Hey. Hi. >> Yeah, the demos look expected. >> Yeah. >> You know, 8020 is what we usually get. Yeah. >> But my go Yeah. Yeah. Yeah. Okay. Okay. 50,
>> you know, just know from there. >> Yeah. I understand. >> They're passionate. They have time. Yeah. Thank you so much. Thank you. We're excited. >> Yeah. >> But um yeah,
>> my godaughters there godaughters. I just keep watching all the fun swag. Good. >> Yeah. So, they sent me one. >> Yeah. Yeah. Yeah. like and be like, "Oh, here's your
conversation." >> Oh, I know. >> Yeah. I don't have ever had much fair like I'm not really I'm church some troops and stuff like >> these
just they gave them to me. >> Is this a mic? >> What? >> Is this mine or yours? >> Yours. >> Thanks. did >> I'm just just looking at the 18 lineup and I was like maybe >> I don't know what else to do. >> Where's your name tag? >> Andrea static.
>> No, it's fine. >> There you are. >> I wasn't trying to be snarky about it. I was just wondering because I >> I'm just I'm too wrapped up in this water conservation. This wasn't >> River. We need to have every piece of
>> you guys have a copy of the agenda. again. So after this, you just hop as fast as we can. >> Where you going? >> Inventable neighborhood association. >> But it just >> taking scooters. >> He takes a scooter. I got to be I'm analog behind.
>> Got to drive fast if I was gonna be here. >> Great. Where'd you Where are your trips? >> India >> 11 days including >> shall we say virus >> were you in the north or south
>> there we keep meeting here? Yes, just a few hours ago. >> I'm now on antibiotics even because they didn't see you as always. Sorry. They were They're waiting for a virus to go away. Maybe it's something bacterial. What the heck? >> So, it's a mess.
>> Go right into this now. These are the ones that have an opportunity. >> Yes. >> I don't know if I prepared anything. But I I don't think I'm short. I think I tal props. >> Yeah.
>> Well, not highlighted. >> True hearts. >> You can't make it look like Did we go? >> Yeah. Um I called the Charlottesville um city council special meeting to order for
April the 8th, 2026. Um the purpose of the meeting is to receive reports. No coming in now. I'm sorry. Great.
Um the purpose of the meeting is to um we're going to be um reporting out on different boards and commissions that we have that we're that we report from and also to hear um an update on um the arts
and where we're going with that the Schwarz to into plow showers presentation and um so um take it from there. Uh good evening, Mayor Wade, members of council. My name is James Priest, deputy
city manager. Uh yes, as as the mayor was saying, this evening, we are doing uh some presentations and hoping to have some dialogue with council on topics related to um the arts broadly and public arts specifically within the city
of Charlottesville. So we have two primary sections to this uh to the meeting today. We have first Dr. Andrea Douglas to present on the swords into plowshares project. Um and then we have Morin Bondike from New City Art and
>> you're all good. Jessica Harris. >> Jessica Harris. Thank you. Thank you. Yes. Thank you. >> Dr. Jessica Harris is a member of the steering committee. So both both of them are here with us here this evening to talk about an effort being made to establish an uh a new arts council for
our region. Um, and then I will also be talking about something we've talked about a number of times, which is our proposed public art commission. So, without further ado, I'm going to go ahead and turn things over to Dr. Douglas. >> Okay. Um, hello all. My name is Andrea
Douglas and I'm the executive director at the Jefferson School African-American Heritage Center. Um, thank you all for giving me this opportunity to explain um, what we're doing in the swords and a plowshares project. I also want to say that I'm also on the steering committee
um for the arts council and which is something that I wholeheartedly believe in and I think that in some ways swords and plowshares can be used as almost a case study for why something like this um should be considered and certainly um
once we get to the place where we're installing something uh that is decidedly council place to think about how that object moves into our future future. So, I wanted to just set it up like that. Um, I wanted to begin by
saying that some of you may have already know something about the Swords and Pl exhibition that we have um on view now at the Heritage Center through um the May 30th. And what the goal of that exhibition is, it's one of the many
steps that we have taken towards a public awareness um campaign. And I want to emphasize the notion that what we're in is a public awareness campaign um that does have a fairly extensive community engagement um purpose, but our
real goal is to to bring as many members of our Charlottesville community to the moment when we actually do have a community engagement process that's being led not by the Heritage Center, but led by the actual finalist that is
chosen to use the bronze that came from the Roberty Lee statue um to create some new um form of public art. Um, if some of you uh may have been at the presentation that we had on May 14,
March 14th when the exhibition opened and I think one of the things that I hope is a takeaway from with tonight and then also from that moment was the way in which each one of those artist groups believed that they were doing something that would only have be possible in this
moment, in this time that there would be no other and that this for them was a very significant endeavor and that is what attracted them to this project. These are three arts or um design groups that are both national and international. And as we start to
think about even the landscape of Charlottesville and what kind of objects are in this landscape, it is possible at one point to turn around and say, "Hey, if we were interested in a conversation about contemporary design and
contemporary design that involves public space and public art, we already have in our community uh a walking um who for 30 years has led the conversation about urban landscape.
We have a um a Howerin Yun at both of those at the university. We have a Thomas Waltz object in our community and then one of these artists. So ultimately even as you start to think about what this object does within the a larger
narrative of place, we as a place have been considered by some of the leading minds that do this kind of work. Um the difference between what we're doing and what those other objects represent is that this is an opportunity to do um to
deal with the kinds of traumas that have occurred here both immediate um as it relates to 2017 and then um as kind of a longer history and that was is what shores and allow shares wants to do. Um there's a word that we have been using
lately um refounding right um and refounding as one thinks about ways in one which one can um take hard looks at a system >> and then create a um a set of ideas or
propositions that then shift that system and that's really at what the heart of seance and a plowshares is right we will take your articles of war and turn them into objects um file ships, right? This very immediate and important transition. Um
so just to give you an idea, they will beat their swords into plowshares and their spears into pruning hooks. Um that comes from Isaiah 24. Um the Heritage Center considers itself not the director of this project but the
steward of this project. I believe that we were given a mandate when we were given that object by the community and it has been our role to facilitate um what will ultimately become a co-created process. Um to do that, one
of the first things that we did after the melting in 2023 was we uh created a 12 member advisory council. Um wanting to lift this project up in a way that said that we were bringing again the
most experienced uh minds to um this. So our advisory council is now an advisory of 12. um they include historians, curators, landscape architects, therapists, and the actual descendants of the enslaved in central Virginia. And
that is an important core value of the project is to give voice to those who would not have had voice when the um those original objects were put in our community. And I also want to say that that doesn't just I mean this is my
interest in is in having the broadest swath. We understand that Charlottesville's community has shifted in number and also in makeup since 2017. And so even that narrative around what is the broadest swath is something that
to be considered within this conversation. Um, so to this point, the kind of public engagement that the Heritage Center hasn't been involved in has been um to do a social history of our local parks with um a mind to
answering the question, where could an object go? It includes a community education um that we have completed through tours. Um thus far, we have taken since we started in February, we've taken 120 people on our tours.
right? Um with almost 50/50 having gone on both of the types of tours. We've had community meetings um the exhibition now and then the website seville.com which will be that evergreen site um and
on it are all the documents one could find related to this. So the BRC report is there. Um the 1998 park the city as a park park plan is there which you know the notion of
outside and parks is a huge value here and so we have to consider those that that landscape needling. Um what's also there is the 2024 report from the first phase of swords and plowshares the period that we call monumental justice.
So decidedly a place where people can find resources, find the exhibition and then continue to engage with the project beyond the exhibition. By way of a quick timeline, again I include this largely because the people
who were in our community in 2017, some of them are not. So those people who were eight years old in 2017 have grown up and now they're 18 and maybe don't know this or have learned this not as actual uh participation but now this is
historic historic historic how do you say historicization and historic at the same time nonetheless. So the timeline we receive the deed of gift meaning the heritage center in December of 21. um we prepare the object
very quickly thereafter receiving the deed of gift. We were then very quickly thereafter in um served with a complaint and then engaged in a near two-year lawsuit and ultimately able to um to
transform the object in October of 2023. And since that moment we have begun to create this second phase and it's taken us two years to get to that place. show February 2025 on the 14th. And I say that because it's the day of love. So,
we were putting our RFQ out into the world as a gesture of love. >> Um, and that's when we did the request for qualifications, which is the RFQ. We engendered a jury, again, wanting to
make sure that we're bringing um a level of expertise. It's a fourperson jury. An art historian whose interest is in the racial histories of America. Uh a cultural anthropologist who's working on a similar project in New York. A landscape architect. And again, a
descendant um who is also an educator. That request for qualifications um led to 32 responses and the jury brought that 32 responses down to the three design teams which we'll be talking about tonight.
They came to Charlottesville and we took them on a grueling two-day site visit where we looked at all of the monuments, we looked at the murals in our communities, we took them to the parks. They were exhausted, but they came away thinking, "Wow, um, this is something
important." And then we opened the exhibition on the 14th and as I said, it's going to close on the 30th. Our commitment to this um awareness phase demands that we um hired
Selena, Dr. Selena Kart, who is going to do uh six weeks of community engagement. Um I'm exhausted. Somebody else needs to do the talking. So that's where we are with that. Um but this is the request
for qualifications. And I wanted to show you some of the language because it's really important to us. There are um ways in which we would like this object to be in conversation with other things. And there are things in our built
environment that are very important like the memorial to enslave neighbors, the Katherine Foster memorial site both at the university, you uh Montichello's contemplative site and a planned memorial to the enslaved at Montpelier. But we also want to see this as a little
bit bigger than that. You understand that we sit within the space of a world heritage site, one of 24 in, right? And so you can describe Charlottesville as that in between space and all of these other objects sit within that in between space and largely speak to the condition
of enslavement. We have an opportunity to think about this place as from the moment of enslavement into the moment of freedom and civil rights or Jim Crow, whichever, however you want to describe that. I prefer the former.
Um but we also said we wanted to whomever was chosen had experience with um dealing with speaking to um descendant communities. That's a four value. They
had to be able to do um public engagement. Not every artist wants to talk to people about the things that they want to make. They just want to make them. But that's not what we're doing here. And they have to be able to un to manage a large budget. Right? So you can understand how we got to that
three very quickly. And who are they? They um first and I'm doing this in alphabetical order is Hood Design Studio. Walter Hood. He has been in the business of design for 30 years.
When I was a graduate program here, one of the first books was his book on urban design. And most people who do this work read Walter Hood if they're interested in of urban design. But he's also designed some really important sites in
America, lots of them in California. Um, but his most recent one is the International African-American Museum in South Carolina where he did most of the landscape work. Um, which is a unbelievably beautiful thing to see. um
the lift every voice and sing park and then the broad museum plaza are just three of his um parks. And what he is proposing in his um proposal entitled ringshout is to create a um ser a a a a
a object that is largely located in market street park but it is in conversation with multiple sites and those multiple sites include Montpelier and Montichello.
He is interested in this notion of witness. And so what he has done in order to prepare this project is to do a a wide survey of all of the trees in the community. And so what you find in Montpelier, there is a tree that is
dated back to 1725. The first land plaque that is issued to Lewis Merryweather that forms that eastern ridge. um like if you go up route 20 that land that is 1730. So the
tree is older than the founding of this part of Virginia, right? And so he has done this and then the next tree that he's looking at is one in Montichello from 1809 or something like that. And he has continued to look at particularly
oak trees because oak trees have a kind of um symbolic representation both um uh all around this notion of what he's proposing is a to create a community engagement process that will
lead to the development of 24 steel rings. the 243 steel rings through conversations with community will then be engraved and then the um the the
bronze from the Robert E. Lee statue which is two tons of bronze will then be used to create those engravings and those symbols. He then proposes after a period of time to dismantle the
object and give it back to each one of the communities where these conversations have been had. In the process he is um causing these particular trees that he has um
identified to act as then a future place of coming together. So if you know anything about the ring shout, the ring shout is a religious activity that enslaved people used to involve themselves with away from the um the
plantation. It is a response and call. So the whomever is leading the ring ring shout will make a call and the community will respond. In his mind, these rings then become the ring shout. So the initial tree which is a white oak which
he will plant in the center of Market Street will be the call and each one of these um distributed rings will be the shout. Every single one of these projects is somewhere near $4 million, right? Um
every single one of these projects also says there may be some additional um cost associated with it. And so Our intent is to try and raise five five and a half million to take care of that contingency.
Um this is mass design or model of architecture serving society. They are no longer called the design group. They're just called mass. That's a recent thing. Um mass is an international group. They have offices
in Boston and in Rwanda. They are an organization that has been created was created um in in 2017 I think it is a little earlier than that. Um and they believe very
highly in this notion again of research. And research again for each one of these groups includes going into the community, doing listening sessions, um speaking to people who um who can who
who live in the communities that we are interested in. They um have projects like the gun violence memorial project which is a moving exhibition um that considers the implications of gun violence from the point of view of
mothers whose children have died as consequence of that. Um the embrace which is in um Boston which is the um bronze sculpture of the embrace of the um kings that are is in Boston Commons.
um more recently this King Chapel Memorial to Enslaved and then if you have been to Montgomery it is um the memorial for peace and justice that is at EJI um for which in 2018 my
colleagues took our jar of soil down to the equal justice initiative as one of the recommendations from the blue ribbon imaging. And so this is um this design team did both the statuary there and
also the landscape that's there and in particular this design team because the design team is mass um which will be managing the project and doing the landscape work and then Dana King who is the artist and what you'll notice
is that each one of these design teams has an artist within that team. We asked the design teams to um be multinational and also have an artist deeply involved in the process with them. And so what they are proposing is an
object that is a central again to Market Street that is based on the Bobab tree which is a tree that is found in Africa and found in the Caribbean. It is a tree
that um people use its fruit for food, use its fruit for um making houseear and such and so um fairly significant for that importance to community. The project also includes um a generative
soundsscape that is um recording of the sort of electrical energy of the tree. So, a soundsscape that will include the movement of the tree, the sort of kinetic noises that would go along with it. And what they're proposing is to
create a Charlottesville's true commons. So, in the same way that you have a Boston Commons, that sort of central meeting area. There's an interesting thing about this design for me um that I wanted to point out that if you've taken any of our tours, you will understand. Right now,
the way the park is oriented, it's almost as a crucifform that the pathways are diagonal and in its original orientation at that corner there where there's now an apartment used to be the First Baptist Church um the white First
Baptist Church. And so, in some ways, there is a kind of symbolism that was established um in the former uh Confederate statue that included a battle flag turned into a crucifiform. And then this symbolism um as the park
presently sits that is like a block away. So this sort of reiterative symbolism that we don't really notice but is there when you kind of look real hard what is then now being transformed in that is that whole orientation and
see so she's they're transforming it using um symbols which are symbols from Ghana that are ways in which storytelling is done often that they of um moral import this is the way a community talks about its beliefs and so
the pathways are an indra single symbol as are the sort of fuet looking spaces that are also the main piece of the object though is the bail ba the bowab tree um that is created out of the bronze
not enough bronze we don't have enough two tons somehow it is not enough right >> 18 foot so there this process will be an additive process they will be taking a more pure and um malleable red brick
bronze which is what we have and adding to it so that they can create a more sumptuous and um uh larger representation. There is some interest in changing the landscape. Um
notice that here they have steps where people can sit and commune and what's there now are smaller not very attractive steps. if you remember right. So that um
and then is pushed studio group. Um this one is very interesting. They intend to use six parks. Now I want to also point out that when the design groups came, we said to them, you can make one object or
you could think of this as a geospatial object, meaning that this bronze could be distributed through the landscape. And it seems that each one of those groups in one way or another um latched on to that idea. So could in the
distribution of the rings into various parts of the community. Um mass the distribution occurs through the creation of seeds bronze seeds that we could be placed in various parks that um a community could play on, could sit
on, could engage with in one form or another. And now push has also taken that and has specifically focused on the parks that are part of this history that I'll talk
about in in another slide. But they we talked about five parks. They included one more which um they felt was really important to them. What they intend to do and again they're very similar in their orientations. um they're designing
around environments that respond to the uniqueness of sites. So each one of these organizations are sight specific in their work. Okay. So what you're looking at are what they are calling towers. They intend to make two towers and then six pillars
which are smaller objects. The towers are being constructed out of a process that they call art in action. And that process includes the community engagement where the community will be asked to bring soil from their various
locations and then actually make the forms that form the banded areas in the object. This one, these are 25 foot. So augmented. Again, we don't have enough bronze. The interior of each one of the
pillars will include that bronze and will be engraved with a piece of narrative that is important to the site. So they are looking at Washington Park and Market Street for those pillars and then um for the towers and then the
pillars would then be distributed distributed through to the various other parks. They're also going to use the granite because remember we got the whole statute and this is the only organization that has talked about sustainability and the use of the
granite. The granite will then become part of the um floor of each one of these objects. This is how they hope to stabilize it. So this is um as I said
the process that we are engaging with the exhibition was the way that we wanted to be ensuring that the community could interact with these objects and see the design boards in one place. So this is our education plan. As I
said, we have been working on the social histories of our public parks. We did a project several years ago called Mapping Seedville. And what Mapping Seville revealed for us were the racial covenants. So in the landscape, we then
took the 1870 uh um map of all of the plantations in the area and laid that uh mapping Seville map on top of that. 1870. We then took all of the parks in the area and laid
that on top. And what we realized were that the 19th parks in Charlottesville, the majority of them um came out of plantations. And then we also realized that a good number of them had racial covenants associated with it. Even either as a
consequence of the communities around them that were built and then racial covenants placed on them or they within the deeds specifically said that these were meant for white or and only and
blacks only. 100 years ago um on March 22nd the racial integrity act um an amendment to the racial integrity act was the public assemblies act right so the
public assemblies act said ostensively that it's the the amendment that says how blacks and whites can occupy high public space and made it illegal ultimately for them to occupy the same space. So the argument that we're making
is at the very same time that Paul Dulo McIntyre is putting in statues, he's buying the properties that then becomes those places where those statues are. And then those part places then become our public parks. And obstensively by 1926, we have devoted almost 140 acres
to white play and then 12 acres to black. And the blackout community does not get a new park until 1946. Right. and more importantly that the legal that the law then says these are no longer um
spaces um that are poorest that we are then going to engage in segregation. We think about segregation in public spaces mostly here schools but we don't talk about what they do in the landscape. We were also driven by this notion that
surlessville is considered to be one of the happiest places in the world in the country because of our proximity to parks. 84% of the community lives within walking distance to a public park. And so these histories became really important to us as ways of thinking
about where could this all go and that's what the tours came how the tours came about. So, we do tours that explain the public history of the five parks that best um describe this narrative that we're interested in.
We also do tours about the murals and monuments in the community. So, you take statues away, but what is how does the landscape speak? It speaks through our public buildings, all of our schools, for instance. It speaks through all of the murals that we have now on our um
walls. They narrate, right? There is a difference between the mural that is on a private property and the difference in a mural that is created by social practice. They say two different things. And so all of those things are part of the tours. And as I said, we've had
almost 100 plus people come to them. We're going to have those community meetings, but the other thing that we are hoping to have are house parties, >> right? So the idea is you like what we do. So, you call three friends and you go, "Hey, let's go have some drinks."
>> Happy to do that. >> And while we're having these cocktails, maybe we'll go over to the Heritage Center. Or maybe we'll just take this handy dandy brochure that has been created. And I know, yes, lots of words and lots of reading and none of us want
to do any of that. But this >> is ultimately cuts >> with a drink. >> Somebody read All my favorite brunches involve brochures and history, >> you know, and there's pictures.
>> But what we've also included is the exhibition begins with this timeline narrative, right? um Kristen Finn and Es Amos who um were two photographers from our computing who were deeply engaged in the in the the campaign or reporting on
what happened between 2017 and 2023. Right? So we have that as the beginning. Then we have the opportunity to look at the map and then something about the um the exhibition I mean the the plans
but more importantly all of this work leads us to one direction and that direction is to get advice from the community. And so we're asking the community to answer either in the exhibition proper from the website or
through this one simple question and that is um which vision would shape Charlottville's future real simple. And the second question after that is tell us what you like. Tell us what you do
tomorrow. Of >> we've been open now for three weeks. We've got 173 responses last count and once we engage in this um I anticipate that we'll have many more than that. Um
most people who have come to the exhibition who have spent time with us have been on the tours have said this to us things like wow we didn't know any of this before which has been my experience over the course of the last 10 years. Um, I've been involved in monuments in
this community for 15 years since 2011. Who knew this was going to be my life's work? I didn't. Um, so looking forward, what we're um what are we engaged in? We're we're engaged in the fundraising for the community engagement. We want to be sure
that we do that first. Um the cost of the three projects for their community engagement is um between 1 thou $1 100,000 and $226 $226,000.
So we're a aiming for the $226,000 mark, right? Um our intent is to announce the finalist on July 10th. That's the fifth anniversary of when the statues came down. not quite sure what we want to do. So,
at the um house parties, if you all want to talk about what it is that we should do on July 10th and then report back, we're more than happy to listen to it. Um I do think though that is something that should be communitywide and will need a permit soon. >> And finally we understand that at the
end of the day what our goal here is is to gift this object to show. And so we have from the very start of this next phase been in conversation as um with parks and wreck about what are the possibilities even in thinking about
what parks we would choose. We asked what are the parameters around which we um should be thinking and what we were told was it should have amenities and it should have accessibility. And so when you think about those five parks they
have all of those plus the narratives that we're interested in. Right. And then ultimately I am not a engineer. I spend most of my time on the other side of this process. There are whole technical plans in this
thing that I have no idea we have. And so my good friend here James and others and um that we have talked to we hope that with they during this period will advise us on what is a feasible plan because I think it is very important to
know really what we can do as opposed to what we want to do. And so, um, even though we are going to be announcing July 10th, I think it's important that we begin to look at all three of them now and get some advice
about that. Um, just in case I need to bring the jury back because I really believe that Charlottesville can choose um, what it is that they want. Um, we know that this is a transient community as and as I
said earlier, there are people who were here in the beginning who are no longer here. But I want to emphasize this is not something that we are building for ourselves. This is something that we are building for our children and for those people
who are beyond that to speak to what we claim to be our stated value of equity. >> Doc Dr. Douglas quick question. Um can you clarify like how the final decision
of the three um designs I know we're gathering comments and it may part of those house parties um without going factor into >> yeah the it's it's through the vote it's
through that um that that uh >> that question that I I I talked about right but here also understand that we are not trying to say pick the prettiest, right? And each one of these community
engagements, for instance, we're doing something every uh couple of weeks called um SIP focus. And what SIP focus is is where I only talk about one design and we cause everyone in that room to
understand each and every component of that design, including what all the costs are. We're what I am hoping to do at the end of the day is bring the most informed community to this process. That's why this is called the awareness
campaign as opposed to the community engagement campaign. >> Got it. Thank you. >> I have a couple of Are you done with your >> I have a couple of questions and I guess the first I guess maybe something of a
of a caution. Uh I'm always a little bit leerary of some of things that are put up to majority vote uh as I reflect on the fact that for the last couple of years majority vote has led to our Christmas tree being called oatmeal.
>> Well, let me also first >> okay >> say I didn't use the word vote. >> Okay, >> advice is not vote. >> Okay. >> Right. And so we are being advised which means that there is opportunity for
other opinions and as I said we are going to be talking to people who are experts and if necessary bring the jury back. What we're trying to do though is live up to what we promised which was that this is a co-creative process. And
so in co-creation means that everybody in the room has agency, right? It's, as I said, as the steward, we have done, I think, the best due diligence to get us to that three. We didn't say, "Hey, Charlottesville, pick the three for us."
We brought to that three some deeply um uh well- reggarded in their in their fields um experts to the possibilities of this. And I and I can name names, but I don't because not everybody wanted theirelves to be known. And so I decided that
instead of doing that, but if you ask me off camera, I'll tell you exactly who it is. Right. >> Well, I my only point was that I I I thought I had heard you say that the answer would be the product of >> we are looking for advice and we hope
that out of that advice is fine. >> I'm all for advice. I don't want I don't want to have you all defer with your expertise to >> you know >> on my advisory committee is someone who
is um a mediation expert but he has been involved in some of the biggest um community engagement projects including the Navyyard in Washington DC and working in the community of Anacostia
and he said to me Andrea don't use the Good. >> Okay. The second question I have is is something that I've I've been concerned about in this process from the beginning and that is um
you all come up with your preferred design. It seems that at least two of them, maybe all three of them seem to assume that Market Street Park will be largely redone in the design that you all
embrace. And just to be purely, you know, decision- making about it, at what level does council get a vote? It's a council's park. Well, that's why we're here today and
that's why we'll come back and we'll keep coming back, right? We we would not be here if we didn't think you will have a vote. >> But the so the issue is if if we're if if we're left with if you
are giving us or if you're your folks produce uh versions that are all three of them assume a use of Market Street Park. One of the things that we decided a couple of years ago was that we were not
going when we did our parks master plan was that we weren't going to confront immediately what we wanted to have be the role of Market Street Park >> or Port Square Park or a number of other parks. Um,
and my my concern is that whether we like it or not, uh, what it seems we're doing is putting us in a situation where you're going to have a design that you've
chosen that does something to Market Street or with Market Street Park that maybe the rest of parks and wreck and government generally and so on haven't necessarily endorsed.
>> Well, I can say that when I asked parks and ref about the possibilities of the parks, they were made aware of the ones that we were interested in and no one said no to Market Street Park. We were at >> It's not ultimately their decision, of
course. I know it's not ultimately their decision, but you're asking me about a question of how do we include how did we include that in some of your question and the question is the answer to to to
that I have to offer is that at no point I heard so when it was said we don't want to be given a baked cake >> right I heard that and so we are not trying to do that that's part of the reason why we're here with you at this
very early stage, right? Co-creation means that we are including everyone's understanding of this. So if that is a delineated no, we weren't given that delineated no from parks and wreck in the beginning. We asked the question,
what are the parameters? What are the things that can and cannot be done? And no one said to us, no Market Street Park. So the idea that we would not include that as a possibility
to a group of of of of designs designers to respond to all of the information that is out in the world. Had we been told to take it off the table, we would have. But that's not what we were told when we asked the question. So there's a
difference between not it not being taken off the table and effectively giving it to you all giving control over it to you all. And and it may be that that's a good idea. I don't know. But this body this government has not has not said that at
this point. >> No. And nor have we said that those are the locations that I'm showing you something. But again, this process is not the end. This is the beginning. So if you're saying to me right now that is not what we're doing then I can only
hear you. >> I'm not saying that. Okay. And I want to be clear about that. >> The point is I want to know what is this >> I guess. Can I >> this body has never been asked. >> Yeah. I guess can I can I interpret which is
>> um and this might have happened and I don't remember. Was there ever a resolution that council passed to say this project can go in Market Street Park? >> I you I think when we had extensive
debates about which organization we would give the statues to and the disposition of the statues that my understanding is this process is part of why we voted to um >> give it to the Jefferson school. So, I
mean, I would test that understanding, but that's just my understanding. >> Yeah. Yeah. >> I I I think there's probably I don't want to assume or speak for everybody, but my hope or guess is that there's probably not an issue with it
being in Market Street Park. Just a point of order that you're bringing up that we have not agreed to that yet. is that >> I certainly would not say I am opposed to the idea of using Market Street Park. I also think that a decision like that
should not just be sort of assumed on the part of council or on the part of of the city government as a whole. Uh and if we want to have a discussion like that specifically on that question, then that's fine. So would you want to kind
of add a resolution to upcoming meetings that says we would support using Market Street Park for this type of project? >> Well, I I don't know because honestly until about a half an hour ago because I I was not in town for the events a
couple weeks ago. Uh until about a half an hour ago, I didn't know what we were going to be talking about today. And so um I I mean I I'm not prepared to propose something in particular. I'm just conscious of the fact that council
has never done anything >> right. So I think that at this point since you know you you know you have raised the question because it was always in my mind I was you know of course most of us have you know recently got on council last four or five years a
lot of this. Um I think that you know to kind of clear the air to make you know so that the public the designers like well you know what does council want you know is there do they want it there or
not? I think that we probably I I think we need to make it clear that um that at least this park is in in play um for um this I think was always in in my mind but even if we hadn't done it officially
>> just like a point of procedure to cross my dot the other way. >> I think so because I think you know you know um Lloyd brought up a good point. we haven't made a a decision or even though maybe a lot of people thought like I did that it was assumed what it was. Um but
>> question though yeah >> just just out of curiosity. So when the park plan this most recent park plan was um thought through it was my understanding that there were four parks that were under consideration
for this sort of first level of engagement. Um, and so under those circumstances, wouldn't it assume then that if Market Street were one of those four parks that there was some possibility that it would be engaged in some way? We're not saying
that these are the ways. We're just saying these are the possible locations of things. So there seems to be this sort of like notion that Court Square, Market Street, Washington Park, these parks are part of the park plan with
some idea of improvement or change to them or whatever within the notions of what your um master plan is describing >> and and I agree with that assessment. I mean this is a question I asked throughout the parks master plan process and the answer repeatedly as I
understood it was that these parks there was a portion kind of earmarked as public art and that was a placeholder for this kind of process. So at least to me there's no surprise about this. I mean we it's part of what we voted on in
the parks master plan. Well, maybe I wasn't paying attention, but my when we voted that the these four parks would be treated differently from other parks, I didn't recall that we had
made any kind of an agreement about how they would be treated differently only that that they would be treated first. number one because we recognized for various reasons very mostly unstated I suspect that they needed to to be
addressed first. Um I >> yeah so I don't I don't want to spend this valuable time I mean because in my mind I I'll just clear the air just vote vote that this is in play or the the location so that um we can you know
everyone's on the same page. Can I ask a couple of questions just to clarify? Um, Dr. Douglas, in the the three images, if we just had to go with just three specific images for Market Street Park alone, is it your understanding that the design
work done by these three firms? Is that that image is exactly what would happen or is it the piece that is the center of that is what will happen? Well, first of all, let me first point out that these are concept drawings,
>> right? >> Right. They are not the end. They are the beginning. That's the first thing. The second thing is that um they are to some I degree what the
proposal would look and that that within the body of the proposal, it's through the conversations with community. Sure. that they would change. >> And what you're anticipating to be roughly four to5 million would be more of the centerpiece of the image, not
>> Yeah. >> not the paving around one of the images. It wouldn't be that. It's the piece in the middle. >> Well, it's the piece in the middle, but they also within their proposals have um
numbers associated with the alteration of the landscape. I mean I think one of the things that is clear to me about in particular mass is that the entire piece is that landscape right um it is not the
same as with push they are putting one object in one place >> and the rest of the park but market street is probably the one that has the most um intervention by the designs because of the size of it
So what I would what I would offer to council in just moving us to this point um there was there has been no commitment uh of a location because no action has been taken by this body. Uh
it has been considered and assumed that there would be an art piece coming back to the city as a result of the Roberty Lee statue being donated. that has been an operating idea the entire time that I know that the conversation's been going
and it has not been dismissed in any way formally either. Uh so I do know that there was engagement uh by the swords and plowshares team with the parks uh master plan uh consultant. So that there
was some consideration of that possibility and because the four parks were selected for well I can't remember the term we're using for those four parks >> but there are many master plans of their own their individualized park plans that
at least market square park street park and court square park assume that there would probably be an art piece coming related to this action and that was an assumption that was left as available because The interpretation that we as
staff were operating under is that the selection of the Jefferson School to receive the statue to recontextualize it and bring it back was going to happen even though it had not been acted on officially. So all conversation has been
with this notion that there would at least be one park that would receive an art piece. The question was always what is that piece and which park and will you accept that? because that had not been connected in a formal way and until
now you haven't had anything to see. So there's no reason for you to be able to consider that which is why we wanted to put this work session together for you to be able to receive this and then to begin a conversation about it. And let me say I without having studied any of
these proposals, the the one uh that struck me as being probably a very potentially appropriate use of Market Street Park was the one that was shown with the visual from overhead with the the the baobab tree
and all of the rest of that stuff. And it it seemed to me that that that seemed to have been a proposal that thought about Market Street Park and its size and its dimensions and and and so on in
a in a meaningful way, which is not to say I have an opinion about either of the other two because I just didn't get the same visual reaction. So, I'm not necessarily I'm not saying by all of this that I'm opposed or certainly I'm not saying I have an alternative vision
for what I want to have happen on Market Street Park. I just want to make clear that this body, this government has to make that decision. >> From a process perspective, what we know absolutely has to happen is that there needs to be a vote by council to accept
this work into the city's public art collection. Right? That's a definitive element of this process. We understand that to be at the end and one of the things that we've been thinking about and talking about is are there incremental steps that need to happen and in fact one of those is
around approving the location by resolution or some other action not only at Market Street but each of these to some degree contemplates other public locations and so we we likely need something in that space. The big question has been about the timing of
when we bring that forward, especially considering that they're still in a process of finalizing their design and vision for for this for this process. >> And I also want to add that that last bullet point says work with city staff. We're not really bringing you anything
that you all won't have opportunity to consider at length. We understand very clearly that um this demands that you all have a significant um uh opinion about what it is that has been done
here. So at no point have I ever moved in a way that said this is a done deal. We're putting in Market Street Park. What you are what witnessing is the ways in which that place and space spoke to designers given the parameters that we
gave them to respond to. There is nothing in there. I mean I said geospatial which meant all five not one not in any individual space but what as I said these artists somehow see that as
ground zero and therefore have created a design that responds to that. Um they have done extensive research in this community. Um, and I can tell you in January we did a survey and a vast majority of the people who responded to
that survey said they wanted it in that park as well. So all of that information and that data is out in the world and what you were witnessing literally is what a group of well-informed people came up with and they pointed to that direction. That has nothing to do with
the Heritage Center. So, um, I would look at that as being, you know, seeing that as information as opposed to we didn't say you could put it there. That's not what we told them to do.
>> So, I'm going to, um, get So, um, Sam, at some point, we can kind of work through to make sure we can get the >> Yeah, I mean, again, today was about opening the door to there are visuals finally available. Let's take a look at them and get reaction to it. So you're
doing what you're supposed to. You're giving reaction. >> We've got to get alignment of course um so that then we can inform uh as that final selection gets made if there is any change in direction. It's got to come in the next few months.
>> So I want to get input from comments from Jen. Do you have anything you want to add on the design, the process or where we are? >> I highly recommend going on the park course. They're pretty amazing and very informative. And it seems like this was
expected and a process that >> um we've um not maybe not formally initiated but asked for and this is really above and beyond what we could ask for as far as a response to what do
we do with this park and this material. So, I feel pretty confident that we'll get through the logistical pieces of it and um listen to the recommendations and advice from the folks who will give their input to it and
figure out a way to accept the art and manage it. >> Yeah. Um Dr. Douglas, one of the things you mentioned is that you said that um the Herson is is you know it's not
it's not you you all you all just the steward of this and I don't I can't imagine anyone else in the community being able to to do something like this. So we're glad that you all we we have an entity like you all to be able to to
steward something like this. So, um, yeah. Um, Natie, do you have any >> Yeah, I um I want to also thank you for the effort that has gone into this so far. I was at the the pre-exhibition and
it was really great to walk around and see it in um a little more up close and to hear what other people were saying because uh you know it is a community effort and I think the questions that are happening today are not um things to
be scared about. It's just we need to do proper procedures to make sure that the space is available as proposed and needed. Um, in the the master the park's master plan, it does say that um for the Market Street Park community input
summary that the p one of the themes from public input was that the art from the meltedown statue would be a part of Market Street Park. Um, which is not quite the same as like a formal ordinance saying, "Yeah, we're going to do it there." But I'm sure that that is
um something that we probably either want to move up in the work plan. Um, but these are great uses of that space. Um, I don't know if you're asking for like our favorite one today because I think
it's going to take a little more engagement with the specifics for all of us to to emphasize that. But and also of course it's not just us that matters, it's everybody. So, um, yeah, we want to encourage the community to participate
in the feedback. Um and uh I I one thing I do like because in the the work plan, sorry, the uh master plan, there is already a city proposed tenative
market park improvement map with some trees and landscaping and stuff. And something that we had already been talking about with the library was making the park kind of engage with the library in a um more cohesive way. And
so that that wedge of stairs um whether or not that's the design we pick might be a good thing to add to the park. >> I'll note that this is something that Dr. said that she hasn't said today what when and you can correct me if I'm wrong but each of these design teams were
actually given a copy of the parks master plan as part of the materials they received before they put together these >> smart >> and my guess possibly don't know for a fact was that the mass group was responding to that desire >> yeah that was that was a nice way to to
integrate that has there been other um kind of direct collaboration with the library at all in this project yet okay >> no and And thank you for that. We have not done that yet. So, um, yeah, >> because I know they they had some ideas about how this park could be used and
they could sync up really nicely. Um, so that might be something to to do a little specific outreach um in, but um, this is very cool to see it >> uh, you know, have come this far from
from Takeown Day. Before I go to Michael Lloyd, will you finish your questions and comments? >> The only other comment I would make in sort of following on Natalie's comment about the library is that the other neighbor of some relevance is the
historical society across the street. I don't know what engagement, if any, might be with them. >> Well, they are on our list of community engagement. I mean, we've got a long list of people who we see. We've done
our node maps. We've done our community list. We've done all of it. And and in hiring Selena Kart, um it was so that we would be sure that we had someone who does community engagement here engaged
with that already. So, um understanding that we only have six weeks, so we needed to hire somebody who knew what they were doing. And I I I probably shouldn't have made the specific reference to engagement, but just thinking about kind of what we would be
creating. I've I've suggested for some time that these parks, including Court Square Park, Market Street Park, the Historical Society, the Library, Jefferson School, Heritage Center, all constitute sort of
a an ecosystem of the history and how we present the history of Charlottesville. And I just hope that folks are thinking collectively and holistically in some way about about all of this. And beyond that, I mean, I don't I don't say that
because I have a specific recommendation. I don't uh but just there are a lot of a lot of good people, a lot of intelligent people in these places who I think might have some some good ideas, >> right? And as I said, this is just community awareness. This is what we're trying to do. When you when you think
that you go through a two-year lawsuit and then you have to re-energize a community re cause them to begin to imagine a possibility. We this is the reason why we chose this. We didn't just say okay here's the artist go amongst
the people and engage. We really are have always from day one when we were doing these the monument tours, education has been at the bedrock of our process. And so we are continuing that
education. Um and as I said, our hope is not just to think about this as a singular object. It has to speak to things that are already in our communities. There has to be a dialogue. We don't, you know, our goal is to is to erect something that will be just as
lasting. And so it's clear that it's important for us to to pull in as many people into this process as possible. But that's not where we are right now. Right now, we're telling you about it because it's community awareness month. we're telling the community about it
because it's community first and when we get to that point where we're talking about exactly what it is that we can put in hopefully we have we'll have gathered all of the people that you suggest should be part of this >> that's all I >> I've got one more question actually um
for the this is a little more logistics a little less um art uh which is if and when the project is gifted to the city Um, what does that mean for the maintenance and care of it? And before
as it gets built, how much is our parks engineering team going to have a say in materials care, that sort of thing that might affect the design for? >> It's all in all of the uh proposals have a component of that. Um, and they are
hoping to engage with part with engineering. I think that that's why we're thinking about this contingency that you know hard stop at 4 million but we know that there must be some additional cost. >> There always will be.
>> Yeah. So and and um so I think that there that again this co-design demands that those kinds of conversations happen and each one of the budgets as I say has a component to that. So there's a fabrication and then there's an
installation and then there's even like what's the community celebration once we're done what it looks like, right? >> But also more like we don't want it to rust and fall apart. What is Yeah. >> So go ahead. What we've talked about is is I believe after the the final design
team has been selected, I believe there's about a year you're anticipating of of further finalizing that design and that that we would be engaging staff from various departments in that with that designer to work through those
issues because our Yes, absolutely. We we in terms of what happens once the city adopts it into our public art collection is we do own it and we own that maintenance responsibility and all of that stuff and so I appreciate we have to budget for it right >> I there's some conversation about don't
make it out of gold >> lower maintenance then no and >> we're going to be thinking about those maintenance we're gonna be thinking about installation and maintenance um and and I appreciate there's some thought to is there some way of creating of seeding that ongoing maintenance cost particularly when you think some of
these that have kind of a I'm going to call them an interactive component over time. >> Yeah. >> And you know, honestly, as a museum person, stewardship is all that we think about, right? You don't even take an object into your collection if you can't do
something with it. And so, we don't even as an institution believe that we abdicate that portion of it completely um when we hand it over. you know, there's got to be um some responsibility on the part of a heritage center as
well, whether it be to help advise, to do whatever. So, um we wanted to be sure that those components were part of the plan as well. So, uh that was in beginning to have the conversations with city staff. Those are the kinds of things that we'll be talking about as
well. >> Great. >> And I'll note just a final point on that, the accountability moment is when we get to the point where staff, Dr. Douglas are in front of you presenting it for your adoption. These are the questions that are asked and if there aren't good answers,
there should at least be a deferral. >> Yeah. >> So, thank you. Thank you. >> I heard house party cover charge in the future. >> Practice. That's how you ritual. House party, house party, house post party. >> Yeah. Bring back the >> double charge.
Don't miss that part, >> Michael. >> Yeah. I mean, I would just say I think recognizing that there's going to be more moments in the future when we're going to have to take, you know, formal procedural actions. I do think it's
important for today for council to clearly signal that we're still committed to this process, that we are committed to accepting whatever this selection is, and that they were also committed to being flexible in terms of adjusting designs of the parks and
taking care of uh you know, maintenance issues and things like that. um and that we're not going to let some very bureaucratic issue kind of hold up moving along with this process. Um and I think um where
I'm at is, you know, I think it's important that we signal that. Um, I think, um, you know, as was discussed, I mean, there's the long history of these statues and how they came to be and how it intersected with the history of race
and class in Charlottesville. And you have the moment of when these were removed, that that was a critical part of sparking a national conversation around public spaces and removal of Confederate monuments. Um, as part of that, you know, obviously our community
had people die and there were people who had lasting physical and mental impacts, uh, you know, from the events of 2017. Um, and locally, it also forced us to have conversations about the local history of race and class and how they continue to play out today. And I think
there's a lot of pressures to um just say, well, let's just forget it happened and move on and have these be parks that could be any park anywhere in the country. But I think it's important that we do have them be singular public spaces that engage with that local
history and are places of reflection where the community can meet and engage with this history in a reflective way. And I think the only way we do that is through this process. Um, so, um, I hope we very much continue with it and are
willing to be flexible and open and we can bracket this off because this is a whole another can of worms that we don't need to get into today. But something maybe, you know, city government can think about is if and when we accept the donation, do we want to think about having the the name of Market Street
Park engage with the public art? Because my memor is correct, we landed on Market Street Park. This is before I was on council after a brief online survey that got like a hundred responses. And I think we can have something that's
rooted in local history that engages with is in dialogue with the the artwork that we end up accepting. >> So we're lucky we didn't end up with the name oatmeal for the oatmeal. >> But there there there were alternatives that were rooted in indigenous history
and local black history. and you know it landed on the the least offensive anodine option which uh you know is what it is. >> So um I think that I've shared my
comments on the other thing I'd like to say that if the outreach plan that um Selena is proposing if that's something that you know sharable that you can share I would love to see that. I just think a comprehensive input
and outreach is vital for something like this. Yeah. >> And and we again want to say, you know, we're doing right now if letting people know what's out there. Yeah. >> The design teams are responsible for
this. Whichever one is chosen, they know how to do it well. >> And so we can trust in that that they they've done this many times before. So, thank you. >> Great. Um,
we go up to the agenda. See Nick. Um, you got it, >> James. >> Yep. >> This is all his name. >> Yeah. >> All right. I'm also playing the technician role and not being able to figure out why I can't vote the next
presentation. >> Why? done would be great. Um, for there's two two elements to this portion of the meeting. Um, one is to talk I'm going to talk briefly about the public art commission. Now, I've spoken with y'all
a lot about this already, so I I don't really have anything new to add. Um, but I'll just say that in some respects, the conversation we just had is is a a reminder of why we're having a conversation about having a public art commission itself. We own a public art
collection here in the city of Charlottesville today. um and have and that comes with it. You need to maintenance um removal when when warranted and if there's a desire to expand it, there's a process associated with that as well. And a public art
commission would help us um uh manage those elements and and create a forum for the discussions that we're talking about in that range of of materials and maintenance. And but most importantly, uh what are the things we need to be thinking about as we're expanding um as
we're considering expanding that the public art commission would be a recommendation body making a recommendation to council. Council is always going to be the final decision maker on whether a piece of art is added to the collection or removed from the collection or what have you. Uh the only
other thing of note is that as we contemplate a public art commission, we are thinking of that as both art and memorials because there's a there are a lot of conversations beyond the one we've just had around around uh memorials and what would be appropriate memorials to include within the city. Um
and um we we need a venue for that activity, for those conversations, a public venue for those conversations so that other stakeholders who might have a have a a you know a contribution in uh or or a reaction or what have you about
what's being proposed have an opportunity to share that in a way that forms the basis for the for recommendations. Now, maintaining our public art collection is kind of the most base level of what the city can or or should be thinking about in terms of of uh art
within the community. Broadening that, when you look at many other communities, they not only are uh maintaining their public art collection, growing their public art collection, they're doing other things to support the arts generally within their community. And that's where something along the lines of an arts council comes in. So, these
two things speak to each other. um independent of of uh our city effort to kind of solve for this issue of maintaining our public art collection, there is in parallel a a process that I've been involved in, as everybody on this side of the table has been involved
in, uh of standing up a uh an arts council or maybe restanding up an arts council for our region. So, I'm um Murray, I'm going to turn this over to you. Um and you can share what that work has been and then we'll have an
opportunity to dialogue around. >> Um hi, I'm Moren. I've been at many of these work sessions this month. Um and I have been the executive director of New City Arts for 15 years. Um so in my role there, I have been on the organization
side of applying for vibrant community funds. I've also gone through the V process for mural approval. Um I um uh when Andrea was chairing the cultural plan back in 2013, I was chairing a very
tiny committee on artist spaces. Um I also love uh I I wrote this I'm just going to say this. I'm a GIS and guidear girly. I love bringing the receipts to this meeting. One of which is that uh the percent for program which was brought up at the meeting where James
was presenting um there is a document on our study website um about the closing of that fund which when it closed in 2006 it had a $300,000 balance um and that is good news for you all as you consider standing up a public arts commission that there was uh easy money
to support it. Um, I heard the 1.5% as a potential um, percent that might go into both commissioning and maintenance for these public works and I think that's really exciting. We'll talk about that um, later. Um, what I am here today to talk about is this feasibility study and I wanted to clarify who funded this
study. Um, so it was funded by um, the city manager's office, also UVA arts, also the fund at CACF, the Anene Royal Foundation and CACDB. Um, a local arts. Is everyone familiar with what a local arts agency is? Um, I put like a little
one sheeter at your at your desk. Um, >> won't be able to >> What? >> Say it. >> Say it. >> Yes. Um, and a lot of the information I'm going to share right now was in the package that you all received on Friday, but um, I know you have a lot on your plate right now, so I am going to repeat
a lot of that info. Um, a local arts agency is like the coordinating body for arts and culture in the community. It can be an office of arts and culture um, in many cases including Pedmont Council for the Arts. Many, many years ago, it was a 501c3 setup um, with city funding,
but also able to leverage uh, private dollars and serve a geographic scope that was beyond uh, the city limits. Um, it would traditionally manage something like a cultural facility or a cultural center, give operating grants to arts and culture organizations as well as festivals, potentially give individual
grants to artists in our community, um, notably lead the economic impact study of the arts. Um, which has been brought up a lot. Um, that is actually a very formal technical process that is led by local arts agencies in contract with Americans for the arts. And the last
time it was done in our community was in 2015. So that is the latest data we have and that's because that's when that's the last time the PCA was up and running when that national survey was conducted. Um and also via central information hub that's something local arts agency would do and create a cultural plan which was
something that PCA did a long time ago. Um this feasibility study uh was launched back in August and we brought in Ruby Lopez Harper who is uh joining us on Zoom and is going to present in a moment. But something that the efforts grassroots efforts to recreate central
coordination have um not included in the past was expertise on governance models based on comparable cities to Charlottesville's size. So rather than looking at like Seattle or New York, like what they do, um part of this feasibility study was to look at what cities similar to us, what they do, and
how big their budgets are, how many staff they have. Um the quotes on the screen, the reason we did all of this is both because of your strategic priorities, which I'm going to talk about in a moment, um the existing arts and culture assets that the city owns, as well as community members begging us
to bring back coordination. These are quotes from them. um when we were creating our own strategic plan for new city arts back in 2024, this is what they heard we heard from them. Um so this just very important context. Um Pumac College of the Arts was up and
running for 38 years. It was structured as the designated local arts agency of Charlottesville and Almoral, but it had to apply for its own operating support every year through the vibrant community fund. It was not set up as a fundamental agency. So every year um when it put forward the cultural plan that was
adopted but not funded and my understanding was that that sort of took the wind out of the sales of their leadership. There was annual turnover more than annual turnover at the leadership position and eventually that put their VCF funding at risk which was about a third of their $150,000
operating budget. Um their original offices were in McGuffy and then moved here to city space. Um they when that 50,000 was um taken away or reassigned it was set aside for arts and culture co arts sorry
arts like coordination and planning um exactly what this study recently did. So there was about 50 52,000 that was in that pot and then grassroots efforts to bring back an arts council did not use those those funds. Kind of similar to council's strategic investment fund. it
was like a little bit opaque like how you might apply for that funding and who would lead it given that a lot of the organizations were experiencing capacity constraints already and didn't have capacity to lead a communitywide feasibility study at the time. Um the efforts in 2017 to recreate something
also didn't produce um a new arts council and also were not based on comp city models or professionally facilitated and city council doubled the amount of funding um for arts coordination and planning to $114,000. Um the reason that is important is
because my understanding of that information is that there was never a question that an arts council shouldn't exist or or wasn't a priority of city government. it was that they wanted a feasible, sustainable, successful structure to be proposed. Um, and unfortunately in 2020 during the COVID
pandemic, that funding was sunseted to zero. Um, the other important part of this is that the resources that do exist um include why we're having this conversation today, which is the approximately $500,000 for arts and culture organizations that
exist through the vibrant community fund, as well as I heard Sam mention something like a quality of life fund. I don't know what that is, but it sounds great. And um as >> um so that that's a a pool of money that is currently exists within human
services and is combined with the rest of the pool of funding for outside agencies. There's McGuffy Art Center, which is in facilities management or public works. And then there is the proposal for a public art program that I've heard mentioned might exist within parks or economic development in the
future. And the impact of these existing resources being not coordinated under one house or like one position of leadership um is extremely important to understand and so I'm going to talk about that just for a moment. Um McGuffy
Art Center um I'm not proposing that we spend this money, but McGuffy Art Center is the only city-owned building um that does not have central air. So, if you go in McGuffy, uh last week I was there when it was like 90 degrees and the staff are sweating. All of the studio
members have window units, which means they can't leave their doors open for six months out of the year, which means that the engagement with the artist is lower in the months where it is hot. Um, LEAP did an assessment for them last year and proposed that it would cost a
million dollars for central air. When I was doing the cultural plan back in 2012, the quote I heard was 60,000. So, this has been a need for a long time and now it costs a lot more. >> Um, and um, the reason why I'm bringing this up is because you might without an arts council look at the numbers from
McGuffy during the hot months and think like, oh, our community just the foot traffic is so low. We we don't we're not interested in the arts when in fact, no one wants to be in a really hot building. Um, similarly with the vibrant community fund, um, there's a lot to say
about I I love Hunter and Reggie and I've worked with them very closely over the years that we've applied for this funding to try and separate them out because Mayor Wade, I heard you say at the BCF meeting a few weeks ago like the third of 60 people who stood up to to ask for money, you said, you can see how
hard this is for us. And with arts and culture being bundled within those assets, it's always going to be the case that that funding without being separated to demonstrate your already saving commitment to arts and culture. When you have to put that up against the local food pantry or public safety, it's really difficult and we don't want you
to have to do that. Um, by giving the 500,000 that is my own calculation for what is being given to arts and culture organizations under an arts council. Um, and there is a phase recommendation for how to do that at the end of this. um you can maintain your commitment while
also strengthening the way that that is spent um and supporting arts organizations in this community through a way that is just strengthening the process itself. The application be very technical and arts organizations can fill out technical applications but they are those applications are reviewed by
community members who are not professional grant makers and so it is difficult for us as organizations to meet the matrix you know every number on the matrix but then you know our funding was cut by 70% this year and we have no idea why being opaque doesn't fulfill
your own goals of being a transparent funer of arts and culture and it is one of the only dedicated sources of funding for arts and culture organizations in this community. Um that's a lot to say. Um before I say um that the other needs this just this just
goes on to say that the needs identified were um just like bringing up the study itself that there's no current comprehensive plan. We were left out of the most recent arts and economic impact study. There's no central trusted information hub. The creative identity of our community does not match the
instability that arts and culture organizations constantly express. um they feel very fragile. Um we also launched the study when we did because it was in alignment with the city strategic plan and because we knew um that the city manager's office was exploring a public art program and these
were the opportunities we saw. Providing leadership for the existing assets strengthening the cultural venues that res residents and visitors love supporting the festivals exhibitions and performances that bring in tourists bolster residents quality of life result in positive economic impact. root in our shared histories and strengthen our
connections which we just spent a lot of time learning about and discussing. Ensure that Charlottesville is a place where artists can live more cons. A lot came out of the study on um sorry on the cost of living and the impacts it has on individual artists, residents and organizations. Um and also rely on
professional expertise on local arts agencies to surface the data that's been missing from previous efforts. Um this was the study's leadership. So, it was important for us that in addition to a professional facilitator, we also, this was communitydriven, we had 60 self-nominations for this steering
committee. And you can see that a lot of people that ended up on the committee are very busy. Um, these are local leaders who do not necessarily seem to have time for something like this, but cared so deeply about it that they threw their name in the hat. Um and these were
the activities that we did um over the course of uh the these constitute um August of last year through January. So we had 464 participants, public convenings and community conversations both in person and virtual learning committee meetings uh targeting
conversations of bilingual needs assessment. Um a review of all of the the history of arts and culture coordination in this community. peer city benchmarking which was something that had been missing and the study was publicly supported by 49 organizations
and 160 residents. Um these are the key findings from the study. Um we found a very fragmented ecosystem um of artists who are desperate for coordination um but they they face this additional burden um particularly on
those organizations that are operating with limited staff. I don't think any of this is going to come as a surprise to you. Um, as this relates to the fabric community fund and James's ask for 100,000 um, at council meeting a few weeks ago, something we heard overwhelmingly is that as much as people
are desperate for coordination, they do not want the limited resources that they experience dedicated to arts and culture organizations to be reassigned for coordination, but instead they would like it to be matched. Um so something we are suggesting in the um 11th hour that is the second reading of the budget
tomorrow um is that of that $100,000 pool you might spend 50,000 on someone who knows um something about fundamental agencies something about public art uh commissions something about the percent program to stand up both a public arts
commission and an arts council at the same time based on these recommendations which we'll get into a little bit more. Um, and that that 50,000 um, I know I couldn't be here last week, but I've watched the meeting now twice. Um, and I think that as a strategic investment,
you could spend 50 of that and level up the arts and culture organizations. There are seven of them whose funding was decreased partially because the my understanding is that the budget office um added numbers to everyone's applications this year so that they
could give bonus points to organizations that aligned with their strategic priorities. But if it is the case that every applicant did that, it actually prioritized arts and culture organizations because they were the lowest ranking. They only got three points as opposed to the 10 or 15 that are given to public safety, education,
and housing. Um, also space affordability and access. The negative impact of Charlottesville's high cost of living, which is something I know you all care a lot about and hear a lot about from other not this isn't just like unique to the arts is what is what I am trying to say. Um, this was
surfaced over and over again that artists are leaving our community because they cannot afford to live here. Arts and culture organizations who rely on venues cannot afford rent, cannot afford their utility bill. um and artists are afraid of being priced out.
Um equity, trust, and transparency. Um trust has slowly eroded um without regular invitations to just be in the same room together and also with what seems like limited competition for very limited resources. Um people want better trusted information about what's going
on already. Um and people are just really burned out. Um so these are the core recommendations. I am going to hand it um I am going to hand it over to Ruby who's on Zoom um to share a little bit about this process, but I do have like actual next steps that might require a
vote and I want to Are we ending right at six? We have >> Yeah. No, I mean no will run, but we don't we're not going to vote. We We don't vote in in this meetings. >> Okay. >> Yeah. Um,
how do I >> ask Ruby to unmute? She could just >> Can you unmute? >> Yeah. Can you hear me? >> Stop sharing. >> Oh, do you have my slides, Marine?
>> Oh, yes, I do. They were in the Sorry. Oh, no. How do I do it? >> Okay. >> You would think we would have technology figured out by now. >> You don't.
>> This one. Um, Ruby oversaw 4,00 local arts agencies during her time at Americans for the Arts. Um, and she's just going to talk a little bit about the comp studies study. >> Thank you, Meen, and thank you for the opportunity to be here. The information I'm sharing was the result of a
community-driven process as Meen covered grounded in input steering committee guidance and comparison to peer cities. So if you want to go to the next slide. Uh the clearest finding is this. The Charlottesville area does not lack arts activity. It lacks coordination. And
that shifts this from a program conversation to one about infrastructure. As you've heard, the city is already investing in arts and culture through pathways like McGuffy, the vibrant community fund, and festivals. Those investments are distributed across departments and not
coordinated through a shared structure. From an operational perspective, that creates inefficiency, but more importantly, inconsistency in how people access information, opportunities, and resources. When coordination is not structured, it happens informally. And
informal systems tend to favor existing networks, relationships, and resources that can unintentionally reinforce inequities and erode trust even when the intention is the opposite. A coordinated structure creates transparency, consistency, and clearer pathways for
access. This directly connects to the city's priorities around equity, access, and stewardship. And it is notable that a community with this level of activity does not currently have a coordinating structure. Next slide please.
So when we look at comparable cities similar not just in size but in similarities to foundational attributes like a strong university presence and historical identity. The models varied across the cities, nonprofit, municipal, and hybrid, but the function is
consistent coordination. In Ann Arbor, a nonprofit aligns funding, festivals, and communications. In Boulder, the function sits inside government and connects policy and investment. And in Winston Salem, a
nonprofit provides long-term continuity across funding and programs. The structure varies, but the function again is the same. Co coordination, communication, and alignment. That function is what is currently missing in
Charlottesville. Next slide, please. So, to do this work responsibly, capacity is required across comparable cities. This typically begins with a small focused team, roughly two to three full-time uh uh positions. And
operationally, those roles often cover strategy and partnerships across departments and the community, coordination and communication across the ecosystem, and administration to ensure consistency and access. These roles are not about producing new
programs. They are about aligning what already exists. They can coordinate and facilitate support and access rather than focus on new programs. Over time, a coordinated structure can support more consistent and transparent management of
existing funding as a governance decision. And in most cities, public art remains a city function, while an arts council operates alongside it in a complimentary role, typically focused on community projects, sometimes maintenance, skill building, fostering
artist development, sharing expertise, and providing support of the city's processes. Next slide, please. So, oh, actually one more slide forward. So, I'll close with this. The work is
already happening. The question is how well it is supported. Investing in an arts council is not about adding something new. It is about strengthening and aligning what already exists in a way that is coordinated, transparent,
and equitable, but most importantly, local. Thank you. Thanks, Ruby. >> I think I'm gonna jump in here. Um, good to be with you all. I'm Jessica Harris. I'm the artistic director of Empowered Players, which is a local arts nonprofit um in nearby Flana. And I also serve as
the assistant director of community research at the Center for Community Partnerships. Importantly for this conversation, I was uh thrilled to serve as a member of the steering committee for this process. And I will keep my remarks super brief because I know we have a lot of discussion to get to, but I just wanted to speak to that last
point that Ruby shared about the trust in this process and the importance of it being locally driven and locally supported. Moren shared that there were 464 participants that that offered their feedback and engaged in conversation. But something that made this process unique, she mentioned those other times
that we've tried to do this coordination effort. This process was unique in that it brought artists, arts leaders, arts workers, folks of var, perspectives to the table to shape the conversation. Historically, these conversations stay at that organizational leader level or
they stay at the artist level, but there's not that blending of those two worlds. And the fact that all entities are speaking to the same thing. Coordination is required. Having an entity that stewards this work is essential. And having community leadership at the table is important,
right? we know the issues that are here. Moren spoke to the at length, right, the the needs that we've felt in our community for a long time, needs that an arts council could address. Um, and so I want to emphasize the trust that I have in this process that I think a lot of community members also share um with the
leadership. You know, New City Arts is a trusted entity, but all members of that steering committee and the folks at this in this room um really have been part of that conversation in moving this work forward. the fact that local funders were behind it and were willing to invest in the study of what this entity
can be speaks to what I believe um is is their belief in this process beyond just that study um and how it can be brought to fruition. Um and so while it was an important and ongoing and transparent process, it was short, right? Moren mentioned August through January. And so
we really view this next phase as and I think you'll get to this in some of the next steps as one of continued engagement. Right? this was a a short, you know, period of time, but really in the next 18 months as we look at what this might become, um engagement needs to continue bringing youth voice to the
table, making sure that we're centering your perspectives, getting more community buyin. Um I appreciated in the earlier conversation, right? It's not like we are deciding on unilaterally deciding on a thing, but it is that ongoing um iterative engagement that's going to make it uh meaningful. Um and
so as as part of my role at the center, I'd done some work um studying through uh uh organizational well-being for arts organizations funded by the Wallace Foundation. And there were three things that were named in that study that I want to emphasize. The shared infrastructure piece, mission alignment, and community embeddedness. We have
found in arts organizations that is the thing that makes them sing, that makes them thrive, that makes a community thrive. Um and the arts council is one way that we can ensure that is at the table. Um but I want to emphasize the process, right? really emphasized that as well and and embodied that um
community embeddedness. And so again, I'm excited to champion these recommendations and and be a support a supporter of them. But I think really as we move forward, there's so much foundation that's been laid to put this into place and we're not building from scratch. Um we're really into the to
stand on the shoulder with some of us. >> Um I understand this isn't going to I'm just floating this as an idea, not a vote. Um, but I know that when James presented at um, city council, as I mentioned, there was discussion of a strategic investment and so I wanted to flesh out like what that actually could
look like. Um, I also highlighted >> Whoa. >> This is your document and I have lived in this uh, year after um, when we apply for vibrant community fund funding. Um and something I just want to say is that um something that is
true of artists is that as they are especially emerging artists is that as they are piecing together exhibitions, residencies and fellowships uh the Melon Foundation just produced the study and we also know this to be true locally that they are often piecing together gig
work. So seasonal work, temp jobs, one, two, or three jobs, which often precludes them from uh worker protections like uh and worker benefits that you would experience in a traditional workplace, including health insurance. Um and so it is common in other communities, many of whom we
talked about tonight, um to do things to address the cost of living for them so that we can stay a community that can support artists, especially emerging artists who do not just come from wealth. Because the system is so broken, what ends up happening without direct intervention like rent controlled
housing, rent controlled studio space, guaranteed income for artists, I'm talking about like that's like 10, we're 10 years away from that like minimum, but um is that we exclude the artists who are emerging, who are low income from participating in these systems and then we have to rely on um artists who
have uh trust funds to be the contributing uh artists in this field. And so what I want to highlight is that by standing up an arts council and a public art commission, you all are staying true to your mission, vision, and values around equity, around good
governance, around good management, and we can make a really good case for arts and economic impact in this community. It's not like one or the other. Um, I also want to add because I heard this brought up last week that all of our programs like putting on my new cig arts hat, all of the 60 public events and
programs that we run every year are all free. And the reason for that is so that we are not only bringing in wealthy donors. So we don't actually have any ticket revenue that we rely on for um any of our own support. And that is the case with many of the organizations who are supporting artists who are
responding to uh sight specific works in this community to tell stories like swords and pouchers like to use art to talk about pen park to talk about the downtown mall to talk about um the history of historic sites in this community. Um a lot of that work is being done by organizations who are
relying on your support or the support of philanthropy to make that possible so that we aren't just selling really expensive tickets to events and programs. Um, I also heard last week, um, that in specific to the vibrant community fund,
you know, going line by line on arts organizations is never something we should ask you to do. That should not be your job. Um, it is one inc incredibly difficult without seeing the paperwork and also not a big strategic investment in what arts and culture strengthening and the ecosystem strengthening overall
could look like. And so in order to um help you all match what we heard from community members, we are suggesting that the 100,000 that was brought up be divided in these two ways. Match for coordination as well as um right sizing
the arts and culture support for um BCF next year. I realize that might not be possible for not voting today and the second reading of the budget is tomorrow. Um but the other thing I want to say is that by you all um hiring one person with like really good municipal expertise who understands like what a
fundamental agency is to stand up these things. What won't happen is that like a year from now we come back as a community arts organization and share again the value of what this could be and instead we actually have like movement and um something coming to
fruition potentially a year from now. Um, I think that when we look beyond that, if you think about the ways that the food justice coalition was set up, if you think about the ways other coalitions and other fields were set up, a long-term strategic investment over not not in next year's budget, but over
three years beyond that, if if this arts council follows the recommendations from the community and based on your own strategic priorities is set up as a fundamental agency and 160 each year over the course of three years is dedicated to um supporting it. I think
that because of what Jess was talking about in terms of trust, we can demonstrate that the other study funders who supported this process, if you all were to do that, it would absolutely build confidence um and strengthen the trust that already exists in where these
recommendations came from to be matched. And so like your all's initial commitment, I think, is a is would be a really great step in that direction. Um, and the other opportunities are are like easy wins. Moving the money that is already given to arts and culture
organizations over to dedicated leadership to coordinate those things and bringing back a percent for art program for maintenance and commissions of public works. Um, this builds out a little of like what that actually might look like. Um,
>> but I wanted discussion. >> Yeah, we have about 10 minutes left and so >> why can't we go over six? Well, when we had said that we were going to do from 4 to 6, so if we want to go a little bit longer, I know Jen and I >> text J and just say we're late.
>> Yeah, you can. I going over >> again. >> Yeah, >> okay. Um, I did have a question. You mentioned a few times to about building and developing trust. Are you talking about
like trust fund or like trust between the city and >> Oh, no. Just trust. No, no, no, no trust fund. >> Because I I didn't I mean it's like I didn't realize that there was a trust issue between you know where is there any reason why saying that or
>> I just mean that um standing up an arts council would require financial investment from a lot of people. And so when I say you all committing to stand up an arts council as a fundamental H3C as a 501c3 that has the ability to leverage private dollars,
that kind of commitment um builds on the momentum that already exists and could inspire trust that was already demonstrated by those people buying into the >> um so we'll just go down Michael. Yeah, I'll let you go first this time. Um,
I mean, I'm I'm not saying we would make this decision, but I think we I mean, we do still have the ability to adjust the budget before adoption and could adjust it afterwards as well. So, it's certainly something for the council can consider. Um, I mean, I guess a question
for staff is you just outline how this differs from where we are right now in terms of what we've agreed to in terms of dollar amounts and where they're going. So I um correct me if I'm wrong and counselor's lecture. I'm gonna look at you. Where did you guys you guys made
decisions at your last meeting on the arts organizations as part of BCF? Yes. Right. And >> 50,000 was split over organizations and 50,000 was set aside for public art commission. >> So that so that decision is effectively
>> baked >> baked and this is all strategic investment fund. Um, now the the decision to dedicate 50,000 towards standing up the public art commission is still something that will come before you all as a resolution. Um, and I think
one of the things as we've scoped that out, we've scoped that out as as kind of focused on the key attributes of a public art commission, which are to um to develop a set of procedures, processes for that commission. We're asking asking someone to come in and
assist the city in in developing those procedures, developing those criteria. Um, and ultimately to identify the a staffing model, what's what's staff necessary? What department does that staff person live in and those types of things and um and I have had a number of
conversations in this space. I'll probably want to dig in a little bit more on that as and make sure that within 50,000 there is a there's sufficient to add additional scope to support standing up a public art commission if that's the desire of council. Um, but
that's the that's the um that's that's where we are and that would then be reflected in the resolution that come before you all on April 22nd, your regular meeting. >> Yeah. I guess I'm just trying to
understand with this request that's in front of us tonight, what if any dollar amount above that? >> Yeah. This this is something we've been back and forth on. >> Moren is confident that we can do both efforts within 50,000.
>> We did the study was 37 and we have six left over. >> Right. So, and and I I think the possibility is there. I think we'll continue to hash that out and there'll be a dollar figure in the resolution, but it's likely going to be around 50,000. >> But to I guess I'm hearing you to answer
the question from this slide. What is different? What is different based on today? The percent for the arts does not exist and the 500,000 over three years out of your strategic investment fund to the arts council does not exist. So that
would be the that's the additional ask above what exists today because 100,000 has been identified for the top line. It may not be exactly how is desired to be used but that is committed. Yeah, I guess I should have watched the meeting
three times. >> So, we spent 50 thou we we knew about the $100,000 because that was pitched, right? >> We spent we set aside 50,000 for commission, which you're hoping can set up council. We spent the other 50,000 divided among seven organizations who
were 27% or underfunded this season. So they each got 7,000 additional some in as they were arts and culture organizations as an effort to bridge and keep them supported until we could stand up the council to take that work.
>> The council members >> the council the the help you out before the council gets sorted. So we don't have any funding designated to stand up the council allocated right now. Good. So you could take $7,000 away from
each organization that we just gave it to would be an amendment and put it just to standing up a council. But >> standing do work through what it would take to do it within the 50,000 that you all have allocated to the public >> or take the commission 50,000 and split
it up to two con two consultants whatever you know >> it would be the same >> with the ideal abuse within one study >> two things. Yeah. Um, I think I was probably most closely paying attention to our own changes with
my like new city arts head on because our funding has been like 27 28 and 32,000 the last three years and I think I guess with the increase that was suggested we're still only at like 15 or
17,000. I don't have that. um >> which I I mean these these don't necessarily need to be budget decisions for this year, the FY28 to FY31s, but I definitely agree with that because I think the reality is anything that's in
the vibrant community fund baked into that prog process is there's no guarantee that funding that there's even more than zero funding year-to-year. So if our council decision is we want to guarantee some level of funding, it has to be moved out of VCF. Otherwise, it's
inherent that it's not guaranteed. >> Um, I love Boulder's model for this. They're identical like equivalent program. Um, something that is extremely helpful from the arts and culture organization perspective is that based on your overall budget, they identify
you as a bedrock, a large, large, medium, or small organization. And then they limit how many grants they give to each and recommend a percentage of your overall that you're applying for. So their total bucket for general for for that program the equivalent of this 500 I keep mentioning is 1.5 but the
structures that are set up for organization the guidelines that we're following for the total amount is just much more clear and also much more strategic um in terms of how things are being delineated because right now there is no guidance on how much you apply for and so if you apply for a really large
amount even if you're rated low you might still get a lot more than if you ask for a size you feel like is more appropriate. >> That's true. That's not just for us. >> And just to clarify, the the Boulder budget is 47 million. So >> it's much larger.
>> Even put the city of Boulder. >> So it's a government agency there, too. >> Yes, it's a government agency. The RC. >> Yeah. Part of their >> also just want to clarify that the quality of life fund that has become a topic for folks, that's a one-time fund
>> and it's a one-time fund that I've been spending. So, it's not $500,000 today even, >> but it gives me hope that money can just that we can have a >> fun. It is a budget pilot that I have been testing its use and we're now going
into our third year of its existence because I've been very frugal in how it has been deployed. I want to just kind of take away the notion that that is a source because it's a one-time fund from a prior year. >> That's the number I came up with just mostly from BCF. Yeah, came out. It was
just for festivals. >> I knew that. I knew that. I just wanted because the quality of life fund has actually been learned about and it was not >> discovered, right? S I understand it's not yours. >> It wasn't meant to be secret because this is a public institution, but >> this is not readily available.
>> I would like to make sure that we're not framing this as a this is a complaint about how VCF goes. The >> the discussion about a council is not about making VCF better. It is about we need a council to coordinate. And one of the perks of a council could be that we could pull arts and culture out of the
VCF process and have the council manage that and get funding from some stream that we've determined. So >> it's it's mudding it's mudding mudding the waters for me that we're >> yes >> framing it around BCF right now. I I it's so
>> agree. So, >> got a question about the >> Yeah, the makeup of the council and the functioning of it. Um, one of the things that we've talked about >> internally is the abundance of nonprofits in our area. Is the council a
way where some of those can coordinate enough to combine? Does this does this take away any of the redundancies there or is this does this maintain that separation? Does that question make sense?
>> I will say as as an organization leader and my understanding is that it helps coordinate projects, helps coordinate proposals for funding. It's not closing organizations. It's really allowing for there to be more on-ramps for collaboration and consolidation of efforts um rather than trying to sunset
organizations independently. And I think one of the big roles too is this a poss possibility for advocacy because as a separate 501c3 there are funds that then become >> available grants that be can be applied for within that scope that then can be
used to support arts organizations um that aren't specifically like here's a program grant. There's also other grants that could help with housing. They could help with all kinds of other things. Then for me I think one of the biggest things is the level of advoc advocacy
advocacy like you know um >> at the state >> boy vote boy >> like at the state level you know on arts advocacy day um you know having a representative that is deeply um embedded in the community and understands this community that can then
go and do those kinds of things in in ways that you know government cannot do right >> speak across organizations rather than from one person, one organization. >> Now, let me finish with Michael and then we'll come >> Well, I I have additional questions. I know you all had the Benal meeting. Would you want to go first if you need
to leave? >> No, I think you said >> I tested and told him we're running late. >> Yeah. Okay. Um right right now in terms of what we're planning to fund, how much of that is for a consultant?
the so >> the 50 is available. >> Yeah, that is that is what we're proposing it for for a consultant to to work with us to define how this program works. >> And I guess is there discussion of
whether that can be an organization or individual that's already rooted locally or does it have to be? Um, >> it's been recommended to us by national peers who have been aware of that it be someone like who isn't coming back to
you in four months to try and demonstrate the value of the arts but is like a retired city employee who knows what a fundamental agency like so many things about local government are so specific to the way that this organization your organization is set up
that by having someone with like municipal expertise to stand these things up, it will have it will happen a lot faster. So, that's like the kind of person that I think we're looking for. >> Think of consultant as a generic term for somebody who doesn't work for the city full-time basis. >> Oh, well,
true. But, you know, it can go very different ways obviously where we, you know, end up hiring like a national consulting firm and the product is maybe not actionable. >> I think it would be great if it was a local >> like anything else. It's got to go through an RFP process, right?
>> Um, I guess I mean I don't know. I mean I I mean the recommendations you put out here to me make sense. I do think long-term
like we we're going to have to consider this pulled out of the VCF because I don't think putting it there is sustainable. I think it's important enough uh as a strategic priority. we have to have a dedicated funding source that's not always competitive, that's at some sort of baseline. I think what you outlined
is a path to getting us there. Um, I certainly agree. Um, I think for the past many years, the city has essentially kind of abandoned thinking about the arts in like a holistic or strategic way.
I'm I'm glad we're having this conversation to kind of move us out from that period because I do think um there's just so many opportunities and it's so critical um down the road. I I agree there's a lot of conversation to be had about McGuffy. I know in our CIP the roof replacement
is there, but I think there's a huge opportunity to invest in that building to have it be a much more accessible place for engagement with the arts and the artists who use it. Um but that will require a lot of money and and >> it be rights council to >> right
>> their lease is up for a re renegotiation every five years and so one of the reasons why my understanding is that one of the reasons why they don't ask for significant investments in between lease renegotiations is because it feels so shaky. It feels like by asking for so much it could put the lease at risk. And
so by having an arts council helping with the management of that building eventually just even a point person um the calls I I talked to a lot of people this morning. I talked to Lacy. I talked to I talked to Jeff. I talked to someone named Jerry. Um and it was like oh just send us an email. We'll get a meeting on
the calendar. But it was something that McGuffy about the air conditioning in particular. But it was something that McGuffy doesn't feel confident doing because of um all the reasons that Gary talked about. >> Right. And so it's down the road. But I do think you know once you know, if this is established, as hopefully it is, part
of that is, I mean, I think the city, we have to think about what is our long-term plan for McGuffy going to be, and are we committed to having it be a public space and a center for the arts? Are we going to abandon that? Um, which is a big conversation point. Um, and
um, I think just thinking out loud long-term, thinking about these funding sources, I think something that came to mind to me is we give over a million a year to the convention and visitors bureau. Um, Al
Marl gives a million on top of that. 99% of their budget comes from Charlottesville and Almor. So where are the funders who kind of can give them direction like do you prioritize this or that as part of their budget would it make sense to think about that being a pool of money that's you know as the
major funders we would say hey arts is part of tourism like maybe some of that money can come from there um just thinking out loud of like possible sustainable funding sources >> I love I love that thinking I will say that in past efforts when that has been proposed the risk of it living in a
tourism bureau which Courtney was on the steering committee So they are like fully looped in. She can't be here tonight. But the only risk is that there are absolute economic impact. I mean the Luke Holmes concert that happened on Saturday, we all impact we all saw the impact of the traffic. Um like there are
these huge benefits that come from people coming into our community to participate in the arts. We see them go out go out to dinner, get hotels, pay for parking. Um, but when it comes to the cost of living, the the sort of hope that this lives within an independent
arts council is that it would also be equally considering the cost of living for the artists who live and work here. Um, and not pricing them out of a community as if that makes sense. Like it's considering both as both as equally as important instead of sending a message that it's really just like
festivals or something. >> Yeah. And I I agree though the entity should be independent, but I'm just thinking of potential funding sources to make it sustainable. Um, and for now that's it. I but again I would say um the recommendations to me make
sense as something that I think we should be committed to and figure out how to move towards and it's far far beyond tonight but I'm glad you brought it. Rent control and there has been legislation in the general assembly to authorize Charlesville to do it. So it's didn't pass. It's died in committee, but
um it's not, you know, totally disconnected from possibilities. >> Natalie, >> what are we um are we supposed to do anything tonight?
What are the next >> Yes. And I appreciate the presentation. What are the next steps for us to do stuff? The only next step at this point is the item on your agenda for April 22nd, which would be a vote on the public art commission ordinance and the resolution.
>> Sorry, the 20th. >> You know, at the time we're all there at the same time, uh, the the funding resolution to support this as well. >> Um, great. Thank you.
Hello. >> A few quick thoughts. First is that uh I'm in favor of the general notion of the arts council for a couple of reasons. The first is that uh I don't think I I think the city council's job
ought to be to say this is the size of the bucket of money that we're going to allocate to the arts and let somebody else do it. Uh I don't think it's something we're particularly well equipped to do. this matter of tastes and that not a
good thing for us to be doing. The second, there have been some mentions from Michael about dedicated funding sources. As a general proposition, I'm not a fan of dedicated funding sources because that generally means that uh our
flexibility to address other problems gets diminished. Uh and I think that's not a good thing. Um, the other point that I will make to to channel the message that Sam gave to us a few a
month a month or two ago is that we have in recent years things like every year we've taken on another million dollar or so project that we now find we have to continue to fund. Whether that's millions going to affordable housing or
millions going to transit expansion or various other things. The more of these that we take on, the more we run into, I think, long-term problems. Uh, and either we have to raise taxes or or cut something else that we don't know how to
cut right now. And so I'm a little bit leerary about suddenly talking about half a million dollars or more. Um, and so that's that's just a concern. I don't know how we're going to deal with that. >> I want to be so clear that I was
suggesting 166 over each year for three years um based on what was invested in the food justice coalition. Not not >> there was also a mention of $250,000, you know, $500,000. I don't I don't get
the $500,000. I was trying to figure out what those all were, but anyway, we can figure out about that. and then $250,000 out of the CIP program. Um, okay. >> No, but that was the recommendation that the percent for the percent for for
every CIP project that is 250,000 or more 1% be dedicated. >> I gota >> public art and the 500,000 is the BCF pool. >> I gota >> not new. I promise. >> Very feasible. I I am really concerned about us taking
on new initiatives that we're going to find that we have to >> keep keep funding every year. >> Yeah. >> Um what is it possible in the RFP to request or to require that the um
consultant be regional at least or >> we can we can build criteria around it. I would I would consult with procurement as to what exactly we can do. But we can build criteria. I prefer criteria around familiarity with with the city and its
and its um programs and procedures and stuff like that over a specific geographic restriction. But >> yeah, I do think that local piece is pretty critical to the the council at at least well now they're combining the council and the commission work into
one. um or consultant that that could be critical. The um and also reminding us that just for my small brain that like when we're talking about art and culture, we're also talking about performance. We're talking about space.
>> We're talking about how it exists in all media and verticals, etc. So, that is a big task for a council. I think you're not just talking about does is this gallery open? Does it have a first Friday? We're talking about how does live arts work? How does Second Street Gallery work and and other spaces, you
know, beyond McGuffy? So, I think that's that opens up to a lot broader uh route of participation. Are musicians now part of the arts council? How does that work in this community? Where does the billion fit in? And so, I think there
would be a lot of discussion to figure out. There's a lot to figure out with that is basically what I'm saying. Knowing that, what's a guess about how long it could take for us to stand up a commission and the council? And when we talk about two full-time staff people, are they existing in the nonprofit of
the council or in the >> those are questions are actually that are part of the purpose of the study, right? The staffing model is a is a core element of the of the study. What's what's what's best practice? What's the best way for us to do this given our
circumstances? Well, and I think the public art commission, your hope is that it would be like up and running within FY27. >> Oh, yeah. Yeah. And I think for the independent arts council, the 2 to3
staff that would be housed within this 501c3 if it is set up as something like a fundamental agency, its budget would be much larger than what you see here. But it would be able to leverage philanthropy so that it's not only relying on city resources for it to exist, but can also have accountability
to you all for the resources that that do exist. um the recommendations from the study, which you have like a full there's a whole website dedicated to the recommendations and you have the full the full report. Um it recommends that 501c3 status be
applied for and that would take 18 months to be approved anyways. And so that gives us a runway um to dig into a lot of these questions and talk to the county about their participation. It also gives us the ability to phase this over time so that we can start small and
have some really really wins and still grow to a broader geographic scope over time at programs that um and and again not rely only on your investment for this thing to thrive. Thank you. That's it.
>> Um I think that um it's a great idea. Um, and as part of the study, I definitely would like for it to include like what the music also included this um this I
just was been talking with the Sam over the last few weeks that I think that talking to the business owners and the community that I think this community can make a big push that we're the kind of the arts and music center of this region and it and it can be a big
economic force. I am just for last few weeks just became chair of the tourism um board, but I think that this is something that that can be a financial benefit for the community and and I'm
not sure if the study can get that specific, but I think that a lot of people come here. Um I think Greer gave a um pres during a presentation that um that over 500
concerts and gatherings are done on the downtown mall in any given year. And that's without the really big coordinated push that you know hopefully uh something like this would do. So um I like the idea of it. I just like to see how it all will factor in as far as you
know the um the funding for it and how it can I think that resources in this community that can make it work if but they want to know just funders in general like what are you doing what's your what's your game plan and so once we have that I think that will be easier
to go out and fund raise >> this study will not include an economic impact uh economic impact study of the arts But that's something an art council >> can do and and often do. >> Yeah, it is. The the exact study you're
talking about is something called the arts and economic prosperity study. It is led nationally by Americans for the arts and local arts agencies pay $5,000 into it. And what they do is they send volunteers to like every paramount performance, every live arts performance first Fridays, Fridays after five. And they ask everyone, did you pay for
parking? I mean, it's a very analog process. They're trying to get live data to understand what else people paid for and it excludes to get admission. So, it notably does not include what people actually paid for the show. It's just counting how much they invested outside
of that. Um, and it's like a this is the wrong my brain like a chicken and an egg. Like without an arts council, we can't produce those numbers, but everyone wants those numbers in order to stand up an arts council. Um, but the last the last one that they led in 2015, um, it was for every dollar spent on the
arts, $3 was generated from the feet. And I'm sure that that is, uh, more now. >> Yeah. >> Okay. Any other questions or or comments? Um, James, what's the next step? Do you >> just April 20th?
>> April April. Yes. >> Not the 22nd. >> We'll talk about he can go. come here on 27. >> I'm sorry you made that mistake, aren't you? So, um, Dr. Douglas, um,
thank you so much for your for your work and I'm sorry, Ruby. >> Ruby. Ruby. >> Yes. Love you glass. Um, thank you all so much for your time and your input in in this. I'm sorry we
couldn't vote um tonight, but um um this is I I think that this arts can be one of the drawing points to this community and I think that we can do a whole lot more than what we're doing. So that
being said, is there a motion to adjourn? >> We want to do our round table updates real quick. >> Oh yeah. So thank you. I would recommend we move it to a different meeting just because I feel like it's going to be rushed, but I'm >> I'm okay if it's rushed. I was just going to read. We don't have to
necessarily ask questions, but we're not. I mean, what does everyone think? >> We got to go. >> You guys got to go. Okay, we can push it. >> Um, we'll do it then. Do we have to
formally move it to amend the agenda? But she told her. >> Okay. >> We adjourn. >> Um, is there a second? >> Second. >> All in favor, please say yes.
No. Thank you.