And to order the public Art Committee meeting February 11th, 2026 at 2 p.m. in the City Hall, second floor Media Room. Can we
have a roll call? Miss Denoff? Yes, Miss Taylor. Here, Miss Hickey. Here, Mr. Brock here, chair. Vitello here. Excellent.
I'd like to acknowledge the guests. We've got two guests. If you guys would come up and say your name and either
address or company. If you're into it. John Jennings, 2204 Pine Drive in Tarpon. Okay. Thank you. Holly Langston, sustainability program manager
for the city of Tarpon Springs. Thank you. Now we go to approval of the meeting minutes.
Does anybody have any changes or emotion to approve as is? Make a motion. Approve as is with necessary corrections.
Thank you. Have a second. Second. Do we have a roll call? Miss? Miss Denoff? Yes, miss.
Taylor? Yes, miss. Hickey? Yes, chair. Vitello? Yes. Alrighty. Okay. Now we're going to old business. Sorry. There were two
sets of minutes. December 3rd. And then the special session for January 7th. Oh, okay. So that one was for December 3rd.
Katie? Yes. Okay, so we've got the very short January 7th special session. Do I have a motion to approve? I'll make a
motion to approve. I'll second. Roll call, Miss Denoff. Yes, miss. Taylor? Yes, miss. Hickey? Yes, chair. Robertello. Yes. Thank you. All right. Now to
Old Business Review. Illuminated art box submissions. There's one change to the packet that you guys have, and
it is. It is number. Heard back from the artist. Number 63.
Letters C and D are not up for discussion. He because I emailed back and said you know you can only have three. And he got back to me and it's he
wanted A, B and E. So if you chose C or D you can choose another one. Okay. And I have a
question about number 18. I guess artist's 13 a 18. Yeah I'm sorry. That's the number in
the thing. Yeah. Artist 13 a 13 okay. And there's children in there. And I wondered if we got permission. They said that that's their grandchildren. They gave that person that. Yes.
And I have in the email they said that's my grandchildren. My little girl. Yeah. My little girl and the little boy and the grandpa. I have a question. Yes.
Numbers 74 a well, I was going to ask 74 A 70 4ARB you can add another one. I wanted to ask if we can have representation of the Bahamian spongers. Nothing
here about the Bahamian spongers. Really? You don't have any pictures of an actual Bahamian sponge, but you do have a picture of Mr. Edward
Dawson, who was who was had a write up in the paper about being an expert sponge stringer. And he took a nice photo right in front of the sponge exchange where they gave him that
recognition. And I think I submitted that picture to Brandon, I'm not mistaken. But it wasn't. You know, it's been a while back. If I did have to. You don't have to look, but I can send it to you again. But I
was going to ask if Mr. Dawson picture can be used in the in that illuminated box. Right? Right near the sponge exchange. Just one on up on both sides of the street. One, you know, with
a, with a, with a the the Greek statue stands were right on the other side of the little walkway right there is a is an illuminated box, but on the side of the other side of the
street, right in front of the sponges. Change just before you get to that little store. There's another one right there. So I was going to ask, can he can his picture be put in one of those boxes, that picture.
Because I got the picture. Well, unfortunately it wasn't submitted. And, you know, I don't know who the artist is and it had to be submitted for
the contest. And, you know, my opinion, I would say for a future season of illuminated art boxes, we could consider that and change the guidelines
and criteria for the artwork that's displayed there. But because this current round of renewing the artwork was outlined in the call to artists, and we did have a full set of
submissions, I think that we have to follow through with, yeah, with this one, but in the future, because out of all these pictures in the future, nothing there. Just like, just
like, you know, any of these others, the the person, the photographer who took the photo is perfectly able to submit that. But that's the thing.
This one is an old photo from the if you go to the library, it's in the book. It's in the library book of Mrs. Brooks. Yeah. We took a picture of him. Matter of fact, it's the same
picture that's on the on the on the on the structure. That right Stephen did is the same picture that's on that, on that billboard over there. So I mean,
I understand what you're saying, but this is for this is, you know, art books, art books, not historical books. No. And the same thing, that's what. Okay,
on that same note, you got all these boats, ships and things. Everything down here on the Sponger is related to Greek, but nothing to the Bahamian. So if it's history, this is this
is the artist. I mean, if you don't want to vote for those, then you don't have to. I know I can't vote today because we already done got to that point, but I'm talking about the next time that we that we address
the illuminated boxes on Dodecanese, that we have the submission of that one picture be put in one of these boxes because there's no representation. So I know we
can't do nothing now because these have already begun ready to be judged. And you would consider that an artistic photograph? Yeah. It's just like the rest of these. It's just like these sponges. It's just like everything else. You here, you got the sponge
exchange. It's the same thing. It's just like that. These are artists. And that's what their their view is. So what they choose isn't up to us. What we choose if we want, if we're like, no, we don't want any pictures of boats with sponges,
then that's our prerogative as a voting body. But it is supposed to be artwork. These are artistic photographs, not record shops. Any of these photos. Then, like the sponge
you wouldn't be able to take, you would not be able to take them 69 see, you wouldn't be able to take number 74 because those are actual pictures. That's that's not art. That's actual photography is a is an
art form. And that's exactly what I'm talking about. Mr. Well, you're talking about a photograph of him getting an award. I'm talking about him with the sponge, just like you see these sponges right here?
If it's if it's art, it just got his. It's just got he's in the photo. That's all it is. Okay? He's in that photo holding the sponges. I think we can talk about for next year.
We can talk about if we want to change the parameters for right now, these are art. In this art submissions from artists, whether they're sculptors or stained glass artists or
photographers or painters or whatever. So, you know, I, I right now we don't have a space in here for historical photography. This is not historical photography. That's what I'm saying. It's a photo
that somebody took of him when he was holding up the sponges. Okay. And it's no different than the person that took the picture of this statue. Well, again, if the photographer wants to submit that next year
as a piece, that photograph, that's what I'm saying. Well, there's there's not really a whole lot I can do about that. Yes, you can, you can just go to the library and I would I
would be the one to submit the picture. How about that? I'll just go to the library and make a copy of the picture, send it to Brandon and say, hey, can we put this in an illuminated light box, a color photo?
Really? Not to keep us from just kind of going on because, you know, this isn't going to happen this year. Regardless, I think when we revisit this next year, when we're doing the 2027 illuminated art boxes, we can
talk about criteria for historical figures important to the city, in the community, and maybe adding a category for that. And just a select few people. But but right now,
since this is what's in front of us, we should. Well, there was a there was a suggestion from the Board of Commissioners that we do historic photographs of that. And that's just not
what this is. It's it's a chance for local and not so local artists to submit their artwork, whether it's a photograph or a painting or
whatever. So but if we want to revisit it and, you know, probably October, November when we're talking about doing the 2027, then that's something that we can put up for discussion. But you don't have
to say anything about me. Just a man in a picture that's holding a string, a string of sponges right next to the sponges changes like the the boats with all the sponges
hanging on it. Just another photo. Okay. So any other questions? No, there was one.
How many people here saw the the piece on Bay news nine goblet. What the the news piece on Bay news nine about the illuminated art boxes. Yes. I
didn't see that, but I saw a write up of it. Okay. Did it have any. You saw the write up? Did you see any pictures? Okay. How about you? Okay, so in that
case we might want to go ahead. It was brought up that in the in the video piece, it showed one of the artists painting the
piece that she submitted and it was only the one. But because it was out there, I wasn't sure if that was something that we can consider, since it's all supposed to be anonymous as far
as the voting goes. But if nobody saw it, perhaps I could shoot it over to you and we could consider that one as well. I'm not sure how we want to handle it. I wasn't sure if
everybody saw her painting it, if she if you guys would recognize what the painting was, was the piece that was featured
in the story submitted? Yes. It was. Yes. Now in the story, I did watch it just to see, you know, and it was partially
complete. It was maybe 25% complete. But you can tell what it is. I mean, I can look at it and go, that was the one. But, you know, it was kind of I
wasn't sure if we should penalize her if we put them in touch with her or if they, you know, as far as the news people, you know, if we're like, hey, talk to these people about it.
And they're like, oh, you talk to the people, you can't be. We couldn't ask the city attorney. I mean, I want to go ahead and choose. And if that one does happen to be selected, we can
then ask city attorney on his, okay, so I could probably just bring it up on my computer and show it to you if you want. Or on my phone. The photo itself, it's not printed in here
because I wanted to, you know, I didn't want it to be in there. Okay, I understand the question being that. You haven't seen it. Right? So three of us haven't
seen it. Only you. You only seen a portion of it. Right. So and it was compelling push come to shove, maybe if don't feel like she don't want to vote, then you got still three votes on it that we've never seen it.
Yeah. So let me pull it up and I'll pass it around. And you guys can take a look at it because it. It's, it was
properly submitted. It there was just a question about you know, but if you guys didn't see it then you're not really going to be looking. We've watched channel eight I guess
so. Nail. Can you put it up on the screen? Can I cannot I can't at this point. Yeah I'll, I'll just bring it around. Since these are small too. It
probably would be an unfair advantage anyway. So I'll just pull it up on my phone and I'll
walk it around to you. All
right, guys, I should have had this up already.
All right, well, let's. While I'm looking for that, maybe we could go ahead and do something else. So has everybody had a chance to
rank theirs? Looks like you have yours. I think how it worked last time was. People
turned in their sheets to gram, and then he tallied all the stuff during the meeting. And then we revisited at the end. I turned my sheet into you, right. Did everybody else. So this one
here is just for the. Physical copies. Oh, okay. We got 40 illuminated boxes, 40 boxes and all those. Send an email I think. So if anybody needs a
few minutes to their sheet, then. Sure. Yes. Yeah. It was very difficult. There it is. Very. Yeah. There was a lot of
really good submissions. I probably did my sheet about seven times. Oh thank you. Okay.
Okay I'm going to. Believe it's a watercolor or acrylic. Yeah. Sorry I'm just covering the name of the person up top when
I'm holding it this way. I'm not being like, don't touch my phone. Don't worry. Okay. So if there's if you would like to
change your sheet to add that or. No, you're done. Okay. Okay. I went through I'm just
covering 7 or 8 times okay. Which one is it. Is will be 20.
Oh. Three. Will be 32 a if you want to add this one. Oh really? 32 A 32 A it's not on your
packet. Oh it isn't it. Oh okay. That's why I'm going to show it to you. Nine two. It's beautiful I think it's watercolor I'm not sure. Yeah.
That's the that's the 32 a if you want to include that one.
Okay. And that. I will say we had several people who submitted like a lot more like
there was one lady who sent in like 35 photographs. Oh my gosh, in like six different emails. And I was just like, no, no, we
can't do that. And then there was another artist who sent in links to a professional page of hers or something, and I was just like, I'm going to go
through and down, you know, all of that. So I made an executive decision to put it in here. Yes.
That which one is yours? That's mine. Okay. I did that. Okay.
We have a few minutes if you want to take a look. I can't tell you. And what is the
number 32, a 32 a? I did that over. I spent enough time. I'm
just. I'm done. Okay. Thank you. This is why I can't judge. It was. We had a lot of really good, I will say while while you guys are finishing up, we
had a lot of really great submissions, great photography. We had some stained glass. We had some abstract paintings,
looked like acrylic that were very interesting. And when I was doing my evaluations, you know, it wasn't just, oh, is this a fantastic. Some of it
was, I want to have variety. I want to have eight pictures or paintings or whatever of one boat, you know, and also how how well it represented our
area and just variety of mediums and, and all that kind of stuff. So all that played into it when I made my evaluations, I'm assuming that kind of plays into everybody
else's too. But yeah, some really amazing submissions. I will say I was not able to tell from the submissions who might
have been students or youth groups and who wasn't. So these are all just all in the mix? Yeah. I had sent the calls to
Tarpon Springs High School and middle school art teachers. Well, I didn't get a response, but they received it well, and I'm assuming that that it must
have gone out because, you know, just the wide variety and I'm and. You know, nobody said, oh, I'm from high school or
whatever, but I know that there are some that that seem more youthful, and I don't know if that has anything to do with it, because all I have is a name.
But some excellent submissions. Yeah, I agree. And we did have a submission, I think, all the way from New York and a couple
out of state submissions a lot around the state like Sarasota and Orlando and stuff. So we had really good representation as well. And a little bit off
topic, but moving forward for calls to artists, we could advertise do like digital advertisements to a wider scope than just our immediate area. I
mean, that's something we could talk about. Yeah, just something to consider. Yeah. We'll make it harder on us because it's really nice to get,
you know, just outside perspectives and, you know. So since we're going to come back
to that, do you want to go ahead and move on to letter B? Discussion on extending staff submission deadline for storm
drain mural project. Yes. What does that mean? I guess the staff staff is maybe asking if they could have extension for submitting or or they want more
options. At the last meeting, we had talked about designating one of the locations on Storm Drain Mural Project for a staff project. Okay, okay, I do.
Unfortunately, I did not share it with staff. I apologize for that. So yeah. So there was no
opportunity for the staff to submit a project. So I wanted to raise the idea of giving an extended amount of time for staff. We could announce it to the city staff, give them the
details of the project and give them just an extended time period between now and the next meeting. Okay. So does that mean that we would wait on
evaluating all of these until we have the staff submission to. I think it has to do okay. Is that for one of the five existing locations that were
that we're looking at, it is now we did get one for that storm drain from an outside artist, the one that was designated for staff and which
one was designated for staff. Gross, fine and gross. Okay, it wasn't on our list, though,
right? Yes, it was this one. The very last one. Fine and gross. Okay. Oh, that's for staff. It doesn't have to be.
We're just raising the idea for. Yeah. If if the if the call didn't go out, then I would like to, you know, have as many
options as we can. Would we. You said we had one submission. So before we get all into this, I was a little confused about
how I'm supposed to. Like some of these said 1B1A for a particular address and some just said 1C1D, and I wasn't sure if all those what address those were from. Correct.
That's how they were submitted. And you'll see on the sheet you have it in your packet as well as on the screen. So for instance, this one artist number one, they submitted this
piece of artwork with it intended specifically for the. Can you scroll down a little? They submitted this particular art piece one A with the
intention of it being for 401 East Martin Luther King Junior Drive. So if it has an address that was included with their submission, if it doesn't have an address, it was just a
general submission. Gotcha. Okay. Because I started writing down and I was like, wait a minute, is that supposed to be
for. So if we if we say, oh, I like. These three or for whatever, and, but one like one of the other locations, maybe I
already have a favorite for that one and they submitted it for that one. Can I put it for another one? That's up to you all. I think that would be fine. And then we could reach out to the artist. Some of them are
general, right? I think most of them they didn't have. Yeah okay. Okay. The location, we just put whatever they have here if we if you want to or if
you think it might suit another. That's kind of what we were. Don was just proposing asking the question if there is an address and you think there's
another piece better than that address better, you can put it somewhere else. Also, if this is artist one, are we only supposed to pick one from each
artist? We never specified a limit, right? But really, to get the community all involved, I would think one artist per.
Again, I think that's up to to the committee to decide. We didn't specify okay for making the call. Okay. Well we do we do have enough where we could
have just one per artist. Right. Yeah. I mean, it looked like there was a ton of really good submissions and they all came
in at the last minute. Well, all but maybe three. So yeah, there's some really good ones in there. So since they're not specific to locations, maybe we
could go through artist one and say, okay, which which of these is your favorite and your second favorite? One two, three and rank them like that. And then we can select locations.
If somebody has a location preference and theirs is chosen, then is that well, now some of the artists actually ask for
you know, I sent the pictures to them and they specifically geared theirs towards that particular location, the ones with the addresses. Yeah. So
and, and I understand that it seems like the ones that I saw, you can tell that some of them are for, you know, designed for that space. But I think the subject matter could probably be adjusted for another
location unless they felt really I think preference should be given. If they did say I want it at this location, then, you know, we should probably honor that. But short
of that, why don't we just go through the artist one and we got one for you. So now the call to artist did say
submitted by location. Oh it did. Oh, but they weren't got one feature artist in the location. One for. Let's pick out maybe one picture for each
artist in the location that they picked. This first guy is saying, what's that? He's saying artist number one okay. Use that. So we just look at the artist. One also has a
submission for Dodecanese and Athens. Oh, and then there's three more that don't have a
particular. This. Submitted like five different things. Yeah. So I think. I think what
we should do for these is say okay for artist rank 12345. However many artists artist
number one has A, B, C 587. And we pick one of the five. Oh okay, 12345. You pick your
favorite and then your second favorite third favorite. So you give it a five, four, three, two, one because there's five.
And we're doing this for Martin Luther King or, well, Martin Luther King. We got a couple of addresses on it. All of these.
No these are different shapes. Oh you're saying just you're telling because of the shape. You're saying Martin Luther King. Okay, because I noticed that some of them are just
circles. Like it's just on the the manhole cover. And that could be in any. Right. And is
it. Unless we want to say, reach back out to these people and say indicate which one you
want this for? Some of them are, but the ones that aren't. It's like, this is just, you know, it's a square. So that could could go anywhere. This one's a circle, it could go anywhere.
And obviously this is you know, some of these are artworks that they've already had. And it's going to go on that wide one. Yeah. Well this one would go on
one that has that right. So I guess my question what what I was confused about is can I put all of these that were for this location and just pick which
one for that location, or do we do it by artist? Some of them don't have a location. Some of them are specific to a location. So I don't know if we should just move forward with what we
have. And, and, you know, decide how we're going to do it or if we should give more guidance to people and revisit at the next meeting. I mean, that's up to you guys. Again,
how you would like to move forward with the judging process. Like you said before, go to artist number one, pick out the best two out of those. Artist number two, pick out the
best two. Then go back on the location. That location. Yeah I mean that's how that's how I would do it. Now of course we won't have for the staff one.
We'll put that one aside. So all of these would be for the the four locations instead of the and not the fifth. Okay. And we're not picking locations. We're just picking right now.
We're picking our favorite from a particular artist okay. So if we start with a or one artist one and I would say so I'm
going to say this one's my favorite. So I'm going to give it a five. This one's my second favorite I'm going to give it a four. And then we can rank it well. And I was just putting
out an artist that if that's the only one you want I'll go. Yeah. On this one as a second okay. So we're ranking them by
our 54321 because this one has five okay. Yeah five is the best oh five is the best one is. And then we're going to do the one with the most points okay.
All right. Because if we each pick a separate favorite then how are we going to narrow it down. So let's do the ranked choices. So so on that one I
picked two favorites. Perfect. So you do a five and a four. Okay. Okay. Now we're just
picking artist one for right now. Artist one okay. That mind
you. Okay I'm going to say artist one okay. Thank you. Be
e e e okay. So for artist one how many points do you have for a four I have five. 1AI gave it
a five. Okay fine. One A here. Oh no one a. Okay. Right on
here or four. This one, this one I would put first, second,
third, fourth or fifth favorite I would put third okay. Okay.
So that's artist 1A1B. The one that's this one here one B okay. That's 54321 which is a picture two your two best. So that's
not one of my best okay. So you got zero. Yeah. Gotcha okay. That's and yours is zero. Yeah.
For that one okay. Okay. For that. Case I pick only on page
two. Third okay. That would be
three. And okay one C. Yeah. So I think I gave a zero. Yeah
okay. I didn't pick that at all okay. So you got A0I got a zero okay. Zero on that one okay.
One B right C1C1C. Zero okay. Okay 1D0C0I gave it a four okay
I guess I like turtles I love turtles okay. And 1E5. One. But I can only give two right? I
can see I can give something on this one. You can give five or 4 or 3. You already gave a five and a four. Right. Right. So this would be three okay. Is the next highest you want to do
three. Yeah okay. And I give it a one okay. All right. Artist two only has the one. So I guess that gets five. Yeah.
That looks like it might have been done by one of the kids too. Yeah. That's cute I love it okay. Artist three has the a
the b a and a b I don't get what this B is, but what the. I don't get that either. How to see it. Well I think that they were they were composing it.
It's very similar to the color one. But I think they must have run out of time. Okay. It's like a manatee. Yeah. It doesn't make a manatee. Right. But similar to the other one, it's got, you know, stuff in
the water that we don't want there. So, so we're going to do. Two points or one point since there's only two. So I'll give
it two. Three a you give a two 1 or 2 11I think that's a cute I like that one. That's very. So you're saying that's your favorite of the two. Yeah. And
that's your that's what you were saying okay. So you want to give it a two. I thought you only have. What did I give this one and a two. You gave it a two okay I thought I gave it a
three. So 3D then I give that a two. So it would be 21113B. Yes zero for me. Yeah, I say zero
okay. Okay. for that one. Okay. Blue have to
read that okay four b. Or three
2 or 1 4222. And what about you
for four b. Okay. Four C two for me. Gene I like four d. So
I did a five or a four on four D yeah. So this So I did a five or a four on four D yeah. So this one you give a
the C yeah give that 1AB and the other one a higher number
okay. Okay. So for D yours is a four. Mine is A2A2. What about
you four D. One one. Is that your least favorite or most favorite. My least favorite
okay. One okay. Artist five. We got a b, c, d. She did okay. This artist did one for every
every single every location. Every location. Okay. So. All
right. So 5AABCDE. So this is five again. So five is the best five is the best. Yes five is
your favorite. So where is 5A111 or. I'll say a four okay.
All right. Five b. You know some have to go to form the snail okay. Five. The highest five is the highest. And that's
cute. There's this five. It is . Five D. One one. Five D. Yeah.
Here's is a. Oh I'm sorry. Yeah I didn't care for that 110 or whatever okay. All right 5E5I
think I use my five. So yeah you used five okay. So I love that two. Didn't you already use your five. Did I use my four? I don't think so. Yeah I
like this one too. Okay. And you. Five five okay. All right. Now we've got six A and B. This
is easy. 2 or 1. Two which is the highest. Two is the highest two is the highest number two
for 6A6A is two. I say a one. Two. Okay. So that means that
these are tied. I will that bridge when we get there. You said did you call six B I didn't give nothing for six b. Well but there's only two. So I
just did the one that you didn't do that put down a two for that. Oh these are just these two. 6826A is I gave it a
two. And this one I was just going to give it a one. Okay. Then I'll switch to a two on that one. Oh which one. Babies. Yeah I'm not sure that. So we
got you got two on and on. The ducks. Yeah. Take it off. No. Two on the one and put it on
the octopus okay. So one. Okay okay. Does anybody dizzy yet.
Okay. So I'm going to put that there. So seven we've got a B.
Once more C. I think that's a separate one. No okay I see these are all those are the same. So really there's only
two. Yeah there's only three. Two but they're different. Oh. Yeah I remember ABC this submission they they had
renderings for all or the ability to do renderings for all of the storm drains. Okay. So really it's just the two even though we've got A7A, B
and C but A and C are the same. They're just different shapes. Correct. Yeah. Okay. Two different designs that can be applied to. Gotcha. So how about we do seven A and seven B
and your favorite is a two. And your other one is A1B. So let's do a with the sponges. And the helmet is going to be A201I think both of them are. What's
the other one. It's the it's the looking up from here. Yes. Yeah I'm gonna go with this one is two because it's the highest right. Two is the highest okay.
So that's for the sponge helmet. Yeah. Two two, two and one. They're both fantastic. Two I
agree I think all the submissions were amazing. Yeah okay so let me do some quick math. Now what what did I I
found this what is this. We'll get to that. That's the picture of the finished mural at the bingo hall. I'll get it for you.
I didn't notice it until. I have to say, I was kind of surprised that this many artist wanted to go out and paint on a storm drain, because most of
them want to be in the studio or painting on a piece of canvas. So I was okay. So artist one yeah, I think the
turnout was great. So artist one there were two overwhelming favorites, which is one A and
one E, one A has 16 points, one E has 14 points. So. We're
going to go with 16 Martin Luther King. Yeah that's what that's what it says for Martin Luther. Yeah yeah. Although we're going to talk about locations a little bit later. Like if this one is you know,
so that's the winner from artist A. Yeah. Is one a okay perfect. Two is. That artist is
in because they're the only one. They only did the one not in but. It's five seven okay. So
three A and 3B3A which is the octopus has seven. So that one
will be for that artist. For a.
Lion. So we've got 13 nine, eight, ten. So four A received
the higher the highest points. So that artist moves forward
for the locations okay five. Okay. So we've got out by one
point is five B with 17 points. Okay. Yeah I like that one okay.
So six. Okay. So on number six the one with the highest points
with seven is six B octopus. Are. And seven. The highest
number is for 7A7 points. So now we have one two 34567
choices for four locations. So now. So rank your favorite
seven points second favorite six points third favorite five points fourth favorite four points, etc. Okay, so we just
tell you the points that we look at your picture. Oh sure. One a okay. Well that one goes should ask to be on number five. On that one. That's you said
one. The five highest is seven. We've got seven okay. So seven okay. You've got seven. I thought we just went through. What are we doing. Well now we're choosing the final ones
because we've only got four locations but we've got seven pieces of art I got it okay. So you can give seven points down
to one point. Highest points wins seven seven okay. It's 71A.
Okay. I'll give it a seven okay.
I keep track of the numbers you've used okay. So. Now two A.
What was the only one right. Yeah. Well this is we're doing from if we're going to eliminate some then I will
eliminate this one okay. That's my opinion okay. So how about if everybody takes out the
following from their packet one
A. Two a. Three a. C4A. Take
two a out 1A2A3A and four a take those out. Don't even worry about the rest of them. Take those out for right now
okay. And then we're going to take out five b. Six b. And
seven a packet stapled. So it's oh. Oh bummer. Do you want me to help you with that. What were the other okay 1A2A3A4.
Yes 1A2A3A4, a five. Three. Five B, six B and 7A7A. All
right. So there's two a. This is hard taking out what we don't want. No you're taking out the ones we're voting on right. We're taking out the ones we're voting on. What
you're going to do is you're going to take those sheets and put them in your order of favorite to least favorite.
Okay. All right. Which is hard.
Five B. Five. It's not C if you have one A. Then you should
have a two should have seven. It's right here okay. So that should be your packet. So now you want us to rank these and put them in order of your
favorites. Favorite on top. Least favorite at the bottom. Getting there. We're getting
there. Down. Seven. Seven six eight. Six seven okay. Favorite on top right. Favorite on top.
Least favorite on bottom ranked
in between C. Favorite on top.
A good variety here. We're not counting from seven. Counting from five. Well your favorite your one on top is going to be
seven. The next one is going to be six. The next one is going to be five. And we don't have to remember what number three. Yeah because I'm going to get this one again. Five I have
seven to go. You only have five there. 12345. Yeah this one six. Okay. And you've got the snail.
You've got that one. You've got this one. Thank you. Yeah. And
that one okay. So those need to go in the mix too okay. It's
hard. They're all so good. Oh. Okay. Yeah. This is okay. See.
What if we had 30 manhole covers. There'd be a long meeting. It'd be a very long
meeting. Yeah, right. So on yours, once you have them ranked right on the on the sheet. Seven, six, 5432, one.
And then when I go through I'm going to ask 7 to 5.7 is the
highest. Yes six. All I have six. Oh no answer okay. Come on.
One okay. Does everybody have the numbers on their sheets? Yeah. Okay. Got it. Now, now
the one that that was in the phone. That's not a part of this. No okay. No. That's the that's the illuminated art box
okay. All right. So. Now look at your. Tell me which one you have first. 7A7A going to be.
The favorite is first seven. Yes okay. And what's your
second three a three a that
gets six. Your next one. 6B5. One's next. 4A4. 1A3. 5B22A.
Okay. Which one do you have first? I have one a is seven. Okay. Hang on one second. Seven
B looking boy is 664A is five 57A is four. Six B is three.
Three. Wait. What was the 36B okay. 33A is two okay and two A
is one okay. Gene. Which one is your seven. Is three A. Six is
five. Hang on. Six is what I see. Okay one A is five. Okay.
Five okay. 6B4. We're 4A3 okay. Seven A is two. And two A is
one, a is two. And which one is
one. The last one you did right. 2A2A. Okay.
Okay. So we've got. Okay. So two A is eliminated by
points. The highest ranking we've got two tied for number one which is one A and five B.
That's the snail. And the turtle. Which is nice because both of those are like we we like well they're both for the
same location but. Four A comes in a close third at 19 points. Three A has 18 points. And then
seven A and six B are tied with 14 points. So we need to have a tiebreaker for these. So of
seven A and six B which are these two. Wait what. Seven A which is the purple octopus and seven A which is the sponge
helmet and the sponges, and six B which is the purple octopus. I'm going with the other one, not the octopus. The other one. You like this one best. Okay. So we're going to give that a
two. I like the octopus okay. Give that a two. I guess seven A would be nice. That's your
choice okay. It's still tied. Still a tie. I don't know what to do about that. Maybe Joan
could give us insight. Has there ever been a tie before on a vote for peace? Well, we never had. Typekit. Okay. Yeah.
What if you evaluate your choices with the best locations and then see which one works for location best? That's a
good idea. Okay, so this one is not location specific. So the two top winners are both for
MLK. I gotta go with a snail myself. I just like snail snail for MLK. Two top winners. Those
kids over there, it'd be fun. Yeah. My only my only consideration with that is the snail could really go anywhere where this one was actually made for the shape. But I'm
sure that this could be in the shape too. The scales out. Photographing here too, because those aren't my feet. No, I think they superimposed it on
top of a picture of the photograph. Picture of the area. So. So I guess it is made for that too. Yeah, they're both
made for that. But I guess I was looking at which would translate into another location easier. Both of them would for.
So we've got two for MLK. I'm going to just going to put five B and one A, okay there's MLK.
Needs and Athens the one on. Is it spruce? No. So this one specifically says Dodecanese and Athens. And it's the only one that I see that has this
specific Dodecanese in Athens. So I want to go ahead and put that there. That's six b, okay.
Seven. Also had a rendering for that. Seven a yeah, that's the Tarpon Avenue I think that's the only one we have specifically for that. Don,
what number was that. It is six B for Dodecanese and Athens.
And seven A for 167 Tarpon Ave. Another strong. C these two aren't designated and these two
are designated for the same place. So. I think it's probably six of one half dozen of the other, unless the artist that submitted it lives in the
neighborhood or something. Maybe. Martha, if you want to vote to approve these as your choices, then Martha could reach out to the artist and just confirm that the locations
that we propose are appropriate for their artwork. And that sounds like a great idea. Yeah, that's. What was your choice
for Safford and Spruce. So Safford and Spruce could be either this one would work 3 or 4. This one would work for
Safford and Spruce. Oh yeah. And the snail will work for the Union Academy. Okay. Because that's a school. All right. So let's let's do that. Let's do
see this is MLK is going to be the five b okay. So so the this would be this one would work. So the one A would also work
well for the Safford shape. One A is for Safford. Yeah. So five
B for MLK. Yes. And spruce one A correct. And 167 is seven a Dodecanese is six B it was Pine
Street and Ross. That's the staff one. Yeah. Pine Street and Gross is the staff. Okay.
So you're you're done then. Where are these going. That way.
1234. Oh wait. So confused okay. Yeah. For for Tarpon Avenue you have seven a. Dodecanese you
have. Okay. So really we can't have all these. So it's 18. You've already picked the ones. I picked too many because we've only got four. Well we
eliminated some. Yeah. Could we eliminate. We eliminated some. We eliminated. Yeah. So if so if you say pull out these dawn
seven a Tarpon Avenue. Six B right, right. So what I'm saying is I Sanford Avenue is
one eighth. The 214. I think two, three four. Yeah. So these two I think have to be eliminated because we've only got four locations. Yes. What
I'm saying as you went through them already I wrote them down. So you already made our checks. That's what I was reading. The pics we had already made. Six.
Okay, this is for except six. B was eliminated from points. Yes, six B is not on my list. Okay. Yeah, yeah. Six B was on my list. Yeah yeah. So which one
would would was was taking that place. So yeah six Stafford. So either 3 or 4 A is this one. Here is the one I picked. Which
one is that. That's for a. Okay. Now we have this one we selected right seven A. No six
B. So seven A and 6BI should have eliminated because they're I don't know why I was thinking five but we've only got four spots. Seven eight was not eliminated. No I thought seven
A was going to be for Tarpon Avenue. Yeah 7AC there's 14 points and 14 points. We've got 20, 20, 18 and 19. These are the ones that got the most points. Oh I erroneously kept
those in the mix. So which one is on Tarpon Avenue. Which one did you pick for Tarpon Avenue. Well it was seven a. Yeah that's what I mean. Right. So
what is it now. So now it's either three A or for a. Well it's kind of a strange that one is out okay. But this is the
shape and it's going to be kind of hard to get this one or that one in the shape of the grand. There's so much detail in both
of them. You're going to have an octopus about that high. I mean, this is the actual out of these two. Which one had the
most points? They were tired. This one had 19. This one had 18. Okay. So this one has this one has priority because it's one point ahead. So it should
it should automatically knock that one out. Well these both two these two are the highest with 20. These two are the second and third highest with 19 and 18. Each of these has a
spot. We just have to decide which spot. Yeah. So this is where we would say Martha, if you want to go back to them and say can you. Your artwork was
selected, but they didn't say where. So we need to ask them if you know. Well, the other thing we need to think about is
the space that they have for it. Right? So those two, they're really great, but they're going to have a hard time being on a
train that's shaped like this. Well, I would like to leave that up to the artist. I mean, because the artist for this one
here for the, you know, they could do the mom over here. Yeah, here. And then the babies over there. Okay. Well, that that drainage ditch where she looking at that one down there.
When you go down and look at the drainage ditch, it's stretched like that. This one here is more of a different shape. Well, it is now, but they paint it to. Yeah. Like,
all you have to do is change the composition. It's just up to the artist if they want to do that. But you could have this here and then have it instead of going up like this, have it like this and have the
babies over here see like that. Okay. It's just up to the artist. If they if they, you know, want to fit it in that spot. Okay. And that's so
tarpon Ave but so Tarpon Ave is one of those I would say for a for that one. Okay. For a, I would say for a and just
confirm with the artist. And which one is that for A is okay. And then the three a which is the octopus would be for
Dodecanese and Athens. And again I would say take this information, reach out to the artists and say this, you know, you're was selected, but we,
you know, would like to put it at this location. Can you. Okay. Neither one of those are specified by location. Right.
Let me pose pose a question to you. You know, since we're only meeting bimonthly, we won't meet again until April after
this. So when Jean gets back, would you consider voting to approve these four pieces with the suggested locations and
then, assuming the artist accepts, they would then be able to start? That way we don't have to wait until after April. Absolutely. Started with the project. Yeah. And then if
there's an issue, you know, for some reason the artist has an issue, then, okay, this is for Martin Luther, right? Yes, sure.
And this one is Safford one A. Yes. One A is Safford, five B is MLK, four A is Tarpon Ave
and three A is Dodecanese and Athens. Had a baby. Oh okay. So
I have a question. Yes. Do I tell the artist which they have or do y'all do that? You do that, you're in charge. Okay.
The boss applesauce. And then if they have some sort of issue, you know, you could bring that back to me. I can send a note to the group, and then we'll discuss it at the next meeting.
If they have an issue with that particular location. Right. But at least the others could get started. Yes. Yeah, yeah, hopefully they won't. Right.
Okay. So. So I guess we need a motion to. We should probably wait for you to get back. Oh,
yeah. Do you want to take a five? Yeah, I'll take a five
minute break. Okay. 167 Tarpon Avenue is for a Dodecanese and
Athens intersection. North side is three A. Safford Avenue and Spruce Street. West of Storm
Water. One A for one MLK drive in front of the Union Academy. Five B Pine Street and North Rose Avenue, southwest corner
of City Hall is staff okay? Second by second. Jean already second. Can we have a roll call?
Vote, please. I just want to clarify what I wrote as the motion. Motion to approve the selected artists and selected renderings for assigned drains, with the objective of allowing
the artist to modify their design to fit the assigned drain. Yes. MLK choice five B Dodecanese and Athens choice 3A1 67 Tarpon Choice for a
Stafford and East Spruce. Choice one A fine and gross for staff. That's correct. I want to take a roll call, miss Dean
off. Yes, Miss Taylor? Yes, Miss. Hickey? Yes, chair. Hello?
Yes. Okay. Do we want to move on to these other things so that people aren't held up? I don't know if the audience is
here to look at any, you know, talk about anything else specific or you're just
enjoying the grandeur. Okay. I. Yes, I will take you up on that.
Yes, yes. I believe we are making selections today. I just thought we'd get this other stuff out of the way, because this is. It takes forever. Okay.
I'm so glad. Thank you. So let's move on to D, which is public works slash bleacher building mural. Okay. So I kind of got delayed because they
just don't jump when you say something. Not always not used to it. They don't work for me, darn it. So I've been talking to them and I, Joan Jennings,
thank God, help me. You know, I wanted to get the measurements of these buildings and they gave me one measurement. So we're going to have to go over there and measure everything. Well, Joan said, hold on a
minute. I have a way of doing it. I know you didn't do it on the phone. You did it on the phone. But did you get an app down or something? Yeah, those
I yeah. Estimated dimensions. Oh, cool. So what they do is an explanation of how. The math.
Okay. I've got all kinds of issues. I was having printer issues today too. It just would not wake up the technology. I got a guy coming in tomorrow.
So, I mean, these guys are all fired up to have this done, and I, they gave me ideas for the murals, but I think I'm going to just let the artists tell us.
So I just want to give them an idea of what public Works does and what those bleachers are, for, which I tried to ask for an explanation. So I'm making
it up as I go, I asked, okay, cost of about it because he's been around forever, right? Okay, so what are the next steps then in that process?
Next step is for me to write up the call to artist, okay? And I'll just give that to Megan, okay. And then we'll send it around for the next meeting.
Are we going to go ahead and send that out? Now that you have the dimensions, I'd wait till I get the call to artists together. And that should be soon, because now I think
everything's going to be working by tomorrow night. Okay. And I'll just mail it out. I mean, that's not against sunshine, is it? Well, we can't discuss it. You all can't discuss it. If it's something
you're going to be voting on outside of an official meeting. Okay. But I'll send it to you and see if you want to edit anything or add anything. I also think one of the things we'll need to decide is
specifically what the theme of the art will be. Yeah. You know, as the group here, either here today or at a next meeting. Let's talk about the theme. Yeah, yeah, let's let's get as
much nailed down today as we can. So we need a theme. We need the artist stipend. Right.
Yeah. If we're going to send the call to artists out, we'll need to get all the details right down today. Right. Okay. I have a question. Well, the
entire committee get a copy of the call to artist. Sure. Yeah. Plus they will. I mean, we should we should know we're going to decide right now what's going to be in it. So.
Right. But a copy. Yeah. We can like tell our friends about. So there's I mean it's going to be posted publicly on Facebook on you'll send it to each of us.
Yeah yeah yeah yeah. So the theme, the stipend deadlines. What's the first thing he said?
Theme, stipend, deadline. For the submission. Do we need to
time frame. Wouldn't have it done for them. I guess. I guess the deadline is all that they need to know for the CTA
submission deadline. Okay, so I did start writing some of that. Okay. And but I don't have it because I couldn't print it. Oh
darn it from hell. Well, so when you talked to Public Works, what were some of their ideas they'd like to see? Sea fish,
tarpon type fish on one side. Okay. And then they thought having all of the trucks, a picture of all the trucks and things that they do on the
other side. So you've got three sides this side and this side would be like sea fish or whatever. You know, we have to decide. And then they said this
side, they'd like to see their equipment like this is what we do. You're saying when you're facing the building from the road, the left side would be
the equipment? Yeah, the front would be the left side is left side at the front. You're saying just the side facing the street? Not if you're just
looking at the side facing the street. Divide it in half. I there's like a tunnel in there, I gotcha. And then the one side would be like seascape or something, and the other side
would be, and I'll run that by him and see if they still want it, because they just met with them once and that. Yeah. Yeah. You know, or if you have better ideas I can take those in. Yeah.
Can I suggest instead of having pictures of trucks, maybe we ask the artist to do renderings of what kind of stuff they do because, I mean, there's trucks parked there anyway, so. But if,
you know, if they wanted to list out 4 or 5 things that, you know, is their major stuff that they work on, then that could be something that an artist could work with instead of just saying, you know,
peanuts and trucks. I thought trucks were yeah, that's okay. Well, renderings of what they do. Yeah. From public works services throughout the city.
Yeah. Yeah. I mean they're like first they consider themselves first responders. Yeah. And
last to leave. They are. So holding this up so that when you're talking about the side of the building that faces the
street, that's that big long. Yeah. Okay. And then right in the middle there's like a. Tunnel. Yeah yeah yeah yeah. So
on the right side of that here am I. Right. And that side wall that has the steps on it. That could be all of a seascape okay.
And then the other side would be what they do. Yeah. Maybe to pass around the. These. Okay.
But it's not like that. So be careful. Get them back. Those give them back to you. Windows and the top are going to be covered. They're going to cover
it. Oh okay. And there's a tree you know like bushes out in front that's going to go okay. So they're going to clean it all up when we're ready okay. And then the can you see the
side. That's where you go up to the bleachers. The bleachers are really bad. I wish they'd paint them or something. Okay. So we're talking the front part
here. So on this side of the tunnel kind of seascape blah blah blah on this side, maybe harking back to what the main
things that they services that they provide. So they have eight divisions which are facility maintenance, fleet maintenance, Marina, parks and parkways, streets and storm
waters, solid waste and recycling, and yard waste facility so that under there it's on there page on the city website. Okay. That could be
something we include in the call. Yeah. To give inspiration or guidelines. That's I like that. Just give them that. Yeah. Okay. Yeah I think I think
leave it up to them. I would like to see something more artsy than municipal. Yeah. And. What they gave me were just pictures of trucks. So I wasn't
comfortable with that. Sure. Yeah. I mean, who knows, maybe there's an artist out there that does, you know, like, cars style, you know, cartoon trucks.
I don't know, but I think giving an artist as much creative room as possible while still fitting into, you know, what we're looking for, would be great. So I'm cool with the
the seascape. I like the idea of the renderings and what they do and then do it sitting here worried about it too much. And yeah, no, our job is not to tell them what to do. Our job
is to give them an idea of, you know, where it's going and how it's going to fit in there. And, you know, I think if if the people that work there are interested in seascape, we can
definitely put that out there. If somebody decides to do the whole thing with, you know, what they do, what services they render, then I'm I'm open to that too. And however we can
word the CTA to that effect. But yeah, let's not think for the artist. Let's let them. And then we can have the artist.
Bidder submit for the whole building or the two sides if they want. I mean, we could have artists submit two different ways that one artist.
But, you know, are you talking about having two different artists represented on the building, one on one side, one on the other? I'd like to have one. But yeah, that's just kind of like to have one too. Yeah,
because then it'll be consistent, I think. Right. It's a big building. Who knows. An artist may have a really cool, you know, maybe they'll make that tunnel look like an underwater cave and it'll be a
whole, you know, so, you know, again, I would like to leave it up to the artist to, you know, say, we've talked about this. We've talked about that. Here's what what happens in this
building come up with something that will now it's only going to be on that side. And then on, on around that corner, on that end, on the other corner we're not doing. No, no. Okay. It's
blocked off or whatever. You can't. Okay. Right. Okay. So then we'll need to look at the square footage to kind of decide what the stipend should
be. Yeah. Did you say totally 17 five 17,000. No 1700. Gotcha. 17 oh five square feet. Yeah.
Is that including the the bleacher side to the stair step, side to no side, but not the bleachers. The side. Okay. Not
not the bleachers, but the side of the bleachers. The little stair step area. Okay. So that is included in the 1705, 1750,
1705, 1750. I mean, how much was it? 1705 or 50, say 57, 5750 1750? Yeah, yeah. And
that's an approximate. Yeah. Yeah it is. And that should be close to what they measured. And I don't have it with me because I have these other things. But okay. So does
anybody historically have an idea about like when we figure out the stipend. My thought is it should be based on square feet. They're going to have to
cover. When Megan and I went to the public art conference last year in Tampa, there was a discussion on public murals. And depending on the artist's
skill level and type of mural, the average was anywhere from 20 to $50 per square foot. Okay. So I mean, that gives us at
least a starting point 20 to 50. And I don't know if the bingo hall is a reference for how much a mural is as well. I
don't have the private cost. Okay. That wouldn't include the paint would be furnished, right? Yeah, they have materials on top of 1750 half of this. They
have to charge us for the materials too, so they don't have to. I mean that we could put that in the call. We're going to pay for the materials. No, no, I'm saying that we we don't have to the materials.
That's what I meant. Yeah, I have that written to and what I started. Okay. So I didn't know
I was going to have to do this much math today. So 20 to let's say, let's say $30 per square
foot in the middle times, 1750. That. I'm getting 52,500. Yeah.
That's but yeah, that's a lot of money. It's okay. And you're we're talking about like professional muralists that, you know, shine Mural Festival
and that's top notch. You know. Yeah we could lower the stipend, but that will maybe attract a lower caliber. Right. Well, if
we do $20 per square foot, that's 35,000. The whole thing. The whole thing way high. What
did the bingo hall mural? 23. 23. And it was quite small. Yeah, I saw it the other day. Yeah. $23,000 was their fee. So
this is about three times that. I mean, what are you thinking? They won't come in if we charge $30 per square foot. Well, I'm, I think Joan's saying that's
pretty high for for a mural, but it is huge. I mean, it's a big building. Yeah. That's
right, I can look, let me see if I can find that right now.
Like he was paid 5000 600, 5602, two separate pages. And a initial payment of 1800 and
then another 2800 upon completion. Okay. How many square feet is that? That was before my time. I just found
the the file. Four sides of the four sides of the building, probably equal to about the length. That's really a small building. I drive by it all the
time. And it's, it's this is quite a bit bigger than that square foot. I found the call
to artists that should include it. Yeah. I mean, I guess it
really comes down to, you know, what variety and caliber of submissions do you want to get, you know, as. Well, I'd like to get some good, you know, high
quality. Yeah. I don't want it to look like, you know, children. Yeah. But I did it. You know, the square footage
was not included in the call. Yeah, exactly. There's 4000 plus materials. Okay, so this
20 to 50, did that include materials or was that just the artist that was all in final payment okay. Yes. Okay. All inclusive okay okay. Would we
want to do a call to artists like that. Say you supply everything. This is the stipend. And you got to pay for materials and everything with
it. And do you know, make. Names? You can have them quote us. We don't maybe not put a fee. I don't know what if that
has been done before, but we can put the call to artists and have them send a proposal with what they're asking for as their fee and their resume and portfolio material. And then we
could review it. And if they come in at a fee that is reasonable to us, and we like the project, so we're not going to give them. It's a it's an option. Yeah, it's an option. I
mean with I mean that's what we do with other. One other thing I viability you. Wouldn't I
have that statement in there. Right. One of the things that that the housing. For so long
and our they're automatically covered up the city's liability. Like they are. So that's that's
a if you go above that then the artist has liability. If the company has developed or more. And just if they're going to
have to climb a ladder to do this, it's going to be a lot more. Yeah, they'll definitely need scaffolding. Yeah. That information related to the city.
So you have to send us a so let's say. That. So that they're out of toxic materials.
There's another company that has that. $500,000. Right. That's not even within their skill. Right. Whatever the work
that they do and the skill that they bring. Yeah. Also, I don't really know this much about painting buildings, but are all
paints created equal? I mean, you don't want them to get some cheap paint, okay? They need a good paint. Yeah. It has to be like, you know,
Sherwin-Williams. Yeah. So it's a it's, you know, the element of the question that you're already have done. And I so I,
I believe there are particular skills and we would vet them based on their proposal and their portfolio. Yeah. See past
works. And yeah I would think that. I'm, I'm all for the idea of putting it out there saying, you know, come back to us with
proposals and with, you know, proposed costs and then putting in the stipulation that, you know, has to be approved materials and but it's all in like you, this is what you get
paid include a thing that you have to have the liability. And what the square footage is, you know, around that's how we did it, you know, like in the
business side of the world is sent out for proposals. Give them a statement of work. Yeah, but not money. You come back and tell me what this is going to cost. Yeah. RFP. Yeah. I
think that's what we should do just to kind of get, you know, at least then we can kind of gain a ballpark of what the, you know, what, what the going
rate is and, and what is feasible. Because I don't want to insult people by saying, you know, do this whole big thing for $4,000. Yeah. And not get
anybody sending in any stuff. So make sure we get the specifications correct. Yeah, yeah, yeah. And I would definitely include pictures of the. Oh yeah. And I think the
pictures on that you had got with the dimensions is, is adequate. Yeah. I mean it has measurements and all that kind of stuff and might want to put in there that all bushes are
going to be gone. Yeah I plan on it. But yeah. So, so the, the theme then we're going to
say under the sea or and or. Municipal services, public works services. And then we'll give them an idea of what that
is. Okay. Okay. And deadline. Submission deadline I don't know how long does it usually take them. Kind of a big project. I would want to give them a month or two to. So when
are we going to get this out? In April or March? Assuming everybody agrees with the terms of the call today, and we could get it out as soon as you send
it to us? Yeah. So we're looking at maybe June meeting. We would. Well, they would be for May if they had until May,
like the middle of May or beginning of May or whatever. And then we can. Plan on putting it on the agenda for our June meeting. And that's
three months for them to do a proposal. Yeah. I mean, I haven't done one like this. So yeah. Okay. And that sounds adequate for artists. Yeah.
Joan says three. I think 2 or 3 sounds good, but it's a big project. So I would say more time is better. You get everything. Submitted, you know.
Yeah. Yeah. Just like Martha said with the storm drains, right? Yeah, yeah. Last minute. I couldn't believe it. Yeah. It's the same thing that happened with the box. Like I
had mentioned earlier, if this is something the committee is interested in doing, potentially advertising the call in other ways as opposed
to just posting it on open call websites and pages. You could do we could do a paid advertisement, maybe to reach a broader scope of professional
artists. Yeah, we have to talk about a budget for that. And yeah, we'd have to come from our committee budget. Yeah.
Want to know your budget? Yeah. What's our budget? $1 million. It's advertising that expensive? No, not digital advertising, no.
Maybe a hundred bucks. $200 at the most. Yeah. The revenues through this fiscal year to February 11th has been $2,463,
which is basically like interest. Gotcha. Your balance
is $216,272. Okay. 0216272.00. Okay. I'm in a meeting. Yeah.
So if we put the deadline in May, that'll give you time to go through stuff and have it ready for the June meeting. Well, let's say May 30th. If
that's all the time you need, I would, you know, I was doing it. I'd get two weeks or so. But two weeks before the meeting. So like the middle. Okay. Yeah,
I'd say May we'll be meeting in between now and June. We'll have one meeting in April. So it'll be an opportunity to potentially review any submissions that come in up
till that point already, if there are some if we need to, we'll give them more time if they're all complaining. But you know, saying I need more time or whatever, but yeah,
okay. So May let's say May 15th. They have to get back to us. Yeah. And I'm going to try to get it to you guys as soon as I can. Okay. Perfect. And then we'll we'll review it on our
own and then we'll need discussion in the June meeting okay. Okay. I don't think we
need a motion for any of that, do we? Yeah. Go ahead with that okay. Moving on to E Dorset
Park mural update. Okay, I could take that. Okay. So everything is moving along nicely with the project. For the mural being replaced, I got
an update from Pat. I'm not sorry. Pat's wife, Charmaine from Speed Pro this morning, and they hit a little bit of a roadblock. They out of the
oversize vinyl sheets that the murals printed on. Oh, they reached out to all of their wholesale suppliers and the Tampa Bay area and unfortunately could not get
some, but they ordered it and it's on its way in. They have booked time with the company who's going to be doing the coating. So hopefully we'll be
getting this in motion in the next week or so. There is one caveat though. They would like to know if we want to extend
the edges of the mural to be squared instead of rounded. And the reason being, we talked about adding a frame as a bumper. So instead of having a
square or rectangular frame around it with the track being rounded, it would take the stripes that go around the perimeter of the mural all the way to the end, so it would be
squared instead of rounded. Is that I don't know if anyone has any questions. I actually have a picture too. I could pass around to show you what I mean.
Yeah, if we could see a picture so everyone can see that. And that way the edges won't have white space in between the
frame and the edge of the mural, like it would have been before. Yeah, something could break. I never went over to see it. So I
do that. Yeah, I think that's a good idea. Again, this is going to be printed on the three metal panels. It will be bolted directly to the wall of the
building there in Dorset Park. It'll have the coating, the protective coating, laminate coating over the entire image. And then we're going to have a border built around it. So have
multiple layers of protection. Right. Okay. We'll be in good shape. Sounds good. Really. Okay. So if everyone is okay with the squared corners I'll let them know. And that's kind of the last piece she was
asking about. And that was just today. Looks good. Yeah. And hopefully they'll get the oversize vinyl in and get it printed and up for us very soon. Cool. It'll stop any lifting or
any bicycle scraping because the sidewalk is still it'll help big time. You know, having a little border bump out, right? Yeah. So then if you're against
the wall, it will stop you before you hit the mural. Okay? Okay. Last is. Yeah. I have a
question. Yeah, yeah. On the Dorset Park update mural. That was one thing, but also, I met with Brandon and we looked at that exhibit because I had also asked, I don't see it on here, but I had asked about the
pictures, like Mr. Dorset pictured. They found it somewhere. It got there. That picture that I was asking about Mr. Dorset before saying it wasn't there, but we went and somebody put it there, so I
don't know where the picture was but it's they put it out there, but we wanted to, I didn't know it was going out there because where it's located, we want to move it to the front, because when you
walk up to the exhibit by the mural, the sidewalk, and then you come the sidewalk, the mural is right here, and the sidewalk comes this way when you walk inside the exhibit.
But when you walk inside the exhibit on the front, front side, right here, they have a they have Mr. Dorset sitting in the back facing the street. But we want to have him put up
front because the we want to have red in the front, because in the front they got the Greek church. I think the Greek church is a nice be on there, but it don't need to be in the
front, it need to be on the other side. And also that, that sign that for what is it the sign that Steven had at the title of the piece, the title of the piece. It's in an odd
place where you can't see it at all. It's on the opposite side of the exhibit, facing the barbecue grill. So we want to move that over there. So when when you walk up, you can also
see that, that that sign. So when you say the exhibit what what is is this the Black Heritage exhibit or is this one that we moved up to from MLK? I
moved up to the park. Okay. Yeah. So now it's two pictures that need to be moved around on that exhibit, the two pictures and a sign because the the for
the sign that he has for moving forward and all that. It's in a place where you can't even see it. It need to be visible when, when people walk up to it, it needs to be right here instead of over here. Because when you
walk into the exhibit, people are looking at what you're walking into. So we want to put Mr. Dorset picture off the back, put it up front, and also put
that move, that sign that Steven had, put that sign up front where we'll know what that exhibit is all about. So that and that the church can go where you move that, that, that,
that church is the same size as that little the the Greek church. Thank you. So, Brendan, I showed it to him. Are you talking about the composition of the sculpture? No, I'm just
talking about moving two pictures around. Yeah. It's not it's not the it's not the composition where it's just taking a picture of this wall and putting it over here. Take that picture and put it over
here. And the sign that says, you know, moving forward, take it off a wall that's facing nowhere and put it up front so people can when they're walking into the exhibit, they can see what that sign, that exhibit is
all about. Hey, maybe I can go out there with you one day and show it to you. You know, if you like, I can show. Yeah, but we need we need the two is minor tweaks. It's not a lot of
work just to screw it off and screw it back on. I've already talked to Jamie. He don't think it's that. If that's if that's a parks thing or. I mean, I'm confused if you're talking about pieces separate from the
sculpture or the sculpture itself. No, it's it's the the sculpture is there. And you got these pictures all over the sculpture. Right, right. So now we're going to unscrew one
picture and move it over here and unscrew that picture. Okay. So now you're now you're getting back to messing with the artwork. And I'm just not. No it's not, it's not it's not the artwork. It's not. It's
nothing moving about the artwork. It's moving two pictures from one place to the other. When you walk into that exhibit, you should. We should have. It's the Bahamian sponge
exhibit. So I'm just asking for the picture of the Greek church to be moved to the other side. Mr. Dorset picture be moved to that front piece. So when you
walking in you you'll see his picture in the the sign that says what the exhibit is all about to be moved where it can be visible right now that that sign with the sign that has the
wording on it, it's no, it's not visible. It's it's on the opposite wall and nobody can even see it. Okay. Sign the sign. Definitely. I mean, I don't know how it was decided where that was going to go, but
definitely it should be someplace visible, right? If that's I mean, that's not part of the sculpture though. That's separate. So that's that's fine. It's just a picture. It's another picture. When you take
down the sign, you can take down the picture right next to it, the same thing. It's it's just something. I'll tell you what. Why don't you shoot me a text next week and I'll meet you there. And we can we can
look at it. Yeah. And we can't. Like, we're not going to make any decisions, obviously. But you can show me what you're talking about. You see how simple it is. I'll go with that. Okay. I'm good with that, I don't think. Is that allowed
under the sunshine laws? Okay. Well, Brandon, you can't should I meet with them if they're not voting on it? I mean, we're not voting on it. Discussing it's a thing if it works. Right? But
if it comes down to a vote, that because it would have to come to a vote if you're changing the sculpture again. So if you both meet out there, then that's two of you at in
public looking at the art and discussing what you want to do in the future, which will require could you could you do this? Could you take pictures of what you're talking about? Send it to Brandon. He can send
it to us so that we know what we're talking about. And then the next time we meet, we can met with Brandon out there. Brandon knows exactly what I'm talking about. Moving. It's not
a big deal. I don't think I did pass it. Your idea along to the city manager and assistant city manager, just to let them know what your thoughts were. It's
something I could bring to their attention again. But did you see what I'm talking about? Right. Yeah. You know, it's it's a slippery slope to, you know, moving stuff around. But,
you know, I mean, I really thought we were done with this whole thing. We will be when we get the pictures in the right place every time we make a change. No, it's not it's not a
big deal because you haven't been out there and seen it. So you don't even know what I'm talking about, because you. Okay, if you wouldn't mind sending pictures to Brandon, Brandon can send us. Send it to us. I think I can see we have
pictures already. I could, I could send them. Okay, I I'll take the pictures. I'll send them to the whole group. That way we can avoid any potential conflicts with the sunshine. Because I think even you sending taking the picture to
send to me, then to send to everybody, it could still be a conflict. But just to be safe, I'll get the pictures. I know exactly what sign and which picture you're talking about, and I'll send it to the group.
Being that you've spoken to the city manager, is it any kind of conflict of interest or sunshine law that I can't talk to the city manager? No, no, not at all. I just made them aware of what your idea was,
that's all. Okay. Yeah. Can I make a suggestion that all of you visit the sculpture before the next meeting and walk around and look at it as it is and its completion now? Yeah,
if you haven't already. Yeah, yeah, cuz that sign would say ongoing forward. They have it sitting right out in front of. It's sitting right there in front. So when people walk up they look down, they read the
plaque. The exhibit is forward and upward together. Right. That's a that's sitting in the back wall where you can't even see it. Okay. So we'll all
visit that and then we'll we'll talk about it again when we meet the next meeting. Okay. Last thing is bingo hall mural
update. So they finished the mural. I went out there last week to take some photos and check it out. It it actually looks really good. I think they
did a nice job. It's visible from 19 as you're driving, but it's not like, oh, I want to study it. It's it's obvious what it is and and all that. So I think you all did the right
thing by not going with the bollard. I think this is much prettier. And I believe you made made a great choice by pushing back on that initial proposal. And this is the
outcome. So you can see on the screen up top on the TVs. Yeah yeah that's good. Good job. Yep.
You know what I don't know I'll have to look. Yeah that's a great point. I could check in with them on like a placard or something. Yeah. They're not done with the building yet so
they might. They might still be coming. It was very cold I know. Right. Such a well oiled machine. Now, is that on any of
them, Joan, should that placard on on any. All the mirrors. This one wasn't paid for by us because it doesn't matter. Okay.
Yeah. The only other one that this is that the some of the things that. Council says,
right. Yes. Yeah. That's right. Is that one have a dedication to as well. Okay. Okay. It
doesn't have plaque. It does. The one on the. Yeah okay. I'll
check. Okay. All right. Illuminated art boxes. So I think I've got everybody's got
two. You have yours. Scoring sheet for the illuminated okay. Let me see. Oh Lord. Now you
say oh, Lord, oh, Lord. So it's going to take a little bit of time to put all of this stuff together. I don't remember how
Graham did it so quickly last time, but. I'm going to have to apply scores. Some. Some are not voted for at all. Some are
voted for. So I'm going to have to go through is this something that I can do? I mean I can do it here if everybody wants to hang out, but it would be
easier if I did it. Would you have everybody scores already with you? I have everybody's scores that I it's just going to be tallying things up. It's
not anything. Do you have Excel? I have pages I don't what pages is. Pages is the Mac version of Excel. So if you input those
and then sort them. How many sheets. Sorry. Yeah I have a printout. Okay. Well just put a
notch on the end. At the back and look at the image of the nostrils and you got it okay. Yeah. So if everybody's happy with their final selections, I don't see why Don couldn't just
take them post meeting, tally them up, and then you want to send the finals to me and Megan. I can get started on processing. Okay. Yeah. By all means. If
you would like to help. Yes, please. Thank you. Yeah. It's a little more complicated than it was at that process. Right?
Right. And it has the numbers. Another layer. Yeah. But there's these. Yeah, yeah. Okay.
There's one. Yeah yeah yeah yeah. Weird. Okay. It struck me weird when he asked for it. Yeah. He asked okay. Yeah. So
so once I get the tallies I'll send it to you. You can send it to everybody. I'll get with Joan and see about getting these processed. Awesome to send out. Because really, at
this point it's just a numbers game. Yeah, yeah I think a little later. Yeah. It's exciting. Two projects moving
forward. I know who great job okay. So that does it for the old business new business new project proposals if any. Yes there is one. It hasn't gotten
to the paper yet, but hopefully it'll be on the next agenda. Okay. With economic development, I was going to work with Karen Lemon on a mural for that building, and she she left it open to anything we decide. So
I was going to come back to y'all and say, do you have an idea, like y'all been running ideas about, you know what? What can we put on a building? Sure. So I'm open to hearing ideas of what we can do with
that building. Okay. So we can get move forward with that. So so we've we've got the location is is already done. So do the thing because the thing. Yeah. So yeah. So you want to add
that to our next meeting. Yes. To discuss. Yes. And is that the little meeting on Tarpon Ave, the little building I mean. Yeah. Because she was looking at being at its economic
development, kind of looking at where what, what the city a mural of what the city used to look like compared to what it is now like. It is an advancement of what we've come from to where we have. We don't
have a lot of room on that building. So but it is a nice spot. So that's kind of idea. Well and and again, you know, with the, with the artist call to artist saying, you know, we
would like to depict this in some way. You bring your ideas to us right and left open for us to do that. Yeah. That's great. Okay. So that will be on new business on for the next
meeting. Yeah okay. Yeah. Excellent. And the last new business is the FAP conference, which sounds really cool. The
Florida Association of Public Art professionals conference. It's a professional group for folks like ourselves here in the state of Florida that either work for cities,
municipal or state level government in, in in a way that public art is part of their job, whether you're on a committee or you are a staff member for a
city like Megan and I, this is a group that kind of crosses all spectrums of public art. So just a little background. Megan and I went to this conference
last year in Tampa. It was three days and we learned a lot. There was a guest speakers on different topics like public murals, which is where we learned about the pricing and,
you know, cost per square foot. But other things like emerging digital art trends and different innovative ways to display art, kind of like how we now, you know, how we came
across the illuminated art boxes through Joan, ideas like that. This is a great place to learn about what's going on in public, art in the state, and
to network as well with artists and other folks that are on committees and, you know, doing similar things to what we are here. So I don't know quite
what the ordinance says. I'm sorry I didn't have a chance to look yet about, you know, funding our members going to this conference. But we have a little bit of time to check
that out. And mostly I just wanted to see if this is something the group was interested in doing and going to. And if so, then of course we can look into pursuing it.
Yeah, I would definitely be interested in in going. It sounds like there's a lot of great information and lord knows I could use all the info stuffed in there that I can get.
So I, I went to the website, I was clicking around, I could not find anywhere where it told me the cost of attending. Yeah,
I couldn't either, so that's a little scary to me. I, I agree on this one. I couldn't find the registration. I'm off the top of my head for registration,
so I don't know if last year might have been like a, like a couple hundred bucks. Oh, okay. The registration, it wasn't more than 500 bucks, I know. So the hotel is going to be more
than the registration 200 a night plus. Yeah. Excellent. What are the dates? April 27th, 27 to the 30th. In Palm Beach.
Yeah, well. Or in the Palm beaches that were trumps. Okay. Places like 225 per member.
What was that again? 225 registration member. Yeah. Member. There's also daily registration. Which is less $95
if you don't want to go all three days. Did you get. Probably not. Yeah. It's only $25 more for the third tax. No, no they haven't announced what
the schedule and the speakers are yet. Yeah. But it was enlightening and, you know, enjoyable. It was. We got to do did a really cool public art
tour and nice. And it was very interesting meeting other people from different municipalities that had different challenges than us.
So like, you know, like we have a PAC fund where other municipalities, they might have no money, but they've got a lot of ideas or a lot of
submissions. So it was very interesting to hear the different challenges of, you know, what people are facing. Yeah. Well, for me, I would be
very interested in going. Sounds like the big expense is going to be the hotel. In the in the least cape. Like
definitely go on the far website and you can sign up for their newsletters so that you get their like newsletters with information. Okay, so if we are
unable to attend, there's still a part of what they're doing. Yeah. But as a board, as a board member, what would our expense be? Well, that's what
we're going to look into seeing. If the committee's funds can pay for your, I guess, just getting their, you know, transportation from here to the
event. And then, you know, we can see if we can cover it through the funds and then if we can't, well, that's a different story. Right now we're just gauging interest and just informing everybody that
this is something that's coming up and seeing if there is interest in going and attending. And yeah, just hearing about it, I'd love to go, but I can't. Yeah. And I'm probably going to
get hip replacement. So probably probably not because there are a couple tours built into this. Yeah. It looks I would love to go see that a
couple of days before the whole time I already have. I want to make sure I get a copy of the pamphlet with the tracks and everything. Well, and if 1 or 2 of us goes, we can always bring
back materials and stuff, right? Yeah. So that I would like to go just to be to see the to see what's going on. Learn because it's different. Is it different states. It's just not Florida.
It's all just Florida. Florida. Yeah. Specifically Florida in this cities of Florida everybody. Yeah. Yeah. So yeah it find out what if anything
any part of it could be covered. And then you know, then we could make a decision on, you know, if we would be able to cover anything or if it covers
it all or whatever. But yeah, we're missing the city commissioners meeting. What? The only thing you'll be missing is the city
commissioners meeting. I will check on that and let you guys know. Okay. Excellent. Okay. Staff committee, public
comments and announcements. Anything. Mueller. Yes, Joan. Okay. I am currently on the
board of the. Library. And a while ago, there was a Harry. Library director about playing
a. Public park in front of the library. And he had eliminated the other side, but and it just
kind of fell by the wayside. I know Diane was very enthusiastic about it, very, very happy about it. But I just think that would be a great
project for renovating the library would be a great, again, public art. And I think open a
dialog of that TensorFlow library. And if they have any. Okay. So I probably have those
materials in my past meeting stuff like yeah, okay. I know that it was we had one. Meeting
in Paris and I was. Okay. Okay, I'll try and I'll try and find those materials. If not, maybe I'll I'll let you know if I find him. If not, maybe you
could reach out to get. I'll look around to an artist or drives and see if I can discover anything. You're.
Great, but I think I plan on. I'll do my best to find a. I'm
probably in a of a really large, large. Space. Helpful to be in
order. So. Really great. Yeah. And kind of tie in with the Tarpons there too. Yeah. Right.
Because they have all the fish. Yeah. And. Then the, the artwork, the background. Yeah.
Oh wow. That's cool. I hope he's in our budget. That might not be the case. Well the thing
is again the dialog in the library as well. I don't like that okay I yeah please talk to
us about. Philanthropic work. Yeah okay. All right. Yeah. Let's I'll look for that information. You look for it.
Definitely get it on the agenda for next. Revisit. Yeah, maybe.
Carol. Can carry that over. Yeah, I know okay. Alrighty.
Any other comments? We already did the budget stuff. Nope. Okay. In that case, I will
close the meeting. Our next regular meeting is April 8th at 2 p.m. in the City Hall, second floor media room, and we are adjourning this meeting at 413
on February 11th. Thanks, everybody. Oh, yeah. I all of a
sudden got really cold. Everybody we're getting.