Welcome, everyone. Happy New Year. Happy 2021. How exciting is that we are in a whole brand new year. So I'm excited to see each one of you. We have a full agenda. But I think that the way Angela has laid things out, we will be able to get things going. So before we introduce our new commissioners, let's do a quick roll call. And if Aaron would kindly go ahead and let us know who's there in our notes, that would be fantastic. From what I see, we have Holly. We have Susan. We have Tricia, true. You know what, I'm gonna slaughter people's names. So when I mess up your name, get online or get on and tell us what your name how you want to pronounce.
It's pronounced Teresa,
Teresa. Thank you, Teresa. You're Cindy. And we have Andrea. We have Randy. We have Jennifer. We have Danielle. We have Peter.
We have a lien.
We have Pamela. We have Marcia, the Honorable Marcia Martin City Council. We have Nicole. We have Kim and we have Pamela. Correct.
Yes.
Excellent. Okay, from what I understand we do not have any public invited to be heard. Is that correct?
That is correct. No public invited to be heard.
Okay, so we're gonna move right on to before we move on to our welcomes who would like to go to additions corrections of our December 17 2020 minutes. We need a motion to approve or motion to correct.
D if you've been through it.
Yes, I haven't Aaron's doing a great job. I haven't seen anything.
Oh, wow.
Okay with yours. okay with me.
Alright, so then you need to move on. Make a motion. Peter.
I make a motion that we accept the minutes as submitted.
Okay, then we need a second. Second. All in favor? Aye. All opposed? Any objections? Excellent. We will move on to our next item. Cindy,
I think you have a reputation.
So tonight, we are really, really grateful. We have many more, not many, but several new commissioners. And we talked today about how we would like to introduce everybody, but I think what we'll do, and I don't want to take a lot of time with this big icebreaker. But what I would like all of us to do to get to know one another is to say who you are, why you joined the commission, and your favorite piece of art, it does not necessarily have to be an AIP piece of art. So I'm going to start with Pamela.
Oh, okay. Um,
I've been on the commission about
six months, seven months,
since July.
And I joined because I was really excited. Army. I was really excited about
doing art in the city. And I've been really impressed by the art
here.
And I think my favorite piece of art is
one of the new pieces the the blue piece.
And I can't remember the name of it that's in a walkway.
Downtown.
A bear
the big Yeah, I
really liked your
Ursa Major first.
Thank you.
Awesome, thanks for sharing. We're really glad to have you here. So I'm gonna just move up the scale. Let's go over to Holly.
That wasn't me because I hadn't been unmuted yet. I'm not sure who that was. Anyway, my name is Holly bradish Lane. And I've been with the commission for Well, probably a little, maybe a year and a half now seems like just yesterday but been with the commission a year and a half. And I joined because I wanted to play a part in how Longmont moves its fine art collection forward. So that's really why I joined and my favorite piece of art pretty much of all time is Henry Moore's the clam digger I don't know if anybody knows Henry Moore buzel is older. And quite honestly, any sculpture to me is magnificent. So that's one of my favorites. And welcome to you new guys.
Great. Wonderful.
Aaron. Go
ahead, my friend.
Sorry, I'd move the screen over to unmute. Hi, my name is Aaron helzer.
I joined the commission just in 2020 in August of 2020, actually, and I joined the commission because I wanted to have a say in art in my community. I am a big fan of public art. And I think Longmont does a really great job. And I think this is a really awesome commission to be a part of my favorite art of all time. I'm going to follow in Holly's footsteps with
sculpture, his winged victory.
It's in the loop. But
the full name of it is the winged victory of Somnath race or something like that. But anyways, winged victory,
which is the sculpt.
Sure is my favorite. So
thanks. And well.
Karen. Thanks, Kim. Thank you, Aaron. Let's go on Susan.
You're muted Susan.
Got it. Sorry. My name is Susan Horowitz. And I've been on the commission a little under a year, or at a year. And, um, I wanted to be on this commission, too, be involved in art in our city and see how all that evolved and what was behind it. And to bring a little something of myself and education to it. And my favorite piece of art, I have to move here because this just came yesterday or two days ago. I don't know if we can see it. There. It is a sculpture of a bird. And my dad passed away over 30 years ago, did that. And I've been trying to get my most my family lives in Atlanta. And I've been trying to get it to my house for like 30 years. And finally, there was an occasion that somebody could caravan it to me. So it was you know, I have to think of it like Phoenix Rising because of things changing in our lives and things being hopeful. And yeah, so at the moment, that's my favorite piece of art.
That's great. Wonderful.
And he lived in Georgia. And he actually that piece of marble came from came from Fort Collins one time when he was here visiting me and we went up there to buy some marble. Fantastic. Cool.
Thank you, Susan. Teresa, we're so glad to have you here. So you have one additional question because you are a new friend. And we would like to hear why you decided to join the commission. On top of the other questions.
And why wanted to join the commission is because it looked like fun, and I love art.
So that was the genesis of that. My favorite art piece is in Grand Rapids, Michigan. It's a sculpture by Alexander Calder.
I don't think it has a name. I think it has a number but I have no idea.
And I guess that's it.
Awesome. Thank you, Teresa. Um, Angela, you don't get out of it.
Well, Hi, I'm Angela Burrell, and I have been a part of the Longmont art and public places program now since I joined very end of August 2019. So that's exciting. I don't have a favorite piece of artwork. It just depends on what day it is and how I'm feeling and so lately, I've just been really into the Bauhaus and Verner berkata some of you might know so textile patterns from from the Bauhaus is kind of my jam right now. So it's my avatar. It's everything. I'll start sending you patterns, but it's really loud and lovely. So
yeah. Thanks, Angela. Miss Cindy tiger. Tell us that about you. Your art.
Hi, everyone I've been on the committee feels like forever and I'm loving every minute of it. And I joined because I like art and I was retiring and I wanted to give back to the city. And I like kind of all art, everything that strikes my fancy I like, I don't have a very, very favorite one though. I do have to say that. William Blake's the Ancient of Days is one of my favorites. When I first saw it, I was sitting on the floor in the library at norlin at CU. And I turned the page and I saw this picture, and I very nearly ripped it out of the book. I liked it so much. And then I was like, wait, wait, you're in a library? It's a book. So but yeah, I'm very fond of that.
Those palm trees outside your window there.
Maybe,
if you want, I was thinking actually about going to San Francisco today.
Okay. That would be nice to
keep trying to mute myself. So we have good technology. Oh, Miss Andrea math, which I think your history on AIP also deserves some recognition. So tell us about you.
Hi, um, I don't know how long I've been on. I'm losing my memory. It's been 20 years that I've been on the board and I love it. I joined because I just have always wanted to beautify long, long, long line is so beautiful anyway, because of the the mountains to the west that it just inspires you to want to continue to beautify it. And certainly being on aipp is a great way to do that. I am art wise I it's I have I love architecture. And the one that just really struck me the most is galaxies church in Barcelona, the one that looks like it looks like a giant ant hill. And yet it's a church and I just was like just flabbergasted that it was created that way. So I guess that's the one and then of course, I love the listening stone in Longmont, which I don't think is working right yet. But it's because it's interacting, interactive, and it's very calming and soothing. So that's why I like that one. And Hi, Teresa. Teresa has been on the board before she didn't say that before. But she was on the board before so welcome back.
Yay, Teresa. I did not know that. Sorry. I've been here six years. This is my last term. So I apologize for that. Welcome. I'm so glad to meet you. Um, let's move on. Ms. Randy long.
Hi. I am wearing a hat because it's chilly in my office. I've been on the commission five and a half years, maybe as long as me pretty much
I mean, you were one semester after me. Okay, I call it semester.
I love living in Longmont. I love it. Love it. Love it love this city. And I just want to make it more beautiful than it already is. I don't have a favorite piece of art. I like a lot of art. I like fused glass. I like Rodin sculptures. I like lots of different things. So no, no true favorite that I can think of.
Thank you, Andy, I keep unmuting and going back. Hi, Jennifer, we're really happy to have you here. Um, I'm going to make I don't want to make a phone call. But you haven't been on the commission before. Have you?
No, no.
All right, great. Tell us about you your favorite piece of artwork and why you joined the commission. Well, I'm
Jennifer Miller, and I just really my what my biggest motivation, I think was I just wanted to be part of the life of the community. I love being part of the, you know, going to different stuff in town. I love going to the parades, I love going to all the different things there are. And I've lived in Longmont not quite five years. And so I just looked down the list of commissions and decided that this was one that looked like the most fun and would fit with my skill and my background so forth. So I it's true, it's very hard to choose but the first thing that came to my mind when you pose this question I love the freeze that's outside the library. And I often take visitors to see it. I think it's so charming and it's such an interesting form of, you know, the freestanding freeze. You don't see that kind of thing too often. But I also love. I love O'Keeffe and I love this black Iris. This one is called Yes, this is a black Iris. There's several in this black to gray cream with pink, that I love a purse. I love a piece. And so
thanks, Jennifer. I'm a big hockey fan I sent myself Danielle, great to see you. Same thing. Why are you here, and your favorite pieces of art. Um,
I'm here so that I can be part of the community. I figured this was the perfect year to be a little bit more involved. So and I saw this opportunity have approached me and I decided it was just to go for it. So I'm super excited to learn from everybody. And I don't have a super diverse background in art, but I figured this is the perfect place to learn. So yeah, I I my husband and I are pretty avid screenprint collectors. So I have a lot of screen prints in my house. But aside from that, I love all our AI anything and everything. So just love to get out and about. Yeah, if let's say that lately in Longmont, I'm really attracted to the lady and a damsel. I think that's super cool. I'm all about the recycled art. So that's super cool.
I love her too. Isn't she amazing? Super fun. I'll just say headlights and everybody else. I know what I'm talking about. Right? You handy? It's one of my favorites too. Great. Danielle, we're really excited to have you here, Peter.
Yes, my name is Peter Alexander. I've been on the commission for two and a half years now. And I hope to have another term We'll see. And I joined the commission because I was so impressed when I moved to Longmont and I love being in Mama. I was so impressed with the public right collections. And I thought well, I have some some experience and some skills that might be useful for the for the art and public places commission and I applied and got on. And as for Favorite works of art. As someone earlier said, you know, it may change from day to day. But right now I was when you asked that question. The first thing that popped in my head was George for us Sunday in the morning and on the in the grown shot, which I have seen in the end the Chicago Art Institute. It's It's It's enormous and very powerful when you see it. And another reason is probably the fact that I had the great privilege and honor a number of years ago of conducting a production of sending in the park with George by Stephen Sondheim at the University of Bonn. So that work is particularly in my heart I think
it's great. Thank you very much, Peter. It's great to have you here. Peters. Wonderful. You all will enjoy him. And I already hit Pamela. Jennifer, I think I hit you but I'm losing people's cameras. So Jennifer, I hit you right? Yes. Okay. Eileen. Marsha, your Marsha. And then there's Eileen. Hi, Eileen. Sorry, I'm the problem is is that I'm going by your squares as you know, Marsha, your turn.
Hi, everybody. This is my I'm going into my second year on the commission, and I may or may not have any more years on the commission since I'm up for reelection in November.
Or for Marsha,
Marsha, Marsha, Marsha.
Thank you all very much. I hope you remember that. I do you know we all serve on committees. I chose art in public places because I thought it's a good thing to be able to report on what we need to enhance our city and, you know, bend city policy toward that a little bit if it's possible. And my favorite piece of art is one that I have owned most of my life. It is a little Ray harm watercolor. He is a nature artist. And it's a sea otter floating on its back. So not a high art but I enjoy it every day.
That's really important. So I mean, I know you would like to get out of this but you're here with us so you don't get out of it.
That's right. I think I get I manage and I finished my dinner. So, um, my name is Eileen, I'm the registrar at the Longmont museum and help Angela out with administrative things. I do a lot of registration, keeping track of the collection, where everything is when we installed it, that sort of thing. My favorite, I, I have the privilege of working with art almost daily. And today, I spent a lot of time with a few Degas pastels.
And so come down to the new show at the museum that's opening next week. And you'll get to hang out with them too. They're in pretty good shape. I got the condition report them today.
That's awesome.
So she got she got to touch a day God today.
Yeah, I'm bragging just a little bit.
All right. I'll be in next week. Okay, great. We're so glad you're here. You've been such a wonderful addition. So we thank you, Nicole, I know you're just her you say you're just this, but you are in our windows and we want to hear from you.
Everyone. So my name is Nicole and I work in the city as an executive assistant. And when COVID happened, we all got extra duties. So my duty is running the zoom for the community service boards, which I love because I'm clearly I have an issue talking a lot. So they got i'd mute myself or I take up your whole meeting. And so I just really enjoyed beyond being on all the you know, part all the boards because I listen in the background and so I've just learned so much I don't live in Longmont. So I've learned a lot about just stuff in Longmont and all the art stuff. And this is going to really be bad, but I don't really have a favorite art piece because I'm I'm just not very knowledgeable about art. So I'm so sorry.
No, you don't you don't don't you apologize. never beat yourself down. This will probably make you want to go look at things. I bet you I mean, that. That's what we're here about. We're trying to let people open up their minds and learn more. We're really glad to have you here. So thank you. Yeah, you
guys are awesome.
Thank you,
Kim. You were the last on my screen.
okeydoke Well, so
I am Kim manager, I am actually not on the commission. I am the director of the Longmont museum. And the Lamont museum is the entity that administers that art in public places programs. So I show up every now and then my favorite piece of art, I am totally with Angela and Peter, like I don't really have a favorite work of art. And with a master's degree in art history. I think it's like virtually impossible for me to identify one. And I've totally been inspired by all of your answers. It makes me think about all the wonderful pieces of artwork in the world. But if I were forced to answer at this moment in time, I think I would say James Carolla James terell piece. He's a light artist if you aren't familiar with him, and he's been working on a piece for years and years and years and years, that is supposed to come to fruition soon. And that is called the Roden crater. And so it he actually purchased a piece of land in New Mexico. That is a crater that he is turning into a sculpture, and I can't wait to see it. I'm so excited.
That's awesome. All right. I think I hit everybody. Did I hit everybody? If I didn't speak now because I've tried. I really tried. Okay, my My name is Amy man. I am an instructor, a faculty member at Front Range Community College. I am in my five and a half years on the commission. I love it. I really miss the personal interaction that we've had. So zoom has been a real struggle for me. Ss 2021 I have a new favorite artist. I'm not gonna lie My favorite art pieces in Longmont are those silly Schalke boxes that just make me smile every time I'm there. So if I'm in LA, but my very, very favorite one right now is an artist by its Cathy but it's German name. And it's Cole wits, and I would encourage you to look her up. Kathy is a she's her favorite work of mine is a piece that came out in 1903. And it's she lost a child. And I lost a child in 2010. And it's just beautiful, beautiful, basically pencil and art. So she's my favorite right now. Next week, as everybody knows, will be someone different. So thank you so much everyone. I'm really grateful to have you Here, we've approved our minutes we've done our welcomes, I just want to also recognize the mentors that our new folks have. So I want to thank Cindy and Teresa, Sydney Tiger is Teresa's mentor. And they've been working together at least they've met once. And I'll allow you all to comment on this in a minute. And then Randy and Danielle have met once, at least, and Jennifer and Jennifer, Jennifer and Susan have met once. So mentorship is something that we thought this program really, really needed. And so we're grateful to have everyone participating in that. And I'll let anybody who wants to comment on that. Make a comment. But thank you so much to our mentors, and to our new members. No one. Are you having fun yet? Good. That's all that no, that's not all that matters. All right. Let's get busy, folks. So we are on to item number seven. I have a different version of the agenda. So Angela promised to help fix me up when I got mixed up. But we are talking now about public art project updates. And we have the word min Park sisters update. So Angela.
So at this moment in time I met with parks department last fall, and we are scheduled to have our quarterly update soon. And then of course the sister cities Guzman team, which is three folks from from their larger body are meeting with the task force, hopefully in the next couple weeks so that Susan and Cindy so jury's out on when that date will be but it absolutely will be before our next meeting. Where Steve is in the workmen Park project as of last fall was they are going to consultations so they should be going to bed. And what that means for us is we actually will have officially a timeline of when construction will be underway, basically when our concrete will be poured. And then that will determine the timeline for the art project. So I anticipate that we'll we're going to get crankin. And that call for entry should be out this first quarter. So more to come on that.
Thanks, Angela. She's just moving quick. All right. So I didn't ever be under public art, project updates. We've got the good old. I know you all have heard this one RSVP. But guess what we're going to talk about the Boston bridge. Angela.
So the Boston bridge project last that we had spoken. And of course, I had spoken with the senior engineer. And you know, it needed to go back to the tippy, tippy top and say, Hey, we need a drawing for you to share with us. So we can start developing what that idea is going to look like. And that's where we are. So I anticipate seeing something here. But Yep, it's coming along and same kind of thing on the timeline for that they're at a 60% design, which means that we're in primetime for launching something. It's a, it's a good time to do
it. So
great. Thanks, Angela. So our next item is a little bit bigger and a little bit more complicated. And so Angela, and I agreed to like kibitz back and forth on this one. We are now talking about art on the move 2021. And those of us who have been on the commission, this is probably one of our favorite things of the year. And it's been a little more complicated, right with COVID. So we have some opportunities, we did have some opportunities to partner with LG da and I'll let Angela explain what happened with that. They were they were they're totally on board with us in the future. But that's something that we're going to have to look to in the future. We have some opportunities here. We can look to with our on the move, calling for artists in a 2d fashion and a 3d fashion. So I'm gonna let Angela explain a little bit about that. And then what I'd like to do or Angela can do too, is we need to probably look at some voting opportunities with some money with both the 2d and 3d pieces right Angela?
So, um, that last year we because of a prompt from judge Frick at the Safety and Justice building. He was looking to update their space somehow. But there wasn't a capital project in, in that space. And so taskforce got together went and looked at the space and spoke with judge Frick. And of course, you know, in those beginning moments, it's I would like to see this. And I'd like to see this. And so what are on art in public places was able to do at the time, in in the short term was to install a railing along the wall in the waiting room, which we permitted us to put up two dimensional works, but also not banging holes into the wall. So we can move things in and out. So we have a set amount of linear feet wall space, to hang some works in the short time, short term. So we incorporated that into our on the move last year. And we bundled it, if you'll recall, and folks who were voting all together, and that became complicated, because we were judging, if you will, from the call for entry, three dimensional work sculpture, and also two dimensional work. So the question at hand, because we are at that time, where we need to launch the call for entry for the whole program, the program in whole is do we separate? Those two calls into two separate items are on the move three dimensional art on the move two dimensional, and continue to treat the Safety and Justice building space every single year? So it would have rotating art every year? So that's the first question. The second question for discussion, is if we do that, when we're looking at two dimensional artists, paintings, photograph photography, etc. Do we look to loaning from one artist who will treat the entire length of the wall? And then what was the what would the stipend be to treat that space? how we did it in 2020 was one artist whose work was cohesive, who is cohesive, and we a lot for the three paintings on loan, we gave them $1,000, which is the same amount of money that the three dimensional artists get for loaning one sculpture. So those are kind of the questions at hand. Just a reminder, our limit is 70 $500 for the entire program. And currently in the 2020 to 2021 loan cycle, we have six sculptures on display, and three paintings. So a total of nine works. And we spent this, we said $7,000. So every artist received $1,000, for for their loan. So I think just a discussion underway of how we would like to, to proceed, certainly, keeping in mind, the complication and the going through the submissions, and making that as easy as possible is the big goal.
So
so I had to have Angelo explain this in a new terms, which can be quite a little simpler. So we have to figure out 2d, 3d, and how much money right? So for those of you who need me terms, that's what we're looking at. And maybe it's your terms to maybe I don't want to say simple because I admit that I am simple. So I'd love to open this up for discussion and questions. And Angela. Okay, Randy, hit it.
I would like personally, to increase that fund, if possible. I don't know how we how to do that. Because I don't think seven or eight pieces is enough.
Angela?
And yeah, so in the grand scheme of things, especially in Executive Session, we have talked about the necessity of supporting local artists in that way. And that was the goal in having the creative district and LDA assist us. The problem is that to do that is a change of the charter, which means a change of the guidelines, which is an act of city council. So it is absolutely not something that is easily done. And I think through our strategic plan process that will change in the short term for this year. That that's a very large task.
was the reason so I remember in the past, we've had up to maybe 12 pieces is the reason that it shrunk because we increase the price. We're paying for artists.
We So and this was before my time, but this kind of art on loan program, if you will, is very common, especially in municipal public art programs in our state. And the amount of stipend that we are giving to artists is fair with the other programs, and also gives us the edge of you know, people want to come to long line. So I think that going backwards, might not.
You know,
I'm not I'm not
saying we should pay them less. So just
Yes, but that is actually the case. I think even at one point, it might have been 500, or $750, or something like that. So yes, that's, that's where we are.
I think you're right. I think you're exactly right, Angela, I think that we went up.
Cindy, and I I'm sorry. Go ahead, Cindy. Sorry. Um,
because it's in the charter that we we get a percentage, not less than 70 $500. Right, of whatever the Okay, so can we, as a commission, put in more money? I mean, we take the 70 $500 that's that we're allowed by by the charter. But can we can we then vote for like another 5000? Just, you know, just to pay people. It's an ask Angela,
that sorry. So where where it gets tricky is the way that our funding works. So right, as it sits now, the and again, that I can't remember when art on the move came into play, but we're talking 10 plus years, right. So this is this is, it is it's a little dated, certainly that way, also with the way the pay scale, but it's it's that the the funds that come from our in public places are derived from a 1% of construction funds from capital projects with the city. And that, as the charter is written now is designed to acquire assets for the city. And the number of years ago, when temporary art programs were coming to play kind of in a placemaking. That's really what it's called, and contemporary kind of status is that these loan programs were just kind of coming up. And so the commission at that time said, we'll support a program like that, because we understand it supports local artists, and either this percentage of your annual fund or 70 $500, whichever is whichever up to a max of 70 $500 is how much can be used for temporary artworks, aka not an asset. Right. And those are different line items in the budget. So we so without an active city council and changing the charter, we are limited in the way that we support a temporary art something that's not owned by us and and that amount of time is is can be variable, right? For example, a shop artbox which we are commissioning, in some amount of time might become defunct, or might explode. They don't explode, really. But you know what I'm saying to decommission it, but we have a policy for how that happens. But a temporary art isn't the same as that. Does that make sense?
I think so, um, Andrea, you had a question or a comment?
So I'm taking it I'm hearing from you, Angela, that it's impossible to change. The policy is this year because we have to go to city council to do it. Is that what I'm hearing?
Nothing is ever impossible. And I think that if we wanted to just strategically target that one little thing in our charter and make the change we could. That being said, because we haven't addressed the charter, nor the guidelines nor and we're in a strategic planning year because vision 2020 has expired. And we've already started the strategic planning process. We could address the charter as a whole and then go to council with changes as a whole rather than one little specific point or not, or we could address one little specific point. To be honest, I I think that this council has a vision of culture in in Longmont and I think addressing the larger picture but nothing's impossible.
So Andrea has some more feedback.
Well, I, you know, I encourage us to go to city council ASAP However, if we are doing some visionary talks in the near future, um, you know, I'm willing to wait on that. But what is that timeframe for our vision? meetings?
I don't know. So that's up to Angela there. Well, Holly and Amy are on the task force and warm eating weekly.
That we'll get to that one really quick, Andrea? It's pretty exciting. Oh,
um, I don't know, maybe. Marsha, do you have maybe some insight into? How? Because I don't really know the city council well enough to know about? I mean, a charter change is a pretty big deal. But about a preferred strategy of that whether coming if there are multiple changes versus one change, and time in between what would be the best process?
So are we're not talking to city charter? Right, which is a very big deal. You're talking about the art in public places charter?
Well, it's a it's a chapter of the city charter 14, is
it?
Okay,
if it is a chapter of the city charter, then a charter amendment requires a public vote. So what you would have to, there are two ways you could do it. One is you could do it by petition. Although you guys are so busy, I think it would be really hard to do that. The other thing is that you can petition the council to put the charter amendment that you would like, on the November ballot. And, you know, you need to come up with a small justification for why you would want to do this, and, you know, how it would be paid for, and so on, and then it would be a public vote to make that change. If you please send me a note, I want to confirm that. Because that's just the top of my head. You know, we just did a city charter amendment for the arts, sort of for the arts. And it passed. So, you know, that a little bit of a track record going. But I'm actually surprised that this is not controlled at all by the city budget, but directly by the charter, which is, you know, why I need to get some advice from Jim golden about it.
Yeah, I better do my double, triple due diligence and double, triple check as well. So, yeah,
if if it is a matter of city funding, then you know, them them, as you put together your strategic plan, it would be a much simpler process of making a request during budget planning season in June or July. And try to get that rolled into the the fall budgets. So yeah, if if, if, if you will send me a note we can double team a little bit.
I do think that this is Kim, I do think that given the kind of things that are required in order to change the ordinance for art in public places, I, I would recommend that we go through the strategic planning process in order to collect all the possible changes that we would want to see. It's not going to be an easy process. So it doesn't make sense to me to do one tiny thing at a time, I think that it would make more sense to do a holistic approach to it.
I would agree. But that's I don't have any say I would love to hear more feedback from anybody on the commission.
I agree with what Kim said,
Me too. Me too. So we will get into strategic planning here in a minute. And I think that will be helpful to kind of see where we're at the shoe still lives do we want to have Call to artists with a call to artists. Angela, am I right in saying this? A call to artists 2d versus 3d? We kind of Whoo, we went a little bit over the thing. But yes, what we're looking at is doing a call to artists 2d art versus 3d art. And then looking at funding, and I respect Randy and saying that we want more money. But what do you all think about having two different calls?
I think we should have two different calls.
That was that. Oh, hi,
Aaron.
You're up at
the my corner now?
I would.
So we would need a motion on the floor. If Angela will correct me if I'm wrong, that we would need a motion to have two different calls, at least initially, and then we need to figure out how much money is going to go to each different area. Okay, all right. I'm like looking to Angela. I'm like still looking at her face. But yes. So the motion on the floor would be that we need two different calls. And I would need somebody to move that, please.
And move that we have two given calls one for two dimensional one for three dimensional art on the move.
Great. That's a start. So the motion is on the floor, we would need a second. Second,
before before we approve it. Do we want to discuss how many pieces will be in the 2d versus 3d money and all that? Or do we want to approve the motion and then discuss?
Well, I think that's a great question, Randy. Because what we have right now is my understanding and Angela will correct me if I'm wrong. We have 70 $500 total, to go ahead and do this. So if we have let's just be honest, the movement and the procurement and everything that is involved in a sculpture is much more time consumption, or it's it's harder than it is to have a piece of art. And Angela will explain to you about having. We've talked about having a pure pyramid an area where we have some art pieces that are 2d that would be set for that. But that's a I think we need two different motions. Is that right? Angela? Am I on the right?
Yes. So presently, we just have one single call for entry for artists art work to be loaned. I what we're looking to do here is separate it into two dimensional and three dimensional in the first motion. And then we can talk about the funding from the 7500 base in the second motion.
Okay. So what I'm asking now is if we have a motion on the floor that says we have two different separate calls for artists or call for artists in 2d and 3d, so we would need that motion to pass and then we can talk about money.
Christian?
Yes, sir. Peter,
roll with question.
All the questions. I
thought you said you had a question. Excellent. So let's go ahead and bring the motion to the floor. All opposed to having are all in favor of having two separate calls for artists? One via 2d one via 3d? Yes. Is that correct? Okay. So I need somebody to motion that. Great. All in favor. Okay. All opposed. The Motion passes. We will have two different calls for 2d and 3d.
Well, now. Sorry. I missed who second the motion. I did. Cindy. Thank you.
Alright, now we need to talk a little bit about money. So,
yeah, go ahead.
I was just gonna say. So. Right now we're at $1,000 is how much we've paid for sculptors to loan their artwork. And again, the singular artists that is on display in Safety and Justice building brought three paintings which filled the wall and we paid that person $1,000 and had 500 leftover so that's where it is in the present day.
Until you know the majority of the works have been three dimensional, right? They've been sculptural pieces. Is that painting in the or set of paintings in the sapient justice building the first two dimensional artwork for art in the move?
Yes, exactly.
As we had we had a one of the The museum a piece of wood, but waves in the museum at one point.
Yeah, we've had in the past, but not very often. And we didn't distinguish them, like we did from three dimensional.
Other question. If we have a call to artists, can we not take anybody? If we don't like any of the artwork, or I was thinking that at one point, we were thinking about having a three dimensional thing on that wall? In the Justice Center? What if we decided we wanted to do that? And we put out a call for 2d art to and then we just didn't take any of those and took a? I mean, is that?
Is that something you kind of?
Okay, yeah.
Here's the question that we're supposed to decide now is how many of each is that? Is that what we're deciding? I
think the bigger thing is, are we going if we do a two dimensional call for entry? Are we looking to select one artist to treat the entire space and pay that artist a single stipend? And what is that stipend? Or do we do a call for entry, say, photography, and we try and fill the wall. But then the wall is so big, and you'll have various sizes. So say, you get for teeny tiny little things, it's not going to fill the wall, you pay each artists $500 a piece, because that's what you have in your budget remaining. So it's kind of determining what that what that will look like. And, of course, recognizing that, or artists and the more funds that are in that one space, the last sculpture that ends up in, in the rest of town, right?
Sure is, is those two dimensional art specifically to fill that space?
Yes, at this time, because that's where we have the hanging devices that we've invested in, that don't make holes in the wall, and that we can change things out. And it doesn't matter how large or small they are, we can hang anything, but we only have that available linear feet, which I wish I'd written down. Actually that is but they don't know
that's that's different from all the other art on the move, because we just asked him for pieces and put them after we have them. Correct.
Correct?
Well, okay, we
asked for. I'm sorry.
Go ahead. Peter,
can we ask for some kind of installation, whether it's two dimensional artworks or whatever, specifically to fill that space and give specifications of that space? And it can be if somebody wants to put one big pain that runs the whole extent they can do that, if they want to put 12 small paintings that are arranged in some, some artistic way they can do that.
That's what we said. Yes, right, Angela. Exactly.
I would just think that we kind of be flexible, see what we get. And kind of go for there with me, I would say the intention of having majority, three dimensional, but you might just have like one, two dimensional artists and six, three dimensional, but you never know what you get. And I just think we need to be flexible.
I think that's what Angela and I talked about today that we wanted to be really flexible. And let people know that this is what we have, right, Angela?
Drew. The only trick of that is when you put the call for entry out, you'll need to say how much each artist is going to be paid for their loan. So
I think that we should
focus on one artist, like we like this year, put out the call and say we want one artist to fill this space. And if they want to give us 16 things, that's fine, but they get the set rate for one artist. Because if we have seven artists putting stuff up there, they'll each get like $100. It's just like, you know, it's not worth it to them.
I agree. I agree. And we have to decide that upfront.
So we need to figure out how much money do we want to do this with?
Should that be the same amount as all the other pieces or should that be a little more because they've got a large space to fill in might use multiple pieces? Well, we've got an additional 500 on top on top of seven grants of 1000 correct.
That's a great point, Peter, but also think about the maintenance and the work that's going to take to put paintings in versus a sculpture. And
wouldn't it have less maintenance and less work to put the paintings in?
In my opinion, yes. But I'm not an artist. I'm just a genius. No, I'm just joking. No. No,
I
yes, city. You're exactly right. I think I think Kim might be able to comment on this space wise, but I think that, you know, carding of some paintings via car is much less arduous than trying to bring a sculpture and getting the maintenance in. But Angela, you're the expert on this. What do you think?
I mean, I think, most often, yes, easier to install two dimensional work than three dimensional, but to Peter's point, if it was an installation artist who came in and treated the entire wall. I mean, that could be quite a bit of time. I yeah, I think that the wick was that approached it, this last year was a smart one in the only was that, you know, to two dimensional artists got the same price for three loans, as a sculptor did for one loan sculptor was more difficult transport. two dimensional artists, we got more artwork, it makes it a little more streamlined. The art calls are going to go out there at the same time. So we're just treating all artists no matter what your media the same,
I agree.
Makes a lot easier.
Okay, I'm gonna throw something out here as a potential motion, that we from the budget, we set aside $1,000 each for six threedimensional works, and 12 $100 for one installation of two dimensional work or works to fill that space.
I
be happy to hear discussion about these.
I would like to hear Angela's input on that. Because Peter, that's great. That's brilliant. I would like to hear what Angela has to say about that. Because she knows our money better. But then budget, that's fine.
Why the extra 200? Peter?
Well, it is because the reason it might be multiple artworks. And it's they've got a specific space to fill, rather than just saying, I've got this work, and you can have it for you. It's more tailored, it takes a different kind of, of thought process and preparation on the part of the artist. So we offer a little bit more to fill that specific space. That's fine.
Andrea, what do you think? Oh, sorry, Cindy,
it is a big space.
I disagree. I feel like getting a sculpture in town is much more expensive. The sculpture itself, most of the time is worth more unless you know it be rare that you'd get a two dimensional I could be wrong. But I'm just thinking if you think about Ursula major, how difficult was it that three 3d piece there? I think we're being very generous with the 2d artists by giving them the same but I understand for the simple reason of simplifying that it's it makes sense. And I would hope that having a multiple art pieces would be part of that process, we would end up getting three or more pieces or one gigantic piece to make it.
So in true palmists fashion, and I'm throwing this in Angela's lap, and she didn't know this. Would anybody be interested in talking about this offline? Because we could sit here and talk about this all night? And Kim has a point. Oh, yes, Kim.
I was just gonna add that I think I agree with Andrea that not only are we talking about a big difference in terms of shipping and, and things like that. But in terms of the fabrication of sculpture versus the fabrication of a painting, there's enormous difference in price. And so if we are, even if you know unofficially if we are hoping to compensate artists for the work that they're doing, sculptors are spending a lot more money to create art than painters are generally speaking. I mean, that might not be true for everyone, but generally speaking, they are spending a lot more in materials than a painter would. And so I would agree with Andrea that if we were going to have a difference in cost. sensation, I would be more inclined to give the sculptors more money than I would the painters
be too.
And I play devil's advocate just real quick thinking Bigger, Longer into our future. Just quickly, that let's pretend that years from now the charter does change. And let's pretend two years from now that we do have more funds, and we have more buildings that we could outfit with loans in other ways. And in two dimensional art, if we treat all artists the same today, with a precedent of set giving artists $1,000 for their loan, two dimensional for treatment of the space, three dimensional for treatment of this space. And we just use the two calls simply for ease of selection, then when we get more funds, then when we get more space to make differentiations of price is going to be a better argument and a more logistic or a more logical argument. Because of the change of the program. This is our infancy. And I think if we start creating, we're setting a precedent. So whatever precedent we set for going forward, should have reason and behind it. So that would be my reasoning for keeping that singular treatment of the space for ease of selection. And so it jives with how much we're paying artists.
I also like that because if we decide to put a three dimensional thing there, it would be the same as the three dimensional stuff outside
of my I was drawing my previous suggestion for motion and just say that we looking for seven artists $1,000 each unspecified, one will be a three dimensional piece to fill that particular space, and the others are to be sculptural three dimensional works to be placed as the commission sees fit in Longmont.
Alright, Peter, that's beautiful. So we have some new people here. And can we translate that? Or do we need to translate that you all get it? Danielle? You all good with this? Okay, I know Teresa is Danielle. Everything makes sense. Jennifer, go please. Jennifer.
Yes. I have a question. No, I think this is a good way to think about it. But what I'm, I'm just as clarifying. Do we pay any shipping or transportation costs? No, they have to so most of them. I know, Angela said that most of the things come from nearer around here. So if they lend it to us, no matter how big or small it is, they have to somehow get it here. And then then we pay? Do we pay? Like if we decide, okay, it's going in the library? They have to get it all the way to the library. That Oh, here we tell them where to bring it to. Okay. Okay. Well, that's another factor. I mean, that's I'm in the discussion that we're talking about, right? That's kind of rolled into the discussion is like, they're gonna have more expenses, transporting a giant sculpture around and they are putting a few paintings in the back of the car. Okay. Right.
But in both cases, they're mostly pre existing work, they don't create a new work for us.
And also, they get the exposure of having it outside in the public for whatever reason,
right? No, I get it's a good deal. And I'm glad that we're able to compensate them. But obviously, they're going to have more expenses, you know, getting the thing to us, depending on how big it is.
Angela, can you explain how that works a little bit. So for new folks, I don't want to put them in the dark. But so what happens usually, is that they they're responsible for getting it here, putting it up, and that's included in their fees are well,
only responsible for transportation, the transfer of the of, and Eileen, there's a fancy registration term for this one, but the, when the liability happens, we install the work. So once the work arrives, it is part of the city loan at the moment that it arrives and then we install it. So we take on the liability at that moment. So when the person pulls up with their car, and at the moment that we start transporting it, that is to say taking the painting out of the trunk. We're responsible for it from then on out and you know, it's a contraction, it's a contract with the city. So this is really good for some of the beginning artists, artists that haven't done this kind of work before because a lot of them haven't had to do a COI right. A lot of them haven't had to understand insurance policies and look at this. So it really is It's an opportunity for exposure. It's also an it's a it's a lesson in the business of being an artist. Yeah. So but we are responsible for installation, which that is a fairly heavy cost, especially for installing three dimensional work. Good.
Alright, so what I'm hearing is that we, Peter has that motion on the floor, kind of rough in there. Peter, can you repeat that so we can get that motion. And then we need to probably have a little vote, or not a little vote, but a big vote.
Well, but the motion was that we, for art on the move will have a column for artists for seven artists $1,000 each one of these ways to be a two dimensional work for that very specific space in the Center for Justice, whatever, and all others threedimensional works to be placed around the city of Longmont at the discretion of the Commission and the city.
Beautiful. Alright, so all in favor of Peters motion. We need a second. Sorry. All in second. Thank you, Andrea. Oh, Edie has a question. So go ahead. Yeah.
You're unmuted honey.
That was the second.
All right. Sorry.
I know. Like,
I want to keep myself unmuted, so I can do that. But then I do other weird things. So. Alright, so Andrea, seconded. Do we have all in favor? Okay, all opposed. All right. The Motion passes. Thank you, Peter. Thank you, everyone. Alright, so now. Yes, Jennifer.
Just one more quick question. Okay. So when the insolent when the city staff arrives for the installation? Do we have to pay for that out of our art in public places? budget?
Yes, that is budgeted annually.
Okay, so we have some amount for that, too. Okay. Thank you.
Randy.
What are the six other spots? I think we have more than six. But we have to choose six of those from the pool. How many do we have?
Lots. Really, last year was my first year going through the process. And ultimately, how the taskforce decided was based upon the artwork that we had, for example, the blue Picasso horse really needed a long and skinny place. And it needed to be bolted to concrete. So we had to, based upon the list that we add, look at the artworks that were really very specific site specific. Take care of those first and then the other ones kind of figured themselves out. I guess is the only way I can say it, right.
Can you make sure I'm on the taskforce like, I'm supposed to be?
Okay, thanks.
All your sister, all yours. All right. So I knew Angela and I talked today, I think that we this is gonna be a big one. So how do you all feel about
Oh, go ahead into one other thing, sorry, quickly. I will be certain that Marsha and I connect, look at the charter and assure that that is in fact, the case prior to launching the call live. We lose
Marsha.
Possibly. But if if something is different, that way, we'll I'll look into it before we post the call for artists.
Hey, great, great show anyway. Hey,
goodbye. And
yeah, and Marsha had to leave at seven o'clock she had let me know earlier. All right.
Thank you, Nicole. I appreciate that. And I keep clicking out. So if I like if my camera goes off. We're having really bad weather here tonight. So I apologize. I can't wait to go home.
Are we going to have some kind of vision retreat, maybe in the fall once because you know if if we're all inoculated, I feel like we can join. You know, I would assume by the fall we're all inoculated.
So I won't be chaired by then. But so I will join you by zoom.
We need to have a retreat as soon as possible.
Okay. All right. So we Angela word. I'm kind of a little bit confused. Do we need to go on to specific money or are we okay right now to move on to our next item.
Oh, that's done. So we're on point eight.
Oh, goody. goody, but I knew it was gonna be. All right. Well, here's our big thing. And I'm really excited about this. I don't get excited about much in COVID. But we are now on to strategic planning. And I'm just going to say a few minutes or a few words about this. Holly, and Angela and I have been working together a little bit on our new strategic plan. We think it's going to be a five year plan. But everything's in the air right now. And I want to commend our fellow member, Holly, for working so hard on this and getting some information, but we are looking at different formats. The city has asked us to submit a pre plan, right, Angela? Basically,
I think eventually, yeah, but right now, just looking at the waning of vision 2020 was very much the catalyst for the necessity for a new and revised Strategic Action Plan.
Right. So we're looking at different formats, different ways to get together different ways to get creative mission plan. And so we are in the beginning stages of what we're working on. And Holly has a lot of experience in this. So it's been fun working with her. And Angela and I are kind of like we said today, we know enough to be dangerous. So we're excited about Holly's input. I think that there's going to be so many opportunities for all of you to help write this strategic plan, right, Angela? Yeah. So I'm gonna let Holly talk a little bit about that.
Can you hear me guys, it's cutting in and out on my end. Sorry about that. So Andrea, it's it really exciting for you, for me to hear you say that, we need to get together and look at our vision, because that's really what strategic planning is. And fortunately, because Angela is out there and in contact with a lot of people in the city, she has pretty much communicated with folks that will potentially fund some of our training from an outside facilitator. So that is kind of where we are right now just trying to decide what that's going to look like and how we can put a proposal together. So that we can most effectively do that. So if you guys remember back, about a year ago, now, we really started some of the pieces of the strategic plan process. Remember, we came together and we did a self assessment from our commissioners, and we looked at some of our strengths related to that. And as an executive team, we did a SWOT analysis. So there are some things that have already gone into that planning process. But it's very exciting now, because it looks like there's going to be maybe a whole new opportunity that is even bigger than what we thought when we started a year ago. And of course, it all got stalled, because we went right into COVID. And we weren't really meeting for a couple of months. So lots of good things. And I think Angela will bring it forth. We're gonna meet weekly here for the next couple of weeks to try to solidify a proposal. And then we'll go from there.
The other big piece that's come now to the surface, which also has been, you know, in the works for so long, and then, of course, got stalled by COVID. But to their credit, pushed it through. And actually this is credit to Kim. The museum went through a museum assessment program through a am which is the American Alliance for museums. And so some of the audience and some of the legwork, if you will, of who's committed and who are the stakeholders in our community for culture, who are some of the other organizations who are our neighbors, friends and partners, has already been done. And so as a museum leadership team, we meet tomorrow to go through that process. Go back through what our peer reviewers have submitted to us, and then make comments so we're receiving a massive leg up, if you will, in the very near future. So I think that this, this whole bit of assessment and strategy, and looking at the charter and looking at the program as a whole and drilling down into the changes that we want to make on a on a you know culture in a big picture in Longmont and then even to our mission and our values and those bits and pieces of it is going to happen in the very near future. So all very exciting and I really do appreciate Amy and Hollies work thus far. So stay tuned, but lots to come. Very exciting.
It's really cool you guys, folks,
it's really, really
cool. I'm so excited. Holly has a lot of experience. And Angela and I are learning as we go. And it's just, I think we're gonna have a lot of fun with this. I'm hoping that I can stay on in some capacity as to the, as we write this like, like,
member at large.
But it's, I don't get excited very well, yes, I do. I get excited about everything. But this is really, really fun stuff. And it's things that our future is about, we're talking about stuff that's going to happen, but your grandkids, your great grandkids are gonna be looking at these things in 20 years, which is really, really cool. So any questions about that? conservation and maintenance, Miss Angela.
All right. So hopefully everyone had an opportunity to look at the shortlist that I have sent to you. Thank you, Amy, for going through that with me. Basically, the process that we did was, took the spreadsheet of pieces, and then broke them down, if you will, into a loose quadrant of the city. And then assigned, I'm sorry, I did not look at where you lived and based it on your on your address. I just said hey, guess what, you're you are South you are central, you are looking Northwest and and then split the pieces. So everyone got a small handful. If it was a piece that had more components, I didn't give you as many pieces as someone else. But I think depending on your load in your life, if it's too much, then you want to drop something off. Let me know, if you are super jammed excited about this and you want more, let me know. I'm also included in that was a link to the the smart sheet that we created this last summer, if you'll recall, and I'm going to do something very scary and share my page. Maybe I will maybe I won't. I probably will Well, you're gonna see yourself there for a minute, but hold on. Okay. Can everyone see my screen? I can't see you. Now, Holly, I can see you give me a nod. I can. Um, does that work? So it's not, it's not pretty, but it's really functional. So when you follow the link, this is going to be the form that you find. Can you see it is it's really too small to see. No looks okay. Holly says good. Okay. So, the great part about the Smartsheet is if you decide that you are a pen on paper kind of person, I typically am, I will print this out and maybe keep a maintenance notebook. And every time you visit, you could just keep it in your notebook and answer all of these questions. And then when you get home, take your notebook and put it into the form. The brilliance of this form is that as soon as you submit it, it sends me an email. And it also loads into a spreadsheet that then I can filter and sort the even better part about it is that Eileen and I are working on eventually mirroring our fields with our database that houses our public art collection, collection files. And so this is really important work. And I know that it's laborious, but it's also a new way of, of doing of doing a maintenance sheet. So some of this is very much opinion based. And that's okay. You don't have to be a museum whiz and touch day guys all day. I'm sorry, I'm just jealous. I'm gonna just say that. Sorry, Eileen. But you don't have to be a museum whiz, to go through this form and do a very fair assessment, and is going to tell Eileen and I, if there's something that that raises a flag in our world, so an overall condition, how you know, overall, when you go up to it, how is it? The reason that there's no excellent is because the only time a piece of artwork is excellent is the second that it leaves the studio, and is in the most pristine condition ever. And once it's installed, it's it's great, right? But it's gone through travel and it's experienced a little bit of life. So it's not excellent anymore. So that's why it's not on there. But but obviously if there's if you send me a note and I open my email and I see poor, I'm going to go See that piece? That afternoon, right? And then these additional issues? What if there's a broken part? If there's something missing, that's gonna tee me off that we have a bigger problem here?
A surface coating? Hey, did somebody spray paint it? Does it look like somebody took a magic marker and put another mustache on Roosevelt, you know, those are going to be the kinds of things. It might be a bronze and the wax on the bronze is starting to show through. And we need to do a new treatment and suddenly, it's starting to look foggy to you. Well, it's got a surface coating, right? And what is the condition? Ooh, it looks really bad. It's flaking? So again, you don't have to be a genius to answer these questions. And I tried really hard to have field notes like Peter had mentioned earlier. It's just with this format. It's really, it's a little bit finicky. But there's hazards. So if there's a live wire, and it's sparking, and there's a pool of water at the base, you know, that's hazardous something. A hazard is certainly something that if a kid were to come up to it, that kid might get hurt, right? damage, what is the assessment of your assessment of that damage? And how much of it what percentage of it is damaged? Is there a placard that is our number number one goal for our first assessment of these artworks? Is Is there a placard present, that also includes a bronze plaque, a plexiglass placard, if it exists or not. And then what the condition of that placard is. And if you are able to do a latitude longitude or no assessment, there's, there's a link. So if you're doing this on your phone, you could get your lat lat latitude longitude right away. It would help just if we're in the future, going to do like a walking tour or something like that. But not necessary. I know that's an added, that's a bonus. And then file updates. The goal for that is any images that you take, as you go along the way. If something's broken, or if just it's a pretty picture, whatever images you can send, is all the better, all the better. And then you can choose to send a copy of your responses to yourself, and then you submit it to me, and it comes straight to my email. And this is this is really is a game changer. So we've tried to refine it. I've had a interns play with it. And I think it's good. So, Andrea. Yes.
So I, from your email, I got the impression we were only looking at the placard Are you telling us then we should just do a full assessment of the whole sculpture while we're there.
ends on if you have the time or not, it's completely up to you. And my hope is that these can at least be a seasonable seasonal adoption so that everyone can commit to the number of works. And again, you can add or subtract for for this season. And if you can't fill out this form, and you can only tell me, yes, it has a placard. No, it doesn't. That will move us forward, certainly on that project. As
you said, in the note that there's there's no place for comments, you can enter text in where it says hazards noted. And what I've done before is I'll just put no hazards but you know, there's grass growing the covers up part of the image or on this one side is just discolored and it's unsightly or something like that. So you can actually provide comments in that way.
I know I'm so I'm not the developer. I am only the alpha user on this one. And I'm working very hard with our city tech person on making changes and I'm pleased we are this far So yes, by all means please use the hat. No hazards. But hey, Angela, look at this. Yeah. Open character fields are apparently a thing.
Oh, not me.
Okay.
Okay. Good. Any other Yeah. Any other feedback or comments? Thank you, Angela. It's so much organ. It's so organized and great to do that.
Um,
we are now looking at the colorful poetry in the middle age stuff at the city. Right, Angela? So, just in short, have you been to the city building? Or the, I guess the courthouse building is that we call it
Civic Center
Civic Center lately? That's your question. Have any of you been there? Well, it's time to go. Go, Angela.
So last year, one of our city employees actually not just one, um, a number of them. Of course, we're in a construction zone, because of all of the construction that was happening at the at the Civic Center. And they had mentioned, hey, can art in public places, Pete, please take a look at the banners. Does everybody know what I'm talking about? I should have brought a picture, but I didn't. Anyways, the there are a number of banners. And that's what the artist called them initially. And the title of the work is colorful, colorful poetry in the Middle Ages. The work call was in 1992. Records habit that it was installed in 1994. So it's 27 years old. I, the original says that there were 44 banners. But I looked at a bid for treatment for this work for from a textile conservator from 2009. And she addressed some 2020 banners. And so one of the new commissioners actually I think is assigned to go and view this work. But But I'm hoping we can get a group of volunteers who might just go and pay your utility bill in, in person and or just go and visit the Civic Center building and take a look at those. And I can send you pictures from the original. But I think that they're pretty faded. And the real question on the table. And we don't have to answer this tonight is what is the path forward? Do we get a conservator a textile conservator out here to assess the work, which will mean getting a lift, getting at least one down? Probably one that's been in the light for a long time? Looking at if the textiles are frayed, what the condition of the material is looking at the color, is it something that can be re dyed? Don't really know I'm not a textile conservator. But and really, how is it that we should move forward so that piece can either relive its its former glory, or that we address it? So it can be the best looking piece that it can be? Because the Civic Center of course, went under massive renovation. So art in public places received quite a bit of construction funds. I don't know the exact amount. But when the new budget comes out on them. And also, of course, as you likely know, it is the 100 and 50th. I can't say that word. This is 200 and 50th anniversary of the Chicago Colorado colony this year. So the city is celebrating.
And yes, the sesquicentennial.
Thank you I can't. And the city is celebrating and they would certainly they are champion, they're going to promote any any and all projects that we do this year. So that's kind of the story of that. So at the very least hoping for a number of volunteers who would like to go and view the piece and if anyone has seen a recently if you have any thoughts.
I think they're really faded. I believe you mentioned that they had been I don't even remember what you did with them, but they had been treated or fluffed up or refreshed in some way shape or form years ago. And I think it looked a little better but they do look faded.
I'm with you, Andrea. Exactly.
No, I you know, we definitely need to assess it but i i would be really surprised if we don't do decommission them eventually. So just my thoughts. We went
Cindy and Angela when we were looking at space, right? And you pointed them out to us, Angela, and they are pretty worn looking. I mean, they're not they're not fresh, they don't pop, you really almost don't even acknowledge them. Because they're so faded. And and I've been in there many times and actually didn't even notice them because they're not very
fresh looking. They're definitely more pastel now than bright.
I think we're just like white, off white. Not not super attractive. I mean, I'm not putting down it's just age. No, I'm not super attractive and thrashing. happens.
So I think with any of us be willing, I will when I get home, be willing to go take a peek, and then report back to us next month.
Yes, I will no look at them. Also, does anybody know what the fiber content of them is? Where they don't own cotton or polyester? Or what do you know,
that'd be an inch. That so I'm so excited to say that because of COVID. The most positive thing that has ever come out of COVID is that when the museum closed, volunteer front desk staff, not volunteer, sorry, front desk staff went through a digitization process, and I actually can access all of the original 1994 files from my home. Oh, wow, look for you. And I can find, and it's it's brilliant. So I will send you a note offline about all of that business. And maybe in the meantime to I can ask finance what the final number was that came from the Civic Center tip. Because those funds are directly linked to that building. And considering that it's the 100 and 50th. year, maybe this is just like the stars aligning of a perfect time to recites this
kind of with all of you. I don't know if as conservator is right, the right move, maybe it's time to brighten it all up. Whoo. But if you have a few of you would be willing to go and just take some notes. And then we will put this on the agenda for next month. And if you want to get together offline, and go together, that's totally cool. Right, Angela? But I know with our COVID responsibilities, we have to be careful. And our new people if you want to go look, this is a great project to get started on like, like, Oh, we need some help on those. So I think that'd be really great. And then we'll come back next month and kind of get a path conservator or new plan. What do you think Angela?
Okay, great.
All right. My stepmother,
Jennifer volunteering. Is that Is there anybody else you can commit in one month to go over there and just take a peek?
Here, Aaron, Jennifer Holly. Pamela Peter. Awesome. Thank you guys are folks. We are on to our administrators report.
All right. Thank you all for sticking in there. And hanging in there. Okay. So a couple of fun things. Oh, the one that I already just said because it tied in. We've been approached by the city to anything that we're doing for the word that I can't say 100 and 50th year anniversary. Oh my gosh, I can't see
myself.
So I'll keep that in mind. Another project that came in front of art in public places and also a number of folks within the city. Not to the point where we need to make it new business but just kind of to put yet again back on our radar is the city in the state are going to be working on highway 66. Eventually, from hoever to Maine. So if you will West west of of 287 on on 66 the highway. And so it had come to light again about the North entry, gateway project and that to say there's all kinds of different projects going on. right there's there's the state highway The 66, which is the road piece of it, but there also is the Wayfinding initiative, which is a large city initiative, which Marcia had alluded to the kind of rebranding piece, but then also that art in public places for years now has looked at a North gateway piece. And as far as I can tell, based on previous research, really, it ended up that my predecessor, Lauren, that even through all the digging and finding and looking at that there was really no good, good place that the city owned. So I just, especially with some of you folks who have been on the commission in the past, if you have any aha moments related to that conversation of of looking for a location for North gateway peace, I'd be interested to hear aside from that. I guess it is just kind of a stay tuned. And it's, it's on our radar. Yeah.
feedback.
I, if I'm thinking correctly, it's the city along not putting up some beautiful gateway signs. You know, that's a long you're entering Longmont. Is that going on?
Yes. And I'm not a part of the Wayfinding. City committee. That was way before I arrived. But yes, so somewhere in the pre design phase, like then the need for Wayfinding to the point of hiring some sort of Thank you hiring a design for I think that there's, there's something in in there. And I think that that's why we're being brought to the table at this point is because if the city is doing a large Wayfinding program or initiative, that boy it would be sure smart to make it beautiful and and include art in public places, right. I
think we eat it to see that what they're proposing or what they've done or doing before we make any big decision.
Right? Oh, that's you most certainly the case. Most certainly the case.
Any other feedback on that? Susan?
Susan, you're
muted, honey.
All right.
Um, it's one of those pieces. Like if you're on 119 I'm kind of across from sandstone. It's like a It looks like a river kind of thing. And it's on this pedestal. It's not real tall. I mean, you do see it. It's on the north side of 119. Like if you're coming off I 25 into this city. Is that the kind of thing
the ones that the entryway pieces are Florida Yano the big flat red stone piece on the east side of town. And then the other one is the blue balls entering from the boulder from the diag Ray, the entryway piece. Okay. Okay. So we only have two of them. There's been talk of doing another one on the north. And you know, I'll be honest with you. You may not agree with me, but those those entryway pieces were highly controversial in the end. And I I wouldn't mind having a little bit of discussion whether or not to even have it. Because I just feel like like Florida yanna. To this day, people are really griping about these stones, which are really historically significant. fence posts, but they view them as grave stones graveyard stones. And
I'm with Andrea, I
think we need to talk about a little bit.
Yeah, I'm not sure if it's necessary, or I just I'm not sure if I want to put so much money. Those are the big, big, it costs a lot of money. We may be going through a big recession, we may be cut having a budgetary cut back in the next couple years and doing a big entryway piece that a lot of people aren't very pleased about or they speak loudly about that anyway, is I just don't know if it's important enough to do I mean it has to be discussed for sure.
The other thing is that needs Those pieces say anything about Welcome to long minimum. I mean, isn't that what the city is looking for something that says, Welcome to long month and then. And then
twofold. Like typically a gateway piece is something like when you think of the Eiffel Tower, you know, you're in Paris, when you think of spirit of Longmont, or you see something like that, or Colorado and might say, Oh, I'm on my way from Boulder to Longmont, because I see this. And in the artist statement Initially, it was something along the lines of that there was a lot of technology happening in in the city and and so yes, I certainly can hear both sides. So again, like it's, it's not a this is happening or not happening. Wayfinding I think, one way or the other and just signage and maybe Susan, that's what you were talking about is is there a sign? Yeah,
here's something he says Welcome to Longmont on it. Next time I go by it.
That is part of the Wayfinding project with the city that city of Long month that you're talking about Susan because they were going to one on the west side as well. I don't know if you guys remember a few years back they right there at Holborn 119 if you're coming from Boulder heading east at that stoplight right before you got to that stoplight, they put a big
media in there because they were going to put a Wayfinding sign there. And even that one that is on 119 coming in from the east heading west into the city, the two mountains and it's got a stream in it and everything.
Exactly. That's what yeah,
that I think cost the city to earn $50,000 just for that. And um, yeah, and that hasn't been popular. And I know the city would like to do three more of them eventually, but
they don't have the property or the placement.
Okay, next
shopping. Okay, so that's what I know more about that Sandy cedars a good person. Yeah. Okay, so it makes sense. Then they roped art and public places in because I think that part of the goal, of course, is to make it beautiful, and who best, you know, to advise on something beautiful that are in public places. But again, this was just one meeting. So don't be surprised if it comes about new business, but right now it's just kind of a FYI. Got an email, that kind of thing. Any other questions related to that? Doesn't sound like has legs anyways. Okay, so this one's a fun one. What did I call it earlier? Amy?
Let me look.
Golden spike yet.
It was like a name. I was like, I was gonna go there. But I'm gonna let Angela tell you what it is.
No, you go the golden spike conundrum. Yes. So in 1997 I want to be accurate and hold on just one quick model.
1994.
Okay, hold on a second.
I got it here. Hold
on. 1994. The work is 27. No, no, no, that's not it. 150 year old Chicago colony.
bolded bold gold.
Never mind. Go Go for it. I'm gonna mess it up.
Okay, here we are. So in 1997. I'm on the north side of St. vrain Greenway underpass at Boston Avenue, which this is part of the reason that it's been brought to our attention is because of course of the Boston bridge project. I asked questions. And they said, oh, there's something there, which is not art in public places. But apparently, when the city attached the St. vrain. Greenway trail between Main Street where it originated, and golden ponds, where they started building it in from in the 90s, they made a commemorative moment by city council driving some golden spikes and created a plaque. And the idea was to mimic the transcontinental railroad connection. So those were the places where the two that's that that connection happened. And so that was fantastic. But it's not an art in public places piece. And I don't. So the question is the ownership, of course piece of it. And when the demo happened to that space, they'll have to come up. So I got an email basically saying, hey, what should we do with these things? And I just had to share because it does make me laugh, because, of course, that's the whole purpose of art in public places, right is when you commemorate a moment in time with a thing in it. You can have ownership and track how long the how long it's been in place? And what it is, is it three feet long to Holly's point from earlier? Are they inches long? Or, you know, what is this? So it's just a conversation at this point. But the word salvage came into place. And I was like, I don't think art in public places wants to adopt it. As of right now, it seems appropriate that taking some photos of it, and taking photos from the past, and having that that be acquired by the museum would be appropriate. But then as we think bigger and we start thinking about the new Boston Avenue project, that maybe getting images of these of these pieces, and mixing that in, you know, the new with the old, might might be a good idea. So really nothing to discuss. No, really not No, no point to be made, other than maybe you remember it happening. Maybe you were there when they drove the spikes in. But yeah, it's there. I've never seen them. I've, I might go visit. But yeah, I'll let you know, kind of what comes of it.
I've got a question. What connection does Longmont have to the transcontinental railroad? Which was way north? northern Utah?
It was I don't know, but I will I could find out for you
know, it was a mirror of concept, right that that these two that these two points, the St. vrain. Greenway trail was meeting with the new ground that they were braking to make the full loop of the st. Great, you know, so that that is I mean, and that's quite comprehensive for and, and progressive for a city to have a trail that really goes the full city and that you can. And so when they started the development piece of that part two golden pawns and connected it with the original, they drove the spikes like that, that that's the point where the project started in the 90s. And they were meeting.
Where is this? It's?
Well, I wouldn't know because it's not a part of the art in public places collection. So I don't have any I don't have images. But I do it says on the north side of the st. Brain Greenway underpass at Boston, there's a dedication plaque, and some spikes in the ground adjacent to the Greenway. So I mean, I asked parks, I mean, it's a parks thing, right? It's uh, and Paula, Paula just came out with her book, but I have to review and I don't think it was in there. Anyway,
Collin, I'll get my answer before our meeting is over, I will let you know.
So anyways, the point is just like that, what's to happen when they come up? And chances are, they'll be acquired by the museum. And we'll we'll see that they make it their way there. But in the future, as we are in public places, do the Boston bridge underpass project, it might be nice to nod to this moment in in the city's past. So I just thought you all would really think that that was fascinating, like I do. I'm a collections geek.
I'm sorry.
I'm a geek too. So I just have to tell you my expert. He He said, like the light rail or the old choo choo railroad. Oh, my goodness. And that's all
I got.
Really?
Okay, guess what we're on to friends. Commissioner comments.
Did we do new business?
Dad, that's just what
the Minister for but
Oh, sorry, admits anything else. She said today that that was kind of her administrator's report. So I'm just
Andrea,
I just have a question about budget. How has COVID affected our budget this year? Or is it too soon to know?
You're muted?
Yeah, sorry. Um, so the budget had has been approved. I know that they're in those wonky moments of the roll over a bit. I don't know if Kim's there and can speak more about that. But so the reporting should be available in the next couple like month or two. But our budget is flat. So our budget is the same as last year. Asset wise, that line is 100,000. And, you know, things that are annually budgeted like chalk art comes out of that right? Things encumbered. dollars, right will show up but we're flat. So we have had no no impact.
I would just add, Andrea, that. You know, a couple years ago, when there were a lot of city projects that were happening, the art in public places fund balance was really kind of padded, if you will. And so we've got a lot of money in the fund balance, and we continue to get revenue in every year as a result of additional projects. So we're not at risk at the moment. Certainly we're not I think you you're familiar with past years when there were major recessions. I think, even if we do see a downturn in some of the city projects, we've got enough in our fund balance to carry us for quite a long time. So I think we're doing pretty well.
Thanks, Kim. That's comforting. And I know this city is committed to art and, and work. So just want to let you know that
for the record, our rail station at second and main was one of the most important facets of the central part of the United States. And I'm, I was told to read a capstone undergraduate
mesh
thesis, but that was my son. So he's done so much history on Longmont that I'm not joking. He like knows more about us than anything. So it looks like that. It really is a big deal. So might be worth investigating.
I'll let you know. So right now, it's basically at the top of natural resources of Hey, we have spikes, they need to come out what's going to happen to them. And I I throw my leads way I said museum acquisitions would be a good place. But before we take a jackhammer to any concrete
might want to Oh, and I think also talking to Carmen, as we talked about earlier today, Carmen Ramirez and also talking about to the people that were here are the ancestries would be great. Awesome. So we are back to a number 12, which is Commission's reports or comments, anything else. I'm just so excited to see new commissioners, Danielle, Trisha, Jennifer, Oh, you guys are awesome. You're gonna love this group. I wish we could all come together and like this powwow, but it's gonna happen in your tenure. So I'm just so excited to have you here. I'm emotional, because it's just a wonderful, amazing group of people. And I think you will love Angela, she will tap your energy like nobody's business. My sister, actually, this is the sidebar eavesdrop on my conversation with Angela. And she goes, Oh my god, you name it.
She's just like
you. She's so full of energy. And I'm like, yeah, that's probably why we like our jobs. So any other feedback on tonight? I would love to hear, Trisha, what would you like to know? Like, in your next we have four minutes left? What would you like?
I'm good. My brain is nice and full.
How about you, Jennifer? What would you like to know? Anything that we can help you understand more?
I thought of something a few minutes ago, but now it's left me
so. So email, either Trish or email, Angela and iron. Yeah, answers.
I'm pretty good. I'm thinking I'm not. I don't have to know everything at once. It's okay, if it comes in a little at a time or some other time. And I am, I am very interested in these banners. And I'm excited to go look at those because I'm a fiber artist. And also, I'm not a conservator, though friends. And I want to just see what these are. I mean, this is the thing with fiber art. It is not really designed to be permanent, especially stuff like that these banners that are exposed to the light and the dust and the you know, people coming in and out. They're really not designed to be permanent. The only kind of fiber art that can really be permanent is really stuff that has conservators or they have like that big sacristy in the church where they put everything carefully away and all that
that's why Angela and I met Conservatoire are we mentioned conservator because he wanted to talk about that but yeah, right. But anyway, Take a look. All right, um, who am I missing? Are there new person? Oh, Danielle, you are trying to be.
I thought I was gonna get away.
I am just taking this all in.
I've already learned a lot tonight. So I'm really excited to just keep keep hearing what you guys all have to say and just kind of jump in.
Isn't it fun?
flies really cool. It really is. So I'm excited.
Okay, well, I'm really excited to have you here. So let me look at our last I think we did really well. Angela, we are two minutes ahead of time. So anything else for the good of the order? Angela, once again. You've done an amazing job.
Here, everyone, New Year.
Okay, so we are now at eight or 758. I would like to see if anybody would like to move to adjourn.
So move.
Cindy. And Randy long seconds. All in favor. All right. God bless you all. Wonderful.
Thank you, everyone.
Thank you all so much. Thank you, Amy.
Welcome, the new commissioners. Thank you. Thank you so much.
