Art in Public Places Advisory Board - 10152020 - LPM
4:57AM Oct 17, 2020
It's six o'clock. So I think we can go ahead and call the meeting to order. I am pulling up our agenda. And we are calling our meeting to order as far as roll call goals. I think that Angela already shared with us that we have to excused. And then is anybody else that we're missing? Are we all ready to roll?
Oh, no. She's here.
I think that's everyone. Yep. We're good.
Okay. So I think then we'll go right into our public invited to be heard according to our agenda, I'm following it as closely as I possibly can. And so we'll let Angela she wouldn't mind introducing our public invited to be heard.
Or let's Oh, I made two things. I'm actually I added a lane and in grace as a line item, and six. So I don't think In fact, we have any public to be heard here.
No, no one reached out to me either asking to be included.
Okay, perfect. We're great. Great. All right, then we need to take a look at our minutes that were sent out a couple days ago, and see if we have any additions or corrections to our minutes from our September 17. Meeting.
additions subtractions. punctuation.
spelling, everything's good.
All right, then we need a motion to approve our meeting minutes from September 17.
I motion to approve them.
And do we have a second?
Okay, so Andrea, motions to approve. Susan moves to Second. All in favor? Raise your hand or say, well, you don't need to say hi. But Raise your hand. If you are on camera. And you're a voting member. Okay, great. All not in favor? Raise your hand. Okay. Excellent. Good job. We will move on. And see if we have any additional added additions to tonight's agenda. Nope. Okay. Um, I guess I must add to the be using the old agenda. Did you send out to?
No, no, no, I got it.
Nope. Great. And you want for review in the final? So I've got him both got up.
Yep. Okay, perfect. Thank you. Sorry. We talked yesterday. And I'm I, I had forgotten that we were going to make that one item a line item. So we'll go ahead and move to number six, which would be if nobody has any additions. We'll move go on to number six and talk about our public art project updates. Starting with art on the move.
The updated agenda, I added line item piece number six, which is a presentation by Elaine Waterman and grace Gutierrez, who are joining us from the firehouse because I could put you guys first so you can get in and get out.
All right, so take it away, Elaine and grace.
Okay, awesome. So I'm sitting a little bit back so you guys can see the artwork. But thank you so much for having us at join the meeting tonight. I'm very excited to be sharing with you. And speaking with you all regarding this very important work of art. Both of these two artists you may have, you may know that the firehouse just open their Dia de los Muertos exhibit
on Thursday, and I wanted to know if anyone has seen the exhibit yet.
And Andrea your Katrina is beautiful. Um, but Dia de los Muertos. 2020. Past and Present was curated by grace Gutierrez, who is a llama native and Latino artists and Grace's visiting. She's also on the call today. And through the exhibit, she brought together for regional Latin x artists who respond to historical events in Boulder County, within the Latin x community. So I'm actually going to share my screen and I'm going to share the information about the two artists that we are going to be focusing on for Hopefully, adding these two works to aipp collection. It is the artwork by Adrian Raya and Ramon Trujillo dealing with the shootings of Jeffrey Cordova and Juan Luis Garcia. So rails and two heels alter paintings depict a significant moment in long history, a moment that affected the whole community. Through these pieces to young Latino friends honor to young Latino friends from the past whose lives were cut short, community response to the altarpieces has been very positive. And guests who have seen the work during the opening has stated that the work is very timely and the subject matter handled with respect and care for the members in the community whose wounds are still fresh after so many years. Ran Trujillo are really regional artists and their inclusion as people of color into the collection would add a richness of voices represented, I hope, you will consider adding the paintings by Adrian Raya and Ramon Trujillo to aipp his collection. So if you are not familiar with the incident, this is information on the screen of the shooting that occurred in 1980.
It did end up with the formation of El Camino de
and I know that many of you are familiar with that community organization. And I am actually at the Firehouse right now. So you can see the works behind me.
I will move the screen but these are the two works. There are
two flanking round pieces.
That one's Adrian's and then these ones are
So the video doesn't do it justice, the camera doesn't do justice, there's a lot of depth to the flowers. And
as you can tell, there are 3d elements on the central pieces. Well.
I know Angela has other copies of the artwork that she pictures that she's taken. So maybe later on after we're done, we can like show you they're a little bit bigger, and that they're a little more like she focused, you could see him a little bit better. So maybe that's something we can do in a little bit.
And also I did send a video to Angela regarding grace did an artist's talk with both of the artists. And she asked questions regarding the importance of the significance of the hill, the history of Longmont and also about creating a connection between these two gentlemen that were killed.
So if you have any questions, I can definitely answer or grace who is the curator of the show she can answer as well.
I think it would be helpful if I in fact, showed some detail and shared my screen. And I got some some side images. So I'm going to,
I'll stop share. Okay. That's I don't I don't want to kick like everyone out all of a sudden because that is exactly what would happen.
Just give me
a quick question while you're fishing around for that, Angela, you got it. So, um, have you guys talked about where these would live?
Long Term question.
Um, let me bring it up. Okay,
that's Can everyone see that?
Give me a thumbs up if you can, and can only see a couple of people right now. Okay. So the way I'm the opening, it was last Friday and Elaine and grace contacted me midweek this week and today's Thursday. So that's why you haven't received any information about this ahead of time. And we threw it on the agenda pretty quickly. And I invited grace and Elaine just to present this information. So that is to say I went visited the work to take some quick measurements to look at it in space. Likely with all three pieces. It's about eight feet long. It would need some tall ceilings, it definitely can't be in a place where it would be crowded from above. And it certainly has some depth to it which let me
what the next photos that is not what we're looking at here. yet.
but so the conversation of
a space or location has not been addressed. It's really simply the works themselves. And it's three works, as I understand correctly, Elaine, but really a package because in grace that you can interrupt me at any time that the artists, while they're regional artists found connection with this story, almost kind of like a brotherhood and friendship. But if you will, that connection, so historical relevance Plus, you know, regional artists working. So I said, I've come and put it on the agenda. So I think we'd have to get a task force of a couple of people together to look for or, of course, if anyone has ideas, again, at least eight feet long total. That's not to say that it couldn't be a broken wall or something like that.
And Angela, can you click on the pictures? Because we're just seeing the little thumbnails?
Oh, sugarbeets. Yes. That's not what I'm seeing. I'm seeing it nice and big. How about, oh, now we've got it done.
I have them too. If you want me to pull them up.
Give me a second. Sorry. So, Elaine, or grace, I don't know if you can speak a little bit more about ideas of placement if you have them or if anyone on the Commission has ideas of placement.
Was that? Can you see that?
That's better. Yeah.
That's what I was just about to pull up
a detail of the of the flower that's made from the newspaper clippings, and the highlighted newspaper clippings.
Can you repeat the size of these again? I'm sorry, now that I see on my back to know the size again?
Sure. So, Grace, correct me if I'm wrong, but I would say from that shelf is not included in the piece.
No, that's one of our shelves. So it would not have like the altar underneath it necessarily. Um, but I know that that circle, that center circle is like a three foot you know, circumference or no circumference is the circle around but like, you know, three feet this long? I'm
an artist, not a
not a mathematician. Um, but yeah, so the
two ends, the two end pieces are a little bit smaller.
yeah, that centerpiece, they're out there. All three of them are oil paintings. The centerpiece is collage with actual newspaper articles that ran after the incident happened. So it's like, you know, reprinted Daily Times call articles of kind of community response. Words highlighted, kind of, you know, addressing that, like universal language of like this tragedy that happened. And then the two paintings on the side are their actual names, like in a nice banner. And like flowers as kind of like a funeral like wreath. typestyle. So that's, you know, that's what the works are. What year did it happen? 1980. So this year is the 40th anniversary of the incident. So, you know, like, with everything going on with 2020. And, you know, although like racial and justices and all this, like, you know, kind of it all being under a microscope 2020 that's all you have to say.
I was I was nine years old when this happened and living in long lat. And I remember very well, I remember it being people on bated breath when the trial happened. Yeah, it was it was a it was a very monumental experience in long.
And these are definitely indoor. They would be indoor installations. Right. Okay. Um,
yeah, so originally I asked Adrian Riah, he's the first person I asked to take on this project. And he came to me after learning about the product, you know, learning about the event, and he said that it was really important to him to ask somebody Another artist friend of his to collaborate on the project. He, you know, he said, these are two friends that died one day apart from each other. He said that it was really important to him to kind of collaborate with someone to like have that like duel, you know, have like two minds working on it as it was like two friends that passed away. So it's I like that. He asked a second artists to collaborate with him.
Try my little hand up. I'm sorry, I missed the last couple of months. But I just wasn't sure if we're where the courthouse project was at Is there a possibility? But I mean, this seems like that would be completely apropos. And you know, just dealing with justice issues. For that space.
It could be those ceilings are quite low. And right now we did install the hanging mechanism in there and art on the move is there for now. That is not to say that there are not other walls in that space. Also, I was thinking the library as well as the Civic Center. Surely, of course, no matter where the work would go, there also may be a place in the museum in the atrium. But again, we need to remember that it needs to be public space, right? And accessible. And I think that there are certainly options. And it will just need to be investigated. I also don't think that we have spoken about the price of these, these work. So but I did want to say that there is room in the budget for this work. Correct me if I'm wrong, Elaine, we're looking at $1,000 for the centerpiece. And then 1400 each for the two sides for a total of 3400 I think firework Is that right? It's 1200 for the two sides. Great. Okay.
Oh, yeah. So 3400 That's right. Yeah, I'm not that person.
nessa so 3400 for the entire work. Yeah, Francis. Sorry.
I'm looking at Elaine like, it's lit so beautifully behind you. And I feel like there's something that's coming like the light really lens to the, to the message to the reverence on it. I wonder if we can allow something in the budget for you know, to make sure wherever we hang it like it's like we just like the perfection out of it. Because that's the it's it's just it's beautiful behind you like that.
I agree. That's a great, great point. Frances.
I also wanted to ask is there some sort of, like a
plaque or something that explains a little bit about
the, the piece, um, we do have wall text that isn't Spanish in English, I will move to it anyway, you probably aren't going to be able to read what this is. But this is the llama Daily Times call newspaper from the events. And then this is the information of alchemy Tei, about the formation of the organization. And this is basically the information that was on the website that I shared in English and then in Spanish. And we absolutely could make interpretation panels to be next to it, maybe not right next to it, a title plaque and then interpretive panel in the area, wherever it ends up. Certainly.
Other questions or feedback?
I'm personally very excited about it. I am. I've been working with other a few of our colleagues on this board about trying to get things some, some pieces like this, and I was just it was kind of like a universal. When Angela shared this with me. So I'm pretty excited. But again, it's well within our budget, we would need to form a task force and find folks to help us find a location. Maybe, as Francis said, think about creating side panels and also purchasing lighting. So of course that would increase our increased things a little bit, but not so much. Pamela, did you have a question?
I'm trying to see if anybody can hear me. Yes, we can hear you. Okay, because I don't have a microphone or anything showing like everybody else does. I didn't mean to interrupt.
No, you're great. No worries. Thank you for asking. You want to be make sure you're heard.
Okay, thank you.
I just have one. One quick thing to add, which is that if there's some, you know, sort of transition time the museum certainly could also ask As a holder, until it finds a permanent home, just to add that to the conversation,
that's what I was thinking to, I thought that that would be a good place to start anyway.
Thank you, Amy. Um, I would love to be on a task force to find a placement for it. And I wanted to ask the firehouse if they
something in mind that they were, I'm
thinking of as far as placement that they had suggestions about or that they were partial to.
Um, well, I know that I spoke with Angela and I had suggested the library at first, but I know that space, there is kind of limited, the Civic Center was the secondary place. Um, but you know, anywhere that
we can hang these safely and together with enough spaces, is, would be great with us
with the remodel at the Civic Center. I think that would be a matter of plotting out some space correct.
And certainly speaking to our colleagues with the city, and because we need to be assured that there may be a wall, but that there's not something else planned. And because you know, that that's a very large project and a lot, it's a lot of visitation, that also may be a good thing and making sure that the hallways easement, all of that business, that will ruin it, because there is depth as well, right? We just want to be sure that we're taking care of it the way that we need to but I think a task force to get together and start making connections with our city partners, looking for a place and just frankly, going on some field trips, asking some questions would be really helpful. As for the purchase, if we're we would like to consider a motion, we can do that. Or we can table it to new business and let Grayson and Elaine, on their merry way this evening. Yeah,
I've made a motion to
purchase the works from the firehouse Art Center.
We have a second.
A second it.
I have one other question. Yes. Or no. Let's have some discussion. Yes.
Have have the pieces hung anywhere else outside of our house?
No. First place. Yeah.
So I have one other question. Go ahead. I was just going to ask
if it was going to
live permanently, somewhere, do we think it would benefit from a Plexi box over the top of it?
Can we see exactly what I was gonna ask about? Like a shadow box? You know, something that protected?
Yes, definitely. I think like especially the,
the 3d flowers are actually like attached separately.
But those I think are kind of tempting
to you know, especially like children like passing by I think there's like an element that is like tempting to touch.
Um, but it is also something that can be removed. So that's something to think about. But the flowers definitely add a few more inches like forward from the flat panel.
Andrea? Um, just a suggestion. I don't know if the artists would be interested in creating like, more, you know, how they have the altarpieces and Santa Fe, you know, maybe like it would be an altarpiece shadowbox protective altarpiece, you know, kind of a surrounding framework. And I don't know, it's it's kind of the artists decision, really, when it comes to that. But just a thought
maybe that would be something that if we all decided that kind of seems like we're leaning toward buying the art, and then this task force could maybe get together and determine, you know, we have the budget to do that, something like that. And that could be a separate line item that we would vote on, to spend the money on like a shadowbox and maybe having the artists commissioned the artists to help design that. Is that what you're trying to? I think that'd be, that'd be really cool.
Yeah, we have to make a decision on that.
And I think that the flowers, if you've looked at them that Yeah, I can see if he had it. anywhere that's public, um, children are going to be around, and not just children, but like, I'm like a little kid. And I might want to go to them too. So they're really cool. And so that's something I think that we could do that as a separate once we get if we all decide to purchase the art, then we could do the task force can propose to the commission in the next two or three meetings, how we want to have it displayed and get as much support we can from the artist as well.
Okay, so we did have a look. Okay,
go ahead, Susan. I'm sorry. It's just a little thing. Um, Angela, do you have access to the article because I wasn't able to read the whole thing that maybe you could send the commission, so that we could read and get it to. Great. So
I can send you the article, the video clip, it's about seven minutes long a great send that I didn't want to send it in advance, because you'd be like, what is this? All right. So article, a video, and then the firehouses hours, when this exhibition is going to close so you can go and see it, or grace and go and see it in person. So you can fall more in love with it, because you will. But don't touch the flowers. No. flowers or or the. The oil is just, you just lick it. Yeah. Is there anything else? Yeah. So I, Elaine,
I just wanted to state that we are appointment only for Wednesday, Thursday, Friday and Sunday between the hours of 12 and five. But then 12 to five on Saturday, it's open to walk in traffic based on capacity. I just didn't want anyone to come by and not have access.
And masks. Of course.
Yes. Yes. Masks Say that one more time. The point of me Wednesday, Thursday, Friday and Sunday. Between 12 and five. And then Saturday from 12 to five we're open to walk in traffic.
Yeah, perfect. Um, so we should have had a discussion before I asked emotion for emotion. We kind of did things backwards. So since we've had this discussion, we probably should ask again, for a motion to purchase the art as Andrea proposed. Annie, are you okay with doing that? Again?
I'm making a motion to purchase the art at the old firehouse excuse me, that's the old name the firehouse Art Center. And
Okay. And then Susan was our second or Susan. Yeah. Okay. And then we might want to then we can decide we'll put a task force together to to figure out how we want this piece to be delivered to our community. All right. All in favor? Aye.
No, you are in favor, right? You kind of flew up it right at the end. Okay. Perfect. Thank you so much. The Motion passes. Let's, let's buy this beautiful piece. Huh.
Thank you. Thank
you. One quick note, I'm Elaine, I will speak to you kind of offline. But if we can, of course, this is a matter of public record. But if we can prevent from throwing this into social media, etc. So we can contact the artists with fair amount of time, they're probably going to be a little surprised on this one. So we'll keep it under wraps until and then we'll let you know once the artist knows and we can all celebrate.
Okay. And that means all of us too. I have a big finger and lots of fingers in the big mouth. It's just what I just did. I'm going to show you these pictures. Yeah.
Okay. Thank you.
Thank you guys. Yeah, thank you.
Thank you so much for taking the time to come at such short notice. We're very grateful.
Thank you for thinking of us in the city for this work. That's it. It's Yeah, that was really thoughtful. Thank you.
And I know the artists are going to be really, really excited. So thank you. It's, it means a lot to you know, have their work seen and loved. So thanks.
I think it means a lot to the community. And I know this was such a heart wrenching thing for the community and our next community and families. I mean, it was the families were it was a really, really even at nine years old. I can remember people crying and me being very, very upset during the trial. And so thank you This is I'm not saying it's closure, but it starts with awareness. And then yeah, it's really exciting. Thank you so much. Thank you.
You all can go home if you would like.
Or you can stay and hang out.
We do have vacancies on our board so you could practice.
Grace Grace, Grace, think about it. Okay. Elaine, come on. We can show you nothing wonderful for you to come join us.
Thank you guys. I'm gonna go home and make my kiddo dinner.
Yeah, I'm gonna I'm gonna head out to but thank you. I really appreciate and things are, you know, nice meeting everybody, too.
Alright, I swear I have an old agenda or something, but I had the most current one I have. So I don't know what happened to my.
I think you were good. Okay, so then we,
we want to move on to art on the move.
So if the forklift arrived when after I left Longmont we're supposed to install an at Coleman's piece tomorrow because it's finally finished. So that's the stainless work. Oh, nice or interested in popping by St. Stephen's tomorrow, about 1130 if we have a forklift, we will be installing the and if we don't have a forklift, I'll be there standing and waiting for forklift. So
that's pretty heavy for you to be lifting by yourself without I don't
think it's possible. So we'll we'll see about that. But that's the last piece and Cindy, I did get your email and we're wrangling the images. Yeah, I don't know. It just kind of got lost there. But now that this work will be installed, we actually have everything we need. So
I went out a and took pictures of a few things. Okay. So and I was, of course, a day too early for the whirling dervish,
of course, because that is Murphy's Law. Oh, 2020. Right. So yeah, that's pretty much that. Um, and so once we get that postcard out there, we'll we'll mail it out to everyone in the minutes where the locations I know that I sent an email and it bounced, and I realized later, but hopefully you all have the locations now. So that's good. And any questions about art on the move?
No, um, I hate backtracking. Do we need to add an item to our agenda to discuss the task force? For our previous project? Oh, that's a good question. Well, here, let's finish this one. Does anybody have heard on the move questions?
Okay. Um, yes, task force would be helpful. I have Susan Horowitz Does anyone else I would like to one or two. Okay. That good?
No, you want to do that? That'd be a really good one for you. Sorry, I shouldn't volunteer.
No, I think that's a good idea. I like to be on there as well.
I think it would be good. Sorry.
I do want to apologize and very talkative today. I'm not feeling well. So just kind of sitting back.
Not that far. You know, I don't worry.
Excellent. Okay, that's a good start. And then we'll get together and start working on this. So how I my last question is How long is it at the Firehouse?
Oh, till it's there through the beginning of November. Okay. November 5. Andrew, Does that sound right?
Yeah. Perfect. Thank you. Okay, great.
Yeah, go visit it for sure. Yes.
I was hoping to pull up video that Andrea took up direct the direct purchase of Ursa Major works working and so I'll keep trying to get it to to work but needless to say, if you have not seen Ursa Major, she is installed in the breezeway on the eastern side between third and fourth, and has been very well received. The Longmont leader wrote a little bit about her today in his scavenger hunt, outdoor art scavenger hunt article. And, and then I expect something from the times call soon. And yeah, so she's she looks great. And thank everyone who came out to help because that was quite the quite the move. But
I told all my physical therapists to go and they all loved it.
So that was really cool.
Randy's got her picture. I've seen a couple pictures on social media. Thanks, Randy. We all know how big and beautiful she is. That's a huge accomplishment. Folks, that was really cool.
Even Paul nice was quoted in the paper about being happy that it finally got done and finally installed. And so that was that was really great. I think
they just ripped that off from his Facebook posts because he was so excited. He was very excited. And, and that was really neat that he took that, you know, we it's really fun. This is my fifth year to see how things have progressed. And when we get a decision like that, and I'm sure Andrea has seen this over the last several years that when we when we reach a goal, it's really exciting. Awesome, okay. So a direct purchase of Ursa Tony Ortega mural project.
Okay, I'm gonna try and share again, get ready
if you all got a chance to go to the museum and see things, and I had a COVID scared the day after I was there, and so I had to cut my visit short. But it was really neat to see people were working on and the colors and the paint and the community involvement.
It was great. So can you can everyone see? Mm hmm. Okay, so, um, so the panel's came to us with a raw sketch that Tony had done based upon the previous sketch that you had seen. And each individual or family group got together and, and first put down a base layer. And after that first day, it kind of looks something like this. And staff was saying, really, zombie people like, we would like to see where this is going. And Tony kept saying, just, you know, here, have you seen the sketch? Have you seen what it turns out? That's pastel, you know. But progressively over the four days, we had over 70 participants, which I think in the era of COVID, is a massive accomplishment. We had kids, we had a large demographic wide demographics. So man, I just think that it was gangbusters. So slowly, but surely, every day these pieces in parts would fill in. And I think Tony's biggest challenge was that the the mural wasn't altogether abutted. So sometimes, like somebody's arm wouldn't get painted the right color. And so he got to learn the process to then kind of new process. So then the same panel, if you can see from the previous image. So this one is when the texture which he calls dry, brushing with acrylic, started to happen, and it does start giving it that that pastel Look, if you will. And so here it is, and each, each day, someone would go over a little bit more and let those under colors start coming through, but then go over the top. And so here you can really see the layers of color.
And a little alarm that someone was saying this was zombie people, if they hadn't done their research,
as well, the green, the green faces were a little a little nerve wracking off of first day but but then once you see the skin tones coming through that the Tony said that that green undertone really lends itself to allow for all sorts of different kinds of people to be represented. And then eventually, we got to the texture point of it. Now, these images, the imagery, the figures, the museum staff, collected images, photographic images of the festive festivities of dia over the last 20 years and presented those to Tony. And that's where a lot of these figures came from. So real people throughout throughout time. So here's some mask working on panels. And here's the whole thing in very bad light in the museum replenish, a
little bit closer, if you will.
And so tomorrow while I wait for a forklift in another area of town, a Jared and Brack will be installing this work in the breezeway between fourth and fifth on the west side. So while you're coming over to look at net Coleman, or lack thereof, you can also go and see the installation of this work. So that will be happening, we're going to start that pretty early, probably about 10. So Come get your coffee and swing on down a Jared made a frame to go all the way around the work. And then we discussed putting a bead of caulking silicone caulking along the top top to prevent moisture from getting behind the panels in the wall. I'm not so worried about it because the sealant is on both sides. Excuse me, and it's pretty serious stuff. So same thing with graffiti if it's a subtractive process, so if someone comes in marks on it, there is a solution that we use to take off the top layer and then replace it. So it's it's beautiful, and it's such an amazing addition to, to the,
you forgot that they're gonna get shocked electrically if they anybody touches this one, right? Yeah, right.
My other question, have we thought about camera or camera around this area. And the only reason I say that is because of our experience at ninth and Alpine and 21st and hoever. I just might be something that the Commission wants to consider. And I say that, unfortunately, because of some some challenges that we're facing as a country in as a world right now, I just don't want anybody to, to damage it. So since I know that night and Alpine, we were able to find the person who did it, I'm just trying to be just something to think about.
I can talk to the LD da because they also already have some cameras. Okay.
So high off the ground, is it.
We have not installed it as of yet. But I think we had discussed that the bottom was going to be about human height. So really, when you're driving or bicycling because there's also a bicycle rack right there. We don't want a bicycle to hit into it. So it's going to be up. Not high up, but great.
I just want to point out one other thing. And maybe you want to go back, just another slider so that he he really did make this site specific. Long's peak is right there in the image. And that was purposeful. I think it's super cool of him.
Yeah, it's lovely piece. I went the first weekend. And it looks so different than after it's finished.
Both Meeker being the first mountain, and then Long's peek behind it. Are there. I love it. So cool.
And Tony did write an artist statement for us that will accompany the work as well.
Awesome. Fantastic. That's Wow. You know, considering this whole COVID stuff. This is pretty darn amazing that, that we're getting all of this done. And of course, my agenda just went away for a second. There it is. Okay. Then I guess we'll move on to number seven, which is the conservation and maintenance and letter A being the Unity project?
I don't want to put you on the spot. Noah. But do you want to talk about unity project? You don't have to I can if you want.
Actually, yeah. Pardon me, I have met with Marco and I believe her name is Susan a few times just kind of walking around the neighborhood. And there's been some significant repairs done to the Unity project, there was a lot of structural damage to kind of the bottom of it, like you said, probably getting bumped into by lawnmowers and stuff like that. So that's all been repaired, some of the tire work has been refinished a new coat of paint around the bottom and a little bit up on the side, some caulking on the back. Really just general upkeep, making sure that it's going to at the very least survive this winter, and then probably have another rounds, according to them of further restoration from that point.
Angela, do you have anything to add on that?
I did ask about the plaques on the back of Peter's not here. But he drove by on his bike as well. And those bilingual plaques of the embossment is basically non existent anymore. Luckily, Susan Daly has extras. So I think that that'll be a part two as well is in fact, removing those plaques. And I was even thinking maybe it might, it might be time to consider bronze or something that's going to stand up for a little bit longer. But Mario is absolutely going to work with Susan on getting us phase two. And I do think that they went slightly over budget. And it's just because of course, it took them longer to get the work completed. So there was more damage in the amount of time that it took from when we got the under contract this time last year. Luckily we do a 10% contingency on all projects. And I think that that's going to cover it. So that's very good. And yeah, so stay tuned, but Mario is gonna send the sealant, the plaque, the mower bumper is gonna fall to us that won't be a part of their next process, but I did reach out to timber with parks and ask him you know, just to start point, but really by the time next spring comes and the mowers are back, we have to have a solution. Something, something something to protect. So
do we need a task force on that? Angela?
I also was thinking about the plaques issue, because that's not it's, I mean, it's kind of an issue in several of our pieces. I mean, it's something to think about what the plaques I mean, okay, I'm just I was thinking about, I was imagining the plaque. And if those of you who have done your maintenance stuff, you'll notice some of our plaques on the best of shape either.
So, and we've had a rebranding of some of them have been, you know, they're 2020 years old. 10 years old. So it, it might be worth Absolutely.
I would love to see your project. Yeah, I would love to see us getting the plaques and with the with the new logo and the rebranding, but that's just me. We don't have to like dig into that endeavor. But it's something to think about, because that would take relatively up and we could meet via zoom. I mean, that's something that we could decide. So that's something to think about. Maybe we could put that on the agenda for next month. Okay. Yeah. Sounds good. Anybody feedback on that? Have you? I mean, I noticed Andrea was shaking her head. about some of the plaques are and Randy, too. They're looking a little bit 1994 or five ish?
A couple places.
Yeah. Okay, great. Oh, this
is some of them. were missing completely.
Yeah. Yeah. Or there? Yeah. There are a few that are in sorry, shape. The one the places that I would didn't show that. Okay, great. Let's put that on the agenda for next month. And maybe we want a task force. Or maybe we could just take a look at our plaques. In our maintenance reports.
I saw if you would like me to engage maybe internal graphic design and see if somebody wants to take a stab at it. So you could see something or we can just bring it up next time?
Well, we could do that if you would like to, and I don't know if that requires emotion or not.
If we outsource it, then maybe, um, why don't between now and then I'll reach out and see if we have the resources for it. And if we do not, then I'll let you know at the next meeting. And we'll bring it back.
See, this is what happens when you brainstorm and you make people think about they like, Oh, wait, well, that plaque needs to be replaced? Well, wait, there are many pieces that Plex could use a little work. So thank you. Alright, so this is speaking of sad things. Let's talk about the ninth and Alpine project.
Luckily, it's not a sad conversation. It's a happy conversation, because the folks with sonar creative division are working with the city. And so I made that connection and right as for now, it's, it's on its way. So that's good. And in the meantime, I got a sketch for the remediation, which I will share with you. Granted, I will say that I don't think when Patrick and Hunter, were looking at it, I don't think that they were looking at the palette of the existing work, but they assured me that it will not be passed out and completely clash with what is existing there. That this is to be evocative of color contrast of design for look and feel. And then they will when they get there, they'll go in and and match colors and, and work with the palette that exists. So ignore the easter egg kind of color. And if you would like I can show you also
some photos of
this is you see that? That's Patrick where the where the transition spot will be ish. So will
will. Don't see it. Okay, hold on.
I try again.
Does this new sketch incorporate the animals that are there? animals will stay.
That wasn't a part. Luckily, that was not a part of the damage. So can you see that part? Yeah. So this is the inside. And it doesn't even look like that anymore. Really. There's very little figure of the of the rolling Hill, if you will, that's pretty much gone now. But this this line is the inside line of where
it will start. And then
why it's making me
This is can you see that? That's where it it exits on the outside, which is great, because Cindy, to your point from this line to the right is the elk. And the elk is actually in very good shape. The Mallard needs a little bit of touch up, but very little and they will include that as well. And so the goal is to get the primer gentlemen hired to get in there as soon as possible. Let our friends in parks know that it's going to happen. I'll hire barricades, to close down pull the right of way permit. And then we're going to get to it really at the end of this month, early next month.
So we will be putting the stuff on it the lack for lack of professionalism there, the same stuff on it right away, before the barricades come down that will protect it. Yep. Okay. And I was wondering if we had a lag in that I think that was one of our errors is that there was a lag quite a long lag between the mural being put up, and then the preventative
stuff that you put on it.
Yeah. And luckily, the mural shield which Noah, shake your head, yes, I think that we agreed that we're going to try, try this one. We're going to try this one. Because it's what Mike really prefers. He's the graffiti specialist. And I think I'm going to ask the prot, the gentleman who does the primer, if I can hire him out. So he can just be on site. And as soon as the section that pat and hunter are working on is done, then we just we just take care of it right then and there rather than relying on something else. So it's a bit of a domino project. But I anticipate it being done very quietly. And very quickly.
You need anything from the commission as far as a priori?
Yep. So it's going to be it's going to be volunteer shifts? For sure. So once we nail down exactly what dates, I would love to have a commissioner on either side during working hours, basically, just fielding questions. And you know that it took a long time to get here, but we're fixing it and we're protecting it. And excuse me,
and will the do we anticipate that the weather will cooperate?
You're in Colorado, Noah.
That's part of the reason, excuse me.
Part of the reason that the timeline is so up in the air is because it has to be warm. Mm.
If it's looking good, then we'll be good.
So we'll need volunteers at some point, and then we can probably pass around the volunteer list or you'll ask for those. And my second question would be, we've already I mean, everything's good. You've got the funding to take care of everything. We're all ready to roll on it.
It we're under contract with him already. Excellent. It's um, it's really your approval of this design. Um, if I can get back to it. Can you see that?
Oh, no, yeah.
Why doesn't it change when I change my screen? So
did you have to go to a different screen on your, you have to go to, you have to click on the share screen again, and then click on the little blue thing highlighted again, I've only learned this the hard way.
Sorry. Everything's different.
So while you're doing that, I just want to say a lot of hard work went into this. Angela, you get lots
of kudos for this. It's been a bear. It's, um, you know, and I understand. But the fact that we have that the artist is agreeing to continue this project is a big one. So thank you. But yeah,
I mean, the picture is up so we can see it now.
You said it would not be the pastel easter egg colors. Is that what you're?
You know, I like it as long as it's
what everybody else thinks.
Well, I would like to see the artwork of what's up there that we're keeping side to side before we make up before I make a decision. Yeah. Is that possible?
Yep. Um, what? Why don't can we table this for just a minute? And yeah, the next thing while I scramble real quick,
it's a block from my house. Do you want me to run down and
no, I got it. I just gonna just gonna take me a minute.
All right. No worries. Thanks. All right, then we'll table that while Angela looks. And we're going to talk about New Moon five, I believe, by Raven Swanson. Um,
and it's me too. But I can talk. Okay, well, we can I don't look all weird. Do I look weird? While I'm looking? No,
you don't look weird. But we can like, we can like
talk about something else. While you
don't look weird? No, you're fine. So the total for Revin to come out and look at the work, prep for the installation, do the restoration of the sculpture, what she said would take about three hours on the truck and the equipment for the grinder the generator, and basically taking those pieces off on site. She totaled just under $500, which is pretty awesome. She thinks the hundred percent that it should be something that can happen on site, have no reason to D install. We were totally wrong on the powdercoating piece of it. It really is taking a look at it. She did also say that she thinks that those welds to the footer are very secure. So that's really helpful as well. Do we need to have a motion on that at all? Or are we gonna need to approve the funding up to some amount? I mean, I can't imagine that she's going to go over again, her bid was was just under $500.
I think we should probably say 700 or 800. Maybe just you know, I just have learned that it's better to be able to have to go forward because often we've had to come back and increase things. So I mean, does anybody want to make a motion to do up to a certain amount
of motion to do over 800 to do 800?
So up to 800?
For this project? Okay.
Okay. Let's make sure that we don't have any discussion before, because I keep forgetting that part that we have to talk about stuff.
It's kind of straightforward, isn't it? I think so.
Okay. Great. So we have Pamela mode, moving and then Aaron. Second thing. All in favor?
Aye. Aye. All opposed?
Okay, my husband's yelling at my dog. So I'm gonna meet myself for a second. Great. All right. Wonderful. So that one's easily done. So, duly noted that we will, we would like to put in our budget that we would go up to $800 for this. That doesn't mean you can say, hey, they'll give you $300 more or $250 more, but yeah, great. Great. Great. Great. Okay. Um, so, while she's still looking, are you are you still looking a little bit friend? Yeah. Okay. So then we can move on to, we need to gather enough people. And site review. And that would be Cindy. So Cindy, you're on.
Angela and I went and looked at the sculpture, which was much bigger than I remembered it being but it's been a while since I've tried to make it move. It's really the scale part. The platform with the weights under it are in a giant cement bunker. And the pole with the mobile on it is 10 yards 15 yards down the bank towards the water and the bushes have grown up so much there that we couldn't tell if it was in the water or not. So we discussed a lot of things, some of which was move it, uninstalled it and then reinstall it when the Army Corps of Engineers is over or put it in a different Park and we decided all of that was too difficult and would leave Isaac, if we put in another Park, it would leave Isaac Walton kind of bear of artwork. So once we decided to leave it there and move it. We walked around down the causeway and back and looked at four different sites that were Can you guys still hear me cuz I've completely frozen up here? Yeah. Okay. We looked at four different sites that were possible. Some of them, one of them look good, but the background was the cement factory and another one way out at the end of the causeway look good. But there's the power lines overhead, and that might be an issue. So we made a whole list of questions to ask Steve and maybe the artist to Angela, did you get a chance to do any of that?
Can you guys still hear me? Yeah. Okay.
Um, I muted No, um, no, not me. I can still talk. Sorry. Um, yes, I did ask Steve. No, I have not heard back. And once Hmm. Said share those images with you. But I have other images up. Um, I think that the big thing, Andrea, when we went to visit, you were out of town in Santa Fe and Laura wasn't able to meet us. So I think since you're on that task force, I can send you the image of the location while we wait the locations. While we wait to hear back from Steve. And maybe in some amount of time, you can go out and visit. And see if you think that this is even feasible possible as well. It's going to be a very, it's going to be very large undertaking. I don't know who is, is and is not familiar with that work. But obviously it has some sort of hydraulic component. The in casing that the the mechanics are in, has a wooden top like it's going to need to be rebuilt. So so getting the right place is going to be absolutely 100% key, and seeing if it's even possible on the causeway before we go too far down the road of getting the artist involved. So I'll nudge Steve yet again, I have a couple of things I need to nudge him about. But maybe that'll keep us still moving. And Cindy, I don't know if you and Andrea can meet separately or take that walk.
Andrea, I'd be happy to meet you there whenever it's convenient for you. Sure. And I we I can point out the the sites that we looked at
her just email
me after the meeting. Okay. And one more question. Angela, do you think that we would have to completely destroy that bunker, remove it from where it is? We're going to build a new one, we're going to have to build a new one. But will we be able to leave part of that in place? Or are we going to have to completely destroy it?
With the very few conversations that Steve and I have had. It really is the Army Corps of Engineers that's going to come in and and so I don't know what their plan is and what's necessary. But the last that we had spoken about the the new location was just to be assured that someone could get off from the bike path and riding their bike around with their friends and gather enough people because that's the goal. So he may even come back and say, yes, it needs to move, but maybe it just needs to move, you know, 50 yards or 50 feet or you know, it may not need to be as far of a move.
I just don't know,
I just don't know.
So, but keeping it in the same Park makes it makes sense to me because it is going to be quite an undertaking.
One of the biggest things we have to find out is whether or not the
mobile pole part can actually go in the water.
And who would we find that information out from Cindy?
I'm guessing either either Steve or the artist. Think it's the artist. Yeah.
Okay. He's gonna know the guts and my intern. Last time we spoke, we were hoping the intern could actually come into the office, but then she's a cu student, so she could not but now she's back. So that's great. So digging into the physical files of the work, it was very, very early work in the collection. So hopefully there's some a better term the guts, right that some sort of an image of what the guts look like,
but whatever We're going to have to like dig a big trench and put cables and everything. So it is gone. And plus building this big cement bunker is going to be very expensive.
Yeah. And yeah, we did for maintenance. And that's, that's why so.
So Cindy and Andy, are you are we going? Are we going to have a like a figure that the Commission is going to have to approve? Is that something and I mean, is that I don't know, going forward? Is that something that we need to, to make a motion to? Again, I think
that that the cost is not going to, we're not going to know that imminently. It's going to be several months. Before we find that out.
We'll have to get a structural engineer. Yeah. Artist.
Okay, perfect. No, thank you for your hard work on that. That's really awesome. Thank you,
Hey, I have some in images, but they're really renderings. But it's the best that I can find without being in the office. So hey,
feel free to send those to us. I mean, if we needed to do oil, we want to get a vote on this. So you're right, nevermind. I can
I can send some but this is at least just this is an idea. And is the palette. Can you see that?
Yeah, I can't see anything.
So this is the the palette is this very vibrant, not pastel. And very royal purple. And I think that that's where they're getting with the other sketch is that they're going to be these complimentary and then delicate shades from one to the next. I personally read the dark mountains on the sketch as as like Knight kind of coming in. Let me pull that back up for you. Oh, we want side by side. Let me see what I can do with side by side.
Can you still see the other one though?
out to do side by side.
All right. Hold on. Just give me a sec.
Well, Angela's looking What do y'all think?
I like it much better than the other one. I think it's beautiful. I do too. I love the elk and the ban. I really like it.
Any other any other feedback.
You don't have to like it, you can express how you feel. That's what we're all about. I think it's pretty cool. And considering those of us I know there's a couple of us that have been here from the beginning on this. And boy, that it's it's so nice to see such
productive folk. Yeah, the vibrancy is really nice.
And Angela's already volunteered to not only barricade, but to put a tent out. And we'll all take shifts to sleep by it until we get that protective coating up. So who's in on? Not teasing?
Can't fire stove?
Well, I just said that it's like three blocks from my house. So I mean, you could at least take a shower and use the restroom if you needed to.
Thanks, um, Angela, for digging through all this. I know you didn't plan on having to do this tonight. And thank you,
it's okay. I'm just having a really hard time with the side by side. Okay, so, um, it. What I'm hearing is a whole lot of nothing, which means that I think that at this point, we need more assessment of the of the sketch. Fair
news, bringing now that I've seen this picture again, if you could bring up the old one. I know you can't do it side by side, but this is at least fresh on my mind. I'm just curious. I'd like to see the other one again. Sorry, guys. If not, you're okay. Not realizing here.
No, you're fine. Oh, you're great. You are fine. So
okay, here's one more thing that I found really quickly before so the old so from that rendering, so here's some actual color. Mm hmm. And I'll give you a little bit of idea of what actually is. So very vibrant, vibrant. Yep. primaries.
I'm also looking at the the lines. So like the you've got a lot of a lot of kind of pyramid lines and and triangles and I'm wanting to compare the lines as well, I think the colors will be fine. I'm concerned about these lines here. Whether or not they kind of blend in with the old because you're basically putting this new into the old right and trying to blend the two murals together.
This does look a little more flowy.
Right. That's my concern.
Is that grass motifs show up anywhere else in the existing work? Yes, I think that maybe is let's throw in it. It's got more of that, like bendy fluid thing going in it kind of like Yeah.
Let me grab the email that the artist wrote. So you can hear from their lips the idea. Okay, are you able to see right now the the grass? Is that working?
Oops, if I spell Hunter's name, right, she would say, Okay.
Thank you for your updates. We have blocked up the last week billows, the mock up for both balls. So this piece again, not one straight wall, but half of it on one side, half of it on the other. We might tweak a few things, switch some colors out here and there. I think it will bring space, nice energy, nothing about flowy. Yeah, so the flowy clouds are definitely new, as well as the graphs. I do think that there were some more bubbly clouds in the original. But I'm not finding any image of those because they're inside there inside the underpass, if you will.
We don't have the straight blue lines on the end, which will blend into the existing work. And I just think this would be great insight in also. No, I think it would be great.
I like it.
Same I'm, I'm not a fan of these placeholder colors. But if it is a more vibrant kind of Technicolor experience, I would enjoy that a lot.
Yeah, I agree.
And yeah, I totally understand your concern. But I, I just want to say that I also trust Patrick, like he's gonna make this comprehensive composition. He's certainly not going to mess up his own work of art. And so I'm glad that you're pressing the issue. But I I really do trust Patrick to make sure that I
totally agree, Kim. And I think that we worked with Patrick so much in the previous lifetime of this, that he's, if he's back, he's dedicated.
Well, and he had an opportunity, he had an easy opportunity to get out of this project. If he didn't want to go forward with it.
I wouldn't know what to I the vibrancy is really important.
I do have one more question. Is this just going to be like, the first 15 feet into the north part of the tunnel on each side? Or is it going to go all the way through?
Nope, just the north part, it will then blend with the rest of the mural. And yeah,
I guess it would sort of look like going from mountains to prairies.
I think so a little bit too.
I had another thought and I forgot but yes. So that that North that north side of it. And also the Mallard and the elk are on that North Side coming in. So the other thing and I gonna you know, be real honest with you about how this goes is just because the sketch is coming to you. And we approve this work to move forward. If it is finished and not sufficient, you do not have to accept it and we can continue to work on it. So there is that piece as well. If you would also like another sketch that is more evocative of what those transition points are going to look like. We absolutely can go back and ask for that. can say yes, I, I do want this to finish because I personally want it to finish but also to be done. Right? I trust Patrick. But if the Commission's feeling is that you need to see more before moving forward, and we need to push the finish of this to to the spring, that's fine. We could also go ahead and prime the section that will be
We could do that, too. So their question options here.
And I would maybe ask that he, at the very least get the matching colors before we make a decision.
Angela, I mean, I know you've worked so hard on this. And then like Kim pointed out, we have very limited time as far as weather goes. I mean, this is something that we what is our timeline on this? If we want to get it going? We don't have you know, it could be today's 58. Tomorrow, 65, Saturday, 74? I mean, what do we need to do as far as weather goes? Because he has limited time to get this done? Are we going to wait until spring?
I would hope not. Me to? Um, I would, you know, it would be nice if we could see the actual color palette that he was going to use for this part. I don't know how fast he could get that to us that we could certainly see it before our next meeting. And then, you know, just give input to Angela on?
How does the commission feel about doing something electronically? If he can, if he can get that to us sooner than later. I'm asking artists to do things rapidly. It's not a really fair thing to do. But maybe if if Angeles simply requested, Hey, could you give us a little more detail on the color for this? And then we had that in hand? What do y'all think of that?
That would be fine with me.
If we just got center sample of it, I'd be fine. Then we could all let Angela know how we feel about it?
Well, and technically would, we would probably need to have a vote. But my feeling is also that I'm with Kim and those of us I think several of us were on this project. He's very reliable, and anybody who's willing to come back into their own work. If you talk about ethos, he's got goodwill, and he's got background, he's really proven to us that he's he's dedicated his project. So
I completely understand that he needs to get there and, and color match the colors that are there already. I mean, it's not like he just has those laying around. I mean, I understand that he has to yes to color match it. I'm, I wonder a little bit if this will be a shocking transition from the rest of the tunnel to this part to outside? And maybe? Well, I'd have to Yeah, I'd have to see it maybe like a few more grass leaves on the old one. On the old part, I don't know. Yeah,
like go ahead and try to get others closer to where they were, maybe we could ask him also to put the elk and kind of attach it all together. I mean, he can do that it's a just a, something electronically, that he can do so that we could see the whole thing, and then we get an idea if it's going to be too much of a contrast from the old and the new.
And if times an issue that which is understandable because of the weather, you know, maybe we can vote on this via email. As soon as he gets it together. We can vote right away.
You also do have a mural Task Force. And if the commission would like to yield its formal opinion and give the task force the authority to approve. You can do that as well.
That may be faster and more efficient.
I would think so I do know that.
Yeah, that's good. That's a good idea. But you all would have to agree because the mural task force's like mural, this has been such a not trying but like as, as Kim said, This project has like taken a lot of heart and soul from many people, particularly Angela, so I don't want anybody to feel like we're skipping over them to get this project done. You know?
No, I think that how many people are on the task force. For for See, I would trust For people to make that decision,
and you're always welcome to join the task force.
Sure, I would give
this something that this if you're really vested in this, and something you really care about, feel free to join that. And maybe Angela, and I can work to see if we can. How rapid? Are you thinking? Angela? I know this is kind of a stepping stone for you. What? What would you like our timeline to be?
And I would go back to hunter tomorrow and ask how fastly how, fastly?
quickly, and a rendering could be turned around, I can say that I know that Patrick will be off his feet very soon, because the weather is changing. And I think he has some personal deferred maintenance that he's taking care of. So I'm,
I think that if we have to deviate from the timeline of the end of this month, to something else, like we will, it won't happen until spring. And that's okay. And that's okay. Um, so without without knowing how fast they can turn a rendering around. But I would say if we can't get it, something done by Monday, we're probably pushing it.
Okay, so then my question to the commission is,
does anybody support us just moving forward? And boasting Patrick,
that's what I was about to say, I'm not sure who said it first. But I agree that I would trust the artist Patrick to to do his best work. Kind of on his own volition, I don't really feel like like this is a good enough mock up that we can kind of picture of what it's going to look like in our heads. And I think in the A,
the interest of time, and just getting it done, I think we should just give him the freedom to do what it is, and, you know, stands by to, to help with the work.
And those of us who were on the commission, we worked, we really worked hard to get this started and going and looking at mock ups and commissions. And I mean, I think we really were trying to we trusted him. So
I personally, and I think a couple of you may feel this way, I feel comfortable with trusting the artists because we often trust artists, and then we judge their work after it's completed. So I think that we're vested in this, I'm happy to say that, but we would need a motion for that. But Amy, should we make a motion on it, and you see, if I don't know how you want to word it, but to say those in favor of letting the artists take care of it moving on.
For the sake of time, whether and the project is rolling along, and we're so close, it's like add Don't, don't leave it till spring. Is that something we should do or not? I don't miss Angela.
Oh, if in the motion, we are just assured that we are accepting the sketch as presented with the elements for cohesive element, and like to include cohesive elements. And then also consideration of color, so that you preface it, because again, when the final comes back to you, you need to approve it for final payment. And so as long as the motion reflects that, you are not approving this exact sketch, so then I can use the motion. Give it to the artist. So then he has a foundation to work from of expectations. That would be perfect.
And I think that, you know, we really we approved his work and everything we did we really based it on, not a lot of y'all remember back then it wasn't a lot of preface, we didn't have a lot to go on. And we trusted him and I think saying now Well guess what, Patrick, we don't trust you is also kind of undermining his hard work. And the mere fact that he agreed to come back and fix this, to me is showing that he's dedicated this work so we wouldn't need emotion. I can't make that motion. And don't feel like you're obligated to vote on emotion. If you don't agree with it. That's fine. But we would need emotion from someone to say yes, or I motion that we will go forward with the artist making his final decision or how would we phrase this a better?
What about something like
we're we're making motion on accepting the artists sketch, that would, in actuality, have cohesive fluid Blending colors.
What we're saying is we try to Patrick. Right. Right.
But I think what Angela was saying is that she wants it to include the emotion. So which to include that the colors, the fluidity, the blending, Enos of the murals are acceptable to everyone at the end product. And in the motion, I'm assuming that's what you want said. Angela. needed to the artists. That's all I'm saying.
And I also know that Patrick, he, I mean, he, he dealt with a lot of community members and kids and people. And he was very open while we were creating this, those of you who came down to ninth and Alpine, I think Randy was there right? Weren't you there? Randy?
You could just say you were it was back in the old days.
That was the other brandy?
No, and it was, I mean, we all sat out, it was really hot. And we sat under a tree. And then we went and painted. And then we come back and said he was really so sweet. And he worked with members of the community. And the one thing he said is, you know, this, I don't know if we're fairly representing the demographic here. But people really came and wanted to do it. So
I have this on recording with what you just said, Can I just capture that? And you save that that motion?
You want me to make a motion? Yes, please.
Okay. And I'd like to make a motion to accept the artists sketch that it would in the end be cohesive and fluid with blending colors to the rest of the existing mural?
And that's fair enough. All opposed? I can't see everybody. So I'm looking down.
Okay. All in favor? Aye.
Okay, let's say it again. All in All opposed?
Okay, thank you, everyone, it looks like the Motion passes. And taking into consideration those of you who are questioning this, we still have a final approval to look at. So I understand your hesitation in this. But I think that we're not we're trying to, really, we hired this artist. And I think that, you know, when we hire an artist, we're trusting them to do things that we wouldn't necessarily, you know, we look into this little box, but think about even just our simple little shock boxes, we have a little box, and we trust them to do it the way that we think that they're going to do it.
And I and also, this has been a very backwards way of going about a project. So even even with all of the challenges, then there just have been additional. So I wouldn't say that this is a cookie cutter mural project by any by any sense. So yeah, but thank you. So I will do my best to get needless to say, I will still do my best to get some renderings and things to you to see in advance, even with this motion on the table or with this language.
And I might ask Angela, if not only showing us the renderings, but if you have concerns, and you don't feel really comfortable about what what happened, there's no, you know, I'm up in the air to please let Angela know, and I'm sure she's willing to talk to the artist and say, you know, we approve the motion. We're really hoping that you will consider this, or we're really hoping you will consider that. Yeah, anybody ever. I mean, we of course the motion is approved. But I mean, I'm sure Angela and I knowing knowing Patrick, he's willing to consider our, our concerns.
I'll just add, I think to that, I again, I really do understand people's reservations. But of all the people involved in this process. He is the one who is most vested in that thing looking fantastic. So he's got a lot of his own personal reputation and everything else invested in this project. And so he's going to make it look as good as it possibly can
nx cam I totally agree with you. And you've been with this on square one. So yes. Okay. Awesome. I know that this is one of those that I don't know, like I said, this is my neighborhood. So it kind of tears my heartstrings, too. And I know a few other commissioners were like, the same way with things that happen in their neighborhoods, but it's pretty important. Okay, so we've already, Cindy's done her thing. So we are now on to number eight, which is our administrators report, by the one and only Angela.
Just a couple of quick things. Um,
we do have three vacancies and the application is open. So I am going to be sending it to you, especially some of you who are going off this year or in the in the near future. I know I'm sorry, Amy. And if you wouldn't mind sending it around, we actually have one shock art it shock art artist who is interested, which that's really exciting. I would love to see, maybe youth represented as well. And just thinking about diversifying our commission. And some of the volunteers who came to the Tony Ortega mural were interested in so I'll be sending this application to them. So again, the more outreach that we can do, that's how we fill these vacancies. So I'll be sending that along. And I note also that
I want you all to start thinking about future leadership. Chair, Vice Chair, Randy, some of you that I've shared with many of you, I'm done, I can't be on here anymore after next year, which seems like a long time away. But it's only really like eight months. So if you are interested in being chair, think about it. It's so much fun to be with this group. And it's, it's good stuff. So I think I've talked with a couple of you. But don't hesitate to do it. Because I know that there are a bunch of leaders in this amazing group. So we would need a chair, we needed a vice chair. We, unless Randy wants to step forward, because often that look at Randy, he's like shush, shush me. But think about that, too. While you're thinking about sending this application out. Think about where you belong on this commission. Think about what you would like to see this commission do I think that you all see it? And I've what I've been fascinated is that we actually have a pretty common vision for things which has been really exciting. And I think we owe Angela A huge thank you because she's got it together. Even if she can't find her images sometimes. She's totally got it together and so organized.
okay, gone. Angela. I just wanted to plug that in. And now I'll mute myself.
That's awesome. So that's the big thing. The second thing is we do have a relocation of a work that we need to take care of you within your collection, our collection, the city's collection, have a beautiful piece by an artist. Hopefully you can see that.
Can you see that? Yes or no? Yes, yeah. Okay, great. It is called Blue mile by Armando Oliver, all Alverez all there is all there is. And it's 46 by 60, which is pretty big. It can be in the museum above the water fountain. And that space has tended to lend itself to exhibition pieces. So I was hoping that as an forgive the background, that's the racking, if you will, in the museum where it's being stored right now. So the piece is the blue piece, not the corncob up on the side. I'm hoping that folks who will be looking at space for the new work that you just purchased from the firehouse will also be considering a new home for this.
So this is a textile or a painting.
It is a paint it's oil.
Okay, it's just okay.
It does have quite a bit of texture. That's true.
Yeah, it really does. And almost looks like a textile.
What's the measurements?
It's 46 by 60.
So it's quite large.
So as we go through our daily lives, where you go to pay your electric bill or if the task force who's looking for a new home for the other work would like to consider this or we could have a subcommittee just specifically for this painting. There's no rush it but it's just in storage, and it's not on display, which is tragic in my book. So yeah. Anyone have a strong feeling about
finding this place a home or yeah
The two dimensional folks who will be doing some research Susan Horowitz ynoa
Yeah, this piece I could see,
I do very much like it, but I don't know, where I can't think of a place off the top my head where it should go. Yeah.
Yeah, but that's why we have to look, we'll just try and figure something out. Because it should be seen.
Okay, so I think rather than opening up a new subcommittee for one painting, maybe we just start with the kind of the investigation of city walls and spaces. Mm hmm. And it's
a reverse piece.
Okay. All right. Well, that is that's going to be a that'll be a big one and very exciting as well.
There's that kind of representative of the Longmont mile that they've, you know, when they first made the city, the blue day, it was just a mile inside. Is that what it's kind of representing? You know,
Eileen, can you speak to any of the information from the collection file on this one?
It is my understanding that it is kind of a representation of the mile by mile plot. That long month was right originally was
it He is the same artist that did the arches on Main Street. And so I think
he did have a lot of
exposure to that map.
And so yeah, I see the same thing, but it's right. Right, the plaque right by St. Stephen's Plaza on the in the ground is the Longmont mile, the first blueprint of historical plat of Longmont and I think 1871. So I think that's what I see is well, that's probably the connection between lawn lawn and that piece.
And just for reference, this piece was hanging in the Civic Center before the Civic Center remodel began, and then was moved to the museum for safekeeping and put above the water fountains.
And we just, you know, now it's in storage at the museum. And
yeah, it would be nice to get it back out.
Any other feedback on that? That's something that we might want to work on.
Yeah, should definitely be seen.
I don't know if the committee that's already doing the night Street. My voice is going I'm sorry. The committee that's doing like an Alpine should look at it, too. I
don't know if that's necessarily a cross. Because this is more of an indoor
garage. Yeah, it is definitely indoor.
So two dimensional indoor. I think that's something that
the firehouse people should do. Well,
well, no, not necessary. Well, no, I don't mean to say no. But this is something that wow, we're looking for our firehouse project. The project that we're purchasing from the firehouse, what do we call this? Actually, I need a title.
Angela? No, I do. I do too. And
I don't think that it maybe has a proper title because it was an ultra piece. We could call it the altarpiece for now.
1980 disaster in Longmont was like our first it was our first big
boom in Longmont. So we could call to altarpiece. So So those of you who are looking, we are looking, a couple of us are looking for places for that that would be the place to come, look, maybe look for this. Maybe that's a location, subcommittee or task force, rather than maybe it's something that's permanent that we need to have a task force or subcommittee that looks at locations, when we have things come up in the middle of the year.
Susan, oh, I'm,
I'm on that task force. We're what we're calling it now. But ultimately, I think we easily can keep in mind that we have this beautiful piece called Blue Nile. And so it can certainly be in the forefront of both things that we're looking at and
a big deal
unless we just can't find a spot
I saw your your mic went off. Did you have feedback on that?
Oh, I was only going to say I don't Angela kind of recommended above a water fountain in the museum. So just keep that in mind when you make a decision to keep that in mind. It's one of the possibilities.
And this is kind of a strange, Marcia might be able to answer this question. As far as the remodel in the Civic Center, space goes, do you think that that might be an opportunity for us to go look around and see what spaces are available for us to place art just in a general fashion?
Um, I think the answer is yes. And in
the Civic Center.
I don't think that in terms of interior design, there's been much of a rebuttal. You know, it's looks like it always has. And it's just structurally sound now. But if the building is open, you know, the art portion is open. So there's certainly nothing preventing anyone from going and looking around.
Well, that's something that our task force can do. Susan and everyone who else Susan,
is on that task force.
NOAA, Susan and Amy.
Andrea, I think I
wanted to I want to be on it.
And Randy, okay.
You your muted friend.
I'm just curious if Marcia Martin has any ideas. That's what I just asked
No, she said that everything's open that we could go look, right.
a lot of the art that was displayed there now is down, you know, so like, there was a quilt from the Northern Arapaho, and that's down and, and there was a painting from Martin public places in the stairwell, a kind of a three dimensional cityscape that's down because it would have been damaged by all the dust and so on.
Marsha, do you know who's responsible for putting that back up? So we might be able to miss Angela Brill
to be on that task force to Sister,
I think and maybe I can connect you with Michelle Gomez with the City Clerk's office and she would be a good person knowing the timeline of the Civic Center. Because I don't know the status of the quilt. And Eileen, I'm looking at you, but I don't think that's at the museum. So that makes me think that there are other objects that might have have placeholders. So we'll want to be sure that a space that you're identifying for new work is indeed available. So we'll connect the task force with city colleagues prior to a site visit.
Excellent. Okay, good. All right. So taskforce will get together and we'll start picking on people without having to bother our commission people. So Susan, would you like to chair that taskforce?
This is cube nine locations for the altar. And for the Blue Nile?
Is that exam?
Okay. All right. Thank you for being voluntold That's awesome. Um, anybody else? Um, do you have anything else in your administrator report?
Oh, that's it.
Okay, so Wow, we are into number nine, new business and we still have 16 minutes.
I'm gonna be really quick. But I have some just absolutely fascinating and exciting news. I connected with Wayne tomac, which his role Exactly. splits itself between community services and sustainability. And he is a neighborhood representative. I don't know it's his exact title, but he is a all about working with our neighborhoods that are connected through the neighborhood group leaders Association, which is called ngvla. Is anyone in this room a part of or know that your neighborhood may or may not be involved in ngvla? That is really interesting to me. You have 55 neighborhoods in Longmont, who are all a part of this very inclusive group, where a neighborhood comes together joins this group and rather than being an HOA, which is very exclusive. This is a very inclusive group. And by participating, they attend me monthly meetings they have 123 have representatives from from their neighborhood. And it really is about empowering neighborhoods to understand their kind of micro community within the larger community. And the options available to them is to be able to do neighborhood improvement projects, the ni p projects have been going on for some 20 years. And believe it or not, there have been one or two times when an art in public places and a Neighborhood Improvement Project could have come about and have a marriage, but they never really worked out. So without getting too into the weeds about the way that their grant project works. We have to grant opportunities that are going to be coming to us. That is to say that two different neighborhoods have applied for a neighborhood improvement project that would include art and public places. So I am on a little bit of a learning curve here, I absolutely will 100% ask for a task force as soon as I understand a little bit more. But just a quick brief of the timeline. Folks put their grant applications together. In the summertime, they are submitted by a time in September, then Wayne goes through them and kind of comes up the details of what these neighborhood leaders need to do to refine and present a final refined document in January. They're awarded in March, and then their neighborhood improvement project needs to be completed by the end of that fiscal year. So we have again, two that are going to be coming to us to see how art in public places can assist with with these. Yeah, projects. So just wanted to get it on the agenda. Again, I don't have a ton of details right now. But think about, if you would if you're interested in seeing how project management kind of comes about from start to finish, and sit in with me on that, especially through this very established. Think about that task force is something that you that you might want to join. So yep, stay tuned for more of that. And that is all I have.
I hope, forklift tomorrow.
Yeah, you did. Yeah, you did really, really, really, really, really well. Okay. You're so impressive. Miss Angela. I
lied. I have one more thing. Executive Committee was supposed to meet on the eighth. But we have had some difficulty in getting all together in the same place. So now it's the 22nd. So you'll also hear executive committee business next month. And that is all and I take some credit
for that I had to be in a zoom. And then we wanted me. Yeah. So thank you, Angela, for coordinating all that. Okay, so we are on to the number 10. Number nine, any new business that we need to take up? From the commissioners? I think Angela brought up quite a bit of new business. Any other new business? I think, yes, Randy.
Really new business. But it's more Commissioner comments, are we?
Well, we're we got that number 10. Let's go new business. And then we'll go to number 10. I'm teasing. I don't know, anybody have any new business they want to bring up? I know No, no. and I are looking at presenting something next month. And any other new business that we want to bring up, I do want to like put this in your mind. And this is you know who I am. So usually in December, we don't have a formal meeting. We have a a professional gathering, that includes white elephant gifts. And so next month are actually we're supposed to voted on it this month. But we will need to vote if you want to have that gathering. I know with COVID things are different. And we can have our normal December meeting, I just couldn't put it in your head. We usually have a holiday party, where we have white elephant gifts, but it's a whole new gamut. So I don't want any I want you to spin it around in your head. If you're interested in having a socially distant safe holiday party in lieu of our meeting. That's cool. If you don't want to we can have a regular meeting. We could maybe do a zoom slash happy elephant meeting. We could show our favorite elephant gifts over the years. Just put that in your mind and then we'll talk about it next month. I know it's not that important of an agenda item but it's something that I've looked forward to For the last five years that I've been on the commission, Andrea was so gracious and she hosted it last year. So I don't know what our
our change will be.
Things change quite rapidly, and it's usually well attended. We usually have invited all of our alumni. Is that the right word? former commissioners. And that's something to think about. So that's my new business, but we won't bring it up. Let it spit in your head for a little bit. Any other Commissioner comments? Randy, you had one or
I think I will save it for the executive committee just to bounce it off to you guys first. Okay. Excellent.
Anybody else have any comments?
Yes, Miss Angela.
I also did ask about the I realize it's not on the agenda, the boulder boulder Housing Authority update, and I don't have one.
But we wish you could have faked that one.
I know. But I just want to let you know that it was on my radar. I asked and hopefully something next month. Right.
Okay, any other? I guess we've kind of combined a new business with Commissioner comments.
Yes, Randy. I'm wondering why Cindy has so much daylight coming through her window
with a fake thing. Fine. Ah, I know.
I saw your hair move and it disappeared for a little bit.
I'm coming to you from Hawaii.
If you have a green screen available on your computer, you too could be sitting in Cindy's library.
I was at the beach. And my last thing I
made my husband look I look very very pale and I am very, very pale. I'm looking at all of you. And I'm like, wow, they're not nearly as pale as I am. And I haven't like
done a little
things. So my lighting in my home is quite odd.
I can come to you from Mission Control next time. You know,
I always evaporate in those backgrounds. Marcia, I haven't really given you a chance Would you like to update us on anything that you think that city council's working on or anything that we might want to know?
I'd like everyone to to know that ballot question 3d for the city of Longmont and three C are on the ballot. And three C is, you know, is the water infrastructure, and I think probably everyone will vote for that, and it doesn't have any special bearing on art in public places. But, um, 3d probably does, because it allows Longmont to use longer terms for leasing public buildings and public land for any purpose that matters to the city. And one of the one purpose that matters to the city is creative amenities. So all for example, you know, if the firehouse Art Center wanted to model itself, with the little short leases that it has, it couldn't can't do that, because it couldn't loan to do it. If it wanted to make the upstairs usable for classrooms and galleries and stuff, instead of being a maze of twisty twisty little passages, which is what it is now. Then the city could put together a longer lease. And so everybody should know that that is something that could benefit the arts programs in the city of Longmont and tell your friends, because a lot of people don't understand it, but really could be essential to the economic recovery that long man has to engineer in the next couple of years after all things have been damaged by the pandemic.
You're on mute and you're talking. Am I on mute?
No, I am and that's probably good. I like to put my ballot in the box today.
i wanted to i wanted to see that that you know that people don't understand what that for. And the city's not allowed to pose Yeah, publicize it, you know, but I am so I thought I'd say that. Thank you. didn't understand it really. So,
I just wanted to add that there are some beautiful day of the dead exhibitions going on throughout town at the Museum at the library throughout the window windows of, of businesses in Main Street, certainly the old firehouse. I have a Katrina at the old firehouse, so go look for it. It's a musician's of Bremen, and just go out and explore. It's safe. There's it's not busy and go for it.
Any other I mean, we've got four minutes.
You can change the world in four minutes.
I think no one's asleep.
Cindy was asleep a little while ago. I think she was meditating on what we were talking about. I keep
nodding off. I didn't sleep at all last night.
Okay, we got Pamela.
I have no comments, but I do want to Yes, Randy.
No, I was saying we could finally see Pamela
who's on mute and talking. But that's okay.
Somebody is really cute. That's all I heard.
Oh, she's on mute. I don't know. I don't know. Anyway.
Okay. Awesome. Um, please, thank you so much. This is really good work tonight. I think so what do you think Angela?
is very excited to get with executive committee and start really hammering out a strategic plan. So we can put take a lot of these ideas, start using the charter, start using some forms. Really, you know, that will really help me and I'm very much looking forward to that. So I'm sorry that we had to delay.
But I'm fine with you stretching that paperwork stuff out until May? end of May?
Not good organizing things. So thank you.
No, this has been great. I just want to thank you all for your dedication, I know that the COVID is really, really hard thing to do, sitting in a zoom. I've been in meetings since 730. This morning, and I know my eyes are starting to hurt and I'm tired. Looking at my friends and squares, it's not nearly as fun is like passing little notes to each other and around the table in the Kaiser room. So I want to thank you all for your dedication. It's great to see some of your faces Francis, haven't got to see you for a while. And I know, it's just wonderful to have you here. So with that being said, at 758. We need to have a motor movement to a jerk.
Don't drag it out to 759.
A journ aipp.
On Thursday, October 15 at 7:58pm.
Now you can second if you want
All right all in there. Okay. All right. We will see you next month and Executive Committee. Let's we'll see you on the 22nd. Okay, thank you, everyone. You're the best. Yeah. Good to see you. Bye. Bye. Take care of everybody. Thank you. Thank you, Nicole. Thank you, Kim. Kim. Thank you, Pamela.
You're welcome guys. Have a great evening.
Great to have you here. Take care everyone. Thanks, Marcia. Hi.