Museum Advisory Board Meeting – April 21, 2021

Video Description:
Museum Advisory Board Meeting – April 21, 2021

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.
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Unknown Speaker 0:00
So let’s call the meeting to order. And there’s Ria. And per the electronic participation policy, we should be actually doing the roll call. So I’m just going to run through the list of board members. If you would just like raise your hand when i or i can just look at everybody. Maybe I’ll just do it that way since I can see all of you right now. So I see Dale, and Chris, and Tom, myself, Eve, Lacey and Rhea, and Kelly, all in attendance. And Megan and bryden, as well as city, Councilwoman, Hidalgo fairing are not here tonight. So

Unknown Speaker 0:51
we’ll call that our Roll Call.

Unknown Speaker 0:53
We don’t have any public today. So the next thing would be to approve the minutes from last month. Does anybody have any questions or concerned about the minutes?

Unknown Speaker 1:13
No, I move to approve the minutes.

Unknown Speaker 1:15
I have a second.

Unknown Speaker 1:20
A second.

Unknown Speaker 1:21
Was that you, Kelly?

Unknown Speaker 1:23

Unknown Speaker 1:23
Thank you. Second, so Kelly has second. Chris moved. And so we need to do our Roll Call thing again. I think we can do it the same way. So all in favor if you just hold up your hand? And then we’ll walk through. Tom, are you in favor of the minutes?

Unknown Speaker 1:46
Yes. Would you hold? Thank

Unknown Speaker 1:47
you very much. So I see Dale, Chris. Thomas, me Eve, Rhea and Kelly. So all opposed. Tears and anyone else? So that passes unanimously. Great, thank you. Eric, would you present the accessions the proposed successions?

Unknown Speaker 2:16
Right, I will share my screen.

Unknown Speaker 2:24
So Can everyone see the APR 2021 accessions. So we’ve got a number of items. The first thing that is up is actually an addition to an expression from an earlier meeting. 20 2105 This is part of collections of section of papers from the noble and Adams families of Longmont, the 10 type and an ambro type of Jacob Blake Adams who came to Longmont or came to this area in the 1860s. And then a New Testament and the item at the bottom. And then inside of that there is an on below. No letter, but just an envelope that was mailed from the American Expeditionary Force. The New Testament was given to him in in August 1918, just shortly before he headed out for World War One. So definitely ties into our world war one related items. And two photographs are documenting an early, early resident in St. Brian Valley. Any questions about that?

Unknown Speaker 3:48
I just have one question, Eric. I don’t know what’s the difference between a 10 type and an ambrotype.

Unknown Speaker 3:55
So tin type is actually on metal. It’s not accountant. It’s actually on, on iron.

Unknown Speaker 4:04

Unknown Speaker 4:06
they’re done with essentially the same process. It’s just the 10 type is printed on to dark colored metal. The ambrotype is printed on the glass. Both of them are actually negative images, which means in order to get the ambrotype to show up, you have to put a black piece of paper or black cloth behind it. So that’s why most of the time ambro types are found in these little cases. 10 types are a little more rare to be found in the cases they’re often just a sheet of metal and it’s really obvious that that’s that’s what it is is just just a simple piece of metal that photo has been printed on very early types. 1850s 18 early 1860s is typically when these were found and then once they develop better technology to print onto onto paper that standard.

Unknown Speaker 5:05
Great, thank you.

Unknown Speaker 5:10
Our next item continues our contemporary collection related to COVID. This is a painting it is actually although it looks a little bit like a watercolor, it’s actually acrylic that’s been thinned down and painted on a drawing paper is by a Longmont artist picea Christ was done in May of 2020. Miss Christ did donate these to several area hospitals. And this was one that she was not able to find a home for. And so she approached the Longmont museum. She’s actually since this photo was taken, framed it so it isn’t a nice white frame now. But it acknowledges the frontline workers for their service kind of a composite portrait not of any particular frontline worker acknowledges the the struggle that they’ve they’ve been going through the last year. Any questions on this session?

Unknown Speaker 6:24
Anyway, Eric,

Unknown Speaker 6:26
what size is this painting?

Unknown Speaker 6:29
It is basically about 11 by 17. Okay.

Unknown Speaker 6:38
Thank you.

Unknown Speaker 6:43
Moving on

Unknown Speaker 6:46
the next collection, I’m sure he will be delighted to know that there are more electric meters, he had helped us catalog. Some earlier electric meters we got in some years ago. These actually come directly from the Walmart power department, they, over the years have accumulated a large number of historic electric meters, and we’re doing some rearranging and and couldn’t house these any longer. So they approached us. Many of them do have dates on them. And almost all of them say city of Longmont, so we know that they were used by the city electric utility. There’s also a couple of fuses that are just interesting examples of early electric fuses that also were in the electric department. So we basically were documenting this, it’s a pretty complete representation of, of electric meters used by the city for the first roughly 50 years of the museum have the city’s operation of electric utility. And cludes, both commercial and residential meters. Any questions on

Unknown Speaker 8:14
succession? Eric, are

Unknown Speaker 8:18
any of these duplicates of ones that we already have? Or are they all unique?

Unknown Speaker 8:24
They are all the ones we have are, are somewhat similar but different enough that we were able to to accept them all. Thanks. And then we have one more expression. This is an envelope from the Pratt agency again, nothing inside the envelope. They actually found an entire box full of these on globes most which apparently had been written on us a scratch paper and so forth, but they found this one that had not been written on and so donated to us, the prime agency and case you know, is kind of the first iteration of what would become properties that developed a large part of of Longmont primarily under the tutelage of Ken craft from Canberra Boulevard is named. But his grandfather Marian Pratt founded the proud agency as a real estate firm was later run by Harold Pratt. And then Ken Pratt started in that before spinning off properties as a related company. So something that kind of documents a fairly significant business in in Longmont. Any questions on this

Unknown Speaker 10:06
Okay, is that that’s all of the accessions. Right, Eric,

Unknown Speaker 10:09
there’s all the exceptions. Yeah. So we can have a discussion on whether we accept those, and then I’ll move on to the to potential donations.

Unknown Speaker 10:20

Unknown Speaker 10:21
So is there a motion to accept all of these expressions?

Unknown Speaker 10:28
I move that we accept them. Eric, you did answer my question about what is the significance of the valuable papers pad agency? Because the question not a little bit. And I’m assuming we need more electric equipment. And that’s why we want to go ahead and build a utility equipment there. But knowing that you feel like these are important to the museum, I would still make my motion to accept these as accessions.

Unknown Speaker 11:00
Thank you, Chris. Is there a second? Second, Brett, great, thank you. So we have a second. So we’re going to do the vote thing again the way we did before. So All in favor, please hold up your hand. And if you keep holding him up, and just guess that’s all of us. Let me just make sure. Oh, there’s Kelly. Okay. Thank you all. Any opposed, you can put your hands down. Anybody opposed? I see no hands. So that is unanimous. For me just read through the list for Joanne Dale, Chris, Tom, Eve, Rhea, and Kelly. So thank you very much. That was unanimous. The the session is accepted. Alright.

Unknown Speaker 11:51
So then we have two items for potential donation. Again, we don’t have these physically in our possession. So we won’t be voting on accepting them. But just wanting the board sense of before the donors go to the trouble of sending them or in one case, trucking them across the country that they think these would be appropriate, and the museum’s collection. So the first is

Unknown Speaker 12:20

Unknown Speaker 12:21
three items, there is a large steam engines about three feet tall, three feet wide, was built by George Madison, four of us in hygiene Colorado, in 1889. It actually does still operate, although that is not something we would ever do. The steam engines are actually quite quite dangerous to operate. And, and so but but it is a well, well cared for an interesting artifact from primarily agricultural history. Also, the bottom of this page is a dump wagon. This was patented again by George Madison forests of hygiene. And this model is what he created. So something that you could use to dump something like sugar beets or other items. And so a local local individuals patent and then the third item again hygiene, known actually for for dairying in that area, these are butter working tools that were used by that family. So any, any discussion or thoughts on on the appropriateness of adding these to the museum’s collection?

Unknown Speaker 13:51
I had a question, Eric. What, what is the size of the steam engine? I can’t I don’t see any frame of reference. And, you know, I think of steam engines as being room size or something.

Unknown Speaker 14:06
This one fortunately, is not that big. It’s about three feet tall, and about three feet long.

Unknown Speaker 14:16
So is it actually used or is it a model

Unknown Speaker 14:19
that was actually used? Yeah. The the farmer who did it would was mostly he built that I think out of curiosity, but did use it to run equipment on his farm.

Unknown Speaker 14:43
Any other questions or, or concerns about any of these? Yes, I just sort of like a sense from the board whether we should proceed. Yeah.

Unknown Speaker 15:01
That’s what I was gonna just ask her what’s then a relatively new board member? What’s the process now, if the board feels that those are acquisitions that we should take on.

Unknown Speaker 15:20
So the plan, I’ve been contacted by the donor and his family is coming to Colorado in May, May 17. And so they would actually bring out these items on a truck when they come in May. And so you will then see them at the either May or June advisory board meeting for official acceptance into the end of the collection. But my assumption being we have a quorum, if we get a sense that everybody feels like, yes, this is something we would add that that the donor would feel pretty assured that that we wouldn’t have the awkwardness of No, it’s turned down, can you come back out and take them back? Because obviously, these are very important things to the family, and they would not one of the things we have done in the past as we request if, if people do not wish the items returned, then we find them another home or something. But these would be difficult to return to Wisconsin where where they’re currently.

Unknown Speaker 16:39
Oh, sorry, Oh, go ahead, are these items that we would see on display in the museum or put into the archives or the storage?

Unknown Speaker 16:55
So right now, it would be a mix, we are actually assuming they are approved, we are planning to put both the steam engine and the dump wagon into the Longmont 150 exhibit. as examples of technology and innovation in Longmont, the butter working tools would go into our our storage for future use whenever we would have an exhibit that would fit with those.

Unknown Speaker 17:33
So do you want us to Eric, we can get I guess we can get a vote. Does anyone have concerns about their feelings that we would not want to bring these in? Is everybody positive on? These are things we’d like to acquire?

Unknown Speaker 17:49
I think it makes sense for these to be things that that we pursue bringing in.

Unknown Speaker 17:54

Unknown Speaker 17:55
great. Yeah, I

Unknown Speaker 17:55
would agree. Okay. I do too. So I’m there you go, Eric. All right.

Unknown Speaker 18:03
Thank you very much. Appreciate the feedback. And then we have one more item. Again, this, this is aggregate items. These are in California. And the donor has offered to ship them to the museum. But again, I felt like it it made sense to bring it to the board and and have you all’s sense of of whether they’re appropriate before asking him to incur that expense. So these relate to very early history of this area. The earliest items, these two sort of comma shaped pieces, these are oxen, shoes, and oxen shoes, will be different than harsh shoes, but they serve the same purpose. And they were supposedly worn by the oxen that brought Mary Allen to old Burlington in 1863. So these would be some of the first items we have that really have a very clear definitive provenance to old burlingham, which was a precursor community to Longmont. So that that’s kind of exciting for me. Burlington has been a tough place for us to find anything. We’ve got some some documents, but almost no artifacts from overland. The Spurs are a little bit later, they would have belonged to Mary Allen son, Alonzo H. Allen. He was a cowboy most of his life. We have a biography written written from some of his his writings, he wrote and reminisce in later years was called I wanted to be a co puncher and he grew up in Burlington and in Longmont. And then travelled around up in Wyoming and Colorado for much of his life. And in 1877, when he would have been 17, he and his brothers hunted a large buffalo. And those horns are what, what the donor is holding in the lower picture. So it’s written on the back that these, these forms were perma Buffalo, and 118 77 by Alonzo Allen and his brothers. So again, all of these items, some of the earliest examples we would have in our collection. We don’t have any horns in very good condition. We’ve got some that are just on a very weathered skull in the in the collection, but nothing, nothing really in displayable condition, and certainly nothing with a strong provenance to a well known local family. Interestingly enough, Allen’s Park is named for the Allen family. strong connection there as well. thoughts from the board on these items? Eric, where’s

Unknown Speaker 21:12
old Burlington?

Unknown Speaker 21:15
So old Burlington was a settlement that was very spread out the center of old Burlington was basically where the st brain river and highway 287 cross. So there’s las palmeras Mexican restaurant. And the Burlington square, Burlington village shopping center, is there now, as well as a couple of historical markers. It was a community though, that extended as far east as what is now sandstone ranch. And as far west really is the foothills. And it was basically tied together because there was a post office more or less where, where the Burlington village shopping center is now. And so all of the families that lived in that area would come in, and there were a few businesses and so forth and kind of downtown around around that crossroads. And that’s where Mary Allen’s hotel was as well, and it was a stage stop. So she was one of the earliest business women in long mom, she’s featured in our new, innovative women of Longmont tour that will be coming out here in a couple of weeks. Great,

Unknown Speaker 22:35
thank you.

Unknown Speaker 22:37
Oh, yeah, question. Eric. I’m certainly not questioning the authenticity of this stuff. But it did raise a question when me about how you all maybe authenticate is not the word. But how you figure out how strong the provenance for something is, I mean, I just had a

Unknown Speaker 23:00
mean if somebody just walks in and says these were, you know, ox shoes. I mean, for instance, this is a descendant of the

Unknown Speaker 23:13
Yes. So the the donor is a great grandson, I believe of Alonzo H. Allen. And then I was able to trace in our genealogy information to his father, Merlin brooms genealogy database lists, this donors Father, I don’t think it lists the donor himself, but it seemed to seem to be a pretty strong connection. And he’s provided as well, a lot of background information and, and other genealogy information as well. So so it seemed like, he’s not just saying, Yeah, I found these and I’ve decided they must have been from Yeah, no, I

Unknown Speaker 23:58
was. I wasn’t certainly questioning the authenticity. It just raised that question with me. No. I think that’s really it really exciting things to have in the collection.

Unknown Speaker 24:15
I would agree. I mean, you know, just hearing a little bit more about the history of old Burlington and, you know, knowing the history of these artifacts, I think they would be great additions to the to the museum.

Unknown Speaker 24:29
I agree to anybody have any concerns about it that that they wouldn’t want at these? Yeah.

Unknown Speaker 24:40
Okay. All right.

Unknown Speaker 24:43
I will stop sharing and let the donor know to go ahead and send them. Great.

Unknown Speaker 24:53
Okay, so let’s have the report for Kim

Unknown Speaker 25:01
Hi, everybody, hope you’re having a good evening. You’ve gotten a Director’s Report and kind of as I usually do, I’m going to go through some highlights but not read every word. So stop me if you have any questions along the way or, because I’m going to be looking over yours. So yell at me if you if you have any questions. And the first few items I feel like are, like really cool kind of strategic planning things that we’ve been working on that we’ve been able to sort of come to fruition. So they’re kind of, you know, feathers in our cap, if you will. And we’ve extended an offer that I should back up just one second to say that this report was put together a couple of weeks ago. So some of the language here is a little bit off in terms of timing. So I’ll try to correct that as we go through. But we’ve actually extended an offer to the fund development manager, Megan Peters, and she has accepted the position. And she’s passed all of her background checks. And so she is going to be joining us as of May the 10th. So we’ve got a new fund development director on board, we’re super, super excited about that, it’s really going to be a game changer for the organization, because we’ll be able to really have, we’ll have a full time position focusing on fundraising and fund development. So this is this is a very, very big deal for us. So we’re super excited about that. We’re also working on our master development plan, which is essentially a sort of site analysis and some schematic renderings of what an expansion might look like at the museum. And I think I mentioned at the last meeting, that we had been working with a different architect. And there were some challenges in terms of the city not with us. But in terms with the city. With that particular architects, we had to get this new architect, and we love them, like they are so thorough and so really meticulous at their approach to this, that I’m actually excited that we had to change architects they’ve been really, really good to work with. And so they are, as of tomorrow, in fact, we’re going to be looking at some really preliminary schematics of things that some design proposals that they have for us for some museum expansions. And I think I’ve also mentioned that some of the things we’re looking at are an additional gallery space, maybe a cafe on on site, expanding sort of our storage spaces and exhibit spaces. So we’re hoping really that with an expansion, we can just do a better job of meeting our mission and being able to meet our potential. So I’m super excited about this, because it really gets us all excited, you know that we would kind of get behind how we might be able to look at the future. And then we’ve also got a museum consultant on board, Beth Kaminski, who is helping us work on an interpretive plan. And she’s really gotten pretty far in terms of interviewing staff and trying to solidify some ideas behind really focusing our attentions on themes and the way that we are delivering messages and the way that we are delivering the interpretation of the things that we do, and how we are able to explore our mission statement in a really relevant way. And I think that that project is, is going forward really, really well as well. And then I think you guys might have heard that we got a million dollar donation from the Stuart Family Foundation. And so yeah, very good. We’re super excited about that as well. They have not yet given us any direction on how they want us to spend that money. And what I think is true, if I were to read between the lines is that they’re looking forward to seeing this master development plan to understand better what our needs and what the cost associated with those needs might be because that’s part of what we expect to see with this master development plan is you know, how much is another gallery space going to cost us how much is an expansion of the lobby going to cost us etc, etc.

Unknown Speaker 29:29

Unknown Speaker 29:32
I I’m excited to see kind of how those things progress that we’ll be able to share the the Stewart Family Foundation, a kind of opportunities for museum expansion and what they think they might want to contribute to and support. So we’ll see how those conversations go. And then in March, we sold a renewed 60 memberships and seven giving club members So that’s pretty good, especially given our weird condition of still operating in in restricted capacity. We have been, as of last Friday, we moved to blue. So things expanded a little bit more force than. And we think that as of the 15th of May, we’re going to be moving to clear that’s not yet solidified. But that’s kind of what we’ve been hearing. And so once we moved to clear, then all of our restrictions go by. And so we’re trying to figure out what does that mean, we’re all sort of freaked out by what does that mean? So we are trying to figure out, you know, how do we, how do we open ourselves up in a very safe way, and we’re trying to have pretty thoughtful conversations around that. to skip down just a little bit under education, our summer camps have opened up and we’ve, as of this report, we have 264 camp participants. And then nine out of the 36 camps are full 30 out of the 36 have met or exceeded their minimum, minimum minimum enrollment. And I expect a suspected that’s even more since this was written. And we do have in our summer camp offerings, we basically have three levels that we’ve got completely virtual, we’ve got in person inside, spread out. And then we’ve got outdoor summer camps. So we’re, as we were planning for this season, we were really trying to offer, you know, everybody’s comfort level, depending on on where they weren’t. And I think that that is revealing itself in the registrations. We were getting really good registrations for that. And from a mom’s perspective, oh my gosh, like, send that kid away, like I’m done.

Unknown Speaker 32:07
Yeah. Um,

Unknown Speaker 32:08
so yeah,

Unknown Speaker 32:09
we’re trying to meet some parents needs to.

Unknown Speaker 32:13
And we’ve also been working through the discovery days and man, have we been super popular, we’ve got these kits that we’ve been making and distributing and those those clearly have been in demand. So we’ve been really doing a great job in terms of our discovery days program. And I think that that will just translate to the next season that we have. And then of course, moving on to collections, Eric has been doing a ton of work in terms of trying to pull together really a survey of things going on with the collections area of Longmont 150. So there were lots of sort of pieces of the puzzle that we didn’t have represented in our collection. And so he’s been working on working with collectors and working with different people in the community to try to get some collections that actually represents some of those themes that we’re trying to unpack. So kudos to Eric that he has been really, really working hard on that. He’s he’s mentioned breweries, and distilleries, and cideries. So that’s a, some sneak peek into the exhibit there. And we also have our online tours that we’ve been working on. So the Latino history tour, and then Eric mentioned, the women’s histories tour. And so those are going to be really promoted coming up here shortly. And then Latino history tour is has got the Spanish language perspective. And I’m proud to say that we had some collaborators who really helped put that together and helped record the Spanish translations for that. So we’ve got some really great partners in in pulling these things together. And then we’ve talked about the the land acknowledgement a couple of times in our meetings. And so I just want to recognize that Eric’s been doing a ton of work to try to figure out exactly what is the best approach to pulling together the land acknowledgement.

Unknown Speaker 34:17
And the,

Unknown Speaker 34:18
let’s say, the scoot to the next page at my computer will cooperate.

Unknown Speaker 34:24

Unknown Speaker 34:26
Justin lists all of the programs there for March and April. And I just want to point out that, you know, he in the pandemic, especially, I think that his, his his sort of wings have spread that he has pulled in these really intriguing and engaging programs. And I’m excited to see some of the work that he’s done, and they have everything to do with inclusivity and diversity. And I hit the programming, he’s been able to pull together and then post on our blog. Our virtual platforms has been really amazing. And we’ve gotten a lot of fantastic feedback about that as well. And original programs is starting to ramp up, there’s a couple listed here, we’ve got the boulder youth or Australian Longmont Symphony Orchestra. But I think that we’re getting now a lot more inquiries. And so I think that our rental program is going to start really ratcheting up here soon, given given the fact that some of the restrictions are being relaxed a little bit. And so I have a feeling that there’s going to be a little bit of pent up kind of,

Unknown Speaker 35:39
kind of through the roof, and probably, you know,

Unknown Speaker 35:44
attendance and stuff like that as well. And then there under the visitor services, you see some of the data that we’ve got. So the the recent public health orders have allowed us to boost our numbers just a little bit. And so we’ve seen set as of this report, 737 visits during March, and on Saturdays, our attendance is really strong, we’re basically selling out on Saturdays, all of the time tickets, so 176 visits, even when we had the weekend of snow snow day. And then we’re trying to hire a little bit more front desk staff, especially kind of gearing up for what we hope is going to be a little more attendance and more events that are going to be happening. The response in terms of our gift shop has been really good for Impressionism. So we’ve sold over $3,000, just in the month of March. And you know, it’s so fantastic, because our poor gift shop just tanked you know, with all of this COVID stuff. And so we’re very, very pleased. Well, you know, what I should back up, it tanked during COVID. And then when Eric’s book was released, it just went like this. So, take that into consideration. And then the net, the last piece of the report is really about art and public places. So I thought I would just turn it over to Angela when she gives her presentation to talk more about art in public places. And so I just wanted to stop there and see if you guys had any questions for me.

Unknown Speaker 37:34
You guys, I wanna I want to just say that the staff has been doing such an amazing job. And I am so thrilled with what we’ve been able to accomplish during this time. And also the kind of behind the scenes strategic work that we’ve been doing. It’s all really meaningful and necessary. And quite honestly, it probably wouldn’t have been possible without this kind of break with Coronavirus. So, in some ways, there’s some silver lining to that. But that doesn’t stop them from doing, you know, the programmatic stuff and the visitor focus stuff and the all of the things that we would have done if our doors were open fully. The staff has been absolutely amazing.

Unknown Speaker 38:23
Great. Anybody have questions? Anybody have questions for Kim? Before we go to Angela? Because I don’t have a report. Oh, Angela, are you there? Would you like to finish the the directors report? And then I think you’re gonna give us a presentation.

Unknown Speaker 38:44
Yeah, so I think I’ll just allow the presentation does speak for itself. And I do have to say it, it is. It’s very nice to of course meet all of these probably see me because uh, Joanne and I are tag teaming on the hosting. So Joanne is the facilitator for art and public places the board and then I’m, I’m with you. And it’s actually really wonderful to hear. In that just report of everything that my colleagues are doing because they’re amazing people and I’m really lucky to be a part of this team. So I’m going to share my screen. If I can get back to the beginning. Here we go. Oh, but you don’t see that. One would think that we would be savvy savvy. Let’s see. How’s that?

Unknown Speaker 39:42

Unknown Speaker 39:43
can you give me a thumbs up be good. Okay. And can you hear me all right thumbs up. So I’m I’m Angela Brill. And I’m the newish I guess you could say art in public places administrator. I’ve been In this position more in the era of COVID than not, we, I had just joined the team and things were ramping up. And we were really getting gaining some momentum and then COVID hit. So you know, and that’s actually been an interesting an interesting way to come about this. My background is in art history theory and criticism and education. And my predecessor was in this position for 20 years. So it’s kind of an interesting time for change and assessment. So we’ll just get on to it that art in public places also called aipp. You might have heard he IPP is a 15 person city council appointed commission, all citizens, of course of Longmont. And our funding comes directly from a 1985 charter 1442, which implements 1% of almost all C IP. So that’s a construction, city improvement projects, construction costs. And those are allocated to collecting, installing and then maintaining public art collections and public art collections makes our city so dynamic. And right now as the present moment, we have 76 pieces in the permanent art collection and, and then an additional 50 some shopkart boxes, which are the mural electric boxes that you see around town. The program is overseen, of course by the museum. And so I fall in the program falls under all of the strategic planning and processes that we’re going through. And we actively partner and collaborate with many community organizations and cross pollinate with many city divisions of course, so I’m and I’m really excited and could talk about art in public places all day long, but I didn’t time this presentation, I’m just going to kind of cruise right through it. So the way I like to think about public art is really from a traditional standpoint, which is you start thinking about public garden commemorative or monumental pieces. And so the here’s the face and the toes of the Statue of Liberty right 1885 in New York City, and in Longmont. We have commemorative pieces, as well. Kensington parks, unity, our own replica of the Statue of Liberty that was donated by the Boy Scouts of America in the 50s. Roosevelt in bronze, of course, from the the at the corner there and then this recent mural that we collaborated with Tony Ortega, to commemorate 20 years of Dia de los Muertos, the goose Of course, the goose project, you will remember this commemorates the sister cities, partnership and also Florida law now, which is one of those monumental pieces when you’re coming into town from I 25. So that’s a traditional way of Of course thinking about public art, but there’s also defining your sense of place. And so if you’re ever in Philadelphia, you see Robert Indiana’s 1976 love sculpture, and you can’t help but know you’re in Philadelphia when you see that and, and we have that too, in Longmont, when you’re going on a diagonal highway and you see, man, you know that you’ve arrived, it’s that gateway piece that it’s a sense of place and that you that you’re here, but that it exists in smaller projects, too, such as this mural. That’s an kanemoto park that was executed by students from Front Range Community College with a local artist, Miguel Vasquez.

Unknown Speaker 43:47

Unknown Speaker 43:48
public art is also morphing as the world is changing to we’re finding, of course, that the more dynamic pieces are storytelling, right, and it’s, it’s about our creative culture. It’s what’s happening right now. And this is telling our story. And I love this example, because you have, of course in on Wall Street on Bowling Green, and the charging bowl from 1989. That’s been there forever, and now almost a dynamic piece of what’s happening on Wall Street. And then in 2017, for International Women’s Day, fearless Girl by Kristin vis Bell was installed and all of a sudden the place changes, the context changes. And what this is kind of the world that we’re in what we’ve we still have commemorative and monumental pieces, but we’re really talking about where about belonging and where you are. And we have that too along the st. Brain Greenway. In 2013, when the flood came through, there was a number of pieces and plant life along the river that had to be taken out. cluding these two cottonwood trees. And so the city arborist came to the public art program and said these would be great places to hang or hold art. And so the city arborist and art in public places work together. And so now we have this public art installation that sneaks up on you, if you’re along the Greenway, and it’s made from a upcycled VW hood from above, that’s the shell, I guess of the ladybug with kickstands for legs and, and drivers for antenna. And this beautiful dragon fly that has cogs of a bicycle as the lace of the inside of the wings of thorax that’s made from a Honda hood, from a motorcycle. So we have that in Longmont and art in public places is actively investigating how we can continue to tell our story and to make sure that the voices and the opportunities are available to everyone to our residents in

Unknown Speaker 46:02
long line.

Unknown Speaker 46:03
So we’re doing a lot of investigation, a lot of asking questions, working very hard with our development folks and our planners to make smart, integrated prosper projects. So that’s some of what we do. There’s also the very not as attractive but equally as important maintenance and conservation aspect of art in public places. And so some of the things that we’re working on in the present moment, with the construction of the Civic Center, is an assessment of colorful poetry in the middle pages, by Luis codice. And this is was installed in 1994. The project started in 1992. And so because there are solar panels that have to go up onto the roof of where these pieces are, they’ll inevitably have to come down in the fall. And at that time, the commission is going through our policies and processes of understanding if they’re viable, have they are they torn? Are they ripped, do they need conservation? Is it time that something else goes up instead. And so the commission is working through that. On the left side, you’ll see the listening stone that’s along St. Brian Greenway. And when the flood happened, the orientation and the trajectory of the way that the river flows, of course, this change. And so as our partners and natural resources, go through, and fix and go and redevelop some of those spaces, that piece as well, will have to be uprooted and moved. And so that’s one of the things that we know that will happen in the future, and is a big part of what we do. And then in the bottom left hand corner, I just put the plaque that you will find along any art in public places piece. And we’re looking to revamp those pieces, looking to do bilingual work on those and change the look and feel. So it’s consistent with city branding. So some of the things that we’re working on there. We do have two very long standing programs specifically, that are supportive of active working artists. The first is art on the move, where we borrow five to seven works of art from regional artists and place them around town. And those change every year. And we pay each artist a stipend to lend those pieces to us. And sometimes the community will fall in love with them and we investigate commissioning or rather acquiring those for the city collection. But it’s it’s a really interesting way to enjoy public art and see something new. We also have the very popular shock our program and shock are any artists, even an up and coming artist is invited to submit a market of a box. And so then the successful piece that has gone through a community vote and selected by the community and then is translated into the larger piece itself. And so it is an opportunity for younger artists to get involved in we pay a very fair stipend to participate that way. We have over again 50 chalk art boxes and they’re all throughout the city. So you’ll run into them all the time. And we have a map of course if you want to go find them. And we want you while not you because you’re already serving on the museum advisory board, but we want your friends and we are a 15 person commission so maybe when a museum advisory board terms are up and you want to stay involved and do something different, also involved in collections and also involved in the creative juices of Longmont. You know we have we have place it’s a very active board. And it’s a lot of fun. So, um That was, in a nutshell, the really fast and dirty art in public places and what we’re up to you, but happy to answer questions. And yeah, is there anything you love to see around town?

Unknown Speaker 50:15
Up sharing so I can see you

Unknown Speaker 50:22
go too fast. Oh, that was great. I really liked your connection to other pieces around the country and kind of what the role is with aipp. I was a member of aipp for about 10 years. So I’m very familiar with with the pieces. I had a question. I haven’t seen a newer updated map of where all the pieces are located. I didn’t know I know, in the past week has incorporated with the bike map. And so I didn’t know if there has been an updated version, within the last year years, there is.

Unknown Speaker 51:01
So there’s a 2019 bike map, and that came out in December of 2019. And it’s often done every other year, they went to a larger format. And I don’t think that that was actually preferable for Ben or Lauren, in functionality sake. So when we do it again, either in 2021, or 2022, it’ll go back to the smaller size. If you’re interested in one, we have one at the museum, it was never a wasn’t digitized or created to be digital. So the next time we go about it, I think we need to make a more printer friendly or mobile.

Unknown Speaker 51:45
Yeah, having having it be mobile friendly, I think would be really helpful. Because there’s just so many pieces that like if you’re on the bike trail, right, or even a walking tour and just having it where it’s not just this big map that you’re trying to figure out, but actually as something that’s, that’s mobile friendly, I think that would be really helpful for people.

Unknown Speaker 52:12
And that’s one of the things too, that we’re investigating with the the new plaque kind of thought process is our QR codes going to live long enough and be assessed, or maybe even a QR code sticker that eventually over time, if it becomes obsolete, we can remove them. So thinking about ways that not only can we be in English in Spanish, and then possibly looking into Braille, but trying to come about access from lots of different ways. So yeah,

Unknown Speaker 52:48
I love the QR code idea. We were just down in Denver this past weekend, because I absolutely had to see I’m a fashion major. So I had to go see the Veronica and Greg repack exhibit, which was amazing if you haven’t been down to see it. But they’ve incorporated quite a bit with the QR codes down at the dam as well. And that was kind of nice to be able to see that you know, read about the different even more about the pieces. So something like that might be kind of exciting that you could do more from anywhere to be able to pull up a QR code for the different pieces. So I like that. So

Unknown Speaker 53:27
Angela alluded to this, but just so you know, we do plan to add an aipp tour to our mobile

Unknown Speaker 53:36

Unknown Speaker 53:37
And so right now the ones that we have online are Eric’s downtown walking tour, and then we’re about to launch the his Hispanic. No, I’m sorry, the Kino history tour, and then the Women’s History tour. And that we will add another aipp tour. And that’s basically how you access it is that you would be able to essentially walk the route. And there’s a QR code that you could aim your phone out.

Unknown Speaker 54:07
Yeah, so the content is done from the intern. We just didn’t make the deadline for and they have three, so they have plenty to do. So we’re all queued up for that. But it is it is interesting, too, about how those tours function. And if it’s a walking tour, that you go directionally firm public places, it tends to be a little bit different because you’re deciding your route, if you’re on your bike, or you’re deciding your route if you’re just driving and want to know something. So kind of playing with that a little bit and looking at the data and feedback of how people are using it in different contexts.

Unknown Speaker 54:45

Unknown Speaker 54:46
thank you so much. Does anybody have other questions for Angela? Okay, well, thank you. I know more about aipp than I ever did. So this is was great. Kim, are you waving?

Unknown Speaker 55:06
Can I just want to add one other thing? Angela has been spending a lot of time working on trying to pull together creative cultural plan that would essentially be for the whole city. And it would incorporate the museum art in public places, the creative district, all those kind of creatives that work in Longmont and produce in Longmont. And as part of that conversation, one of the things that became like, wow, here’s an aha moment is that I do believe that it would be really helpful and important for the art in public places commission to meet with advisory board committee, the advisory board, and then also our friends of the long lat, friends of the llama museum board, I think that it would be at least once but maybe in a more intentional way to have the museum’s three boards interact with each other. And so I just kind of throw that out there as sort of food for thought, you know, I do think that the creative cultural plan will be a platform for us to really think about this. for there to be a longer term relationship between these three boards, and maybe it’s, you know, the chairs go to each meeting or something along those lines some some way that we can make sure that this information is kind of cross pollinated and that we’re sharing things among all of these different boards. And so I just want make sure that that is is out there for you guys to think about because event fully in the not too distant future, Angela is going to be tapping you guys on the to participate in some of these cults from and I didn’t say this, but it just reminds me that also for our master development plan, we’ll be tapping you on the shoulder to chime in to give us your feedback about building expansion as well.

Unknown Speaker 57:17
Right, I just wanted to just add to when you said food, you know, when we’re actually able to open maybe we have like a little mini social for like the three boards to get together or something. So just throwing that out there.

Unknown Speaker 57:32
Sounds like a great idea. Cool. Anything else on AI? pp? Okay, so the next thing on the agenda was a discussion of the land acknowledgement statement. And,

Unknown Speaker 57:48
Eric, if

Unknown Speaker 57:49
you don’t mind, I’d like if you would speak to that, because some things have changed since the last meeting when we first talked about this.

Unknown Speaker 57:58
So yes, yes. And I appreciate everyone’s feedback and thoughts about this. I think it’s been a really good process to begin discussing land acknowledgement. But a week ago, I got to notice that there was a museum conference virtual conference that was actually starting today and their keynote speaker, were actually three members of the Southern ute tribe, specifically talking about land acknowledgments. And I was like, oh, wow, that’s perfect timing. So I just attended that this afternoon. And it was a really powerful discussion of kind of the process that they recommended going through. And now they recommended that it’s important to make sure you get some connections, some relationships going with the tribes that you’re referencing, in your land acknowledgement, that that’s kind of part of the process of writing. One is, is developing those relationships if you don’t already have them and and we do certainly have some of those but felt like it probably made sense, rather than going ahead and adopting it or, you know, moving ahead with it right now is to take a little time to make sure that we really have those those connections and those relationships developed a little bit better. So that’s, that’s my thought. And again, I’m sorry to kind of bring this up just in the meeting, but it was literally at four o’clock the session ended so I didn’t have a lot of time to communicate it with with the board beforehand. But certainly, if people have questions about the statement as it exists or other thoughts, and again, I really appreciate everybody looking through it, and maybe suggestions. I think we are, you know, in the midst of developing it and and we want to think as well about kind of our intent as an institution and, and, you know, what is it that we really want to do with this and acknowledgement? What purpose does it want to serve? And you know, making sure that we’re doing that in in the most sympathetic insensitive way possible.

Unknown Speaker 1:00:31
Great. Thanks, Eric. So based on that, I think what we’ll do is we will wait until whatever that time is, Eric, when you feel that, you know, some of those things have been lined up. So it’s probably not next month or the month after but something for the future.

Unknown Speaker 1:00:55
Well, yeah, I just want to mention that. I can’t remember you guys. Sorry, if I am blanking on a conversation but the city of Longmont has worked with the Northern Arapaho for a couple of years now on trying to formalize a sister city relationship. And the think that it’s finally supposed to be formalized in September, if I remember correctly. And so there has been some some development for what you know, kind of outside of the museum. I’m in relationship with the Northern Arapaho. But there has been a lot of groundwork that’s been laid with the Northern Arapaho tribes. So do you feel like there’s an opportunity that we could kind of plug into the work that has already happened and and really kind of dovetail some of those relationships that have already been formed. So I really am leery of kind of throwing the baby out with the bathwater. I think that we just need to bring these conversations together. And and that would feel very authentic to the process. That’s it.

Unknown Speaker 1:02:30
Okay, well,

Unknown Speaker 1:02:33
I think, Chris, I wish you could do it, we see.

Unknown Speaker 1:02:39
It’s like, can you tell my son walked in the room and said, let me have that.

Unknown Speaker 1:02:46
Funny? Well, maybe what we’ll do is we’ll just table the land acknowledgement statement. discussion for today anyway, and then we’ll just look for it, when it’s an appropriate time to bring that back. If that sounds okay, to everybody. Okay. Um, then the only other thing that I have, unless there’s new business is we had talked last time about the bylaws how we were going to update the bylaws with the electronic participation policy. And it the board actually did approve that addition. But in reviewing it, I’m working with Joanne, we think that there might be a few other updates that we would like to include. So rather than bringing that back right, now, we want to look at some other things. So just so you have an idea of what we’re talking about. As you’re all aware, there’s a conflict of interest disclosure, I think, Joanne had sent that out to everybody, just so we’re all aware of it, what to do or what not to do. There’s an Open Meetings law reference in our bylaws. But it would be we’ve decided that perhaps we need to modify it slightly, so that it refers to

Unknown Speaker 1:04:08
the the

Unknown Speaker 1:04:12
I tried to say that the references more accurate. And also, I think the only other thing was the the reference of the posting meeting agendas, looks like it’s different in our bylaws than in some other city things. So we just thought we would try to and when I say we, I mean Joanne is going to do all the work. Work through this and try to make sure that our bylaws reflect, you know, the references to the city are accurate and that we’ve included all the different types of addendums that we need. So that it’s, you know, the best that it can be. So I just wanted to that’s just a preview. We’ll bring that back maybe next month or maybe in a you know, a future meeting but so that’s why you didn’t get a new copy of the bylaws, this time. So, is there any new business? Anybody have anything that they want to bring up? Hey, Tom, you need to unmute. Tom, can you unmute yourself? We can’t hear you.

Unknown Speaker 1:05:31
That better. Okay, sorry. I was just wondering if we had any position of support or opposition or neutrality with the recent release of the Longmont Performing Arts Center? And if we are supportive of that or not, or do we think it’s gonna be a impact on the steward? I mean, you know, it’s a different type of venues, certainly that was just wondering about that.

Unknown Speaker 1:06:12
Mm hmm.

Unknown Speaker 1:06:15
I am. I am, I am. Thank you so much, Tom, for asking the question. Oh, I’m

Unknown Speaker 1:06:21
sure yeah.

Unknown Speaker 1:06:24

Unknown Speaker 1:06:26
I will share it because I’ve actually been involved with the committee that has been looking at the that worked with the consultants, and the way that they were doing the assessment. And so the they I don’t know, if you saw, but a couple of weeks ago, they actually gave their presentation to city council. And then there were two motions that happened after one was to accept the report. And then the second was basically to have staff investigate the, you know, whether or not we could we could do it. I will say that I am supportive of this endeavor, I think that a performing arts center in the city of Longmont would be a an asset to the city and we would all benefit from it. I like you, I’m very concerned about what it will mean, for the museum. I will say that I am of the opinion that if our museum is not co located with a performing arts center, that they will impact our visitation, and we will impact their visitation, that the way that we add value to one another is if we are co located. That’s my opinion. You guys are free to have your own opinions about this. But what I also think is true, is that the I, I’m not exactly sure how to say this, politely. But I just don’t feel like the museum’s interests have actually been well considered in this conversation. So I encourage you guys to talk about it. That’s, that’s what I will say. Well, I

Unknown Speaker 1:08:38
have a question about that. Because I mean, gosh, we’ve been talking about this for 20 years, in Longmont, right, and the need to have performing arts and what does that look like and the land that is near the museum has been talked about? And then it’s no that’s going to be a new Hilton or no, that’s going to be a whatever, right. So is that? I mean, honestly, I participated in strategic planning for Longmont, like I kid you not I think it was like 20 years ago when we talked about like this whole, I mean, originally, that whole where the museum is and the Rec Center and all that originally that was even talked about having like Front Range Community College there when we were going to look at having this campus and everything was right there. And then they were like, nope, there’s not enough land. But the wetlands and then there’s just been so many different discussions about it. So where is it that in that plan, I’m not I’m not up to date enough with kind of where I heard about the proposal, but that’s as far as I’ve gotten with what’s going on with that.

Unknown Speaker 1:09:42
So the consultants gave a recommendation for the location that they felt like a performing arts centers should be located and it is they call it the steam area. And it is basically a kind of along the River Corridor. Where it’s, you know, just right there by downtown, and the whole campus of steam is sort of just conceptually speaking supposed to be this kind of cultural corridor that it would include, again, some kind of higher ed. And they’re talking about a makerspace. In the library, there’s the Performing Arts Center, some different housing, and multi purpose kind of architecture that would be down there. The idea is that it really would be a kind of central core for, for culture in Longmont. However, what I would say is that the conversations, at least so far, don’t include the museum, that we would stay where we are, and that we would act as a anchor on the South side of town.

Unknown Speaker 1:11:00

Unknown Speaker 1:11:05
it’s a little unclear what’s happening at quail campus, because they’re on that west side of the property, that is private property. And there is a proposal in the planning department for a hotel and center for 10 years, 10 plus years. Well, I think that it’s been renewed, that’s my understanding is that it’s been renewed, and that there’s like retail and a hotel there.

Unknown Speaker 1:11:36

Unknown Speaker 1:11:37
and then the bigger question that is kind of still out there to be resolved, is that in the quail campus master plan at the north east corner, right now is pool a nice and as you may recall,

Unknown Speaker 1:12:05
focusing recreation at that one campus, and so almost definitely there will not be pulling ice at quail campus. So there’s nothing yet identified to fill that void.

Unknown Speaker 1:12:20
So looking at doing the hockey, like they were going to have the ice pavilion they’re not looking to do when you talk about this steam location camera, you talking about west of Maine across from the barn. Okay, yeah.

Unknown Speaker 1:12:36
No, Eastern Maine.

Unknown Speaker 1:12:39
Yeah. When we’re putting between where rain and Mark between main and Mark,

Unknown Speaker 1:12:48
oh, where the construction is down. So east of 300 suns brewing. And they’ve got that land down there. So are we talking about?

Unknown Speaker 1:12:59
So the there is a website and I, I’m sorry, I’m not gonna be able to

Unknown Speaker 1:13:04
direct you there immediately. Okay, I’m just trying to think about how it all fits together with what you were just saying with the museum. And I think I have so that to see that. So, yeah.

Unknown Speaker 1:13:16
So the city doesn’t own that land yet, though. There there, I think some small portions that the city owns, but right now, it’s actually private property. So they don’t own that land yet. So that’s part of the conversation. So in addition, if you if you watch that presentation by the consultants, they were talking very much about construction costs, and a little bit about operating costs, but mostly that though, they were talking about one time expenses, that did not include land acquisition.

Unknown Speaker 1:13:57
Also, it would be in where it stands right now. And yeah.

Unknown Speaker 1:14:03
where it stands right now is that there was a motion to have staff investigate the possibility of this actually happening, and really digging into the numbers that were part of that report, because they they presented both sort of construction costs, and then operating costs and revenue costs. So they were also looking at a essentially a convention center. So meeting spaces that were part of this that try to offset some of the expenses. And so there are lots of projections that are written into that report. And so those were the figures that really, I think staff is now tasked with really validating Thanks for taking time.

Unknown Speaker 1:15:05
Right. Anybody else have comments or questions

Unknown Speaker 1:15:14
unrelated to the Performing Arts Center, I wondered if we have any projection in time for in person meetings? Or will we continue on zoom?

Unknown Speaker 1:15:35
That’s a good question too. We I’ve not gotten any updates in terms of when we might be able to meet in person. The last update that I did get was basically plan for meeting virtually for the foreseeable future. And, and Angela, might be able to speak to this to in terms of the aipp Commission. But I think that if and when we do start to meet in person, again, that there will be the possibility of kind of, you know, virtually timing in that you could be in person or virtual.

Unknown Speaker 1:16:18
That’s kind of my understanding.

Unknown Speaker 1:16:20
Yeah, that’s at least what I planning because we have so many folks with 15 people, in person still maintaining distance, even if we get to a clear point is the challenge, then, of course, making sure that the museum has the infrastructure to provide that added opportunity of a hybrid. So I’m I’m ending again, the same the foreseeable future, obviously, city council, it sounds like from a City Clerk’s office is first and they’re chomping at the bit to be certain, and then it’ll roll out kind of down. But we have, we need to be from an infrastructure point of view, to meet at the museum, but then also to provide that hybrid opportunity.

Unknown Speaker 1:17:11
Okay, there’s a lot of meat. But yeah, I would just go ahead, Tom. Well, no, I was just saying I’m on a few other humanities than like, in the county, and some of them are starting to just meet again in person. And I was just curious what our future might hold.

Unknown Speaker 1:17:37
Would you guys be comfortable meeting in person sometime soon?

Unknown Speaker 1:17:40

Unknown Speaker 1:17:43
think so.

Unknown Speaker 1:17:45
Why am I 100%? vaccinated?

Unknown Speaker 1:17:49
I will be Yay.

Unknown Speaker 1:17:54
So I don’t know. I guess we really have to wait. And it’s the city’s city’s got to make the decision. Unfortunately, we

Unknown Speaker 1:18:02
Yeah. Yeah. But

Unknown Speaker 1:18:05
it would be nice to be in the same room with everyone.

Unknown Speaker 1:18:08
Yeah, there’s some of you that I’ve never seen in real life.

Unknown Speaker 1:18:14
That would be great. Cool. Well, if there aren’t any other questions or their business with someone, please

Unknown Speaker 1:18:25
make a motion so that we can adjourn.

Unknown Speaker 1:18:30
I’ll make a motion to adjourn. Great.

Unknown Speaker 1:18:32
Thank you, Maria. Second.

Unknown Speaker 1:18:35
I’ll second.

Unknown Speaker 1:18:36
Thanks, Chris.

Unknown Speaker 1:18:37
For a second. All in favor, please.

Unknown Speaker 1:18:40
Raise your hand. Okay, I see Dale. me. Oh, Ria, Tom and Chris.

Unknown Speaker 1:18:47

Unknown Speaker 1:18:50
Any opposed? See opposition. So that passes unanimously. So we are adjourned at 551. So we’ll hope to see all of you guys soon.