Good to go. >> Yeah. >> All right. Bringing the meeting to order. In the absence of Kathleen, I'm leaving the meeting. So, we will have a roll call, please.
Okay, I can do the roll. Um, and present Savior Moss, Ember Waters, Lisa McCoy, um, Helen B and >> thank you. >> Thank you.
We, as always, we remind ourselves to silence your cell phones. >> Let's have a motion to approve the minutes. >> Um, I I move to approve the minutes. >> Second. >> Right. We have a motion and approval to
approve the minutes from our last meeting. Uh, any discussion or corrections? Hearing none, let's vote to approve them by saying I. >> I. >> Opposed, say no.
Thank you. At this time, we have public comments. Are there any members of the public to make comments? No public. We will close public comments. What's the difference between public
comments and citizen comment? >> Well, citizen comment is within the public comment section. >> Yes. And next, I guess we go to the staff report. >> Thank you, Mr. Chair. I have a couple I
have four items listed here, but I actually have two more that I need to discuss. One is that um um Katherine Crane um reached out to me that she's going to be very busy between uh January and March. So um initially she was
thinking of resigning but we checked that she could just take a leave for 3 months um and then come back and she said that she still will try to uh attend any event if she can but she's foreseeing that she's going to be unable
to come to the board and she could not come today but she wanted me to express that to you and she sent me a letter an email to that effect. Um so tonight we should discuss the criteria. So Helen
Clark was um generous enough to send us u the draft of the criteria. So we can um I can pull that in the in the
TV if I find the mouse here. and we can discuss the criteria for we can start with the mural. Um and by the
way we have so far um 12 applications >> that's not so far because it's it closed right window for the mural. So we have 11 applicants but I think um two applicants provided more than one
option. >> So we have a couple. So we have we're good for the mural. The sculpture is the one that we are struggling so far. We had just one >> and which did not really >> meet the you know the the theme but
we'll discuss that. Um so we may have to so it's still open until January. So we generally assess if we want to extend, if we want to regroup and and and do something
else. Um but um or the culture design, so the mirror design of course this is the the drug sent by and I think it was shared um with all of the board, right?
Um my only comment um was that um this section here durability and visibility cannot be a a criteria for the murals because the murals are not going to provide >> any paint description. It's just going
to be the the >> the image. So we would not be able to this is a requirement >> and Savior Moss knows that. I mean they will have to provide a paint that is um
that is for the exterior right or be able to sustain the weather. So this is something that in the agreement we can establish but cannot be a evaluation because nobody's going to provide any we did not request them to
provide any paint um description. So it's just the mural. That's the only one that I think we need to renew. And um >> can I make a comment also? >> Sure. >> I just picked these numbers in this, you
know, the um the valuation. This has to we have to think about that and agree on this. This was just you know me taking a first draft of this. So keep that in mind. >> But we already have 20 points right out. >> Yeah. they have to be distributed
somewhere that'll be just deleted and then the 20 points >> and we thank you for for making this start >> to get this started. Uh, so what other comments do we have? >> I confess I I haven't seen it yet because
>> what I did was I obviously with the the durability and feasibility that was in the era, but um >> well Teresa is right that this has to match what we requested. >> So we requested that but we did not
request that to in the application. Right. So that has to go. So the So the but all the other stuff comes pretty much at least a close paraphrase or directly from the application. >> Yeah, Helen, I thought you were pretty accurate with um with what the the
application was. I think I think you pretty much nailed it. Um I um that's my opinion. Um I don't know anybody else from you know what she sent us you know by email or what you sent us by email but um
from and I and I thought that was kind of the durability and feasibility I thought that was kind of obvious. Um but um but everything else I thought went along with u what the application I mean the application yeah the application was
>> and I looked at other ones too to see and I don't think we want to make it really complicated um and and and we want to make it as succinct as possible um because the more complicated it is it just it creates
more issues and um I think it's just very it needs to be very direct and and and and in that and that we can understand it um especially and that we can defend it. >> I could see the um artistic vision and
community connection being 40 points. >> I think yes because that's what we're asking them to do and then the suitability could be 10 points there. So it would be 40 and 30. I can even make an argument for it being um 50 for the artistic
vision and community connection. But >> I would include >> I witnessed to it >> vision. I mean um needing um the scenes, >> right? >> Yes. >> Because it's not only the values but if you the mural met the
scene that was requested, right? >> Okay. So we can add the word. Yeah. >> Yeah. We could write that write that add theme in there >> is is that not in this first sentence portrays O's cultural values local identity >> no it can it could it can portray the
cultural val but not the theme right which is a specific theme which is the in this case it was the past future right >> so that is the theme that we want to portray in the in the
>> one thing that I might suggest is typically in a rubric like this what the artist proposes at the start they what they're say they're going to do and then when you see what they've actually done usually there's some reference to rating
the execution how successfully they have executed what they said they were going to do I don't know if that merits a separate line necessarily but oftent times we all know art can be subjective.
And so what Xavier's opinion may be may be very different from Teresa's or mine or anyone else's at the table, but something that you can judge on is did an artist do what they set out. >> Well, that's that's that's this is just to pick whether or not we're going to
hire them, >> right? >> So we we'd have to have something at the end to say to really, you know, meet the crit meet the criteria. That would be a cut off. But this is just to choose >> to choose the the the design to be
executed, right? So it's going to be hard to say to evaluate. >> Yeah, it's it's something I I don't know. You might you might be able to incorporate the notion into one of the other bullet points, but you want to make sure that they are are carrying
through what they represented, if that makes sense. >> Well, how will we know this before they do it? It's it's just like an onus on them like it's accountability basically that they're gonna like >> wouldn't that be in the contract? >> Yeah, that's what I was going to say. Is
that more something that we can put in the agreement? >> I think it might go to how well what the artistic that's when I see this where it might fit in because you want to have some ability to
gauge their effectiveness when it comes to the artistic vision and community connection. And so I I don't know. It's just usually there's some if there's some way to emphasize >> that. I mean, Xavier, you understand
>> because you're kind of you're alluding to like RFQS. >> Yeah. >> Because like you you might usually have these like uh requests for qualifications from artists where they're and we have artistic experience and we could make that more refined to reflect what you're talking about.
>> Yeah. In that section, images of past work show a proven track record of technical skills and mural experience of strong transferable skills. >> I mean, we can refine the the language there, but that >> how would you say that there um
accountability that there there will >> that we seen their past record is all we could go by. So, uh, if I may ask further on from that, we're asking for an Obito connection narrative. So, uh, are you looking for a strong
connection between that statement and the work itself? So, if they say, I was inspired by the rural nature of OA's past, and the picture is a boat, >> uh, then then that's a disconnect. Yeah. Yes. Right.
>> Okay. >> Well, I think it Yeah. >> Yeah. It's not. So, uh I can bring up another point. um the item for submission completeness
um all required documents submitted. But then there's also a section down below about something that would be disqualified if a required material is incomplete. So how important are the required
materials? Are they important enough that if something is missing that would disqualify the entry or do we want to make it a point value? Because if we make it a point value then somebody could have a beautiful
submission but may be missing something. >> I think that's a good point. I like that idea. Make it a point rather than a past fail like that reads you're disqualified. like if they don't submit their CV, you know, is that is that grounds for
disqualification or is that grounds for losing some points? >> Maybe we add a qualifier in there of like if you reach out and we let's say we do do the point system within a week's time they need to provide
whatever was missing from the preliminary >> give them a chance to correct it. Mhm. >> So, is it is it fair to ask if you check all the 11 submissions for witness? >> That's what I was gonna say.
>> This is hard. >> They need to be prepared. And this is I mean, >> but I I I'll be honest. I I haven't opened I have I open all of them in the visuals. I did not check for past work experience, right?
I think that's more of a point system. I mean, if I have a lot of experience to show, maybe I'll get more points. If I'm younger, the but then the image may be amazing. >> So, that's what I saying. What is what is how much weight do you put in those
additional requirements? >> Yeah, the image should >> Well, it says >> proposals may be removed from consideration if they don't have everything in the packet. So, so now what about a legal question? We have said certain things are required.
If we end up awarding a mural to someone who didn't submit something that was required, will we will we be in trouble? >> Um, it's not that you'll be in trouble. My interpretation is that there's objective criteria and there's subjective criteria to the
considerations that if you had in your request for proposals, objective criteria that these documents are required, um I would expect those documents to be included because those those were at some point um determined to be documents that were required in
order to adequately assess the experience and the resume of the of the submissions. I think that I think based on that it would make the most sense to have an objective criteria for all of the required documents submitted and
then move on to the subjective ones >> sense. So should we delineate which ones we would consider subjective then in the it sounds like the CV is it's based on what was just said that we might have some
who they've been doing it on their own for a while but they haven't shown at a gallery or done a whole >> mural is easy to provide right I think it's the images of past work >> oh yeah >> that um you can have a CV and I'm a young artist I don't have much in my CV
but I have a CV But and I have an a statement. I think those are are needed to provide. Now, if you're going to be judging um past work, >> yeah, >> putting value on from 0 to 10, then
you're going to be there is some subjectivity to >> Yeah. >> How much weight do you >> do we even need to have seed? We didn't when we did the um other things when we could just take that section out. >> Passport take it out.
>> No, the disqualification compliance. Just take that out. >> Yeah. And then you provide um um um >> because if if it was disqualified or in non-compliance, it shouldn't even get to us,
>> right? >> I mean, it should be you just go through. Oh, not there. Okay. If if you're going to be back, oh, you don't have that, you can't go forward. >> So, just let the committee make that decision filtered ahead of time >> and give them a call and let them know >> they need that.
>> Yeah, because I don't think we would give them a call to >> No, we just don't provide it near the deadline and if they don't meet the deadline, they should not even go forward. >> I totally agree. This is this is the way it is with with
any type of submission for things and even for like a grant. I mean, we're talking about a grant down here. >> I mean, it's it's it's a process. It's a checklist. That is your responsibility if you were submitting. >> And by the way, I would like to raise one because we have one uh applicant
that reached out to us >> um the the following week that it was closed wanting to submit. Um, initially we thought that the document was ready and then
we can accept and we're going to propose show to the board that it was not provided within the deadline. But then it was understood that it was still in the making >> the mural. So I had to say we cannot
this the window is closed. Um, but I said that I was going to bring to the board if there's any interest in opening a new window. As I said, we had 11 applicants and so far and some applicants provided more
than one murals. We have a couple of murals to uh to select from. But I would subject to the board if the board is willing to open a new window or not because I rejected one application. There was
past the deadline >> because the window was open for a month already. That was the >> for a month. Yeah. >> Now, if all 11 of them are terrible, >> we don't predict any. >> Yeah. >> Yeah. >> Then I think we could reopen.
>> Absolutely. >> Yes. >> You did the right thing. That's what you had to do. So, yeah. >> Do we need to make a motion to not reopen the Okay.
>> So, we want to take out the disqualification. That's just understood. >> I'm okay with that. >> So, section C. >> Yeah. >> Take it out. >> So, I'll take that as a motion. Anna is is suggesting to is making a motion to
take out section C. >> I did you make the motion? >> I did. >> Oh, okay. I second that motion. >> Okay. Discussion. Um, so are we going to ask the staff to check for completion or are we going to
issue in the first uh first part of B? You're saying that >> I >> I think in the first part of being so somebody would have zero points if they didn't have you know we could say oh they're missing something I don't know their background at all from this
there's no CV I don't know who this person is and I might consider that and you know and just give it a zero >> and we might even want to increase the points there so >> that we could take it from uh the one we're taking we've got 20 points
>> from durability are they would have to meet um if they don't we share with you because we should not share the CV with you. We would share if the CV has names has
>> so that maybe we should take the CV and resume out of that >> if it was a requirement we will check we will say this presented a CV right and after after it's released then we can share the CV but uh um but I would say
um the narrative for sure we're going to share right everything that we can remove the name we going to share with you >> so let's take those out then from here take out CV and resume from that where we shouldn't even be evaluating it. It'll get confusing if it's in this
because we're using this instrument. >> Well, you can you can evaluate and you get points by providing the resume, but you're not evaluating the resume as we but we're not going to see the resume. >> No, but >> you can tell us all workound.
>> Yeah. Tell us. Are you is it the plan to take their name out of the resume? >> No, she's just going to tell us whether they've submitted one or not. >> Okay. >> Well, do we think a resume is important to making a decision?
>> I don't >> I don't I want to see their work. I want to see Okay. Um, all right. So, getting back to the motion, uh, we have a motion on the floor to take out section C.
Um Keith if you want you you can continue discussing the draft as it stands and keep track of that you want to make to it and then at the end pursuant to these changes and then you don't have to make a motion every time
you want to make a change. >> Makes sense. One thing for the color design, I think we should be a bit more explicit in what we're um for submission completeness after entry form.
>> There's color design. I'm not sure if if that's just a colored version of the mural or like a swatch of like the >> We need to be more explicit >> just just because because then that would put it on there to look at like oh they didn't have swatches they just had
a colored version >> I think I think what we required was like in color >> of the design not not like this paint number this okay >> then let's say >> say color version >> just a a yeah a I a color version.
>> Well, this is for all of you, right? This is not going to be published anywhere. This is for >> Okay. All right. I'm thinking for Okay. All right. >> But that's important to make that explicit now because when we're going to be sitting if we do it like we did the um logo. I'm sitting at home doing this. I need to be
>> like a colored version of the proposed design. >> Not that question in my mind. >> Sketch or >> Yeah. >> Is there a better way to say it? >> I think just a colored version of the proposed design. >> Yes. Because when it's in color design, I read from the artist standpoint, I
read that as color swatches that I'm submitting and like this is the orange I'm thinking from Sherwin Williams. This is that type of thing. >> So color versions of proposed design. >> Yeah. >> I think Keith's ready. >> Okay. >> Of proposed design.
And did we get the theme from artistic vision and community connection that um Teresa mentioned when we started >> artwork portrays not required thing um >> we can say demonstrates a meaningful understanding of community context and
the theme right that's the theme that's what >> artist betrays the theme of cultural values >> well because the theme is going to change from because you've always >> right the theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme theme might be different each time. >> You're talking about that first
paragraph. >> Uhhuh. >> Yeah. I think our stated theme is a veto past, present, and future. >> Yeah. The theme will have they were all given. >> Okay. So, >> so should it just say artwork stated theme
if that's going to change every time or we're going to use this over and over again or we're just going to use this for this one? >> This is tailored to this particular project. >> All right. principles won't change and how we >> get something good we can adapt for the >> yeah template
>> it would be kind of hard to depending on lifetime of well >> well the artistic vision communicated suitability submission those those criteria will probably be no matter what we ever ask for
>> the evaluation considerations will change custom to the exact project >> and the points we you know we can See if these points don't really work out, we'll know something like we might figure out that we have >> I mean we can make this as general as
possible you know that it can relate to I mean you know to sculpture to murals to paintings to you know then that's what we have to do when we put out it'll help guide how we >> call the same
>> the last line if we take out or substitute community context just said demonstrates a meaningful understand of the given theme. >> That that can be the line that stays constant and then everything else we >> demonstrates a meaningful understand of
the given theme >> instead of community context. >> Yep. I like that. And then you want to we could use it for other ones. >> Well, let's worry about that when we get >> one of them done.
>> This will be our trial when we actually use it. >> So, so we've got a first paragraph that we've tweaked a little bit. Second paragraph. Does everybody like that pretty well? Suitability for public space.
>> Okay. Okay. Good. Um, >> that's leaving. >> The durability and feasibility is leaving. >> We've tweaked under submission completeness. What about artistic experience and
quality of path work? >> Where are we? >> This is second paragraph under B2. >> Do we like that? I might switch out um technical skills and say technical proficiency. >> Okay.
>> Just because you can have technical skills and be bad at like another shade. >> I'm good with that. >> Okay. >> They're transferable. >> Right. I was just about to say I was thinking I was wondering
>> I'll I'll throw myself in the ring for that one. I had not done a mural before I did the one for Oo on the part. >> So transferable skills are just any sort of like design graphic design tech. Let me not even let me be careful with that.
Um illustrative design where you're able to take a scale and a design and enlarge it >> too deep >> to Yeah. So would but we would we know that >> we're looking at passport
>> by looking at passport. Okay. Okay. >> So am I understanding? So so you never had done a mural but you showed us examples of posters you had made. >> Post I mean >> it was not a requirement back then. >> It wasn't. >> But how would you how would you imagine?
To >> be very very honest. I did not know that she did not have that experience with that. >> Um, not transferable. >> Is it technical skills that you said to change? >> It was just the skills part. I said
technical proficiency. >> Yeah. >> Um, I mean, I think just being able to I think that's where a resume can be a strength in help if they're able to provide that. saying that it's like I
have I had like studio experience for my undergrad so I was like fresh off the mindset in that um just yeah >> okay so so just yeah okay I think we can leave that transferable skills then right
>> yeah so now that we understand what it is >> what we can leave skills there you're okay with skills >> I know I'm trying to correct here it's Okay, I I'll go. >> Yeah. Yeah, I I do have a problem with that skill. It was it was quite smart,
but that's just the >> on the um >> we were just talking about transferable, but so so based on Peg's past work, they've shown >> that's the thing about AI and we've already had
some experience with like having to clock like what I don't think they did that. Um >> but yeah they should given like whatever past work they're submitting it it should be some indication of >> okay you understand like the basil
principles of good design >> but >> hopefully I guess it's a hope on my >> I again I I think it goes back to you know we're not asking the resume will
show us but we're not Some people might not have that design experience, Xavier. You know what I mean? You can't >> um >> Yeah. >> I mean, I'm sorry. >> Well, would you Sorry. That's That's all I'm saying.
>> Would you hire a jeweler though, right? So, I'm I didn't go to design. I'm a jeweler and I've done all this stuff and now I want to do a mural. They don't have transferable skills or or do they? >> I mean, that's the whole folk art. Um um
I mean genre is is these are people who have no artistic background who create art. Um, but they would show us the code. You'd see something that they had done >> and and what somebody only submitted
past work that was sculpture and now they want to submit a >> and you don't know that they can draw >> but but they but they're submitting a drawing, >> right? But that's why I'm saying like I I don't know if we can >> I I'm just bringing up like some people
don't have um they don't have qualifications and they haven't had background and I and I see what you're saying because I think it's fair to give um people that don't have you know the the art school background that don't have these and they can produce something really beautiful but I agree
that they have to have they have to prove somehow that they are capable of doing this specific project. So a drawing would tell me they can transfer something this big to something this big. >> Yes. So it has to be transferable but but I don't think that I don't even
think a resume honestly is necessary. A lot of people have come from the ground up. Yeah. And this is their opportunity. >> The least important thing. >> Yeah. >> In fact this this um uh writing the um statement of their vision and creative intent. I think that's the least
important. I mean I would give it five points. I gave it 10 on this, but now I'm thinking about it. I would even make it less. >> Yeah. Not all artists are >> and we're, you know, it's much more important that we see the first eval uh
the first section a suitability and artistic vision. >> That should be the strongest part. >> So this is what they say about it. >> Yeah. So I could say something really nice. Give me a pencil and paper and I could write a really awesome thing and not really do the awesome thing.
>> Yeah. But >> well, we'll go back and talk about points though. >> It's mentioned in the call. So I think it should >> we have to but I would Stephen make it. >> Yeah. >> To Lisa and Amber's points. >> Let's go back and do the Are we done?
Once we finish this, we can go back and do the points. Right. to Lisa and Amber's points, could we just end it at um proven track record of technical the English technical proficiency period >> and because that or did we say in the
original call like there has to be proof of prior mural experience >> I think >> we did we did oh okay that's what okay >> but what what qualifies it is the or strong transferable skills that's where I think we left it open for someone
who's not a professional muralist or even muralist >> but now you are >> I think what the important thing is it's if it's clear enough in our mind and we're in school >> and this and this is for us is >> yeah this is gross
>> are we are we good with it >> okay now let's go back and talk about points >> yeah I got sidetracked I apologize >> so so we've got one two three five areas and the first two are in suitability and
artistic vision. Originally that's 70%. >> We're going to add more to artistic vision. Right. >> Right. So if we like the 70% we we can boo boost those. I think 40 for the the vision. >> Yeah, 40 and 30.
>> Yeah, I think that's a good idea. >> Do we like 40 for the first paragraph and 30 for the second? >> Yes. >> Yeah. And that still has the weight, the main weight 70%. >> The numbers around. >> Okay.
>> And then for the other three, do we like keeping them at 10%. Yeah, >> we're gonna >> take five. We're going to change the clarity of vision to five. >> That's what we said. >> No, I just said that. We didn't I don't
know that we decided that >> we could. It's >> But then we'd have to raise the point somewhere else and then the other ones would be >> easier at 10 10. >> Yes. >> Okay. >> I'm okay. That's nothing to argue about.
>> Are we Are we okay to leave it? >> Yes. and take out all of C. >> Right. Take out all C. All right. Uh other comments or suggestions? All right, then let's let's review the things we've talked about.
Um the first paragraph we're taking out community context and saying the given theme which in this case is Oto past, present and future. We're raising the points to 40 maximum.
Second paragraph as it stands raising the points to 30. Uh removing the third paragraph. Uh fourth paragraph taking out color design and putting in color version of proposal design.
>> Much better proposed design >> proposed proposed design. Yes. >> Uh the next paragraph under artist experience
uh changing skills to proficiency. Uh the next paragraph as it stands and removing sections D all of it. >> Uh did I get that all that right? >> Yes. >> Okay. Um I'll entertain a motion to
change the docu as >> a motion to change the documents update the document >> as we said. Yes. Okay. Is there a second? >> Second. >> Um, any further discussion? >> All in favor say I.
>> I. >> Say no. >> All right, we have one. >> Thank you, Helen. >> Thank you. >> Keith's got the ball rolling with this. >> This will I think this will make it all
much easier for us to do the scoring and It'll be better when it's all put together. We're all doing the same thing. >> Uh, next let's go to the sculpture one.
>> Well, may I make a suggestion? Are you going to open this for discussion? >> Yeah. >> Okay. I think we might want to wait on this until we use the first one since we don't have we're probably going to have to have an extension on the sculpture because we only have one submission anyway.
Um it might behoove us to do a practice when we run through and see how it worked. >> It's a lot of good sense in that because all the mural submissions are in. So, so really we can do those prior
to the next meeting. >> Well, we I can I can set to you all prior to the next meeting. So, the selection will be in the next meeting. >> It's going to be our homework, right? >> Yeah. >> And and we have to do those individually. We cannot confer to to observe the sunshine.
>> Yeah. So, we can discuss many we bring it up. So, our subset of homework while we're doing it, while we're using the instrument for the mural, is to think about what's working and what isn't. >> Okay? >> Because at the end, you could end up with, oh my gosh, this person got the
highest points, but this isn't what we really wanted. >> And you have to be careful of that until you refine an instrument to really reflect. And that's that point distribution. >> I like that. All right. So, let's let's let's table um
I'll ask for a motion to table the sculpture rating >> to table the sculpture rating until such a time as we see. >> I'll second it. >> Okay. Any comments, discussion? All in
favor of tableabling the sculpture uh rating till the next meeting. >> Say I. >> I. >> Oppose say no. Okay. So, we'll put that off. And um you say we have only one sculpture at this moment.
>> Yeah. So, that's we have >> When is the deadline? >> The deadline is January 4th, I think. >> So, what I would tell um everyone is to if you all know sculptures and if you know people that would be interested in
applying then >> So, can you send us a link or >> is it the website? Oh, it's Yeah, I was just thinking like so um making sure like artistic hand received it or
reality. It's just that this time of year everybody's just so many things artist. >> Should we vote now to extend it? Yeah, >> I think we should have like at least a month to extend and give our be able to
>> I don't know like um certain museums when they have people that volunteer then they have sculptural skills. We can reach out to them. There's many different ways to find people that because muralists there's I think more muralists than >> sculptures >> sculpt people right
>> sculptures of the scale. >> Yeah. Yeah. It's a it's a little bit more rare. >> Well, the Florida um fat Fop um that literally goes across the stage to all and and you and you've
included that. I think it's I I um and that's like like major sculpt. I mean like serious um sculptors just an FYI. Okay. But um and um >> um I do think it's this time of year. >> Yeah,
>> I I totally think it's this time of year. >> You all vote for I'll entertain a motion. >> Okay. I'll move that we extend the sculpture application. >> Yes. To February 4th. >> Yeah. >> February >> 4th.
Is there a second? >> I think that's a second. >> Okay. >> All right. We have a motion and a second to extend the deadline for the sculpture. >> Any discussion? >> September 3rd. >> It might be or
Can I make a can I I have a discussion kind of relating to this, but um reaching out like specifically and I would be happy to do this to like UCF or making sure that specific organizations because um people get a lot of emails
and and the time to drill down and read things and making sure that you know this is specifically you know people who do have this sculpture skill are you know are aware. So I would be happy >> age limitation like 18 because then we
can reach out to the visual arts and design at UCF and see if >> Yeah, that's what I was thinking. >> That's what I was thinking is >> there's no age. >> There's no age. >> So it could be even under 18 >> and the announcement of an extension could be a way for to get addition.
>> Yes. >> Yes. >> And with what Lisa was saying, I think um reaching out to like United Arts would be really good. for sure and creep. >> Any further discussion? Then let's go ahead and vote on uh
extending the deadline for the sculpture until February 4th. All in favor say I. I. Post say no. All right, we got it. All right, that finishes I think item two.
So the the other item is that there is an opportunity for a national endowment of grants grant. >> Um this is this is the document. It's a long document. >> It's very long. Yeah.
>> Yeah. But um and they have so that's the federal government. We have $65 million to uh spend in our across the country um different categories. Um and there are
two cycles. Unfortunately, I think we would not be able to meet this February 12 because we have to decide on something and the city cannot apply for a grant. Um even there there's no matching. This one is a
onetoone matching. And then everybody proposed they have we would have to um to match um half of it but um we would have to have council even to apply if there's no matching. So there is not
enough time for us to discuss and um and provide but there is the second cycle and the second cycle um the application is available miday of of 2026 and the deadline is July 9. So that one give us
time to so I wanted to throw the idea. >> I think that's a great idea. Um I have a question when it comes to matching where does that money come from if the council agrees to match >> public funds. So okay I just was even
though okay so depending we cannot pursue a grant that that exceeds obviously what we have in our fund our fun >> if they if the grant requires matching yeah then we'll have to >> so if we really want to do something
really like people deliberately come to a veto to see this this sculpture you know which you know there are sculptures that have in very unusual places in this country that people specifically visit
um just to have um >> the Chicago. >> Exactly. >> Exactly. But there's other ones um Mount Rushmore like to point out. Exactly. Um but um >> I'm just saying like we have to have we
got to have the >> the the well the approval but we have to have the money or >> we would have to secure the matching, right? So we have the round of the CRA and we can there's nothing preventing us from asking for general fund. >> Right.
>> Right. But then the process, right? The easiest way would be for us to say the public art fund has X amount of dollars. The grant is X amount of dollars and we have >> but I would say the big the big event
that we have now coming is the wings of joy. >> Right. Right. I think that's >> exactly >> our you know big sculpture. So but there are opportunities to um for us to think about on something and next year is
going to be the 150th anniversary of the that would be something that could be related to that >> or anything else. Um the the tower uh in the park the the
video tower that has in the park that is not functioning. >> Oh I know what you're talking about. >> It's kind of already um >> a sculpture right or there is a frame >> and uh the public the rack and parks
director Paul Beldon would like to propose you know a challenge for the public art board to come up with something. It could be stained glass or you know um >> words you know there that could be used the
frame and transform that tower into >> something that's already existing. >> Yeah repurposing that tower. >> So I mean we have many ideas wanted to show >> repurposing is a very good word with grant writing.
The other thing that I thought also, especially with the wings of joy, I think it would be great if you could have this the sculpture that would have more accessibility, right? For so it would be nice to have, you know, any um
way if you're blind that description, there are noises representing that. So we could also think about, you know, something on top of drawing. But I mean this is I wanted to throw the idea of there is an opportunity for a grant.
July is a good frame for us to think I think it's for us to think >> of a project and then submit to council >> and then write the grant. >> So who is so um the city does contract a grant writer right?
>> I think the city does for I I wrote recently. Yeah, >> but this is a big one. I mean, >> well, depending on the on the requirements, right? I have >> I mean the whole checklist I was looking at and I was just like having flashbacks. But but yeah.
>> Yeah, it's a government. It's typical. But yeah, >> I'm not thrilled about any of the themes, but >> Well, they're very broad, right? It can be it can be even um um
>> make the District of Columbia safe. >> We wouldn't pick that one. >> No, but the the very last one is what would relate to us. I think it was more there was on the list. It would >> um >> I'll read it I'll read them to you. Um
>> there was >> Oh, disaster relief and emergency response for artists and arts organizations. Well, there's there's visual and media and then theater and musical theater because we're focusing on physical and I know unfortunately >> what happened in this one
>> but Julian >> are you are you reading the this >> oh email you sent me you sent >> okay >> it's right there >> okay >> it's pretty it's pretty open >> I think it's >> you have those aren't the themes those
are the types of things you can >> you can do >> and I think You're talking Anna about the themes. >> Um, yeah. Talking about the themes they listed in. Okay. One, >> I think this may be examples of the past, right? Is that what it is? You want your list reading?
>> No, no, no. The themes are the 2028 Olympic Games, >> right? >> Make America healthy again. Obviously, we can't talk about vaccines. advancing or sustaining the creative work or careers of people with
disabilities through employment. I'm not even sure what that means. Disaster relief and emergency response and preparedness for artists and art organizations and make the District of Columbia safe and beautiful.
>> Sounds sort of like propaganda to me, but I'm just >> Okay. Yeah. Well, I have to read that. I do not >> Yes, that that that caught my eye as well. Now you can do those themes in any one of those modes. So, I'd like to also
point out just another that's advantageous is um if you're able to pull in another organization like um the history Ato museum or history organizations or whatever and pulling them in um and partnering. That's a
really good you have a greater chance of receiving the funds um when it's collaborative and especially if it's more than one organization. um you you really have a good chance >> in this particular proposal. You have to
even no matter how well you construct >> you can be creative. You can be pretty I mean you can kind of be creative. I'm just saying it's all going to go through an AI system anyways. So, as far as like the original evaluation, what's going to
be spit out or you know being but you can be creative not in my email. So, this is um I can send this is a a link from that email. So, I had to read
the whole thing. I was reading the application itself but um and then we can discuss the future meetings because this one is for July. And then the last thing that I wanted to share was that we were invited
to have a private tour to to see the exhibition stay here. So I don't know and I told I I responded that I will go Um, but I don't know if we have time to schedule a 52 to I think it ends in beginning of
January. >> They extended it to like mid January. So, um, >> well, it would be you'd be seeing all five artist workers there. So, it's usually like an hour walking tour Boris and Juan >> kind of like take you through and then if some of the other artists are
available, I'd make myself available. if you guys are going to go over there, I'd be there >> um to like talk about the the work there. But um they're another good potentially good collaborator for future opportunities. They are based in Orange County, but that doesn't mean that
they're not willing to support things that are over here in Seol. So >> I think that would be a great field trip for us to do. >> So the one that you did with the church? >> No, no, no. This is the the one at Mills. Yeah. >> Okay. This is the mills then
>> which still had yours still had a religious comp you know I don't want to totally give it away but um >> it's very well done and um cath Kathleen and I went and it was very well done but um and he was voted top artist out of
everybody who attended that evening. Sorry to kind of Xavier, you got to teach your horn. But um but it was um again well attended. But he gets to show he gets to have his own show at a very very well thought of
um gallery. I mean a a big which is do you know the date of your your own show? >> We're talking because I'm supposed to hear back about another opportunity that possibly summer. >> Okay. That's like we'll see though if that shifts. >> We could do a you know a tour of that
with you know this you know the board whatever but >> talking about a specific time for >> he was I think reaching out to see a time and day that would work best for the majority of them >> and and it's it's it's all fine. The
only thing we would have to um then uh make a note right uh on the website that the public art board is meeting because every time you all >> more than one of us >> get together it's a meeting. So then we have to you know put in the website and
put city hall >> is is there a suggested date? >> They're weekdays they are there from 10 to 6. Um and so and then Sundays they can be available but they would need to
know in advance if it's a if Sunday or Saturday is what's working best >> and it could it could be after Christmas. So we could be >> Yeah. Yeah. >> Okay. >> Go Christmas Eve. >> Um field trip if we went like late
morning and then we could all have lunch. >> Had this tour. So I literally like all the artists and it was very special but and these are young artists I'd like to point out pretty special
>> a couple actually another one of them is an Ovito resident um the one who so there were two prizes there was a people's choice and then there was a technical um winner so Alex Jones is an alfa right over here so >> that might be another artist in the future we could
>> Alex Jones >> Alex or Alice Alex. >> Oh, sorry. Rogers. Rogers. >> Alex. Rogers. >> Yeah. >> So, um, Fridays are good days for me because I'm off
>> other Friday, January 9th could be a good day for me. Know if that works for everybody or it's not a good day. Okay. It is a good day for me.
>> I can't do the ninth. >> I can ask D next week to send you all, you know, >> a poll. >> Yes. >> What about January 2nd? Friday. >> That works for me. >> January 2nd. I could do it.
>> That's a Friday. >> How do you know if I'm I have guests arriving on the 31st? >> Yeah, >> that's why I push for >> move later on. >> Later on, but I'm I don't need to be there either. I can go on my own.
>> And um we just need to know if everybody you're all going as a group, no problem. But we have to advocate >> I like the idea of Dalia sending out >> what's the following after the 9th >> the 16th
>> I think it's already >> I'm not sure I think >> yeah I remember >> if the 9th works for a lot of people then we can go for that >> it doesn't either >> um well in the afternoon I could but not
I'm volunteering at my kids school. >> Oh, would the afternoon of the 9th work for you? Are you said you have the whole day? >> Yeah. >> Like what time after are you >> Well, it's supposed to go it's supposed
to go till 3, but I can always talk to them and tell them I have to be off the schedule at a certain time. I mean, it is a volunteer position, but if this is the best way to get everyone to go, then I can just talk to the school. Mhm. >> So it's it's an obligation but you know
not life or death. >> What happened? >> The volunteer. >> Oh no. It's >> there's going to be plenty of people. So if we need to do the ninth, I can work around it and I'll I'll make it work.
>> Anybody else have problems with the ninth? I have to check and see. >> Okay. >> But we'll get an email confirming or denying. >> Yeah. So, we can make a tenative idea for >> I'm going to be playing Opera Hero
Beach. So, >> awesome. >> Okay. So, we'll try that. And um my last u uh point here and explaining the agenda. But um Kathleen Sappi um contact
me to ask if she could remove the art in the end of January because she has an exhibition, a oneweek exhibition in Mland. So I asked her, could you bring it back because the the agreement
is that she would the exhibition would end in March. And she said, yes, I have no problem. It's already set up there, but I said I'm gonna light the board now and see if they have an issue with that. So, for one week, we do not have the the arch in the chambers be empty, but
then she will come back. They're all okay. I'm going to tell her that she's fine. She can remove it and return to the chambers for an additional month. >> Are there no issue? >> I'm sure they won't. >> But are there a lot of meetings during that week that it's gone? Most probably
if it's the first week of February, then city council the first meeting city council will have empty walls. >> Maybe that will make them >> stand out. Exactly. >> They have been very appreciative to be honest. And so that's a good thing.
>> Yeah, they have. >> I think at the last council meeting they you know I think they really really do appreciate it. That was a really good response and >> Yeah. >> Yeah. >> And a lot of them came to the Joey >> Yeah. The jumbie by the way was a very pretty. >> Yeah, it was really good. Yeah,
>> that bronze fabulous. >> And that stone was on the right. >> I was shocked >> it. The bron it really looked it turned out better than I anticipated. >> Particular piece of rock. It was spectacular. >> Yeah. And for those who didn't make it,
um you can go by the golf course. The plaque is available from the outside. You can go there anytime. Uh and then the water water. >> Yes, >> it's a it's it's on the inside. So, you don't have to go there during operating
hours, but it's just inside the door. >> That's all I have to >> uh are there any other discussion items uh among the board? Yes. when are the um teachers from Albido and Hagerty coming? >> So I will have to um
recont them because they all aware >> um >> they all responded but they never proposed anything. >> Okay. >> So now but they resume that. Okay. >> I have to contact them and say what is that? So I would imagine there's no team
>> bring their you know the best you know >> projects or you know that they have on their up to them. >> Yeah. >> Both schools are going to be there selecting right the projects that >> however they want to do it. Yeah.
>> Yeah. I don't think we want this. So we told I mean it's all 2D. We decided yeah 3D would not >> 3D we do not have how to accommodate in house. >> We said that they could photograph >> and then >> that's Oh okay
>> that's that's like the one other >> I just don't know if they would want to do that in-house work like what their budget is to print students. But >> if if they have a really good strong 3D piece and they come back maybe we as you recont them be like we are considering
2D works and p photographs of threedimensional works just so they know it's open on them. Okay. >> sculpture. >> I think that's a really nice suggestion because maybe, you know, some kids might
not be their their 3DS, you know, >> for art and you don't want them to feel left out either. So, >> I think this could be a um really nice springtime regular thing to have student
work and to work in the homeschooled in the private schools, >> which we didn't this time. And I don't know how we could do that rotated. We'll figure that out. But I think this could be a very nice >> um almost a permanent rotation
>> because I think the students will be so happy and proud to have their stuff shown. Wouldn't you when you were a kid? >> Yeah. >> Yeah. >> And then the way this the um council makes a big deal with the photographs and all that, >> you know. >> And these are all Oto kids.
>> Yeah. Yeah. And here the council would pull them all off. >> Oh, they do. Oh, photos. >> Yeah, it's really good. >> Then it goes on the website. >> Yeah, we do want to make them feel special. >> Yeah, I think this is going to be that is going to be very successful.
>> Any other discussion items? This is a random one, but at the coupe in like old downtown Ovido, they have um I don't know if any of you have seen the book, the Otoo, a biography of the town. I don't know. They have like free copies
of like the whole book like in the store. >> Is that the Dick Atwood? Um >> I'm not sure. >> You mean >> I have to look. I have it in my car. I just forgot to bring it in. Um but it's a goodiz book and it they're they just have it for free in the store.
He had one for me. >> Okay. Got you. >> I think it is his. I I think it is his. >> Okay. I I'll show you in the in the after. But I just thought it would be a good resource like >> moving forward. It's like a lot of the times where we have conversations about the cultural values of it's like it
would be a good compendium of lore to have. >> He was a history professor at um English, sorry, English >> at um UCF. long time OA resident.
>> All right. Uh does that do it for all the discussion items? All right. The next thing is future meeting dates. Um next regular meeting is January 21st. And um >> so that's when we can have selection
right >> that's when we are to do the radio >> together the gradient for >> and I have to say that I have professional responsibility
>> later in the evening So I can attend for about a half hour >> before I have to drive to >> it can be um unless you're very all very effective in this election. >> I mean it's only it's only a fifth.
Yeah, it's only a fifth of a I wasn't here for that. How long did it take you guys? >> Two. >> Well, we went through two rounds. >> Yeah. Well, there were 66 of them. >> We only have 11. >> We may not need to.
>> Well, that would be helpful. Maybe this will help. >> Could you come a little bit earlier or it's complicated or >> I have to double check if I'm at the museum that day. That's it. >> I can come earlier. >> Would it be possible to start at 5:00? I
I could get back to you. >> I'll I'll request that. >> Yeah, I we can try. >> We can, right? Because we are here to see.
>> If if you if you all could make that accommodation, I would appreciate >> especially for that particular meeting to have everybody here would be good. And of course we would put some if there's any other item. >> Can we put something else on the agenda for next time and we don't need to
discuss it now but just another update on the rings of joy. There we are. >> Just an update. >> Just an update. >> Diane is still with the fighting for the color profession. >> Okay. So that's the update. That's right. So it's still happening plan.
Yes. >> Okay. All right. That's all the update I need. She's not wrong about caring about the colors. >> She had had done crazy things to secure >> that the color um >> on the printing matches what she
envisioned and >> it's a huge thing and she'll just be there looking at it like >> I know and it's all >> it's real outside to be >> perfect then you can take that off.
>> All right. Is there any other business? Then we are ajourned. >> Thanks everybody for working on that. >> In October >> opportunities they have. There was one for they have festival.
>> So I applied for that and I got that. So, I'm cur I want to ask her like some more questions about that. >> And then they have this other one that was about um I guess there's some like vacant store friends that
Heat. Heat.