do you think, Callie? Is that a fair enough? statement?
18:02
I agree, I think we’re really still in the assessment phase of determining how we’re going to go forward. And I’ll say, personally, that I envisioned when we do come down to making, making progress and deciding what direction we’re going, in my mind, it would be best to include the majority of the people that are right here on the commission who want to participate. As more knowledge we have, and bring forth ideas, the better off we’ll all be. And that may only be my vision, and I apologize for
18:41
just shooting it out there. But I think that’s what we’d like to see in the long run. I agree from every one more thing.
18:50
And I don’t, as I’m leaving in May, or June, whatever I have to win, I don’t want to pass the buck. But this should be our focus for a little while, folks, I think. Because this can really, historically, affect long lat. And when we’re talking about things that have mattered to all of us, and some of like Noah and I have talked about this, this could really really affect the way long lead is viewed in the future. And it’s not like a five minute discussion. So I think this is something that we should focus on. And I’m not just saying inclusivity and diversity, I understand that. But like I just mentioned that I won’t go on a high horse, but 26% of our population in Longmont is Latino and or Latina x, whichever you prefer. And we don’t have that represented in our area in this area. And I think it’s our jobs as commissioners and as volunteers and servants of our community to start reaching out and looking at that So, I mean,
20:01
today that I think that’s very important, finding a way to have inclusion of people who have not been represented. And my experience, I just have a little sidelight here. My experience with musical organizations for which this is a huge issue is that saying diversity is not enough inclusion. Inclusion is the word that needs to be used.
20:26
This is something that we are going to be people are going to look at AIP in 50 years and be like, wow, this is when they first started doing this. And this is when they first first started doing this. I’m not saying that what we haven’t done is important, it’s awesome. But we are 25% of our community needs to be involved in our decisions here. And the reason I discovered this, I mean, if you go look at economic what, what my friend Angela told me to go look at. I mean, they do a complete demographic breakdown of our town and what’s going on. And it’s important that they have that impact. And I don’t truthfully feel like they have had the power or felt like they could. So it is our jobs as commissioners to feel like to empower them and say, Come on, we want to hear your opinion. Right, I’ll stop now.
21:25
I agree. I like the whole concept of the project. Sounds like a little bit of more work externally and internally for each of us. But I think it’ll be worth it. Yeah,
21:37
it will, it will be work. And we’re going to get there. And the goal is that when we bring the work to you that it’s very clear of what it is that we’re all doing. how each of our participation in impact will will add to to this larger plan. So stay tuned. But yeah, we’ve been working really, we’ve been working really hard. So it’s, it’s gonna it’s going to be totally worth it. And this will lead also to those code changes that we’ve been talking about. And really understanding how how those code changes can then directly impact the work that we’re doing and what what they need to be. Because it’s not just going to be one, it’ll be a series, right.
22:27
All right.
22:30
While we’re raising thorny issues, I just want to throw out there that we might want to be aware of the fact that all this public art that we select and erect and then take care of is all on lands that was historically the home of the Cheyenne and Arapaho.
22:52
Thank you, Peter. The museum is working on a land acknowledgement. And for for the city, which then will go in front of council. And the hope and Kim is here. But correct me if I’m wrong is the goal is that that, that that is read at every city council meeting. And then hopefully for dedication for all art in public places pieces, as well, in addition that Northern Arapaho Sister cities, connection that is happening in coming about this year should be coming to art and public places for a project as well. So you can anticipate seeing that too.
23:32
Yeah. Okay, killer. Thank you. Thanks, Peter.
23:36
I’ll just clarify. Our Advisory Committee for the museum met last night, where we discuss the land acknowledgement, we’ve been working with Cheyenne and Arapaho consultant, who’s done some fantastic research for us. And so the direction that I have received is that that’s really the best avenue for this to become something that the council sort of discusses. And so we just last night, talked about it at our meeting. So it may be a while before it gets in front of City Council for a bigger discussion. But but the wheels are moving.
24:18
Awesome. Thank you. All right. Before we put this to I don’t want it’s never going to be the bed. This is going to be something that’s going to come up for many, many years long before all of us will all be gone. Hopefully our kids and grandkids will be working on these issues. Anything else that you’d like to bring up? Because I know it’s sensitive. And this is a good space. Let’s talk about it if you need to. Excellent. Are you sure? All right. Then I’m going to move on to more comfortable things and we’re going to go to art, our public art project updates my Friend Angela.
25:03
Susan, do you want to give an update about Wardman Park and sister cities meeting? on the spot? Maybe? Maybe not.
25:21
Yeah, I have those notes somewhere. But we did have a long, not a long meeting. Uh, we just had a meeting to clarify, mostly date as to what was happening. And we got a little sideline, that sideline, we just some of the dates go extended more than what we had anticipated. And we left sister city organization know about that. We created more of a current timeline. And it wasn’t it, what it boiled down to is it’s not a parks and RECs problem. I mean, it’s not the finger pointing can’t go to them. finger pointing can’t go to us. finger pointing can’t go to anyone except for COVID. Just because of that, and the original timelines weren’t going to be met. But I think it was clear to them and I think they came out of the meeting feeling copacetic and you want to add anything else? Am I missing any part of that? We we did get a date down for call for artists. And I don’t have that paper in front of me. But
26:57
that’s alright. So it’s back. It’s back with with Steve for review. And I anticipate getting it any minute. And then it’ll go to to Cindy and Susan and two Sister cities to basically vet the language. One thing that did come out of it was the meeting that was very apparent was that our selection panel application needs revisited. And certainly not only because chances are good chances are that the selection of this art piece will be done in the virtual format. So that’ll be new for everyone, but also not so new, because we’re all pretty used to this, this now. And so if anybody is interested in being a copy editor, I would very much invite anyone to give me a hand on on giving a look see over that, that application, but the call for artists should be going out very soon. We’ll leave it up for a little over 30 days, and then go through the
28:00
process. And there was some discussion about boundaries borders of where the call for artists would go out towards. And I think we came to a consensus of that it would be mostly within color that would be within Colorado and extending a little bit intimate New Mexico, Arizona, Utah, just in the very corners, because we didn’t want to add costs to things like transportation. And we also wanted availability to the of the artists. For future events that would come up surrounding the dedications or different things that Sister cities would want to involve the artists with. So we kind of consolidated that area of thought they had they were thinking of going far flung and I think we reined it in with good understanding of why go, I am I just think that they weren’t aware of all the fabulous artists that we have right in our state. And part of my discussion was that I wanted to try and keep the funds that we have in Longmont going to funds of artists in Longmont during this time that’s been really, really difficult for artists. So that was part of my argument was I don’t know if I made that clear too. But that was part of what I was trying to push forward. Add to add or delete Angela.
30:04
No, I think that that’s right. Aaron, do you have your hand up? The digital hand? The blue hand? The blue? Yeah,
30:11
go ahead. I do. I was just gonna volunteer to be a copy editor for you. So send that my way.
30:17
And then Laurel also had a comment. Or
30:22
I was gonna say,
30:27
I forgot what I was gonna say. Yeah. All right, well, then, you
30:33
know, you can come back, we’ll come back to my friend if you need it. So write it down next time, I have to do it all the time. Like, right down. So I can remember what I because I get so excited about all this stuff. So do we have any other feedback that we want to hit on that? Thank you so so much for your hard work. That’s amazing. Okay, all right, we’re gonna move on to we got Westbourne Park, sister city, RSVP art on the move. So Angela, oh, and Neighborhood Improvement, I’m gonna let you pick from the top to the bottom.
31:19
Well, let’s start with Let’s start with the Boston bridge. So I got to meet all sorts of new people who work for the city, and ask them about RSVP in the bridge. And it’s actually really exciting. And it’s it’s moving forward. So they, the senior engineers with the city who are working on this project, are going back to the consultants. And they are getting as an elevation drawing of this face, which will give us exactly the square footage that we’re talking about. So that’ll be step number one is figuring out what that what that space looks like. The second thing is then, if you’ll recall, we were discussing, potentially looking into a project that was more textural bar relief, if you will. And the great thing about doing something along that those lines is, this project could really be accessible to a lot of different kinds of artists, because such a design wouldn’t have to come from the most experienced artists, but somebody maybe who’s starting to get their foot in the door when it comes to the public art project, etc. So but we still need to understand what that cost looks like and what that will be for square footage. So we’re still a little bit in the investigation, I’m going to share my screen. And you’re going to be excited about seeing the opportunities of concrete form liners. So I can’t see you all now. So if there are questions, you might have to just let me know. But what I am hoping to get back here in the next week or two is, again, that elevation understanding the square footage, and then I have a couple of contacts to reach out and start looking into how much these repeated patterns of form liners will cost. The great thing is that they’re reusable. So once you do them, it’s completely possible to reuse them over and over. It can be a singular image, it can be a repeated pattern, which is probably what we will be looking into. And then that repeated pattern can be something that is thematic, for example, we could say it is long lawns 150 a year. Oh, this one’s really great with like, mountain forms. But when there’s bar relief, and this won’t necessarily affect the structure of the wall itself. The depth of the relief is a really important part. So the this project could end up being something where an artist will have to go through the city process, we’ll learn all about that. We’ll get to work with engineers. And it doesn’t you know, since the artists themselves isn’t necessarily creating this, but it can be very conceptual. So it’s a it’s a good starting point for including something of a relief fashion. So that’s the that’s where we’re headed. Now, maybe when we get the elevation back and we start looking at what the opportunity is with that bridge, we start looking at where the road is because I can explain it to you but this might not be the the direction that the Commission wants to go but at the very least the next time We get together in the RSVP taskforce and I will get together before our next board meeting. But we’ll have some harder cost related to it. But it should be a very impactful area. I think Allen had told me initially he thought it was some 90 feet long by potentially 10 feet high. It’s, it’s a large space and very visible from Boston and also from left hand, and the patio is looking. It’s not directionally, exactly south or exactly West. It’s kind of at an angle. So yeah, so that’s, that’s the update, but I’ve met with the upper ups in the departments and on their radar. So it’s good. They’re doing work for us now. Any questions or comments? Yeah. Randy,
35:54
maybe you have ESP and you know what I’m thinking about these? This, what you just showed us?
36:03
Maybe not, okay, you do?
36:07
Our wonderful Pratt Parkway bridge, with all those little square or triangular puzzle pieces.
36:21
might be nice to do something like that they’re
36:23
well, and that’s the great thing about these forms. There’s, the cost isn’t just for the form. There’s the cost for the artists Commission for the for the design, the cost for the form. And then the heavier cost is, is incorporating using the forms in the construction project that said, we’re going to find efficiencies because rather than creating an artwork and then installing it’s an integrated piece, but absolutely, so once we have these forms, then they’re ours.
36:59
And there’s a theme across long.
37:02
Could be Yeah, yeah.
37:06
Okay, so the idea that I was going to come up with before, was maybe pop up kind of experience for these artists that are out there. And something quick and informal. I’m having them just bring their artwork down. And well, just a pop up art show a couple of times to showcase the artists. You know, they’re actually doing that at the LD da, office.
37:41
They have a pop up. I think I don’t know how long they last there. But,
37:45
yeah,
37:47
couple of months, they’re doing it through the creative district.
37:50
Okay.
37:53
plus another reason to partner with LD da. Uh huh.
38:00
Yeah, Peter,
38:02
with with those forms, and it can be reused. And presumably you have multiple designs that are used, that would be a great opportunity to incorporate some designs that reflect Latino heritage and Native American heritage in larger picture.
38:23
I can think of two other cities, you know, Las Vegas, and El Paso also has got these you know, these big textured walls, different next large shoe.
38:39
What Phoenix does, too, and they use a lot of Indian graphics on on their, their walls and under bridge Native American
38:48
graphics. Yes.
38:52
Yeah,
38:53
very cool. Ellen, it’s one of those kinds of projects that could be very accessible to any kind of artist. So a design that is in someone’s mind, if they needed assistance in articulating that visually, it’s something that could be all sorts of artists could participate in submitting a design for this, and an award wouldn’t be required on their technical ability, but yet, just just good solid design. So again, we’re going to figure out first how much square footage we have to deal with, it could be that this is a very expensive project, and that you decide not to go this way. I have a feeling that it’s going to be in the ballpark of something that would make sense for a project of this size. I just don’t know. So the taskforce and I will get together and we’ll just do do some more research but needless to say, you can expect to see at the very least in elevation, and then square footage and I’ll do you know, all the research and what it would look like if we did Some mosaic project or a mural project or something like that, and bring all sorts of numbers to you. So everything’s on the table.
40:12
Great. Okay, now I’m a little lost. I think we’re on art on the myths.
40:19
Yep. So that call for entry is ready to go out. And the big bad question is, when does the commission want to get together and do the selection process now, we did decide that we were going to do them as two separate calls, but I still think we should do selection on the same date. I hate to say it, but this is gonna be the format, folks. So we’re just gonna love our cozy little homes for this and just keep all of our fingers crossed that in 2022, we get to get back together and do this collection the proper way. Yeah, but not this year. And that’s okay. Cuz it’s gonna be fun. I’ll bring music. And you’ll bring refreshments.
41:07
That sounds like a plan.
41:09
I’m sorry, it is what it is. So needless to say, end of April, beginning of May, would be ideal. I’m thinking that potentially Thursday night is probably best, because most of you have already allocated this Thursday night. So my suggestion would be Thursday, April 29. So our meeting would be the week before, which would be the 22nd. And then we would just need a week later to do this. And the reason that I think that that will be will be well, that or we could postpone it till like the six. And that would give maybe another opportunity for anybody if they have questions. We’re gonna go through the during process, anybody who has questions with that dog on FA during system, we will walk through the whole bit kitten caboodle of it, so rest assured that, but does anybody have a feeling or thought about the best date?
42:24
I would prefer the first week of May
42:31
we go with the sixth as well.
42:33
Thursday, the sixth?
42:34
Sure. Me too.
42:39
Does that not work? Is there anyone that Thursday, the sixth of May is just a really the worst day there could ever be ever.
42:47
It might be that I can’t attend that. But it’s
42:52
tough for me, because that’s the end of the semester too.
42:56
And I was gonna advocate for the 29th. I’m just to get the ball rolling a little faster. It’s just a week before. But knowing how these things take time, and then there’s always a glitch
43:15
on the products for art on the move, just tend to be trickier than other contracts, which I don’t exactly know why it might be that some of these artists aren’t used to. City contracts. 29th that is that not work for anybody? Good for me.
43:40
Good for me, too. Okay,
43:44
so, Cindy Francis, Marsha. I think that that’s it. I’ll send out a doodle poll for the 29th or the sixth. And you can just select and if it works for both of you, you do two greens. I think we’ll stick with the six to eight. Okay, or does everybody just want to decide right here, then giving other people an opportunity to weigh in is so we can have the most participation possible? Is my preference, but that, everybody? Okay, so I’ll send out a doodle poll. And if I don’t hear from you, I’ll call you. Okay, sounds good. Thank you. Hey,
44:32
that was easy. So now we are on to
44:42
Neighborhood Improvement. Yep.
44:44
Yep. Sorry. I lost my place. Yes, ma’am. That’s fine.
44:48
So if you’ll recall, the end of last year I met with Wayne tomac. And he is with the Community Services Division of and we’re a part of that too. But he and I have an worked together before until, until recently. And I’m not sure if you all are aware of your Neighborhood Improvement Project grant. And as well as the sustainable neighborhood solutions grants. So they’re available to certain groups or not certain groups, but all groups, not just Hoa. But community groups that come together. And there are a number of requirements for these grants. This grant cycle, or a rather grant program has been going on for nearly 20 years. It’s really successful. And thus far, there’s been interest in including art in public places, but it didn’t never seemed like the the right project came about. Some of you who have been on the commission for a while might recall that there was a project once of decorative background for a tennis court or something along those lines, but it just didn’t ever, and wasn’t exactly the right project. So Wayne, I’m kind of in the on a learning curve of figuring out what it is that he would like from the commission and how he would like us to participate. And I’m still kind of feeling him out of what is the most successful way that these projects can come and be presented to you. So we’re not spinning our wheels on a bunch of projects that really aren’t going to come to fruition, because the folks in the neighborhood have to contribute in some way. So whether that’s participating by fundraising, or contributing themselves to labor for seal cracking, or painting, or I don’t even know what it could be. So we’re still kind of feeling each other out. That said, the application cycle is all buggered up because of COVID. But he’s made extensions, and we will likely see one, come our way next month. And I actually think that it’s plausible, it’s feasible. So I’m going to share with you I don’t want you to get too excited. But I think they’re going to be awarded these funds. And they’re going to be asking art and public places for funds. So without further ado, if I can figure this one out,
47:17
oh, shoot, hold on.
47:18
I have to switch my screens. And need a bigger boat. You know.
47:24
Do you know what neighborhood hightly
47:28
Lee neighborhood? Okay. They have a basketball court. There we go. They have a basketball court, which is, as far as I understand, is going to be re asphalted is that a word is going to be re done. And
47:53
you see that
47:55
resurfaced.
47:57
The surface is totally the the grammatical, correct? Yes, that’s correct. Can you see those? Yeah,
48:05
yeah, that’s awesome.
48:06
Oh, this, I’m a little weary. But this is a company who has done ground murals in all sorts of states, on the two coasts, but not anywhere in the middle. And they have this this process by which they go about getting the artwork, and suggestions of materials that actually add here. My concern, of course, is UV sealant and protection as all murals as we consider, but they’re really excited of bringing this to the commission. And I don’t know how much the application cost that they’re looking to to ask. I also don’t know, these exact materials that they’re using so timber, to stay with the parks department and I will be reaching out to this company to make sure that the amount of monies that the kitely neighborhood is looking to, to ask for this project that we can actually make it come to fruition and not have it be, you know, two colors or one color. And then also the neighborhood really has to to define how it is that they would like to arrive at a at a design. Are they going to open it up to local artists? Is it only going to be local? Do they have a kid in their neighborhood who’s it’s their plan to make the design? There’s a lot of questions that need answered. But I still don’t think that it’s anything else. out of the realm of possibility or reality, it seems like this is a project that when all the questions are answered the right way, is absolutely could come to fruition. I think that it is likely something that will be able to be accomplished with a reasonable budget. And I also think that if we, we go through the exercise of doing it, it could be something that isn’t just in the kitely neighborhood. But in fact, we start incorporating into neighborhoods and that any neighborhood who would like to have a really Jazzy, basketball court could go through this grant process. And we would have it pretty well figured out that anybody could apply for something like this. So really, this is more of just an FYI, that this is going to be coming your way with more clarification. But I was really excited about it. It’s nice to see the community coming together and that they have vested interest they have they will be boots on the ground for making this come to fruition. And, yeah, so,
51:10
Angela, can that be used for tennis courts to?
51:14
I don’t see, why not?
51:16
Well, that would be cool.
51:17
I mean, I would have to make sure that whatever the material is, that is applied to the surface could be to the surface of a tennis court. I don’t play tennis. So I don’t know if that is different than asphalt, or concrete or timber wood. No. So I will ask that question.
51:41
They’re really interesting.
51:46
Yeah, I love the idea and the designs, and the fact that each neighborhood could kind of collaborate and build their own kind of mural or their own idea of of what’s perfect. That’s awesome.
51:59
Yeah, the colors are great. Yeah.
52:03
Great. So yeah, you’ll be so as I understand, this Neighborhood Improvement Project cycle, is, is set to be awarded in the next month. And so then that’s when you know, the work begins. And because of their grant, it has to be accomplished within the fiscal year, which is great. So that, you know, they can’t say, Oh, yes, we’re going to participate. And then it just doesn’t shake out, or whatever that looks like, we will write art in public places. If this does come about, I imagine even if we were to be painting and having painting days, in the fall, it’s going to take a lot of work, it’s going to take, you know, volunteer coordination, making sure that we have the paint brushes and stations is socially distant that we are sanitizing things. But it’s it’s not on its we can absolutely do it, we can absolutely pull this kind of thing off. And you know, having signups where families come together, and they’re participating with each other, so they can be in close quarters with each other. That kind of thing. So it really is a collaborative effort. And then of course, in the age of COVID, like it’s it will just be a little bit more. It’ll just be tricky. But we did the Tony Ortega mural, we can totally do this. It’s far greater space. So yeah, that’s that one.
53:32
All right, awesome.
53:34
So good.
53:35
So good. So good. Um, so I’m neighborhood we are on to conservative maintenance, maintenance, and report feedback.
53:46
Thank you, everyone for who was able to go through and do your forms. I know that entering comments and a dog on hazard field is just, it’s just kind of the pits. But Eileen and I have a very good idea. very strategic way of asking very nicely to get an open comments field. So we’re, we’re working on it. But needless to say, thank you for filling out those forms. I’m just wondering now after you have gone through the process of you know, taking your notes and then uploading them. Do you have any feedback of again, other than the comment field? If it’s, if it’s answering the right questions where there’s something that you want added? Is there anything that you think is missing?
54:35
I was just a little confused about if there was a sealant or not on the object, because I don’t know. I didn’t know whether I did like guardian of golden ponds and it’s brass and or bronze and I wasn’t sure if that had a sealant on it. It had a lovely patina. So that was the only thing that kind of like threw me for a loop. I’m like,
55:03
do you have a sealant?
55:04
Do you I mean, if it’s paint, I can tell the paint. But so that was the only thing that kind of threw me for a loop.
55:11
That is a perfect. Actually a perfect example. If you didn’t notice that that bronzes wax was starting to fail, then then it looks good. And so if it was a sealant that you could see, and you thought, oh, there’s there’s a difference between the patina and and what should you would say, oh, there’s the sealant. But the fact that you couldn’t see or tell, actually means that the wax is holding up quite well. So not all of them are going to have sealants. And it’s not surprising, there’s going to be probably a lot of the questions. They’re like, Oh, that’s really not applicable here. But But if you were looking at a bronze where the wax was failing, you’d, you’d notice it. Yeah.
56:00
And it was really interesting to go around and see all all the things that I missed. So that was nice. I just want to say that
56:11
I took a picture
56:12
of one of mine and posted it, and it was shared by visit Longmont
56:16
on Instagram.
56:19
You
56:22
I have connections.
56:26
Well, I had a little trouble. Although this is really such a fine point that the names in the drop down menu didn’t really match what you gave me and then I and then but I of course was able to figure it out mostly. But I don’t know if Dora is not helping too much here. I don’t know if that would be useful to make those a little more consistent. Whatever.
56:55
No, that absolutely is the case. And Eileen will just make a note of that. Because I’m not sure which version of the master spreadsheet was used for the upload to ETS for that. So we’ll just go through and I mean, it’s only 80 pieces. So it should jump out of this. But yes, some pieces are labeled one thing in one place and something else somewhere else. And it’s not that we just need to find there.
57:24
Yeah. subject of names. I mean, I sort of jumping ahead, but under the under conservation maintenance, I believe the name of the piece is colorful poetry in the middle pages with a p. o.
57:43
Hello, that’s good to do. Because I actually, you know, no, some amount the Middle Ages and I couldn’t figure out what the connection was that.
57:52
Yeah, that’s a number of documents.
57:55
Colorful poetry in the Middle Ages was about but noise pages.
58:00
Yeah, it should if it’s Middle Ages, that it should have some reference to illuminated manuscripts, which
58:06
I didn’t Anyway, there are no unicorns.
58:10
There are no unicorns, I looked
58:16
at a heck of a time with this sheet. I’m sorry to say, I’m computer illiterate. So I yeah, I had a tough time.
58:26
And that is totally okay. So if you would like the good thing for me on the the form is that it’s printable. So like me to print you off 20 copies and ready to go.
58:37
I’ll come by, and I’ll pick it up downstairs at the desk.
58:41
You got it. Let’s connect offline, and we’ll figure out a time and date for that. That would be awesome.
58:46
Great.
58:47
Thank you. Also, Laurel, you’re not the only one I had, I found the artwork, assessment paperwork, or digital paperwork, whatever to be pretty cumbersome. I don’t like the fact that I can only choose one additional issue. Like if there’s graffiti and cracks and broken parts. I can’t label all of them.
59:08
Oh, it’s really good to know.
59:10
So and then, yeah, I just I found it very restrictive, like surface coating. Like Like it was said, Yeah, paint is a surface coating. But is there something on top of that? I don’t know. And then yeah, I just I found it to be a little cumbersome and kind of unhelpful, I would have much preferred just kind of an open spot where you can describe what’s going on. And then but I know that that information doesn’t translate well into us translate well into a spreadsheet, so kind of got to do both.
59:43
Well, and Eileen and I are trying to mimic the fields that are in the database. So the the overall, a bigger goal is so then that the work that you’re doing doesn’t have to be manually changed by human But that, in fact, in that spreadsheet just connects straight to the database. And those fields are just populated. It just takes a human out of the middle. But the fact that you can’t select more than one, and there’s more than one issue actually isn’t helpful. So that is excellent feedback. Thank you. Good work to do. But it’s better. It’s better. It’s working better. Okay. Any other? Oh, sorry.
1:00:39
I’m just looking at color for poetry. That’s, that’s on Agenda Item number, a color for poetry and a maintenance Do we need to address that specifically
1:00:56
added some of our commissioners go and visit the Civic Center to assess and take a peek at that?
1:01:02
Yes, I did. And I think I wrote you a note about it, but actually, better than I was expecting, but some, they are unevenly faded, and sort of dusty. So I, I recommend replacing, rather than trying to conserve, I would, I would recommend, because these kinds of banners are really not designed to last forever. And I think we could update and do something interesting and new. If we have the money. I mean, I think that’s what I would recommend, I would recommend replacing.
1:01:43
And so I did look at the CI P and the overall construction, or I’m sorry, the overall project for the Civic Center was $4 million. And so of that 4 million, whatever the construction line item was went into art and public places, I will determine exactly what that is. We don’t have to use that as a one to one. But it was a significant construction project and seeing that we are celebrating 100 and 50th anniversary of of Longmont, it would be apropos to do a project a couple of projects. At the Civic Center, I did speak to Chelsea. Chelsea has a last name, which I can’t recall. But she’s the project facilities manager of civic center. And she said that they do intend to replace those skylights in the next couple of years. But it is not going to be happening this year. So that’s not really impeding a project that we would want to do if we removed those and commissioned a new work just that in some amount of time. Chances are they might have to take whatever it is down potentially or work around it. So okay, and other discussion.
1:03:09
I just agree. Um, they they look a little faded and beat up and I think it’s time for something new there.
1:03:17
Yeah, I do to
1:03:23
like me to read you the DIA session policy, or would you like me to forward it? I’m
1:03:30
think forwarding is great.
1:03:32
Yeah, I’ll take a copy. Yeah,
1:03:35
it’s not very long. It think it’s just a paragraph, right? Why don’t you read it?
1:03:53
Last night, but I mean, okay, why don’t we?
1:03:57
Why don’t you like, come back? We can come back and then you can read it. Back to that
1:04:01
for just a minute. And yeah, sounds good.
1:04:03
Yeah. Great. Thank you so much. new business. Yes, ma’am. I heard somebody Yes. Susan. I’m
1:04:12
going back to the banners in the matches where I’m going to call them.
1:04:18
Um,
1:04:20
so if they are going to put new skylights in there, I’m just wondering if they’re going to be different sizes from what they are. Oh, it’ll be exactly the same footprint. Okay.
1:04:32
Okay.
1:04:36
He said replacement. Okay.
1:04:42
Okay, anything else? And then Angela. I’ll come back. Get a minute. I’m going to keep going.
1:04:50
You guys want to talk about election or electronic policy. You won’t
1:04:55
go anywhere on I thought I thought we were on new business St. Bernard green. Way,
1:05:01
do you mind if I pipe up real quick? I’m sorry, I’m sure to go back just a second. But I wonder if they are going to replace those skylights, if they’re, if there might be an opportunity to get UV protection, because whatever might go in that space is going to be susceptible to light damage. And so if we were able to get in on the front of that, and be able to get some UV protection, it might expand the opportunities for our public places.
1:05:36
A win. I talked to Jeff cedar and Chelsea next week, I could just ask that when that day comes. That That could be a part of art and public places maintenance contribution to that project, but it’s not this. It’s not happening now.
1:05:57
Got it. Okay. Yep.
1:06:07
Anything else?
1:06:09
I, I have a couple of things. Are we on new business?
1:06:15
Not yet. Okay. All right. Angela was still looking for one thing, and then we were just gonna we’ll move on here in one moment.
1:06:24
You anything you couldn’t move on to new business, if you want to talk about that election? Just skip over over real quick and go to the electronic meeting thing. If you guys want to discuss that while I continue to look,
1:06:39
I have an agenda that does not have electronic stuff.
1:06:44
It says electronic participation.
1:06:46
I know where
1:06:48
I agree.
1:06:50
Oh, yeah, we go. There we go. Yep. All right. So
1:06:55
electronic. Electronic participation, not
1:06:59
okay.
1:07:00
I mean, we’re all electric. Right?
1:07:03
Not me. I’m I’m like, not even battery operated. Adoption of electric participation. Go ahead. Who do we need to honor in that field?
1:07:22
Well, I read the policy. And aren’t we just supposed to approve it? Yeah. I mean, we can’t really
1:07:32
expected to observe it.
1:07:34
Yeah, isn’t that Yeah, thank you.
1:07:37
And so what they really need to know is is an acknowledgement that, yes, we will observe it.
1:07:43
We need to adopt it as art in public places policy.
1:07:48
So we probably need to vote on it. Correct, Angela? So we’re going to need to get a motion on that. Who would like to do that? Let’s we have to state the whole thing. Peter.
1:08:02
I move that we adopt as official art in public places commission policy, that we will observe the city’s electronic participation policy.
1:08:14
Excellent. And do we have? Thank you, Laurel, thank you all. Now I’m scared about this. And all of who approved say? Raise your hand. So we can almost see it. So I need those who are not Pamela you’re not on camera? I need to see your hand. Yeah, I’m on. I don’t have a camera on you speak P.
1:08:40
She’s actually she’s got she’s got to
1:08:42
remember I have YouTube. And Andrea, I could not see your hand
1:08:47
up because I don’t know what the electronic policy is. I just don’t want to approve something I don’t understand. I’m sorry. I must have missed the email saying, you know, with the policies. Alright. So
1:09:00
then we move this back to discussion. Anybody have discussed? Can anybody help? Explain this, please?
1:09:10
Well, it was attached with the agenda and the minutes. All three were together and document when I got it.
1:09:21
Was it on the bottom? Maybe I just don’t
1:09:24
know. It was after the agenda. The minutes it was okay.
1:09:27
I apologize. It’s my bad.
1:09:30
So I can I can chime in just a little bit. Thank you. Yeah, essentially, this is just a policy that recognizes what we have already been doing. The the city manager’s office and the county clerk. I mean, I’m sorry, the city clerk have realized that in order for us to be able to offer the zoom meetings that we really need to be able to adapt to this policy. And so it doesn’t do much beyond recognizing what we borrowed. been doing for a long time?
1:10:01
Okay.
1:10:02
One part of it, I noticed was that, beyond COVID, when when we were unable to get together in person at all, I’m going to do this by multiple zoom meeting, if someone for some reason is unable to attend a meeting, they could potentially participate electronically, as long as certain conditions are met, that everyone can see them that they’re able to participate in the discussion. If I read it correctly, that’s also part of
1:10:30
do it.
1:10:31
Is there any like, is it you know, how I think I’m, in the old days, we could only Miss two meetings a year. Is it the same that way? Sir, it was that part of the policy about absences? No.
1:10:52
Okay.
1:10:55
Presumably, if you were, you know, housebound for some reason or other, you could use this as a way of participating and not missing a third beat. Oh,
1:11:05
that’s great. Correct? Yeah, yeah. Yeah, that’s right. Okay, thank you. I apologize. I didn’t see that.
1:11:13
No worries. Thanks, goodbye. It would get worse. In the world of virtual reality. We get so many emails and so much stuff. It’s hard to keep on top of everything right, folks? All right. I know. I can’t keep track I just say, uh huh, a lot. Pamela, did you have a question or concern? No, I’m
1:11:31
fine. Thank you.
1:11:32
I just saw that you lit up. When people light up. I try. I try to get people called on. Okay.
1:11:40
Some of us just light up naturally.
1:11:43
Yeah. Yeah, no comment.
1:11:50
Okay, we just need to finish that vote.
1:11:54
All right. So we had a motion. And let’s go backwards. So we had a moment for discussion. So Peter, can you repeat your moment? Your motion again? I know it was complex, beautiful.
1:12:09
I move that we accept as official art in public places commission policy, that we will observe the city’s electronic participation policy.
1:12:23
Hey, seconds, please. Alright, before we do that, Any other discussion? All right. Please. If you’re in favor, let us know with a hand if you’re not on camera, shattered an eye. Excellent. So moved. Thank you very much. We are now on to our new business of St. Vernon Greenway. Holger updates.
1:12:55
Okay, so Marsha was unable to attend today. But she and Joan Peck were having a conversation about the Greenway, underpass at Hoover. And third. Anybody cruised along that way? Mm hmm. Anyways, it is in pretty bad shape. And I reached out to parks to ask about if it is on the docket for demo related to RSVP? And the answer is no, that’s where the project stops. So it potentially could be a location for an underpass mural. That said, what we have learned from the ninth and Alpine project is we really shouldn’t be putting murals on walls that haven’t been prepped and need a little bit more work. So I was wondering if mural committee would be agreeable to just go scope it out? Take a look at it. And then I’ll also put you in touch with Mike before we go forward on anything to make sure again, that we’re going about this the right way. The hope was that we would have our mural policy really locked down by now but I don’t think that that should prevent us from from at the very least taking a peek at it. So I don’t have a picture. But even if I did, it’s not a very good one. So mural committee. That’s Amy and Noah. That’s no,
1:14:35
come on. No, I you’re in charge now.
1:14:37
No. Yeah, I’m I’m surprised to hear that. There’s an underpass there. I’ve not walked that corner so I’ve not seen it.
1:14:49
Where is it again? Third, third and hoever
1:14:52
it’s it’s right by Rogers Grove. Right. It’s the one that goes to Golden Pond.
1:14:59
It goes times and so if you see this is gonna sound weird the meat packing boxes it says boxes moving boxes available and meat packing. You look to the right. I have gone to the right I’ve been here 50 years
1:15:19
really beautiful except for the storage unit on the other side that is very rural and and beautiful water call
1:15:29
me or text me know on Let’s go together.
1:15:32
I’ve been trying to get a hold of me for a while. So I would like to do that.
1:15:35
You get real close to the water under that. Yeah, pretty well.
1:15:40
That’s a little bit why I was surprised that it wasn’t on the docket for when they when they work on the RSVP because the project right now currently ends at sunset. And then anything west of that is another section of the project. But I talked to Steve and I said is that pedestrian going to be changed? I said any chance of it at all? And he said no. The other thing that’s really interesting about that location is it of course is a corridor for rhythm, the rhythm on the river with them on the river, but rhythm river for 2021 is cancelled. So that does give us a really fair timeline to be able to research investigate, look at it, if there was some work that would need to be done. And then be able to accomplish something by by rhythm on the river 2022. So kind of again, the beginning of a Research Park project. But if if y’all are interested it Marcia Brock was bringing it to our attention. So guys,
1:16:45
I’m on the mural committee too.
1:16:47
And Randy,
1:16:50
good, Randy. And now you guys can have a good time.
1:16:53
I’ve already been there. I know exactly what it looks like. Yeah, me too, right.
1:16:59
Well, no, and I will go look, and then you guys can catch us up and then we can meet together. How’s that sound?
1:17:06
Sounds great.
1:17:08
Excellent. So we are now adoption of electric partitions. We did that.
1:17:15
We did that.
1:17:16
I oh my gosh, we’re on administrator’s report. Holy moly. We’re just cooking along.
1:17:22
I have a couple things that I think might go Should I wait till comments.
1:17:27
I should wait to Commissioner comments. Okay.
1:17:30
So we’re, I’m, I’ll start my administration report with the do session policy that I have is the adopted and correct one. So are in public places commission carefully evaluates each project site for installation of permanent artwork, working with various city staff representing many departments, thereby minimizing any need to relocate or do session artwork after it’s been permanently installed installed. On occasion however, circumstances required the consideration of relocation or do a session of a work of art from the city’s permanent collection. any reasonable request for relocation or D a session will be carefully considered by the Commission in accordance with this policy. The definition of D a session is the removal of permanent artwork from the city’s permanent collection, relocation relocating permanent artwork to a different location than originally intended, or than its current, or permanently intended site, or moving an artwork that was intended to be permanently located in a particular site to another site. Permanent artwork is any visual artwork. Intended for display for one year or more including works acquired by the city displayed in open city owned area or on the exterior of a city owned facility. Inside city owned facility in two areas designated as public areas, or any non city property if the work of art is installed or financed either wholly or in part with city funds or grants procured by the city. This is the important part. Reasons for relocation or D a session. Reasons for relocating permanent artwork include but are not limited to, the artwork proves to be endangering the safety of the public in its current location. The use of the site has changed significantly since the installation of the artwork governmental improvements requiring such relocation permanently or temporarily unanticipated deterioration of artwork at the current site due to including not limited to weather materials, or an emergency. D a session the piece has undergone extensive extensive maintenance or is deemed not cost effective to continue to restore it. The work is earplugs ear repairable the artwork and dangerous Public Safety’s structurally in its current location, government improvements or an emergency? That clear, clear,
1:20:09
I think that we need to read, Angela, that’s too much for us to observe at a meeting,
1:20:13
I will also send it to you. But the piece that’s important is that the piece has undergone extensive excessive maintenance or is deemed not cost effective to continue to restore it.
1:20:23
That totally makes sense. I don’t have any problem with I don’t have any need to review it. But there are some folks here that might want to read that again. Yeah. I would I would not be me who would like to read that again, but the emergency thing like sets, Peter,
1:20:40
it sounds to me like we would have the authority to say this is no longer viable where it is cannot be repaired further. But do we need some kind of input and making that judgment? Can I say that’s, you know, we can’t fix that anymore? Yeah.
1:21:05
Yeah. Can I ask a quick question? It seems to me that when Lauren worked with the conservator who assessed Oh, now I’m gonna forget the piece. The the ceramic piece that we had conserved? Yeah. That she also got a quote from that same conservator for this piece. Do you remember that? Angela?
1:21:30
2008, Paula reading, and the cost just to rent the lift to get the single banner down? The report came out that read dying the piece was it was exorbitant. But they It was a minimal assessment.
1:21:53
I mean, I guess, you know, it’s kind of like when you total your car, like, is the conservation more than the cost of their the value of the piece? And so we would need to try to understand what the value of the piece is, on some level.
1:22:10
Also, also that whole fading aspect, can you even restore it to its original, you know, the way it looked? Because with the sun fading, and the fibers burning from the sun, I just don’t think it’s even, you can ever restore it to the way it once was. No, I
1:22:34
mean, that’s the thing about light damage is that it is cumulative over time. And so you can’t restore it to I mean, you can, you could read diet, which is kind of a different thing. That’s, that’s not exactly. Concentration, that’s restoration. So it’s kind of two different things going on there. But the other piece of that is that any fiber arts under those conditions are going to have light damage period. So it’s, it’s just going to get worse over time to
1:23:10
a piece was was installed in 1994. It was originally commissioned in 1992. I would say it so
1:23:18
just for the record, I was 21.
1:23:22
It’s it’s certainly lived its life and more than the requirement of a lifespan for a piece of artwork. So yes, so I can certainly send this along to you. And you can think about it for next month.
1:23:38
Everything can we Yeah, let’s put it on the agenda for a vote next month, if that’s okay with everybody. Because that to me, I mean, maybe it’s just 726 when we’ve all been, I’ve been in nine zoom meetings today. So maybe that’s why I’m a little fried. But there’s anybody else? Does anybody, like ready to move on? And just say that’s what it is? Or would we like to revisit this in? March?
1:24:06
I don’t think we need to revisit it. Do we? Don’t we?
1:24:10
Can I just want to point out that I think according to the policy, there needs to be some assessment of value and repair costs. So maybe at the next meeting, we look at how much the piece was commissioned for and then the conservative estimate of how much it would cost to repair it, at least to get a baseline of what it might what what those different values, how they compare to one another.
1:24:41
Great And do you think that somebody should we have some research in advance, so we could just bring it to the commission next month?
1:24:48
I don’t know that there needs to be research. I think that probably we have the data in files, which is that conservators estimate and the cost of the piece when it was originally commissioned. Okay, good.
1:25:03
Morrow and then Laurel, and then Peter. It,
1:25:06
it seems to me that’s a waste of time. Because Because you have already stated that there’s a deterioration in fabric, this thing has been up for 25 years. And, and the cost of restoring it or whatever, doesn’t really matter. It’s been up for 25 years, isn’t it time maybe for another piece?
1:25:31
I think sometimes legally, it’s very important to have it down on paper. Sometimes the artists can come back and make complaints about it. And so we have to have really good reasons.
1:25:48
And Andrea would no need to. I’m sorry,
1:25:51
I think I need to
1:25:53
go ahead. Sorry.
1:25:57
I’m gonna say I think that we need to follow the policy. And if I’m understanding the policy correctly, I think we need to make that judgment.
1:26:07
And I think it would be wise for everyone on the commission to actually read the the, the policy, and have it clear in the record that that’s what was done that it was done in a fully appropriate manner.
1:26:23
I can’t I’m sorry. Yeah,
1:26:25
I get it.
1:26:27
I don’t disagree with Laura’s assessment. But I think that it’s important for us to show all the legal steps on the way.
1:26:34
I also think it’s really, really, really our do order to do so as a commission, and something that we need to do. So I don’t know if we technically should form a task force. Or I’ll ask Angela, what she thinks we should do to review that and then get it passed through as fast as we can. What do you think, Angela,
1:26:56
it’s up to you if you want to designate two people who I can send all of this information by, and I will also send it to the entire commission. So you have an opportunity to read it, then the task force could make a recommendation to the commission at the next meeting as an informed body. Or, again, to send all
1:27:14
of that that would save so much time if we had two people, honestly, and I don’t want to be one of those teams. I’ll be happy to be one of those. Okay, no one Holly, anybody else? We could have more than two people.
1:27:25
But then I can’t send emails because it’s not an open meeting. So really task force it to people allows me to be more efficient.
1:27:32
All right, sorry. Nevermind. Y’all are out. Noah and Holly, have been agreed to do this. So you will investigate this. And then come back to us. The third weekend, March and let us know what’s going on. I’ll send it to you tomorrow. Excellent. Thank you. Do we need to have a vote on that? I don’t believe so. From what I’ve read about our Rogers. Nope. Okay. Excellent. Good. I keep saying excellent. a different mode of operation. All right,
1:28:04
Angela, when you send that email, could you give us all the information that you have on the piece and its commission and price and all that? Okay.
1:28:14
I’ll send you everything.
1:28:16
And I know, I’m not on that task force. But if you might need any assistance, I’m happy to help in any way, like as a as a chair. Okay. questions, concerns on that item? Thank you, Andrea, for bringing that forward. As far as you know, making sure that we vote. Laurel, I know we all want to get through things as fast as we can. But sometimes we got to keep on rolling. You know,
1:28:43
I get it.
1:28:44
I get it. I’ve been very impressed with this all trying to really get back into the mode of following procedures. And that’s a really cool thing. All right, from my understanding we are now unless Angela has anything on her administrator’s report. Great commissioners caught
1:29:05
up, you’re good. We’re good.
1:29:07
Okay. Awesome. commissioners report.
1:29:14
Comments?
1:29:16
Well, I would say that please tune in the Front Range Community College who’s got student art shows got a lot of art stuff going on. With our we’ve been a little bit dormant in our community with art. Google Front Range Community College art. That’s my plug, because they’re doing some really good work.
1:29:37
I have a couple.
1:29:38
Yeah, Jennifer.
1:29:41
I heard a rumor that a piece had been stolen or taken down somehow off of the main bridge. The bridge on Main Street going right over to Ken Pratt. And so I just wanted to see what is the real story here on that.
1:29:58
No, that’s not Not true. Okay. There are an odd number of pieces. And as I understand, and that was before my time, Andrea could speak, probably, to that exact moment. But when the work was commissioned, it was commissioned at a certain dollar amount for the bridge as it was designed at the time. It was there to Yes, when c dot came back, and I think c dot there’s two entities who have more power than Mother Nature, and that Sita and the railroad. And when Sita came back and said, You know what, actually, this bridge needs to be longer for the flood, water, whatever forces of nature, and we need to make this bridge longer. And then they added another pillar, which wasn’t accounted for in the original call for artists. And so that one is not addressed.
1:30:58
You got it? Exactly. Okay, thank you. Okay, next item. On the 100 and 50th, the sesquicentennial of Longmont. I’m wondering if there’s a list of the things happening. I know there was the there was some kind of celebration at the museum and so forth. But the main reason I’m asking about this is because there are three time capsules outside the Civic Center building that say right there on the plaque there to be opened this year. So I don’t know I want I’m just wondering if there’s any scheduled for that if you know about it, and if we should have fun going there. Or maybe they’re going to postpone it because people can’t gather very well. But anyway, there are three time capsules. And on the plaque, it says they’re going to be opened in 2021.
1:31:52
Kim,
1:31:53
do you know?
1:31:54
Okay.
1:31:57
This is what I know. I don’t know much. But this is what I know is that there is a committee that is city wide. And it includes Eric from the museum, and then Mariah, who’s in the communications department and several other people in the city. And that those Time Capsules have come up in conversation. I don’t think that there is a specific plan for opening those yet. But it is very high on their radar. So I suspected that it will happen. I just don’t have any details.
1:32:32
Okay, I don’t know if that’s one of our responsibilities on this commission. So maybe Angela could check on it. And just as a piece of information she can let us know. But I
1:32:43
don’t think
1:32:44
it’s more of a piece of information. But on the other hand, it might be kind of an interesting thing to be represented.
1:32:51
So we do have a historical society group that might be really cool to get find out if they’re involved as well. I know we have a commission that’s dedicated to that.
1:33:00
So that’s, but I don’t know that art in public places has any authority or
1:33:06
if there’s some art in their
1:33:10
opening, but maybe just I don’t know, anyway, I thought it would be interesting. I mean, because the main reason it made me think of art in public places is because there’s this big kind of rock boulder thing, which is over the site, which is almost an art piece in itself with that plaque on it.
1:33:26
Oh, that’s cool, then maybe that would be something for us to be able to look at preservation, preservation, preservation, persevering. That’s what we’ve all been doing the last year persevering. Yeah. So preservation maybe that’s one of the things about what do you think Angela? Well, I
1:33:42
have that meeting with Jeff cedar and and Chelsea about the Civic Center already scheduled. So at the same time that I’m talking about skylights and colorful pole poetry of the middle pages, and potentially that Plaza area that I don’t know if y’all are aware of that, that corner of the southwest corner that is just begging for color or something. Yeah, just there’s a lot of opportunity there certainly worth 150 years and and because they’re ccip funds that are coming from Civic Center, it seems appropriate that we could launch a project this year at the Civic Center. And it could be associated with any variety of these things. So I will make certain to ask that question at the same time.
1:34:30
And if you find any mate, my family members in there, yes, we’ve been here a long time. Just put them away. I don’t need to hear from them.
1:34:39
And if you have not watched the video of the I can’t say the word seska squids and centennials I don’t know the the museum program wherein Eric did unveil that was the one time capsule. It actually was a really lovely program so you can go back and see it on the future. The Facebook page.
1:35:01
Yeah, that had a real vaudeville vibe. I liked it a lot.
1:35:07
Long I was quite the play is y’all. It was quite the place. All right, so from what I can see any other Commissioner comments, I just have one real quick.
1:35:18
I work for sticker giant, which is a local startup company here in Longmont. And for those of you that are creatives know creatives, please encourage anyone to ensure we are having a sticker design contest right now.
1:35:32
There is no
1:35:34
monetary award. However, if you if your design is chosen, you’ll get 250 free stickers, which is kind of good for local artists, you
1:35:44
can pass them out, hey, I
1:35:45
designed this. And those stickers will be shipped out for the month of March with all of our orders and our orders go worldwide. Mostly nationwide. But yeah, they’re going all over the world. Aaron,
1:35:58
can you send us like an email on that? Because? Because I know like, you know, like art students. Love
1:36:08
to sticker. Yeah.
1:36:09
So if you would send a link and if you don’t, if you want to send it to me or and to Angela, she’ll we’ll get it out to everybody. That’s flippin Awesome. Thank you. Fantastic. Awesome. That’s the kind of stuff we like to hear anybody else have great news like that?
1:36:25
I have a thing that I know that I forgot. So just
1:36:29
Oh, all right.
1:36:30
Go ahead, dinner.
1:36:33
I know I couldn’t wait. I had to.
1:36:35
I forgot to add I liens database update on? Oh, look at her. Oh, come on, Eileen, just quick.
1:36:45
Uh, if everyone has a few minutes, um, I am updating the databases. that’s mostly what I’ve been working on. And I know that there’s been lots of chat about the website, but aipp City pages. And I would like everyone to know that I’m working on it. There’s one chart in particular, that is a list of the permanent collections that has only about 60 items on it. And in fact, you guys have about 85 art pieces that you’re looking at keeping track of and taking care of. So I am working to make that a little bit more dynamic and and more useful list that is most gullible by the public and more interesting than a chart.
1:37:39
So we’re working on it.
1:37:43
Yeah,
1:37:44
if anybody has any comments about the artwork archive, that, which is
1:37:53
a separate website, and
1:37:54
a separate database that exists, of almost all 85 pieces.
1:38:02
Please let me know me, email, Angela, she can forward it to me if you don’t have my email address, if anybody’s really attached to that database, or enjoys using it or researching or updating it or anything like that. I’m
1:38:19
struggling at the moment figuring out how best to use it, I guess is
1:38:26
the point.
1:38:26
It’s a
1:38:28
designed to be public facing but I’m not sure how
1:38:31
useful it is.
1:38:34
Thank you.
1:38:35
No, thank you. And please, all of you being trucked in touch with aliens. If you want more specific information, we didn’t mean to crowd you at the end. And all of us are like, I can see us kind of going. Whoo. So we’re trying, you’re doing such a great job. And we are so glad to have you on board and we are so thankful for you. So your contribution is amazing to us. And believe me, we love it and we appreciate you and we want more. And why don’t you just stay here and do this for ever? Okay, awesome. Let’s see here. I think we are really close. Is there any other Commissioner reports? I thought I saw a few hands pop up.
1:39:26
Only Thank you, anybody. Okay. Anybody else? Okay, because this is it. forever hold your peace. I want to welcome the new people who have been here. We’re ending early tonight, which doesn’t always happen. And somebody Have you like 20 more seconds to think of things that might come up.
1:39:46
Don’t get used to these early endings.
1:39:49
I remember the days we were done at 648. So those were the old days but now we have a lot more going on. Again, if you have questions, concerns we’ve talked about a lot Lots of stuff tonight. Um, between Yes, Pamela? No, I’m
1:40:05
sorry. No, I
1:40:07
just see your light go on. So I’m trying to, like, be attentive to that. When when I’m in a zoom class, when a light goes on, I’m like, okay, student, what would you have? No. So that’s good. Any other concerns, questions, anything you want to bring up? So again, we’ve talked about a lot of things. This strategic planning stuff. Oh, sorry. All right. Any other questions or concern?
1:40:39
Remember, gentlemen,
1:40:41
that wasn’t me this time. It was the dogs. Sorry. I moved to it. You’re now Second. Okay. All in favor.
1:40:52
So it’s
1:40:54
- Thank you, everyone. Have a great night. Wonderful meeting. Thank you.
1:41:01
Thank you, Amy. Thank you.