So we do need to call our meeting to order. We have a roll call and because of Zoom, I can simply go by our wonderful names. So I have Laurel, I have Angela, I have Pamela, I have Tisha, I have Holly, Cindy, Noah, Peter, Danielle, Erin, Erin, Randy, Jennifer, A, I'm sorry, I messed that up, I apologize. Can you clarify your pronunciation of her name? Lacey, Eileen and Eve Lacey. Pauline, okay. That would be helpful, yeah, thank you. Joanne, Eileen, Pamela, Kim and Marcia. Thank you all for being here today. We would like to have our public to invite to be heard if they are there. Hi, I'm Eve Lacey. I'm currently the chairman of the museum advisory council and I've talked to Angela some and I thought it'd be very interesting to listen to your meeting. So thank you for letting me do that. Great, we're happy to have you here. Please let us know if you have any questions and we want to answer those. So thank you very much. Thank you. I have reviewed the minutes, it has everybody else and if so, we need to approve those with any corrections. So initially, do we have any corrections to the minutes? Indeed. Going once, as there being no corrections to the minutes, I would like to have someone move that we approve the minutes. From our wonderful April 15th meeting, I was not in attendance. I apologize, my son was getting married. So do we all move? So move, thank you. Sydney, I do need a second. I second it. Great. We had Peter and Laurel at the same time. There you go. One of you, I'm sure, right? Thank you. All in favor say aye. Aye. Your hand. All opposed. And our minutes from April 15th passes. Are there any other additions besides, I know we have a couple from Angela, but are there any additions that we need to add for our agenda today? The only change that I would like to make is to strike nine C, Boston Bridge Elevations and we'll revisit that next month. Which I will probably forget, but Angela knows that. So thank you. Okay. Excellent. So we are on to a big, big time. Commission seats nominating and committee task force for recommendations. We're losing a few people and so it's time to elect and nominate those folks. So I'll speak on behalf of the nominating committee since I was a part of the nominating committee. And we would like to put forth the following Olympic slate. And our recommendation is Holly, Chairperson, Randy, Vice Chair, Erin, Secretary, Noah, Treasurer. And we hope that you'll pass this slate. Would anybody like to make a motion to pass the slate as presented? I'll motion to pass the slate as presented. Are there any objections? All right, prior to that, do we have any discussion? Is there anybody who would like to discuss our nomination? All right, so I do believe we have to vote for one officer at a time. So the nominations are for Holly Brandish Lane to become Chair of the AIP Commission of Longlock, Colorado. So I would like to put that forward. Are there any objections or discussion? All right, so then we can do an all in favor. All opposed. Holly, in this non-seremonial moment, I would like to pass you the hammer. Well done, well done. Thank you. Thank you for passing me that hammer, Amy. I am just super excited to see what we're gonna do going forward with Art in Public Places. And I will just say that in terms of Amy's participation as Chair and over the years, that there will always remain a place in AIPP's toolbox for Amy. Yes, indeed. Can I have a screw and not a hammer? Thank you. And I promise I won't ever use this to hit anybody. We'll just use it to build the commission. Very good. Thanks. Angela, do we have any other officers that we need to install? I believe we do have Noah and Randy has something to say. Yeah.  Yeah. Randy, would you please remain holding on to this screwdriver? Yes. To assist. With my Home Depot apron, we will continue to build the AIPP commission. And I actually did work here. This is my only. Well done. Well done. It's a very consistent team that we have. Would you please continue to measure and keep us in building in the right direction? I've got to take notes. I've got to do props, you guys. But yes, one example of the measure of success, I hope that we achieve moving forward. I've got a couple of funds right now. And Noah, if you accept this nomination, welcome to the committee. Would you like to try and keep us? Because I'm working real hard on it. This is on its way to you, buddy. All right. Yes, I accept this level. So Angela, I do believe we have to vote on folks individually. We've already voted on and accepted Holly, if I am correct. So we need to vote on our next office, which is Randy. Vice chair, which is Randy. So all in favor of having Randy continue as our vice chair, please raise your hand. And if you are not there, you need to put that in the chat, please, if you have an opposition. Okay, all opposed. Awesome, Randy is continuing to be our co-chair. Thank you very, very, very much. All right, so now we have to move to our treasurer and secretary. So we're going to go ahead and move with Noah. Noah has accepted this nomination and it's very fearless and difficult and challenging, but he's still here. So I would like to move that someone move that we nominate Noah. All in favor of Noah being chair of the Art and Public Places. Treasurer of the Art and Public Places. All opposed. And Noah passes, Noah welcome. Yeah, thanks. I accept this new level of responsibility. And I do believe, we kind of plugged Erin in there at the last minute. Do we need to do anything with Erin, Angela? So Erin has served as a faithful secretary and she has willing to stay on, thank you, Erin. So we need a nomination real quickly of Erin being our secretary. I do. Okay, Laurel. Yeah. All right, so Laurel has nominated Erin to continue to be our secretary. All in favor. Aye. All opposed. Excellent, thank you, Erin, for your service. Thank you, thank you. And Angela, what do we have next? Thanks to you. And as well to our friend, Andrea, who I do not see present at the moment. I hope she pops on. But you, Amy, have served diligently what two years in the chair position and a full six at least years in two terms. And welcomed me with open arms during a transition, handled a hell of a year. I'm sorry, but a hell of a year and kept us together and positive in this Brady Bunch whack-a-doodle family commission that we have going on. So there is something that will be in the mail for you and I wish I could give it to you in person but in the meantime, we hope that you will continue to stay and guide creative culture and what we're working on and continue to participate. But also enjoy your time off having handed over because without you, we wouldn't be able to build, without the foundation, we wouldn't be able to build what we're working on. So thank you, thank you.  Then now I only known you for a short amount of time but your kindness and your heart appreciate you too. You've both been, but this commission has changed my life. I think I've shared with Angela, I came into here thinking I was gonna change the whole world and make everybody give money to homeless people. But then I realized that the money we do and what we do gives the homeless people. Having a beautiful community and having an art as a part of our community is essential. And I hope you will continue to implant inclusivity and diversity, which were my missions into our community. I hope you will continue to elect folks of color and you will look at how Longmont is demographically placed. And now I will shush and thank you for a beautiful time. It's been a quick six years.  That's all I have to say. And I promise I will not say anymore. Much love. I'm giving you a standing ovation. I'm giving you a round of applause. Thanks Amy. You're still gonna finish out this meeting though. You don't get off that. I know, can I go now? So thank you everyone. And let's talk about the creative district town hall pilot. All right, let's give it a try, Jennifer. Okay, I know I'm good. For some reason, I'm sorry I wasn't on it roll call but I am here. I'm on my phone tonight. So, but it's working good. So I attended the creative district town hall meeting which was the first actual in-person meeting that I had gone to in quite a while and I'm sure many other people too. So it was kind of an unfamiliar process at first but it was very fun. It was at the roost in the back room of the roost and it was very well facilitated. And there were two groups that talked about the kind of brainstormed about what we wanted to do or what was important about the creative district. And the two biggest things I would say, well, the biggest points that I took away from it were that people want to make sure that there's more information about the creative district and that it just needs to be talked about. People need to be educated. It needs to be promoted. And the other thing is that I found and I do believe this is true from my own experience too is that people really, really liked living in Longmont and are very happy to be here and love being part of the creative community and had a lot of ideas about how to move out, move create the creative district out of just the actual physical district too. So that was fun. And then the other thing is that that there was a real desire to have a bigger performing arts space. And that seemed to be a lot of people were talking about that and wanting to have a bigger venue so that we could have more touring acts or entertainment or whatever. So, and this was interesting to me because I hadn't really thought about it too much before but it kind of went into the next thing which I did attend the museum expansion orientation to and there is the plans for a bigger auditorium at the museum. That's part of the expansion there. So, you know, from what I can tell the biggest venues that we have here for performing arts are the Dickens and the museum and both of them are pretty small. And the high school has a big auditorium but it's always booked up for something very hard to get. May I ask something to Jennifer? The symphony and many of our other organizations use Vance brand a lot. Use what? Vance brand. The symphony uses Vance brand every performance. Oh, okay. So I would be aware of that. For the history of that I would encourage you to contact Kay Lloyd. She's a great friend of mine but they've been using Vance brand for a long time. Right, Peter? I can fill you in on that if you wanna know a little more about it. Vance brand was originally jointly operated by the city. That's why it was called Vance brand civic auditorium but that is no longer the case. It's entirely a school district facility and because of the original agreement the symphony is grandfathered in so that they continue to have access to that hall for those dates. But it's hardly available to anyone else because it's a school district facility and the schools will use all the dates that they need and they need ever more as their programs grow. So it's simply not going to be realistically available for any community groups and other groups beyond the symphony. So Angela, may I call on you so we can move this through quickly? Anything that we should read about there? Yeah, so Kim has her hand raised and I do think that this is a little offline but certainly going back to the creative district with the feasibility study coming out it doesn't surprise me that that was a very activated conversation and certainly the beginning of many.  Yeah, I just wanna make it clear that in the efforts that we're doing at the museum we really are just looking at possibilities. We're working through not a feasibility study but a master planning process where we're looking at the needs that we have, the needs of, clearly there was a feasibility study that was conducted through Johnson Consulting and that came, it was presented to city council, gosh, no, this is two months ago or more and essentially what they said is that they suggested two phases of performing arts. So that phase one would be 1,250 seat facility and they even suggested a location which is called STEAM and it's a development that is supposed to be going down by the river corridor, if you will. And then the phase two was a 500 seat facility and so the museum kind of under the direction of the city manager because quite honestly this is really just being opportunistic because we were already going through a master planning process the city manager asked us to include the phase two the 500 seat facility in our planning process. There are no conclusions here. We really are just looking at the feasibility of it and whether or not it would be possible. Parking is a big issue. So we don't know for sure that we'll even be able to do it because of parking codes. And so I just want that to be clear that we aren't actually, it's not a done deal that we are planning on building a performing arts center. We are just investigating the possibilities. So I just wanted that to be clear. And also those, we're supposed to be launching soon a engaged Longmont survey. And so you would be able to participate in that and give us some feedback which is essentially what Jennifer participated in that it was basically the digital version of it is going to be on engaged Longmont. And we will have a member event where you can again see the boards that Jennifer saw on June the third. So you can kind of check that out and give us some feedback if you want to do that. That's from five to seven. So you guys are all welcome to join us for that if you want to. So let me know if you have any other questions about that. Well, I certainly don't want to speak out of turn because I don't know everything by any means. I guess the main thing I just wanted to report is that in this sort of brainstorming session of the creative district that there, that was one thing that people did mention is a performing arts, the possibility that Longmont might have a performing arts center that would be bigger or more available or whatever. So that was true. And yes, thank you, Kim, for clarifying all that. Great, do we have any more feedback on that? I would like to add to what Peter said unless something has changed in the last five days the grandfathering of the symphony orchestra is over because the symphony can't get any dates until August which makes their season very problematic. So I just wanted everyone to know that in terms of considering these future plans and their importance because Vance Brands seems to be not even available to the symphony orchestra anymore. Marcia, I would encourage us all to support that. Hey, Lloyd is a good friend of mine and I know things are changing there. I don't know how or this commission can help but I'm sure you will encourage them and let us know because the symphony is very important to the entire cultural aspect of Longmont. So I'm sure you'll, yes, Angela. I would just say that the reason too for the Creative District Town Hall and certainly more is that these are the opportunities for us to spread news and talk about creativity in Longmont, right? Because it's not just one thing and it's not just one performance. It's all performing arts and all visual arts. So what we can do as a commission is when we see opportunities to go and participate is just try and spread the word because we all know that through those grassroots efforts of trying to get the word out about what is going on and all of the possibilities that we just try and disseminate that. So I will be certain that as all of these different things come online to send them to you and just encourage you to pass them along. So I think for this conversation that's maybe the best way forward unless someone. I would encourage you all, if this is a point of interest to you that you get involved, email Marsha, email the Symphony Board. If it's important to you, then go forward with that. So if it's okay with everyone, I would like to go ahead and move on to our budget overview because it's a big one. Is that okay with everyone? Marsha, did you have anything more? And by the way- No, that was it. I lowered my hand and just please do write to me and I'm a big supporter of the Performing Arts Center. So- And congratulations Marsha on your big announcement. Oh, thank you. All right, I'm going to share my screen and without further ado, our new Treasurer Noah and I have been meeting and talking about ways to disseminate this information. So we're going to do a big overview first and go from there. So hopefully you all are able to see this. Peter, you're on the top. Can you see it? Yep, okay. Great. Go for it Noah. Thanks. So yeah, as Treasurer, I'm trying to wrap my head around our entire economic picture here. So the first thing I guess we're going to discuss is how the Art and Public Places Commission gets its money to do with it, what we do. We typically work off of capital improvement projects. Anything that the city is building, physical infrastructure or construction projects that costs more than $50,000, we get 1% of that estimated construction cost and then it follows through the entire project and lands on whatever the actual number is, we get 1% of that construction cost total that goes into the AIPP's budget and we use it for the selection, acquisition, display, maintenance of public art and to encourage the public to engage with that art in one way or another. And what is it here? So these are the actual numbers, right? Oops. So from what we have here, we have our typical expenses and their associated costs under budget and then we're, what's the last one, Angela? And then this is the full amount that we have budgeted to pay for artwork itself, including shock art and any, I forget what it's called, the acquisitions like our good friend, Ursa Major. And... Assets. Assets, right. Collection. And I believe, yeah, so we saw a total down at the bottom is about 206,000 or 207,000 in the last year or so. And if I remember right, our total that we have in the bank is about 1.3 million, which is pretty awesome. And as I understand it, we try to budget that since we already know the construction estimates for major city projects over the next five years or so, we can guess and estimate what our budget is going to be and budget appropriately for all of our expenditures and big projects and things like that. I guess this is me is just to explain this year was my first year in going through the budget process. The budget process for art and public places happens at the same time. And so in line with the city process. And there are some CIP projects that are exempt, but for the most part, it's anything, any construction doll or any project over 50,000 with a construction line item there, sometimes it's like 17 bucks and sometimes it's more. So obviously in the last number of years with the flood, that's how that fund balance got so high. And that's what as those construction projects are now coming to an end. It's our job to work on that fund balance. And so that too is why I am here in a full-time position and because we have opportunities to get this fund taking care of and back to kind of the revenue and the annual budget are more aligned. So just to give you an idea of the current projects that are underway, these are anything that really has some legs, if you will, over the past couple of years. And the potential are things that we have talked about, like we know that we're gonna have to move gather enough people. Well, as soon as Army Corps of Engineer comes back, that maintenance and repair line item is going to have to increase significantly because that's where it'll fall. So as these projects come in line, then they're accounted for in the budget appropriate. Like that State Highway 66 is something that sustainability and transportation have come to me saying you can see this, it's gonna be coming down the pipeline. So as they get underway, then they'll contact us. So that's in a normal year, that's how that process will happen. Does anybody, I imagine have, oh, here's our collaborations. I was just gonna point out that obviously these projects span all through the city, right? So parks department, we work with development and planning and we work with external partners like that Boulder County Housing Authority, Kauffman project, right? That there's an opportunity to work with them. So sister cities, Boulder County, neighborhoods, LDDA, we really work with a lot of different partners across. So I imagine that there are questions. Oh, and the one thing that we didn't say, Noah, is that our big bad goal is to, of course, provide a spreadsheet with those big bucket categories like supplies and things broken down into an actual, probably on a quarterly. Yeah, I think that would be great if we could present a rolling total of what our budget is and what our expired expenses are, what we can project in the future, et cetera. Does anyone have any questions? Questions, questions? I think it's pretty straightforward in what we're doing and how the money's coming in and going out. So detailed budget would be nice, definitely, but I understand what's going on. So I would like to congratulate Noah and Angela. This is not an easy thing to go through and Noah being a new timer to this. So give Noah a round of applause. Thank you, Noah. You guys are awesome, amazing. And as with all online things, I always lose things. There we go. All right, anything else that we need to go over there? Okay, so it looks like we're moving on to public art project updates. Art on the Move 2021, is that correct, Angela?  Can't hear me when I'm muted. Okay, so thank you, everyone who participated virtually in the selection and to give your first round. Every one of you, every commissioner participated online, which I'm going to chalk that up as like massive success. 100% is awesome. So thank you, because I think that that really got us started off on the right foot. And then of course, we met digitally to go through the shortlist and this is the final list. The first work is Protector. Protector is 1,700 pounds and that includes the granite stone and the Colorado marble. I'm sorry, rather, Arton on the Move task force will get together to talk to me about locations and some of the installation, de-installation details. This sucker is going to need a crane and we have crane used for a couple of other things that we have to take out. So we'll work together on that. But a beautiful, beautiful piece. The second work that was selected is I believe it's new work. It's acrylic and aluminum. And what you can't tell from this is I believe that there's some translucent qualities here because this is obviously a model. So it's only 45 pounds, but it's acrylic and aluminum and it's 66 high. So it's pretty tall, very interesting, Cala. Under the Lover's Moon is a steel piece that's 12 and a half feet tall. I'm really excited about seeing this piece come in as well. Molly, which is steel and epoxy, she's 120 pounds and a little larger, taller than life size.  Wild Ones, which is glazed ceramic, steel and cement board. I've actually seen this in person and it is lovely. It is absolutely lovely. And the last selection was music, which is hand forged steel and glass. And sadly, this artist has placed this work in Kansas City just a week and a half ago. So we get to move, I know, it's just a, it's actually, it's a real bummer. So we will be installing our first alternate, which is mid-century mini cacti, which is metal, concrete, mosaic glass. And it's a really tall piece. If for some reason I have not received confirmation on this, if for some reason this piece is not available, we will go to our second alternate, which is spirit set free. So those conversations are underway. I still have not put the artists here because we are not under contract. This just finalized last week, but I have every reason to think that this is going to be completely copacetic with risk. Looks good, all the artists have been fairly responsive. So I feel good about moving forward. And then the artwork that was selected for 2D display. Again, you'll recall that it's the safety and justice center that we are addressing. It's this 16 foot long wall and it's about eight and a half feet high and the artist was charged to treat the entire area. And the artwork that was selected is this digital photograph of a Cameron sunset. So I believe that that's just Northern Colorado. And the artist, as I understand, will print this to size. So it will be massive. We're working on the details of how it will mount, but it will eventually hang on that wall. And if for some reason this piece were unable to work out, the Ice Lake Basin was the second choice. So that is those pieces. Does anybody have any questions, comments? I'm really proud, those are beautiful pieces. Great job, commission. Really great job. They are gorgeous pieces. They really are. So the first work that we will de-install is the blue horse is gonna be leaving us here actually next week and then the rest of them because of machinery, et cetera, I'm working on the week of June 21st. So you'll get some more information, of course, about that. And if you're interested in coming by and help with some pedestrian traffic, Cindy last time prevented someone from getting totally clocked in the head with a forklift as she was just really wanting to get close. So it's an interesting process. So, and on the bottom of your agenda, you saw other dates. I just want you to pencil some things in, look at your calendar and see some dates, but it sounds like as we open up, I can use help, so. Helper, help, help. All right, so we are, thanks to Angela and all of you. Art on the Move is looking fantastic. I'm so impressed and can't wait to see the pieces. We are swiftly moving on to Shock Art, which is 9B, if I am correct. Yep, so the Shock Art call is out. The online application is up. The locations to drop off is the museum as well as LDDA during opening hours and it closes on the 10th. So tell your friends, there's a Facebook push coming. I'm trying to get it in the city line as well. And then of course, again, those volunteer opportunities when it comes about for photographing and then getting tables and things set up for our display, so. Excellent, that went quickly. So we are, according to our agenda addendum, skipping the Boston Bridge and we're moving on to our 730 center discussion, but we are not there yet. So we're gonna go ahead and go on to our Creative Cultural Plan by our friend Holly. Yes, so I know I've been coming in front of everyone for about the last six months and just giving you little like tidbits of information about the Creative Culture Plan, which was formerly known as our strategic planning, if you remember that. Well, I'm super happy that this week we've made some, what I think is some major progress towards getting to this overall goal of developing the Creative Culture Plan. Angela has been meeting with a fellow by the name of Brian Corrigan who is a creative place-making expert. So he really, his job is to take creative ideas and move them forward in terms of community. And he really, I think he's gonna bring to us some really great things if we decide that we wanna utilize his expertise. A couple of the things that he is proposing have to do with development of our commission internally to help us to understand what our mission is and what direction we wanna go forward. And then he's kind of been tasked with helping us to really develop a Creative Cultural Plan citywide. So many of you may have, if you've been around Boulder County for a while, you're probably familiar with the farm-to-table concept. Does anybody know that farm, it's a kind of a culinary kind of a process for really making exceptional food and bringing it to the table. Well, when you look at Brian, he has some ideas that could really take us from farm to spaceship. So, I mean, he's got some amazing plans that he really created a proposal and put it together for Angela. She's actually met with him twice. I believe in the last couple of weeks. And Angela, I think you're gonna kind of give us a sneak peek what that proposal looks like. Hopefully you can see, this is Brian.   I've known him for a while and I've worked with him before. And so, as we have been investigating, how is it that art in public places can be its best, the best version of what it is that we are and what we're doing and how do we get to that point? And how does this commission gel together, articulate what it is that we think that we're possible and capable of and then how do we get everyone around us to join in? And also looping in our city stakeholders because there's a number of them now in the budget process. When Noah and I were talking, I tried to point out principle developers and planners and folks from parks and just really having them jazzed with us, especially as we come out. So I asked Brian, I was like, well, how is it that we can do this knowing that we've got to kind of inch our way into meeting together again, but how can we keep it fun because that's his whole thing? And so he put together a stakeholder and community engagement proposal. That's really three parts for us. The first one is going to be mostly internal. And when I say internal, I mean like the creative district champions, like the folks within the city, certainly Marsha and Council and like Aaron Fosdick and Wayne Tomax, people who are planners and work with the communities, work in community services and invite them to come and investigate with us what we think creative culture is. And then we're going to take it to the streets and talk to our community. So with that, he and I talked about what that could be and what that could look like. And this is what he has in essence come up with is starting with a stakeholder workshop. It's going to be a four to five hour workshop talking about the strengths and opportunities and guiding future thinking for art and public places. And so we're going to highlight contemporary place making practices, but really set us up. So each of us with this and being on this commission is in that leader role that we can go out into the community and really talk about development of things that happen in town and how art and public places is a big practice of that. And so this is going to give us, like we said, the tools that we need to really get there.  It's going to really get your creative juices flowing and is going to help with a lot of the conversations. So I am working really, really hard to nail down a date because of the sun and where it falls. I think that Saturday the 26th of June is what I'm trying to land on. So if you can pencil that date down or put it in your brain and I will be sending out a note to see about participation and hopefully that we can get as many, many, many people as possible to participate and also that the county will allow us to do the things that we need to do and give us the guidance. But it sounds like it's going that way. So very exciting. And then this is another example of some of the gamified ways in which Brian really taps into the thoughts and feelings and desires of community. And then the second piece of it is going to be a community engagement and activation exercise. And chances are we're going to utilize what Noah had mentioned the last meeting of the summer on the streets because there was no May art walk that has been translated into a series of Saturday events. And so we, because existing marketing and we'll be working with our partners in getting the word out about this and we will all at that point be leaders and have a role in seeing that we are getting the best outcome possible with this opportunity. And then from this, of course, we're going to data mine the heck out of it with some of the existing work that we've already done in distilling Envision Longmont, a lot of the other cultural plans, the arts and entertainment plan from 2011. And we've, Holly, Amy and I have worked very hard to put that into a single repository. The museum assessment plan came back and there was some evaluation that happened there. And we're going to take all of that data and this experience and that data is going to obviously inform these experiences. And we're going to take that and then give it to Brian and say, hey, okay, from an art in public places led standpoint knowing where our budget comes from, how our mission is and how we're tapped into all of these different departments and all of these different ways, how can we bring the best art in public places program to Longmont. And an interesting thing too about Brian is he's working with lots of different communities and that farm to spaceship idea, especially from an equity standpoint is sometimes the folks who you want to have around the table aren't able to make it because they don't have time to be able to volunteer. But there are ways and they have skill sets that we can tap into and pay them for their work. How can we do that? And this idea of arts and, right? Arts and economic development, arts and visitation to Longmont. How is it that we can make and continue to push art in public places and leverage in the best way. So these other entities, these other, the guiding principles of Envision Longmont get a step up utilizing our creative community. And so we're going to be the leaders in seeing how we can program we can to do that. So with all of this, Brian is gonna put his recommendation of some of the ways that art in public places can be around the table to make sure that everyone who wants to have a seat at the table can be there. And then also, again, that idea of farm to spaceship that our farm, our Longmont farm is different than Louisville's farm, Louisville's farm is different than Denver's farm. But we can all do out of this world stuff and make Colorado with our various farms the place really where the creative people come to be the best for business. And that means within our communities. So that's that idea of farm to spaceship. And it's interesting and it's gonna be a lot of fun. So with that, anybody have any questions? I mean, what I'm looking forward here for you from you here really is we're talking about basically a retreat for art in public places which hasn't happened in some time. We all know that the last strategic plan for art in public places was called vision 2020 and clearly did it sunset, it's pandemic sunset and went away. And so here we are in a new day coming out. And I think if we would have done this process pre-pandemic, we probably would have thought about things a lot in a different way where that idea of interactive versus commodity versus a thing was kind of the Venn diagram and those two pieces. And now we're coming out and now having this transformational moment that the moment that you're living in experience that you're having in your place is the thing that we all value most. And every CEO, if you look at the top five things that they're looking for in any business it's being a creative thinker. Well, we work with the creative people. So anyways, I will stop talking but I'm just really jazzed. So does anybody have a question? Does this mean we get to see each other in person? Wow. So art in public places meetings I should say I was in the citywide meeting today and council is first and then based upon, you know you've got the, you've got blesses heart Polis is out there saying take your mask off take your mask off but really it has to come from the county and there are citywide requirements. So at this point advisory boards still have to meet digitally until such time. But I do think by June 26th having a workshop will be vetted and blessed and fine. So I'm working on it. Excellent. You know, I think that the Friends of the Longmont Museum did a program similar to perhaps what this fellow is thinking of doing for us in more condensed because the Friends of the Longmont Museum spent many more hours and really it was a terrific facilitation and I'm excited. I was telling Jennifer who heads up the Friends that it's like a milestone in terms of what we went through and what we feel we can accomplish now. So I endorse it and I think we'll be excited about it. My opinion. That's great. That's wonderful. Angela again, we'd like to thank you for all your hard work on that. That's amazing. It feels like it's been a long time coming but that's just sometimes how it actually ends up being kind of a good time. So. Stop it. So from my understanding, it looks like we can move on. We still don't have this to extend our discussion. Are there more, is there more input? Kim. Yeah, so I just wanted to add to the conversation that there is a lot of kind of strategic planning conversations that have been happening around the museum and around art in public places and around the friends of the museum. And I don't know exactly when this might be the most opportune moment but certainly I think that it has become clearer and clearer that it makes a lot of sense for the AIPP commission and the Friends of the Longmont Museum and the advisory board for the museum to come together. And we can kind of rally our energy for arts and culture in Longmont and also just get to understand what each other is doing and where our different focus is. And so Laurel is on both boards. So she gets a sense of the Friends and AIPP and I think that one of the goals that I have had since I started my job now almost four years ago is for there to be more integration between the three boards of the museum. And I think we're finally getting to a place that it's starting to make sense about where those integration points make sense. So look forward to an invitation for all of us to get together. And I think it might even be in person. That would be awesome. Wouldn't that be cool? Yes. All right. Great. That's amazing. So Civic Center, would y'all like to talk about that? Hi, Sharice. Sharice. Hi, Sharice. Nice to see you all this evening. Thank you so much for the opportunity for me to come and speak to you a little bit about the Civic Center. For those of you who don't know me, my name is Sharice Montgomery and I'm a project manager for the city of Longmont in the facilities maintenance department. And I was actually brought on board to help with the bomb projects that were passed in 2018 that include the Civic Center. Then our efforts will move to safety and justice and then we'll kind of make the rounds with all of the city facilities and making sure that they're structurally sound and will last the next 20 to 50 years. That Longmont will be fully operational and structurally sound. So Angela's gonna share, I put together a little presentation just to help give you a little background about the Civic Center and art in public places. So thank you so much Angela for being my slide guru. We can obviously go to the next slide. For some of you who might not know, the Civic Center was actually built in the mid-70s and it was five separate buildings. Oh, we can go back, yep. So you can see the administration building is really the city manager's office today. There was an existing judicial and engineering building which that's where city council chambers is right now. And then we have our ETS department head on top of that and we have our existing police building which is now our community service building and our finance building is still our finance building and the library is still the library. But you can see that really with the original construction, they were five separate buildings. So the mall area was enclosed in the late 80s, early 90s and that's where the skylights came in and the art that currently exists today is hung off that skylight. However, the original intent of that piece of art wasn't in the original plans because they were five separate buildings. People thought they hadn't put a roof over it to make it an enclosed mall area. It was an exterior building base. So let's move to the next slide. So we had some structural concerns of the building and this kind of just shows the timeline of repairs that have happened in the building. The original investigation started in 2015 and here we are today, six years later and we're still working within the complex. Water has not been our friend and so with all the amount of freeze thought cycles we get that has really done some damage to the structure itself. But I'm here really to show you a little bit about what the mall looks like now. So if we can go to the next slide. So if you haven't had the ability to go to the Civic Center recently, we kind of have the before and the after picture. Most of the displays that art was displayed in, including programming through the rec center and community services has now been removed. We did have a big structural repair that came right down the middle of the Civic Center, pre COVID and now we have brand new carpet that has gone in. One of the displays that will stay however, next slide, is our sister city showcase. Obviously the Goose is in its temporary position as we were redoing some of the carpet. So that's not his forever home. He has been moved back. But you can kind of see some of the displays that currently exist really honing in on the Northern Arapaho communities. And really this is our showcase for that art to be displayed. So next slide please. So one of the things I know the colorful poetry of the Middle Ages, which are the flags that existed in the skylight area, we were looking at possibly there being some other locations that we could utilize for new arts. And one of the locations that you can see in this picture here really does create a 360 degree visibility. And the beauty is it's slab on grade. So I don't have any structural concerns about the weight of any art that might get placed. And it's a fairly substantial area. It is approximately six feet by 16 feet. It can be seen quite nicely from the entrance into council chambers as well as the parking garage. And then you get a top view as you're in the mall area and there are stairs actually on both sides of this location. So when I got a chance to meet with Angela, we said like, hey, this would be a really great area. And as you can see from the picture, it definitely needs Delcy. And it would be great to be able to have some art in that location. One of the other areas that we talked about, next slide please, is to really have something be more outside. The Civic Center has kind of gone through a transformation and we have new guardrails, we have new lights, we have new surfaces that are outside. However, really due to the structural integrity of the building, we can't put anything on the post-tension slab that exists today. So what we would really hope to do is create some kind of area in the northeast corner of the intersection of Kimbark and Third. It is also an outdoor area and the building kind of blocks one quadrant. But the beauty is then people that are on the patio area of the Civic Center could see the art at a completely different vantage point than those people that are walking along the sidewalks. It is an outdoor area. We don't have any structural concerns at that location and it also has electricity that is running to that location. So at this point, I'm just really here to answer any questions that you might have. I'm hoping that we've presented some food for thought on maybe some other locations that we can go with art. This fall we do anticipate replacing the skylight that does exist, it has reached its life expectancy. And our hope is that it's hard enough to get skylights down and not damage normal walls. And I really, I don't wanna do any data art along the way. So I will open it up next slide really, because it's just thinking all for letting me have the opportunity to come and speak with you tonight. But I'm here to answer as many questions as I can or take notes so I can get a response back and have Angela filter that back through. I think one of the things that we have talked about and I thought that there might be some questions about certainly for our colorful poetry in the middle pages is that the timeline for skylight is that has to happen in the fall, is that correct? So those will have to come down one way or the other. And one of the things that we were waiting and had tabled in our conversation here in hard and cold places is that whether to bring the conservator in advance or being efficient in that the work will have to come down and considering the conservator at that time. The other pieces Holly and I have worked on getting some employee feedback as well, questions as well as some community feedback. And Sharice had mentioned just dot matrix posters for folks that will be going over there. So yeah, I think that just coming up with a plan for conservation, if we can agree as a group, then again, if going in and having the conservator take a look at it in situ now is the way we wanna go. I understand that too. And then the next piece of it is because we do have this 150th celebration that we're talking about from the long-launch standpoint, launching a project this year, obviously it wouldn't get completed this year because it could be a very large project, but launching that and getting a task force together would be helpful. Especially because that Northern Arapahoe sister cities, as I understand, is gonna be solidified later this fall. Yeah, so if there's questions for Sharice or if we're interested in starting a two-person task force and then we can have a larger committee as well, so. How about a task force? Who would like to like dig into this? Cindy, thank you and Danielle. Oh, all right. Well, we have to like debate. So who was like, and maybe not. Go ahead, Jennifer. You could do it. I would love to see Danielle too. Danielle, you think? That's fine, but we'll just make sure that we're recording our meetings then. And Jennifer, I think we had started because you were investigating them early on. I was and I also am fiber artist. So I don't know. I mean, that's not the kind of work that I do, but I know fibers at least. Great. I will lead that to Angela to figure things out. Sharice, I cannot thank you enough for being here tonight. You kind of opened our eyes as things that we weren't aware of. So do we have any other questions for Sharice? Oh, actually may not have caught this, but when will at least the two spaces that you alluded to the indoor art space and the outdoor art space, when will those be ready to be occupied with art? Currently they are available. We are still working within the Civic Center complex and the library kind of gets included in that area. But our hope is that this summer or late summer, early fall, all of our work will be completed with doing the structural rehabilitation. And as our COVID restrictions are being eased, I am seeing more and more people that are utilizing the Civic Center. And I would love to actually see something go in sooner rather than later because to me, it's like a blank canvas and it needs something, so. That's why I asked, I totally agree with you. Great question. Anybody else? Wow. So I did want to give you, I got an email from Marcia Martin, her laptop died. And so she didn't need to leave us. So I went to my, I never check my Gmail during these meetings, but some reason I did. And she wrote, my laptop died, I'm trying to work on it. It's the city's problem. No, she didn't say that, but. All right, so just so you know, Marcia did not leave us in vain. Okay, great. I'm going to our next and I of course lost it. Don't, don't stand by me, stand by me. Well, thank you all so much. I am going to bow out and please let me know if there's anything more that you need. Thank you, Cherie. Thanks Cherie. All right, thank you. Bye. Bye, thank you. Okay. And of course that did happen. And now I had to go back up here. Okay. So our next item, we're getting close y'all. We're doing really, really well at a 7-Eleven. Budget creative and Holly and Holly already administrative report. Angelo, look where we're at. Hello. So the big thing that happened and I'm going to try, I'm going to lose you for a minute, visual wise, but I'll pitch back, is that we have received information from an artist that we had worked with in 2019 when I first arrived, DeWitt Godfrey, who installed the Collier Park piece. And I'm going to pull it up just for recollection in case you haven't been over there. So there it is. And this was mid installation. So this was a fall of 2019 that cottonwood trees no longer there. And so we have not had not finalized this project because the artist was still in debt to some subcontractors here in Longmont. And I'm happy to report that all debts have been paid and the documentation has been approved by city attorney as sufficient to accept this project. So without further ado, I would love to get this off of the list and accept the piece. Again, we've had a dedication, everything is underway and it looks good. I do need to move some sprinklers but that has nothing to do with the artist. So that's the big bad report thing. So if anyone would like to motion to accept that work will wrap up. All right, so can I have a motion please? Yes, I motion that since all debts have been paid to the city on so-called piece of art that we move to accept the installation into the AIPP collection. Thank you, Ron, Randy and just a second. So Holly, we have a second, all right, awesome. Can we say an all in favor? All in favor. Awesome, I think this might be my last vote of all time. All opposed, the motion passes. Congratulations, this has been a project that I have been working on for like five years. So congratulate everybody. Yay, thank you, Angela. There you are. And then the only other thing to report is that I am moving forward with Timber and Wayne Tomak. You'll recall that Wayne Tomak is the facilitator for neighborhood improvement projects as well as sustainable neighborhood improvement projects and the Kitely neighborhood had come forward with their basketball court. There is a subcontractor or a contractor who does this kind of work and has been unresponsive to Timber. So the new business is really that Timber would like to work with Art in Public Places to facilitate that project this year. Financially, I think it looks like it should all go through the neighborhood improvement project grant process and all that financially will be asked of Art in Public Places is likely the sealant and then facilitation of getting the artist and the volunteers and all of that, bringing our cavalry, if you will. So I'm really excited. I think that that's gonna be a great project and also one that we can can and then have. So if other neighborhoods or other areas in the city are interested in the similar kind of project that we have the what, we know how much it costs, we know, so there'll be a little bit of a learning curve but I think that it's worthwhile. So those are the two big administrator report pieces that I have unless anybody has questions. Again, other stuff is like the shocker and are on the move are keeping me pretty busy. Jennifer. I just, I was wondering, Angela, I was down at ninth in Alpine today and I was wondering when the murals are gonna be restored and sealed. Is that on for the summer or is it the climate that has to be done at certain temperatures? Or I just wanna know what's going on with that. Yeah, May has been awful. So the artist anticipated that this month would, we would have action, but I'm actually not sad that it's been raining and cool but I actually think that this would be wonderful forever but yeah, no, so that is the reason. So we're gonna probably be looking to kneel down at June date and at that time, you'll recall we'll have to close down the bike path and hopefully have some volunteers just standing by to help for a pedestrian, you know, bit. So, yep. Okay. Thank you. Okay, volunteers that live like two blocks away can they come back? I might think a friend of mine who lives really close to there might think about it. Awesome, all right.  So thank you Angela and I apologize for my dogs. Do we have new business tonight that we need to take care of? That was the call your park thing but we're all done with that new business. Anybody else have some new business they wanna bring up? How about, here we go. Commissioners reports or comments and Randy. Angela, now that we seem to have two more spaces for art on the move. Here we are again, right? Art on the move, we're limited. Well, good point. Yes, we could put in infrastructure to, I have a crying dog too. We could put in infrastructure for temporary artwork at the corner of the Civic Center. If that is what the commission would like to do. We could do a permanent piece there. I do think that indoors is probably more appropriate for us sister cities or indoor piece but yes, certainly on the outdoor, 100% that we can go forward with that and I can pour a pad, I can call concrete and pour a pad tomorrow if we want. Would you guys like a little subcommittee? I think we could just make up our mind of how big we want it. And I've got concrete guy on standby, I can call it in. We would just have to pick another or use one of the next pieces in the, that was chosen. Yep. And make sure that it's not too tall to run into that tree but that's my problem. I'll go out there with the measuring stick, no problem. Well, what is the next step? What's the next piece that we voted for? So the art on the move subcommittee that will choose locations meets next week. I needed to know at least a verbal confirmation of what work was going to be installed. So we need to figure, we need to meet next week and figure out those locations. Again, but I have plenty of time, I've got a month, I've got plenty of time to pour a new pad, no problem. I do think that is subcommittee worthy though. I'm really deal because you guys got pads and stuff and I'm kind of over your pads. Well, we have an art in the move task force. Yeah. Art in the move task force. Maybe you should think about that. Pam or I saw your light go on. Do you have comments or questions? No, I just said yes. That's a really good idea. So I'll get art on the move task force together early next week so we can get that underway and just think about that as a potential location as you consider these works. And once I get that final, final confirmation of participation from the last artist, then I will send visuals out for you as well as the map. Awesome, good thinking. So do we have any more new business? Wow, Angela and I were literally thinking we're gonna be here until like 8.15. So wait, wait, I have one more thing for the 150 year. Is there a task force for the 150 year project? Or long line? Oh, no, we have the colorful poetry, but no, we do not. Anybody be interested in serving on the 150 year task force this year? Sure, I will. Pam, Randy and Pam and Pam. Pam, you know you're here twice, right? Yeah, yeah. Anybody else? So Pam and Randy, great, why don't you guys, y'all folks get together and think about something. Anybody else? I'm sure Angela would be excited to be a part of that. Okay, great, thank you. Okay, sorry everyone, I'm done. No, any more task force or anything that we need to form before I leave and don't have to be on them? Angela, that was funny. All right, so commissioners report is where we're at before I give my speech again. Comments. Yes, Peter. Commissioners, comments. Is that what he had? Yeah, comments, commissioners comments. Those were me that I did too, commission or comments. No, you were in new business, commission or comments. Any more comments? Deepest appreciation and thanks to Amy. Yes. That's my comment. These are folks that I probably would have not got to know. That was my little speech. I knew of Cindy, I knew of all of you and other lifetimes. And I'm not leaving, I'm just going backwards a little bit. I hope to participate in your events. And I thank you all. You've made me grow as a human being. I regret that we had to do this under a pandemic because I had a lot of big ideas, but wearing a mask and not being able to be together made that hard. I am very confident that Holly is going to be amazing. And yeah, it's all my doing that Angel is here. So thank you for your blessing. I know I have not been the most kosher, the most dignified, the most realistic chair. I had a meeting with Paul and told him, those of you who know Paul and he said, you know what, they knew that before you came, they wouldn't have let you be in if they hadn't because you've never put on a face. So thank you. And I'm proud to have been a part of this commission and I'm proud to be your friends. Y'all are my friends. So thank you. Any other commissioner comments for the evening? All right. I'm very proudly to say that my last meeting, sorry, 7.25 on May 20th, we adjourned.


I'm Karen Strong, and I'm Lisa Jager. Are the mics not on? Yes, they are. And I'm Lisa Jager. Great. Here, because the conference organizers specifically asked for data about the impact of applied improvisation. And we looked at each other and said, we just did a program where we collected some data. We could talk about that for 10 minutes. Why don't we share that? So we're here to share information and data that we collected on how applied improvisation provides confidence and effectiveness in people having difficult conversations about social challenges, specifically about climate change. We're going to start with some questions. So first, please raise your hands if you are concerned about climate change. Keep those hands up and raise them if you have heard about climate change or seen it covered in the media in the last week. Great.  All right. Now, raise your hand if watching what other people did affected your response. OK, you and me, I put that out because what other people say and do affect what we know and what we do about climate change. A bad because there are people who study how people talk about climate change because talking about it is key for catalyzing national. So scientists that study this conduct polls to explore people's beliefs and experiences about climate change around the world. So there is a big gap between concern about climate change and whether people are talking about it or not. And the people that study people's beliefs and experiences about climate change look at Americans and look at folks around the world. And they found a very big gap about conversations about climate change where only 5% of folks are having conversations often about it, even though 66% are concerned. 66% are actually not having at all or very rarely.  And that's from any source, TV, newspaper, social media, or listening to conversations with friends and family. Next slide. Why is talking about it matter so much? Talking about it matters because when we talk about it, we're letting people in our sphere of influence know that it's important to us. And that influence has a big impact. The fact is, people don't take action or learn from experts and what they hear in the news. They learn to take action based on conversations that they have and information they get from people they know and trust. Next slide. So why aren't people having these conversations? Well, there are really valid barriers as to why we don't want to bring up climate change over a beer with some friends or at the family dinner table. Here are some of those barriers. I, myself, didn't feel like I was an expert, so I never brought it up because I didn't think I knew enough. Next slide. So how do I get over those barriers? Well, you know, it's improv. I knew as a volunteer at my local zoo, that that's the perfect place to be having those conversations and there's a lot of social science backing that up. I also knew we were not having those conversations. I also knew as a member of this community that applied improvisation offers exactly what we need to build those skills and the confidence to get over those barriers that Bobby described. So I joined up with Karen and Bobby and we developed a targeted climate communications course. We say it's what happens when a scientist, a project manager, and an improviser walk into a bar. We create Yes and Nature Collaborative. And Yes and Nature Collaborative's first offering was a five-week virtual course called Climate Conversations. And in that course, we used an interdisciplinary approach of communications theory, scientific research, and applied improvisation to teach people how to have more effective conversations about climate change, one-on-one conversations. Next slide. We put the word out to all of our networks to invite them to this open enrollment course and we attracted conservation scientists, environmental activists, and advocates to come together, play together for five weeks, and learn these applied improv skills. We followed and put the word out that maybe we could track seven or eight people and we got 30 people from around the country. And only a handful of them were people that we knew. Next slide. So our program talked about science and impacts and solutions. But because science isn't the barrier for effective conversations about climate change, we focused on the elements of communication that everybody can teach us. So our program is unique. We have other programs out there that talk about climate change and they give you a list of talking points. So this is not about what to say, but how you say it, how you show up when you say it. And we teach people using improv exercises to let go of what's in their head, to really focus on the other people that they're talking to, to use curiosity to find shared interests, to build empathy rather than judgment, and then to build connections to move the conversation forward. And we end by having folks practice using their own scenarios in a judgment-free, low-stakes environment. Next slide. And it worked! It worked! So here are testimonials from two people who noticed that they had better conversations when they let go of what was going on in their heads. It wasn't about what they knew. Next slide. Now that was some qualitative data. We're getting those testimonials. We also collected some quantitative data. So let's take a look at that and what we learned. We asked people to rate their ability to have confidence in having those one-on-one conversations about climate before our course and after. As you can see, before the course, over 22% said they were not confident that they had little or no confidence in having those conversations, and nobody came in on that far end of feeling highly confident. After the course, everything shifted. No one was left behind in that blue space, or a little to their confidence, and close to 90% said that they were either highly confident or very confident in having those conversations. Next slide. We also asked them to let us know of those skills that Karen just described, what were they actively using day to day when they walked out of our class each week. So close to 90% said that things like empathy, perspective taking, listening, and presence, in other words, how we show up to advocate for those things that we care about, those were things that they had immediately guided. The next highest rating might get the curious of it falls into the category of loosening up and having fun. Well, geez, isn't climate change kind of serious? Shouldn't we be having fun? Absolutely. Because letting go, having fun, is what allows us to come together, collaborate, build community, and problem solve, and that's exactly what we need to address critical challenges like climate change. Thank you, you're on top of our next slide. Yes, and we had quantitative data and also qualitative. So we collected responses that showed how much they appreciated and understood all of the exercises that you all know and love, and they know that they can apply them and use them and feel how powerful they are for listening, empathy, slowing down, and connecting with others. Next slide. We also got qualitative feedback on the application of the application, which made us delighted. They can apply improvisation to having better conversations about climate change. They can also apply those skills to having conversations about any difficult subject, as you can see here. Next slide. So we've collected some evidence that applied improvisation can help us have difficult conversations about climate change and other social challenges. And our data got the attention of the American Evaluation Association, which is a group that promotes majoring impact of educational performance. They invited us to write a blog post for the Earth Week series. And the whole reason why we had this data was because we had surveys and evaluations built into our five weeks program, where we're always getting feedback from our participants in measuring qualitative and quantitative questions. And those surveys and evaluations are what happens when an improviser works with a project manager and a scientist. Woo! Telling data about the power of climate improvisation.  You have those skills that we just talked about. So you're ready? Go have the conversations. If you have a minute, start right here. Have in the hallway, at lunch, grab one of us. We are always practicing this. If you have 90 minutes, you can come to our morning at 10.30 to the nest to our workshop, where we will do several of our exercises. It will be very interactive, very participatory, about 80% interactive exercises, 20% of us talking and telling you a little bit more about how we put the program together. So please come play with us. And if you've got six weeks and it's resonated and you have a role where you need to up your conversation game, well, come join us this fall for our next program, which starts in September. You can scan the QR code for more information about that.