go half back to claw but some guys I've talked to said hey I think the claw is way more powerful perfectly fine this and this equally is effective for me this is way more effective because I got short little baby t-rex arms all right so we're gonna get to this position we're just gonna stay on our butt and I want you focused on high hand side kicking going from claw to half that's it again we're just building skills here all right we're going claw and I'm high hand side kicking going to my hat you know pinching with my knees trapping with my bottom toe kicking with my high hand side then I'm coming right back up I'm just gonna get my claw okay feet are gonna be nice and splitting the shins I'm gonna high hand side kick switch to my half right here and I don't have it completely off my chest his left shoulder's over my right shoulder a little bit but I got enough right here to get criteria and again like I said that wrist will always be there he's gonna sit up I'm gonna get claw thigh pry I'm gonna change to my half high-hand side's gonna kick I'm gonna trap bottom toe right here okay now one thing I want you to start doing when we get here is as I get ready to belly let him belly down I come out of my half and catch his top shoulder I talked about top hand a bunch yesterday and clearing backside hand when we're doing bottom stuff equally important for the top guy so as he's belly and down oh no that's a ton of work for him to pull me all the way back on top and whether I'm throwing a leg in into a wrist hill anything like that so when we get half or claw and I turn them when I get ready for him to belly down I just hook that top shoulder and I make this guy pull me back on top of them don't let go put your hands on the mat so you can get back on top you make that guy work that's the difference between the guys that are really good on top and those guys break on bottom and just roll over and the guys that just get a turn every now and then right the guys that are making this guy work every second on top so I start claw high hand side kicking changing to my half high hand side kicking to my bottom hand shoulder to my half and then I'm changing to top shoulder and he's pulling me back on top it's gonna suck for him but we've got to feel that tight top hand they can pull me back on top questions


Welcome everyone. Happy New Year. Happy 2021. How exciting is that we are in a whole brand new year. So I'm excited to see each one of you. We have a full agenda, but I think that the way Angela has laid things out, we will be able to get things going. So before we introduce our new commissioners, let's do a quick roll call. And if Erin would kindly go ahead and let us know who's there in our notes. That would be fantastic. From what I see, we have Holly. We have Susan. We have Trisha. You know what? I'm going to slaughter people's names. So when I mess up your name, get online or get on and tell us what your name, how you wanted to pronounce. It's pronounced Teresa. Teresa. Thank you, Teresa. And we have Cindy and we have Andrea. We have Randy. We have Jennifer. We have Danielle. We have Peter. We have Aline. We have Pamela. We have Marsha, the honorable Marsha Martin City Council. We have Nicole. We have Kim and we have Pamela. Correct? Yes. Excellent. Okay. From what I understand, we do not have any public invited to be heard. Is that correct? That is correct. No public invited to be heard. Okay. So we're going to move right on to, um, before we move on to our welcomes, we would like to go to additions, corrections of our December 17th, 2020 minutes. We need a motion to approve or a motion to correct. Cindy, have you been through it? Yes, I haven't. Aaron's doing a great job. I haven't seen anything. Oh, it's okay with you. It's okay with me. All right. So then you need to move a make a motion, Peter. I make a motion and we accept the minutes as submitted. Okay, then we need a second. Second. All in favor. Oh, I can't vote. All opposed. Any objections? Excellent. We will move on to our next item. Cindy, I think you have a reputation. So tonight we are really, really grateful. We have many, well, not many, but several new commissioners and, um, we talked today about how we would like to introduce everybody. But I think what we'll do, and I don't want to take a lot of time with a big icebreaker. But what I would like all of us to do to get to know one another is to say who you are, why you joined the commission, and your favorite piece of art. It does not necessarily have to be an AIP piece of art. So I'm going to start with Pamela. Oh, okay. I've been on the commission about six months, seven months since July. And I joined because I was really excited. Pardon me. I was really excited about doing art in the city. And I've been really impressed by the art that had been placed there. So that's why I'm here. And I think my favorite piece of art is one of the new pieces, the, the blue piece. And I can't remember the name of it. That's in a walkway downtown. The bear. The big, yeah, I really like the bear. First major. First major. Thank you. Awesome. Thanks for sharing. We're really glad to have you here. So I'm going to just move up the scale. Let's go over to Holly. That wasn't me because I hadn't even unmuted yet. I'm not sure who that was. Anyway, my name is Holly Braddish Lane. And I've been with the commission for, well, probably a little maybe a year and a half now seems like just yesterday, but I've been with the commission a year and a half. And I joined because I wanted to play a part in how Longmont moves its fine art collection forward. So that's really why I joined. And my favorite piece of art pretty much of all time is Henry Moore's The Clam Digger. I don't know if anybody knows Henry Moore. And quite honestly, any sculpture to me is magnificent. So that's one of my favorites. And welcome to you new guys. Great. Wonderful. Erin, go ahead, my friend. Sorry, I had to move the screen over to unmute. Hi, my name is Erin Helzer. I joined the commission just in 2020, in August of 2020, actually. And I joined the commission because I wanted to have a say in art in my community. I am a big fan of public art. And I think Longmont does a really great job. And I think this is a really awesome commission to be a part of my favorite art of all time. I'm going to follow in Holly's footsteps with sculpture is Winged Victory. It's in the Louvre. But the full name of it is the Winged Victory of Sama Thrace or something like that. But anyways, Winged Victory, which is a sculpture, is my favorite. So thanks. And well, thank you, Erin. Thanks, Kim. Thank you, Erin. Let's go on, Susan. You're muted, Susan. Got it. Sorry. My name is Susan Horowitz, and I've been on the commission a little under a year or out of year. And I wanted to be on this commission to be involved in art in our city and see how all that evolved and what was behind it and to bring a little something of myself in education to it. And my favorite piece of art, I have to move here because this just came yesterday or two days ago. I don't know if we can see it there. It is a sculpture of a bird. And my dad, who passed away over 30 years ago, did that. And I've been trying to get my most of my family lives in Atlanta. And I've been trying to get it to my house for like 30 years. And finally, there was an occasion that somebody could caravan it to me. So it was, you know, I have to think of it like a phoenix rising because of things changing in our lives and things being hopeful. And yeah, so at the moment, that's my favorite piece of art. That's great. Wonderful. And he lived in Georgia and he actually that piece of marble came from came from Fort Collins when time when he was here visiting me and we went up there to buy some marble. Fantastic. Cool. Thank you, Susan. Teresa, we're so glad to have you here. So you have one additional question because you are a new friend. We would like to hear why you decided to join the commission on top of the other questions. And why I wanted to join the commission is because it looked like fun. And I love art. So that was the justice of that. My favorite art piece is in Grand Rapids, Michigan. It's a sculpture by Alexander Calder. I don't think it has a name. I think it has a number, but I have no idea. And I guess that's it. Awesome. Thank you, Teresa. Angela, you don't get out of it. Well, hi, I'm Angela Burrell, and I have been a part of the Longmont Art and Public Places program now since I joined very end of August 2019. So that's exciting. I don't have a favorite piece of artwork. It just depends on what day it is and how I'm feeling. And so lately, I've just been really into the Bauhaus and Werner Verkstada, some of you might know. So textile patterns from the Bauhaus is kind of my jam right now. So it's my avatar. It's everything. I'll start sending you patterns. But it's really loud and lovely. So yeah. Thanks, Angela. Ms. Cindy Tiger, tell us about you and your art. Hi, everyone. I've been on the committee feels like forever and I'm loving every minute of it. And I joined because I like art and I was retiring and I wanted to give back to the city. And I like kind of all art, everything that strikes my fancy I like. I don't have a very, very favorite one though. I do have to say that William Blake's The Ancient of Days is one of my favorites. When I first saw it, I was sitting on the floor in the library at Norland at CU. And I turned the page and I saw this picture and I very nearly ripped it out of the book. I liked it so much. And then I was like, wait, wait, you're in the library. It's a book. So but yeah, I'm very fond of that. Cindy, are those palm trees outside your window there? Maybe. If you want, I was thinking actually about going to San Francisco today. Oh, okay. That would be nice too. I keep trying to mute myself so we have good technology. Oh, Ms. Andrea Mathwitch, I think your history on AAIP also deserves some recognition. So tell us about you. Hi. I don't know how long I've been on. I'm losing my memory. It's been 20 years that I've been on the board and I love it. I joined because I just have always wanted to beautify Longmont. Longmont is so beautiful anyway because of the mountains to the West that it just inspires you to want to continue to beautify it. And certainly being on AIPP is a great way to do that. I am art wise. I love architecture. And the one that just really struck me the most is Gaudi's church in Barcelona. The one that looks like it looks like a giant anthill. And yet it's a church. And I just, I was like just flabbergasted that it was created that way. So I guess that's the one. And then of course I love the listening stone in Longmont, which I don't think is working right now yet. But it's because it's interacting, interactive, and it's very calming and soothing. So that's why I like that one. And hi, Teresa. Teresa's been on the board before. She didn't say that before, but she was on the board before. So welcome back. Yay, Teresa. I did not know that. Sorry. I've been here six years. This is my last term. So I apologize for that. Welcome. I'm so glad to meet you. Let's move on. Ms. Randi Long. Hi. I am wearing a hat because it's chilly in my office. I've been on the commission five and a half years, maybe, as long as Amy pretty much. I think you were one semester after me. Okay. I call it semester. I love living in Longmont. Love it. Love it. Love it. Love the city. And I just want to make it more beautiful than it already is. I don't have a favorite piece of art. I like a lot of art. I like fused glass. I like rodents, sculptures. I like lots of different things. So no true favorite that I can think of. Thank you, Randi. I keep unmuting and going back. Hi, Jennifer. We're really happy to have you here. I'm going to make, I don't want to make a faux pas, but you haven't been on the commission before, have you? No. No. All right. Great. Tell us about you, your favorite piece of artwork, and why you joined the commission. Well, I'm Jennifer Miller, and I just really want, my biggest motivation I think was I just wanted to be part of the life of the community. I love being part of the, you know, going to different stuff in town. I love going to the parades. I love going to all the different things that there are. And I've lived in Longmont not quite five years. And so I just looked down the list of commissions and decided that this was one that looked like the most fun and would fit with my skills and my background and so forth. So I, it's true, it's very hard to choose, but the first thing that came to my mind when you pose this question is I love the freeze that's outside the library. And I often take visitors to see it. I think it's so charming and it's such an interesting form of, you know, the free standing freeze. You don't see that kind of thing too often. But I also love, I love O'Keeffe and I love this black iris. This one is called, yes, this is the black iris. There's several in this black to gray to cream with pink that I love of hers. I love O'Keeffe. And so. Thanks, Jennifer. I'm a big O'Keeffe fan myself. Danielle, great to see you. Same thing. Why are you here and your favorite pieces of art? I'm here so that I can be part of the community. I figured this was the perfect year to be a little bit more involved. So and I saw this opportunity approach me and I decided it was just to go for it. So I'm super excited to learn from everybody. And I don't have a super diverse background in art, but I figured this is the perfect place to learn. So yeah, I, my husband and I are pretty avid screen print collectors. So I have a lot of screen prints in my house, but aside from that, I love all art. I anything and everything. So just love to get out and about. Yeah, I feel it's say that lately in Longma, I'm really attracted to the lady and the damsel. I think that's super cool. I'm all about the recycled art. So that's super cool. I love her too. Isn't she amazing? Super fun. I'll just say headlights and everybody also know what I'm talking about. Right, Andy? It's one of my favorites too. Great. Danielle, we're really excited to have you here. Peter. Yes, my name is Peter Alexander. I've been on the commission for two and a half years now. And I hope to have another term. We'll see. And I joined the commission because I was so impressed when I moved to Longma and I love being in Longma. I was so impressed at the public art collections. And I thought, well, I have some, some experience and some skills that might be useful for the, for the art and public basis commission. And I applied and got on. And as for favorite works of art, as someone earlier said, you know, it may change from day to day. But right now, I was, when you asked that question, the first thing that popped in my head was George Strauss Sunday in the morning and on the, in the Grunge Art, which I have seen in the, in the Chicago Art Institute. It's, it's, it's enormous and very powerful when you see it. And another reason is probably the fact that I had the great privilege and honor and embryos go of conducting a production of Sunday in the Park with George by Stephen Sondheim at the University of Iowa. So that work is, is particularly in my heart, I think. That's great. Thank you very much, Peter. It's great to have you here. Peter's wonderful. You all will enjoy him. And I already hit Pamela. Jennifer, I think I hit you, but I'm losing people's cameras. So Jennifer, I hit you, right? Yes. Okay, Eileen. Marsha, you're Marsha. Oh, no, there's Eileen. Hi, Eileen. Sorry. The problem is, is that I'm going by your squares, as you know. Marsha, your turn. Hi, everybody. This is my, I'm going into my second year on the commission and I may or may not have any more years on the commission since I'm up for reelection in November. What's for Marsha? Pardon me. Marsha, Marsha, Marsha. Thank you all very much. I hope you remember that. I, you know, we all serve on committees. I chose art in public places because I thought it's a good thing to be able to report on what we need to enhance our city and, you know, bend city policy toward that a little bit, if it's possible. And my favorite piece of art is one that I have owned most of my life. It is a little Ray Harm watercolor. He is a nature artist and it's a sea otter floating on its back. So it's not a high art, but I enjoy it every day. That's really important. So Eileen, I know you would like to get out of this, but you're here with us, so you don't get out of it. That's right. I think I can manage. And I finished my dinner. So my name is Eileen. I'm the registrar at the Longmont Museum and help Angela out with administrative things. I do a lot of registration, keeping track of the collection, where everything is when we installed it, that sort of thing. My favorite, I have the privilege of working with art almost daily. And today I spent a lot of time with a few Dega pastels. And so come to the new show at the museum that's opening next week and you'll get to hang out with them too. They're in pretty good shape. I got to condition report them today. That's awesome. She got to touch a Dega today. Yeah, I'm bragging just a little bit. All right, I'll be in next week. Okay, great. We're so glad you're here. You've been since a wonderful edition, so we thank you. Nicole, I know you're just, you say you're just this, but you are in our windows and we want to hear from you. Hi, everyone. So my name's Nicole and I work at the city as an executive assistant. And when COVID happened, we all got extra duties. So my duty is running the zoom for the community service boards, which I love because clearly I have an issue talking a lot. So thank God I mute myself. Or I take up your whole meeting. So I just really enjoyed being on all the, you know, part of all the boards because I listened in the background and so I've just learned so much. I don't live in Longmont. So I've learned a lot about just stuff in Longmont and all the art stuff. And this is going to really be bad, but I don't really have a favorite art piece because I'm just not very knowledgeable about art. So I'm so sorry. No, you don't. You don't. Don't you apologize. Never beat yourself down. This will probably make you want to go look at things. I bet you, I mean, that's what we're here about. We're trying to let people open up their minds and learn more. We're really glad to have you here. So thank you. Yeah, you guys are awesome. Thank you. Kim, you were the last on my screen. Okie doke. Well, so I am Kim Manajae. I am actually not on the commission. I am the director of the Longmont Museum. And the Longmont Museum is the entity that administers the art and public places program. So I show up every now and then. My favorite piece of art, I am totally with Angela and Peter. Like I don't really have a favorite work of art and with a master's degree in art history. I think it's like virtually impossible for me to identify one. And I've totally been inspired by all of your answers. It makes me think about all the wonderful pieces of artwork in the world. But if I were forced to answer at this moment in time, I think I would say James Terrell, a James Terrell piece. He's a light artist if you aren't familiar with him. And he's been working on a piece for years and years and years and years that is supposed to come to fruition soon. That is called the Rodin Crater. And so he actually purchased a piece of land in New Mexico that is a crater that he is turning into a sculpture. And I can't wait to see it. I'm so excited. That's awesome. All right. I think I hit everybody. Did I hit everybody? If I didn't speak now because I've tried. I really tried. Okay. My name's Amy Mann. I am an instructor, faculty member at Front Range Community College. I am in my five and a half years on the commission. I love it. I really miss the personal interaction that we've had. So Zoom has been a real struggle for me as has 2021. I have a new favorite artist. I'm not going to lie. My favorite art pieces in Longmont are those silly shock boxes that just make me smile every time I'm there. So if I'm in Longmont, but my very, very favorite one right now is an artist by, it's Kathy, but it's a German name and it's Colwitz. And I would encourage you to look her up. Kathy is a, she's, her favorite work of mine is a piece that came out in 1903. And it's, she lost a child. And I lost a child in 2010. And it's just beautiful, beautiful, basically pencil and art. So she's my favorite right now. Next week, as everybody knows, will be someone different. So thank you so much, everyone. I'm really grateful to have you here. We've approved our minutes. We've done our welcomes. I just want to also recognize the mentors that our new folks have. So I want to thank Cindy and Teresa. Cindy Tiger is Teresa's mentor, and they've been working together at least they've met once. And I'll allow you all to comment on this in a minute. And then Randy and Danielle have met once, at least, and Jennifer and Jennifer and Susan have met once. So mentorship is something that we thought this program really, really needed. And so we're grateful to have everyone participating in that. And I'll let anybody who wants to comment on that make a comment. But thank you so much to our mentors and to our new members. No one are you having fun yet? Good. That's all that. No, that's not all that matters. All right, let's get busy, folks. So we are on to item number seven. I have a different version of the agenda. So Angela promised to help fix me up when I got mixed up. But we are talking now about public art project updates. And we have the Wernemann Park Sisters update. So Angela, this moment in time, I met with Parks Department last fall, and we are scheduled to have our quarterly update soon. And then of course, the sister cities, Guzman team, which is three folks from their larger body are meeting with the task force, hopefully in the next couple of weeks. So that's Susan and Cindy. So Jerry's out on when that date will be, but it absolutely will be before our next meeting. Where Steve is in the Wernemann Park project as of last fall was they are going to consultations. So they should be going to bid. And what that means for us is we actually will have officially a timeline of when construction will be underway, basically when our concrete will be poured, and then that will determine the timeline for the art project. So I anticipate that we'll we're going to get cranking and that call for entry should be out this this first quarter. So more to come on that. Thanks, Angela. She's just moving quick. All right. So item number B under public art project updates, we've got the good old. I know you all have heard this one RSVP. But guess what? We're going to talk about the Boston Bridge, Angela. So the Boston Bridge project last that we had spoken. Of course, I had spoken with the senior engineer and you know, it needed to go back to the tippy tippy top and say, Hey, we need drawing for you to share with us so we can start developing what that idea is going to look like. And that's where we are. So I anticipate seeing something here. But yep, it's coming along. And same kind of thing on the timeline for that there at a 60% design, which means that we're in prime time for launching something. It's a it's a good time to do it. So yep, great. Thanks, Angela. So our next item is a little bit bigger and a little bit more complicated. And so Angela and I agreed to like kibbutz back and forth on this one. We are now talking about art on the move 2021. And those of us who have been on the commission, this is probably one of our favorite things of the year. And it's been a little more complicated, right with COVID. So we have some opportunities. We did have some opportunities to partner with LGDA and I'll let Angela explain what happened with that. They were they were they're totally on board with us in the future. But that's something that we're going to have to look to in the future. We have some opportunities here. We can look to with our art on the move, calling for artists in a 2D fashion and a 3D fashion. So I'm going to let Angela explain a little bit about that. And then what I'd like to do or Angela can do too is we need to probably look at some voting opportunities with some money with both the 2D and 3D pieces, right, Angela? So that last year, we because of a prompt from Judge Frick at the safety and justice building, he was looking to update their space somehow. But there wasn't a capital project in in that space. And so Task Force got together went and looked at the space and spoke with Judge Frick. And of course, you know, in those beginning moments, it's I would like to see this and I'd like to see this. And so what are on our art and public places was able to do at the time in in the short term was to install a railing along the wall in the waiting room, which we permitted us to put up two dimensional works, but also not bang holes into the wall so we can move things in and out. So we have a set amount of linear feet wall space to hang some works in the short time short term. So we incorporated that into our on the move last year. And we bundled it, if you'll recall, and folks who were voting all together. And that became complicated because we were judging, if you will, from the call for entry, three dimensional work sculpture, and also two dimensional work. So the question at hand, because we are at that time where we need to launch the call for entry for the whole program, the program in whole is do we separate those two calls into two separate items art on the move three dimensional art on the move two dimensional and continue to treat the safety and justice building space every single year so it would have rotating art every year. So that's the first question. The second question for discussion is, if we do that, when it we're looking at two dimensional artists paintings, photograph, photography, etc. Do we look to loaning from one artist who will treat the entire length of the wall? And then what was this what would the stipend be to treat that space? How we did it in 2020 was one artist whose work was cohesive who is cohesive. And we a lot for the three paintings on loan, we gave them $1,000, which is the same amount of money that the three dimensional artists get for loaning one sculpture. So those are kind of the questions at hand. Just a reminder, our limit is $7,500 for the entire program. And currently in the 2020 to 2021 loan cycle, we have six sculptures on display, and three paintings. So a total of nine works. And we spent this, we said $7,000. So every artist received $1,000 for for their loan. So I think just a discussion underway of how we would like to to proceed, certainly keeping in mind the complication and the going through the submissions and making that as easy as possible is is the big goal. So so I had to have Angela explain this in Amy terms, which can be quite a little simpler. So we have to figure out 2D, 3D, and how much money, right? So for those of you who need Amy terms, that's what we're looking at. And maybe it's your terms too. Maybe I don't want to say simple because I admit that I am simple. So I'd love to open this up for discussion and questions. And Angela, okay, Randy hit it. I would like personally to increase that fund, if possible, I don't know how we how to do that, because I don't think seven or eight pieces is enough. Angela. And yeah, so in the grand scheme of things, especially in executive session, we have talked about the necessity of supporting local artists in that way. And that was the goal in having the creative district and LDDA assist us. The problem is that to do that is a change of the charter, which means a change of the guidelines, which is an active city council. So it is absolutely not something that is easily done. And I think through our strategic plan process that will change in the short term for this year. That that's a very large task. Was the reason so I remember in the past we've had up to maybe 12 pieces is the reason that it shrunk because we increased the price we're paying for artists. We did so. And this was before my time. But this kind of art on loan program, if you will, is very common, especially in municipal public art programs in our state. And the amount of stipend that we are giving to artists is fair with the other programs and also gives us the edge of, you know, people want to come to Longmont. So I think that going backwards might not. No, I'm not I'm not saying we should pay them less. I just. Yes, but that is exactly the case. I think even at one point it might have been 500 or $750 or something like that. So yes, that's that's where we are. I think you're right. I think you're exactly right, Angela. I think that we went up Cindy and I I'm sorry.  Sorry. Because it's in the charter that we we get a percentage, not less than $7,500 right of whatever the okay. So can we as a commission put in more money? I mean, we take the $7,500 that's were allowed by by the charter. But can then we can we then vote for like another $5,000? Just, you know, just to pay people? It's I have to ask Angela about sorry. So where where it gets tricky is the way that our funding works. So right as it sits now, the and again that I can't remember when Art on the Move came into play, but we're talking 10 plus years right? So this is this is it is it's a little dated certainly that way. Also with the way the pay scale, but it's it's that the the funds that come from our in public places are derived from a 1% of construction funds from capital projects with the city. And that as the charter is written now is designed to acquire assets for the city. And the number of years ago when temporary art programs were coming to play kind of in a place making that's really what it's called in contemporary kind of status is that these loan programs were just kind of coming up. And so the commission at that time said, we'll support a program like that because we understand it supports local artists. And either this percentage of your annual fund or $7500, whichever is whichever up to a max of $7500 is how much can be used for temporary artworks, aka not an asset, right? And those are different line items in the budget. So we so without an active city council and changing the charter, we are limited in the way that we support a temporary art, something that's not owned by us. And and that amount of time is is can be variable, right? For example, a shock art box, which we are commissioning in some amount of time might become defunct or might explode. They don't explode really. But you know what I'm saying? We have to decommission it. But we have a policy for how that happens. But a temporary art isn't the same as that. Does that make sense? I think so. Andrea, you had a question or a comment. So I'm taking it I'm hearing from you, Angela, that it's impossible to change the policies this year because we have to go to city council to do it. Is that what I'm hearing? Nothing is ever impossible. And I think that if we wanted to just strategically target that one little thing in our charter and make the change, we could. That being said, because we haven't addressed the charter nor the guidelines nor and we're in a strategic planning year because vision 2020 has expired. And we've already started the strategic planning process. We could address the charter as a whole and then go to council with changes as a whole, rather than one little specific point. Makes sense or not. Or we could address one little specific point. To be honest, I think that this council has a vision of culture in Longmont and I think addressing the larger picture. But nothing's impossible. So Andrea has some more feedback. Well, you know, I encourage us to go to city council ASAP. However, if we are doing some visionary talks in the near future, you know, I'm willing to wait on that. But what is that timeframe for our vision meetings? I don't know. So that's up to Angela there. Well, Holly and Amy are on the task force and we're meeting weekly. Yeah, we'll get to that one really quick, Andrea. It's pretty exciting. So I don't know, maybe, Marcia, do you have maybe some insight into how because I don't really know the city council well enough to know about.  But about preferred strategy of that, whether coming if there are multiple changes versus one change and time in between what would be the best process. So we're not talking the city charter, right, which is a very big deal. You're talking about the art and public places charter. Well, it's a it's a chapter of the city charter 14. Is it? Okay, if it is a chapter of the city charter, then a charter amendment requires a public vote. So what you would have to there are two ways you could do it. One is you could do it by petition, although you guys are so busy, I think it would be really hard to do that. The other thing is that you can petition the council to put the charter amendment that you would like on the November ballot. And you need to come up with a small justification for why you would want to do this and how it would be paid for and so on. And then it would be a public vote to make that change. If you please send me a note, I want to confirm that because that's just the top of my head. You know, we just did a city charter amendment for the arts, sort of for the arts. And it passed. So, you know, we've got a little bit of a track record going, but I'm actually surprised that this is not controlled at all by the city budget, but directly by the charter, which is, you know, why I need to get some advice from Jim Golden about it. Yeah, I better do my double triple due diligence and double triple check as well. So, yeah, if it is a matter of city funding, then, you know, then as you put together your strategic plan, it would be the much simpler process of making a request during budget planning season in June or July and try to get that rolled into the fall budget. So, yeah, if you will send me a note, we can double team it a little bit. I do think that this is Kim. I do think that given the kind of the things that are required in order to change the ordinance for art and public places, I would recommend that we go through the strategic planning process in order to collect all the possible changes that we would want to see. It's not going to be an easy process, so it doesn't make sense to me to do one tiny thing at a time. I think that it would make more sense to do a holistic approach to it. I would agree, but that's, I don't have any say, I would love to hear more feedback from anybody on the commission. I reconvene with what Kim said. Me too. Me too. So, we will get into strategic planning here in a minute and I think that will be helpful to kind of see where we're at. The issue still lies, do we want to have a call to artist with a call to artist? Angela, am I right in saying this? A call to artist 2D versus 3D. We kind of, whew, we went a little bit over the thing, but yes, what we're looking at is doing a call to artist 2D art versus 3D art and then looking at funding. I respect Randy in saying that we want more money, but what do you all think about having two different calls? I think we should have two different calls. That was that. Oh my, Erin, you're up at my corner now. So we would need a motion on the floor, if Angela will correct me if I'm wrong, that we would need a motion to have two different calls, at least initially, and then we need to figure out how much money is going to go to each different area. Okay. All right. I'm like looking to Angela. I'm like still looking at her face, but yes. So the motion on the floor would be that we need two different calls and I would need somebody to move that please. And move that we have two different calls, one for two-dimensional, one for three-dimensional art on the move. Great. That's a start. So the motion is on the floor. We would need a second. Second. Before we approve it, do we want to discuss how many pieces will be in the 2D versus 3D money and all that, or do we want to approve the motion and then discuss? Well, I think that's a great question, Randy, because what we have right now is my understanding, and Angela will correct me if I'm wrong, we have $7,500 total to go ahead and do this. So if we have, let's just be honest, the movement and the procurement and everything that is involved in a sculpture is much more time consumption, or it's harder than it is to have a piece of art. And Angela will explain to you about having, we've talked about having a pure curement and area where we have some art pieces that are 2D that would be set for that. But that's, I think we need two different motions. Is that right, Angela? Am I on the right? Yes. So presently we just have one single call for entry for artist artwork to be loaned. What we're looking to do here is separate it into two-dimensional and three-dimensional in the first motion. And then we can talk about the funding from the 7,500 base in the second motion. So what I'm asking now is if we have a motion on the floor that says we have two different separate calls for artist or call for artists in 2D and 3D. So we would need that motion to pass and then we can talk about money. Call the question. Yes, sir. Peter. Call the question. Call the question. I thought you said you had a question. Excellent. So let's go ahead and bring the motion to the floor. All opposed to having or all in favor of having two separate calls for artists, one via 2D, one via 3D. Yes. Is that correct? Okay. So I need somebody to motion that. Great. All in favor. Okay. All opposed. Good. The motion passes. We will have two different calls for 2D and 3D. Sorry. I missed. Who second the motion? I did. Cindy. Thank you. All right. Now we need to talk a little bit about money. So yeah, go ahead. I was just gonna say so right now we're at $1,000 is how much we've paid for sculptors to loan their artwork. And again, the singular artist that is on display in Safety and Justice Building brought three paintings which filled the wall and we paid that person $1,000 and had 500 left over. So that's where it is in the present day. I'll tell you how the majority of the works have been three-dimensional, right? They've been sculptural pieces. Is that painting or set of paintings Safety and Justice Building the first two-dimensional artwork for Art of the Moon? Yes, exactly. We had one in the museum, a piece of wood but waves in the museum at one point. Yeah, we had them in the past but not very often and we didn't distinguish them like we just did from three-dimensional. I have a question. If we have a call to artists, can we not take anybody if we don't like any of the artwork? Or I was thinking that at one point we were thinking about having a three-dimensional thing on that wall in the Justice Center. What if we decided we wanted to do that and we put out a call for 2D art too and then we just didn't take any of those and took a, I mean is that is that something you can do? Okay. So is the question that we're supposed to decide now is how many of each? Is that what we're deciding? I think the bigger thing is are we going, if we do a two-dimensional call for entry, are we looking to select one artist to treat the entire space and pay that artist a single stipend and what is that stipend or do we do a call for entry say photography and we try and fill the wall but then the wall is so big and you'll have various sizes.  You pay each artist $500 a piece because that's what you have in your budget remaining. So it's kind of determining what that will look like and of course recognizing that more artists and the more funds that are in that one space the less sculpture that ends up in the rest of town. So is the two-dimensional art specifically to fill that space? Yes at this time because that's where we have the hanging devices that we've invested in that don't make holes in the wall and that we can change things out and it doesn't matter how large or small they are we can hang anything but we only have that available linear feet which I wish I had written down on how exactly that is but they don't know. That's that's different from all the other art of the move because we're just asking for pieces where to put them after we have them correct? Correct. Well can we ask for I'm sorry go ahead Peter can we ask for some kind of installation whether it's two-dimensional artworks or whatever specifically to fill that space and give specifications of that space and it can be if somebody wants to put one big pane that runs the whole extent they can do that if they want to put 12 small paintings that are arranged in some some artistic way they can do that. That's what we said yes right Angela? Exactly. I would just think that we kind of be flexible see what we get and kind of go for there with I would say the intention of having majority three-dimensional but you might just have like one two-dimensional artist and six three-dimensional but you never know what you get and I just think we need to be flexible. I think that's what Angela I talked about today that we wanted to be really flexible and let people know that this is what we have right Angela? True the only trick of that is when you put the call for entry out you'll need to say how much each artist is going to be paid for their loan. I think that we should focus on one artist like this year put out the call and say we want one artist to fill this space and if they want to give us 16 things that's fine but they get the set rate for one artist because if we have seven artists putting stuff up there they'll each get like a hundred dollars it's just like you know it's not worth it to them. I agree I agree and we have to decide that up front. So we need to figure out how much money do we want to do this with? Should that be the same amount as all the other pieces or should that be a little more because they've got a large space to fill and might use multiple pieces? Well we've got an additional 500 on top on top of seven grants of a thousand correct? That's a great point Peter but also think about the maintenance and the work that's going to take to put paintings in versus a sculpture in. Wouldn't it have less maintenance and less work to put the paintings in? In my opinion yes but I am not an artist. I'm just a genius no I'm joking no. No I yes Sidney you're exactly right. I think and I think Kim might be able to comment on this space wise but I think that you know carting of some paintings via car is much less arduous than trying to bring a sculpture and getting the maintenance in but Angela you're the expert on this what do you think? I mean I think most often yes easier to install two-dimensional work than three-dimensional but to Peter's point if it was an installation artist who came in and treated the entire wall I mean that could be quite a bit of time. I yeah I think that the way he approached it this last year was a smart one and the only was that you know two two-dimensional artists got the same price for three loans as a sculptor did for one loan. Sculptor was more difficult transport two-dimensional artists we got more artwork. It makes it a little more streamlined the art calls are going to go out at the same time so we're just treating all artists no matter what your media the same. I agree makes a lot easier. Okay I'm going to throw something out here as a potential motion that we from the budget we set aside a thousand dollars each for six three-dimensional works and twelve hundred dollars for one installation of two-dimensional work or works to fill that space. I would be happy to hear a discussion about this. I would like to hear Angela's input on that because Peter that's great that's brilliant I would like to hear what Angela has to say about that because she knows our money better. But in budget that's fine. Why the extra 200 Peter? Well it is because of recent it might be multiple artworks and it's they've got a specific space to fill rather than just saying I've got this work and you can have it for a year. It's more tailored it takes a different kind of thought process and preparation on this part of your artist so we offer a little bit more to fill that specific space. Andrea what do you think? Oh sorry Cindy. It is a big space. I disagree I feel like getting a sculpture in town is much more expensive the sculpture itself most of the time is worth more unless you know it'd be rare that you'd get a two-dimensional I could be wrong but I'm just thinking if you think about Ursula Major how difficult it was to get that three 3d piece there. I think we're being very generous with the 2d artists by giving them the same but I understand for the simple reason of simplifying that it's it makes sense and I would hope that having multiple art pieces would be part of that process we would end up getting three or more pieces or one gigantic piece to make it worthwhile. So in true Paul Meese fashion and I'm throwing this in Angela's lap and she didn't know this would anybody be interested in talking about this offline because we could sit here and talk about this all night. I think Kim has a point. Oh yes Kim. I was just going to add that I I think I agree with Andrea that not only are we talking about a big difference in terms of shipping and and things like that but in terms of the fabrication of a sculpture versus the fabrication of a painting there's enormous difference in price and so if we are even if you know unofficially if we are hoping to compensate artists for the work that they're doing the sculptors are spending a lot more money to create art than painters are generally speaking. I mean that might not be true for everyone but generally speaking they are spending a lot more in materials than a painter would and so I would agree with Andrea that if we were going to have a difference in compensation I would be more inclined to give the sculptors more money than I would the painters. Me too. I play devil's advocate just real quick thinking bigger longer into our future just quickly that let's pretend that years from now the charter does change and let's pretend years from now that we do have more funds and we have more buildings that we could outfit with loans in other ways and in two-dimensional art. If we treat all artists the same today with a precedent of giving artists a thousand dollars for their loan two-dimensional for treatment of the space three-dimensional for treatment of this space and we just use the two calls simply for ease of selection then when we get more funds then when we get more space to make differentiations of price is going to be a better argument and a more logistic or a more logical argument because of the change of the program this is our infancy and I think if we start creating we're setting a precedent so whatever precedent we set for going forward should have reason and behind it so that would be my reasoning for keeping that singular treatment of the space for ease of selection and so it jives with how much we're paying artists. I also like that because if we decide to put a three-dimensional thing there it would be the same as the three-dimensional stuff outside. Okay I was drawing my previous suggestion for motion and just say that we are looking for seven artists a thousand dollars each and specifying that one will be a three-dimensional piece to fill that particular space and the other is there to be sculptural three-dimensional works to be placed as the commission sees fit in the long run. All right Peter that's beautiful um so we have some new people here and can we translate that or do we need to translate that you all get it Danielle you all are good with this okay I know Teresa is Danielle everything makes sense Jennifer go please Jennifer yes I have a question no I think this is a good way to think about it but what I'm I'm just as clarifying do we pay any shipping or transportation costs no they have to so most of them I know Angela said that most of the things come from near around here so if they lend it to us no matter how big or small it is they have to somehow get it here and then then we pay do we pay like if we decide okay it's going in the library they have to get it all the way to the library they okay we tell them where to bring it to okay okay well that's another factor I mean that's I'm in the discussion that we're talking about right that's kind of rolled into discussion it's like they're going to have more expenses transporting a giant sculpture around than they are putting a few paintings in the back of the car okay right but in both cases they have mostly pre-existing works they don't create a new work for us and also they get the work they get the exposure of having it outside in the public for whatever reason right no I get it's a good deal and I'm glad that we're able to compensate them but obviously they're going to have more expenses you know getting the thing to us depending on how big it is Angela can you explain how that works a little bit so for our new folks I don't want to put them in the dark but so what happens usually is that they they are responsible for getting it here putting it up and that's included in their fees or well only only responsible for transportation the transfer of the of and Eileen there's a fancy registration term for this one but that when the liability happens we install the work so once the work arrives it is part of the city loan at the moment that it arrives and then we install it so we take on the liability at that moment so when the person pulls up with their car and at the moment that we start transporting it that is to say taking the painting out of the trunk we're responsible for it from then on out and you know it's a contraction it's a contract with the city so this is really good for some of the beginning artists artists that haven't done this kind of work before because a lot of them haven't had to do a coi right a lot of them haven't had to understand insurance policies and look at this so it really is um it's an opportunity for exposure it's also an it's a it's a lesson in the business of being an artist um yeah so but we are responsible for installation which that is a fairly heavy cost especially for installing uh three-dimensional work good good right so what i'm hearing is that we peter has a motion on the floor kind of rough in there peter can you repeat that so we can get that motion and then we need to probably have a little vote or not a little vote but a big vote well the motion was that that we for art on the move will us have a call for artists for seven artists a thousand dollars each um but one of these ways to be a two-dimensional work for that very specific space in the center for justice whatever um and all others three-dimensional works to be placed around the city of Longmont at the discretion of the commission and the city beautiful all right so all in favor of peter's motion we need a second sorry all in second thank you andrea oh andrea has a question so go ahead andrea you're muted honey that was the second all right sorry i know i'm trying to i'm like i want to keep myself unmuted so i can do that but then i do other weird things so all right so andrea's seconded do we have um all in favor okay all opposed all right the motion passes thank you peter thank you everyone all right andrea so now yes jennifer just one more quick question okay so when the insulate when the city staff arrives for the installation do we have to pay for that out of our art and public places budget yes that is budgeted annually okay so we have some amount for that too okay thank you uh randy um what are are the six other spots i think we have more than six but we have to choose six of those from the pool how many do we have lots uh really last year was my first year going through the process and ultimately how the task force decided was based upon the artwork that we had for example uh the blue Picasso horse uh really needed a long and skinny place and it needed to be bolted to concrete so we had to uh based upon the list that we had look at the artworks that were really very specific site specific take care of those first and then the other ones kind of figured themselves out i guess is the only way i can say it right can you make sure i'm on that task force like i'm supposed to be okay thanks all yours sister all yours all right so i knew angela i talked to you i think that we knew this was going to be a big one so um how do you all think about i'll go ahead mention one other thing sorry quickly uh i will be certain that marcia and i connect look at the charter uh and assure that that is in fact the case prior to launching the call live did we lose marcia uh possibly but if if something is different uh that way i'll look into it before we post the call for artists okay great great she waited hey goodbye and yeah amy marcia had to leave at seven o'clock she had let me know earlier all right thank you nicole i appreciate that and i keep clicking out so if i'd like if my camera goes off we're having really bad weather here tonight so i apologize i can't wait to go home are we going to have some kind of vision retreat maybe in the fall once because you know if if we're all inoculated i feel like we can join you know i would assume by the fall we're all inoculated well i won't be chaired by then but so i will join you by zoom okay we need to have our retreat as soon as possible okay all right so we um angela word i'm kind of a little bit confused do we need to go on to specific money or are we okay right now to move on to our next item oh that's done so we're on point eight oh goody not goody but i knew it was gonna be all right well here's our big thing and i'm really excited about this i don't get excited about much in covid but we are now on to strategic planning and i'm just going to say a few minutes or a few words about this um holly and angela and i um have been working together a little bit on our new strategic plan we think it's going to be a five-year plan um but everything's in the air right now and i want to commend our fellow member holly for working so hard on this and getting some information but we are looking at different formats um the city has asked us to um submit a pre-plan right angela basically i think eventually yeah but right now just looking at the waning of vision 2020 was very much the catalyst for um the necessity for a new and revised strategic action plan right so we're looking at different formats different ways to get together different ways to get creative mission plan and so we are in the beginning stages of what we're working on and um holly has a lot of experience in this so it's been fun working with her and angela and i are kind of like we said today um we know enough to be dangerous so we're excited about holly's input um i think that there's going to be so many opportunities for all of you to help write this strategic plan right angela yeah so i'm going to let holly talk a little bit about that can you hear me guys it's cutting in and out on my end sorry about that so andrea it's really exciting for you for for me to hear you say that we need to get together and look at our vision because that's really what strategic planning is and fortunately because angela is out there and in contact with a lot of people in the city she has pretty much communicated with folks that will potentially fund some of our training from an outside facilitator so that is kind of where we are right now just trying to decide what that's going to look like and how we can put a proposal together so that we could most effectively do that so if you guys remember back about a year ago now we really started some of the pieces of the strategic plan process remember we came together and we did a self-assessment from our commissioners and we looked at some of our strengths related to that um and as an executive team we did a SWOT analysis so there are some things that have already gone into that planning process but it's very exciting now because it looks like there's going to be maybe a whole new opportunity that is even bigger than what we thought when we started a year ago and of course it all got stalled because we went right into covid and we weren't really meeting for a couple of months so lots of good things and i think angela will bring it forth we're going to meet weekly here for the next couple of weeks to try to solidify a proposal and then we'll go from there the other big piece that's come now to the surface which also has been you know in the works for so long and then of course got stalled by covid but to do their credit pushed it through and actually this is credit to kim uh the museum went through a museum assessment program through aam which is the american alliance for museums and so some of the audience and uh some of the legwork if you will of who's committed and who are the stakeholders in our community for culture who are some of the other organizations who are our our neighbors friends and partners has already been done and so as a museum leadership team we meet tomorrow to go through that process uh go back through what our peer reviewers have submitted to us and then make comments so we're receiving a massive uh leg up if you will uh in the very near future so i think that this this whole bit of uh assessment and strategy and looking at the charter and looking at the program as a whole and drilling down into uh the changes that we want to make on a on a you know culture in a big picture uh in longmont and then even to our our mission and our values and those bits and pieces of it is going to happen in the very near future so all very exciting and i really do appreciate um amy and and holly's work best far so yeah stay tuned but uh lots to come very exciting it's really cool you guys it folks it's really really cool i'm so excited holly has a lot of experience and um angela and i are learning as we go and it's just i think we're gonna have a lot of fun with this i'm hoping that i can stay on in some capacity as we write this like like member at large but um it's i don't get excited very well yes i do i get excited about everything but this is really really fun stuff and it's things that um our future is about we're talking about stuff that's going to happen like your grandkids your great grandkids are going to be looking at these things in 20 years which is really really cool so any questions about that conservation and maintenance miss angela all right so hopefully everyone had an opportunity to look at the short list that i have said to you thank you amy for going through that with me basically the process that we did was took these spreadsheet of pieces and then broke them down if you will into a loose quadrant of the city and then assigned i'm sorry i did not look at where you lived and based it on your on your address i just said hey guess what you're you are south you are central you are looking northwest and and then uh split the pieces so everyone got a small handful if it was a piece that had more components uh i didn't give you as many pieces as someone else but i think uh depending on your load in your life if it's too much then you want to drop something off let me know if you are super jammed excited about this and you want more let me know um also included in that was a link to the um the smart sheet that we created uh this last summer if you'll recall and i'm gonna do something very scary and share my page maybe i will maybe i won't i probably will well you're gonna see yourselves there for a minute but hold on okay can everyone see my screen i can't see you now holly i can see you give me a nod i can does that work so it's not it's not pretty but it's really functional so when you follow the link this is going to be the form that you find uh can you see it is it's really too small to see no looks okay oh holly says good okay so um the great part about the smart sheet is if you decide that you are a pen on paper kind of person i typically am i will print this out and maybe keep a maintenance notebook and every time you visit you could just keep it in your notebook and answer all of these questions and then when you get home take your notebook and put it into the form the brilliance of this form is that as soon as you submit it it sends me an email and it also loads into a spreadsheet that then i can filter and sort the even better part about it is that um eileen and i are working on eventually uh mirroring our fields with our database that houses our public art collection collection files and so um this is really important work and it i i know that it's laborious but it's also a new way of of doing of doing a maintenance uh sheet so some of this is very much opinion-based and that's okay you don't have to be a museum whiz and touch day gauze all day i'm sorry i'm just jealous i'm gonna just say that sorry eileen but you don't have to be a museum whiz to go through this form and do a very fair assessment and it is going to tell eileen and i um if there's something that that raises a flag in our world so an overall condition how you know overall when you go up to it how is it um the reason that there's no excellent is because the only time a piece of artwork is excellent is the second that it leaves the studio and is in the most pristine condition ever and once it's installed it's it's great right but it's gone through travel and it's experienced a little bit of life so it's not excellent anymore so that's why it's not on there uh but but obviously if there's if you send me a note and i open my email and i see poor i'm gonna go and see that piece that afternoon right um and then these additional issues what if there's a broken part if there's something missing that's going to tee me off that we have a bigger problem here um a surface coating hey did somebody spray paint it does it look like somebody took a magic marker and put a another mustache on rosa belt you know those are going to be the kinds of things it might be a bronze and uh the wax on the bronze is starting to show through and we need to do a new treatment and suddenly it's starting to look foggy to you well it's got a surface coating right um and what is the condition ooh it looks really bad it's flaking so again you don't have to be a genius um to answer these questions and i tried really hard to have yield notes like uh peter had mentioned earlier it's just with this format it's really it's a little bit finicky uh but there's tazards so if there's a live wire and it's sparking and there's a pool of water at the base um you know that's hazardous something a hazard is certainly something that if a kid were to come up to it that kid might get hurt right um damage what is the assessment of your assessment of that damage and how much of it what percentage of it is damaged is there a placard that is our number number one goal for our first assessment of these artworks is is there a placard present that also includes a bronze plaque a plexiglass placard um if it exists or not and then what the condition of that placard is um and if you are able to do a latitude longitudinal um assessment there's there's a uh link so if you're doing this on your phone um you could get your lat law latitude longitude right away um it would help just if we're in the future going to do like a walking tour or something like that um but not necessary i know that's an added that's a bonus um and then file updates the goal for that is any images that you take as you go along the way um if something's broken or if just it's a pretty picture whatever images you can send uh is all the better all the better and then you can choose to send a copy of your responses to yourself and then you submit it to me and it comes straight to my email and uh this is this is really is a game changer so uh we've tried to refine it i've had uh interns play with it um and i think it's good so uh andrea yes so um i from your email i got the impression we were only looking at the placard are you telling us then we should just do a full assessment of the whole sculpture while we're there depends on if you have the time or not it's completely up to you um my hope is that these can at least be a a seasonable uh seasonal adoption so that everyone can commit to the number of works and again you can add or subtract uh for for this season and if you can't fill out this form and you can only tell me yes it has a placard no it doesn't um that will move us forward certainly on that project others you said um in the note that there's um there's no place for comments you can enter text in where it says hazards noted and what i've done before is i'll just put no hazards but you know there's grass growing that covers up part of the image or on this one side that's just discolored and it's it's unsightly or something like that um so you can actually provide comments in that way i know um so i'm not the developer uh i am only the alpha user on this one and i'm working very hard with our city tech person on making changes and i'm pleased we are this far so yes by all means please use the ha no hazards but hey angela look at this yeah um open character fields are apparently a thing uh oh not me okay okay good any other yeah any other feedback or comments on that thank you angela it's so much it's so organized and great to do that um we are now looking at the colorful poetry in the middle age stuff at the city right angela so just in short um have you been to the uh city building or the i guess the courthouse building is that we call it civic center civic center lately that's your question have any of you been there well it's time to go go angela uh so last year one of our uh city employees actually not just one um a number of them uh of course we're in a construction zone because of all of the construction that was happening at the at the civic center and they had mentioned hey can art in public places please take a look at the banners so everybody know what i'm talking about i should have brought a picture but i didn't um anyways the the there are a number of banners um and that's what the artists call them initially and the title of the work is colorful colorful poetry in the middle ages uh the work um call was in 1992 records have it that it was installed in 1994 um so it's 27 years old i the original says that there were 44 banners but i looked at a bid for treatment for this work for from a textile conservator from 2009 and she addressed some 20 20 banners um so one of the new commissioners actually i think is assigned to go and view this work um but but i'm hoping that we can get uh a group of volunteers who might just go and pay your utility bill in in person and or just go and visit uh the civic center building and take a look at those and i can send you pictures from the original but i think that they're pretty faded and the real question on the table um and we don't have to answer this tonight is what is the path forward uh do we get a conservator a textile conservator out here to assess the work which will mean getting a lift getting at least one down probably one that's been in the light for a long time um looking at if the textiles are frayed what the condition of of the material is um looking at the color uh is it something that can be redied um i don't really know i'm not a textile conservator but uh and really how is it that we should move forward so that piece can either relive its its former glory or that we address it so it can be the best-looking piece that it can be because the civic center of course went under massive renovation so art and public places received quite a bit of construction funds i don't know the exact amount um but when the new budget comes out i'll know and also of course as you likely know it is the 150th i can't say that word this is the 150th anniversary of the chicago colorado colony um this year so the city is celebrating and sas questantino thank you i can't say it um and the city is celebrating and they would certainly they are championing and they're going to uh promote any any at all projects that we do this year um so that's kind of the story of that so uh at the very least hoping for a number of volunteers who would like to go and view the piece and if anyone has seen it recently if you have any thoughts i think they're really faded uh i believe you mentioned that they had been i don't even remember what she did with them but they had been treated or fluffed up or refreshed in some way shape or form years ago and i think it looked a little better but i they do look faded uh i'm with you andrea exactly i know i you know we definitely need to assess it but i i would be really surprised if we don't do decommission them eventually so just my thoughts we went um sindy and angela when we were looking at space right um and you pointed them out to us angela and they are they're pretty um worn looking i mean they're not they're not fresh they don't pop you really almost don't even acknowledge them because they're so faded and uh and i've been in there many times and actually didn't even notice them because they're not very um fresh looking they're definitely more pastel now than bright colors i think we're just like whitish kind of off white not not super attractive i mean i i'm not putting them down it's just age um no i'm not super attractive and refreshing what happens so i think would any of us be willing i will when i get home be willing to go take a peek and then report back to us next month yes i will go look at them also uh does anybody know what the fiber content of them is were they done on cotton or polyester or what do you know that'd be and that so i'm so excited to say that because of covet the most positive thing that has ever come out of covet is that when the museum closed volunteer front desk staff not volunteer sorry front desk staff went through a digitization process and i actually can access all of the original 1994 files from my home oh wow look for you and i can find and it's it's brilliant so um i will send you a note offline about all of that business and um maybe in the meantime too i can ask finance what the final number was that came from the civic center cip because those funds are directly linked to that building and considering that it's the hundred and fiftieth year maybe this is just like the stars aligning of a perfect time to accept the space kind of with all of you i don't know if a conservator is right the right move maybe it's trying to brighten it all up woohoo but if you if a few of you would be willing to go and um just take some notes and then we will put this on the agenda for next month and if you want to get together offline and go together that's totally cool right angela but um i know with our covet responsibilities we have to be careful and our new people if you want to go look this is a great project to get started on like i'm like oh we need some help on those so i think that'd be really great and then we'll come back next month and kind of get a path conservator or a new plan what do you think angela okay great all right my stepmother Jennifer volunteering is that is there anybody else who can commit in one month to go over there and just take peak erin jennifer holly pamela peter awesome thank you guys our folks we are on to our administrators report all right thank you all for sticking in there and hanging in there okay so a couple of fun things oh the one that i already just said because it tied in um we've been approached by the city to anything that we're doing for the word that i can't say 150th year anniversary i oh my gosh i can't see it i'm gonna eat myself so i'll keep that in mind um another project that came in front of art and public places and also a number of folks within the city not to the point where we need to make it new business but just kind of to put yet again back on our radar is uh the city and the state are going to be working on highway 66 eventually from hoover to main so if you will west west of of 287 on on um 66 the highway and uh so it had come to light again about the north entry gateway project um and that to say there's all kinds of different projects going on right there's there's the state highway and the 66 which is the road piece of it but there also is the way finding initiative which is a large city initiative uh which uh marcia had alluded to the kind of rebranding piece but then also that art and public places for years now has looked at a north gateway piece and as far as i can tell based on previous research really it ended up that my predecessor loren uh that even through all the digging and finding and looking uh that there was really no good good place that the city owned uh so i just especially with some of you folks who have been on the commission in the past if you have any aha moments related to that conversation of of looking for a location for north gateway piece um i'd be interested to hear aside from that um i guess it is just kind of a stay tuned and it's it's on our radar um yeah feedback um i i if i'm thinking correctly is the city of longmont putting up some beautiful gateway signs you know that say long euro entering longmont is that going on yeah and i'm not a part of the way finding city committee that was way before i arrived but yes so somewhere in um the pre-design phase like the the need for wayfinding to the point of um hiring some sort of thank you um hiring uh design for i think that there's there's something in in there and i think that that's why we're being brought to the table at this point is because if the city is doing a large wayfinding uh program or or initiative that boy it would be sure smart to make it beautiful and include art in public places right i think we would need to to see that what they're proposing or what they've done are doing before we make any big decision right oh that's most certainly the case most certainly the case any other feedback on that susan susan you're muted honey right um it's one of those pieces like if you're on 119 um kind of across from sandstone it's like a um it looks like a river kind of thing and it's on this pedestal um it's not real tall i mean you do see it um it's on the north side of 119 like if you're coming off i-25 into the city is that the kind of thing the the the ones that the entryway pieces are florida yano the big uh uh redstone piece on the east side of town and then the other one is the blue balls entering from the boulder from the diagonal right entryway pieces okay okay so we only have two of them there's been talk of doing another one on the north and you know i'll be honest with you i um you may not disagree with me but those those entryway pieces were highly controversial in the end and i i wouldn't mind having a little bit of discussion whether not to even have it because i i just feel like like florida yana to this day people are really griping about these stones which are really historically significant uh fence posts but they view them as grave stones graveyard stones and i'm with andrea i think we need to talk about it a little bit yeah i i'm not sure if it's necessary or uh i just i'm not sure if i want to put so much money those are the big big they cost a lot of money we may be going through a big recession we may be cut having a budgetary cut back in the next couple years and doing a big entryway piece that a lot of people aren't very pleased about or they speak loudly about that anyway is um i just don't know if it's important enough to do i mean it has to be discussed for sure the other thing is that neither of those pieces say anything about welcome to longmont i'm i mean isn't that what the city is looking for something that says welcome to longmont and then and then twofold like typically a gateway piece is something like when you think of the eiffel tower you know you're in paris when you think of spirit of longmont or you see something like that a coloradan might say oh i'm on my way from bolder to longmont because i see this and in the artist statement initially it was something along the lines of that there was a lot of technology happening in in the city and and so yes i i certainly um i can hear both sides uh so again like it's it's not a this is happening or not happening wayfinding i think uh one way or the other and just signage and maybe susan that's what you were talking about is is there a sign there there's something i mean it says welcome to longmont on it those are the slides that the next time i go buy it or something that is part of the wayfinding project with the city that city of longmont that you're talking about susan because they were going to put one on the west side as well i don't know if you guys remember a few years back they right there at hoover in 119 if you're coming from bolder heading east at that stop light right before you got to that stoplight they put a big um median there because they were going to put a wayfinding sign there and even that one that is on 119 coming in from the east heading west into the city the two mountains and it's got a stream in it and everything exactly that's yeah that i think cost the city 250 000 just for that and um yeah and that hasn't been popular and i know the city would like to do three more of them eventually but they don't have the property or the placement okay that's shocking okay so there's no more about that sandy cedar is a good person yeah okay so it makes sense then and then they roped art in public places in because i i think that part of the goal of course is to make it beautiful and who best you know to advise on something beautiful than art in public places but again this was just one meeting so don't be surprised if it comes about a new business but right now it's just kind of a fyi got an email that kind of thing um any other questions related to that it doesn't sound like it has legs anyways okay so this one's a fun one um what did i call it earlier amy um let me look golden spike yeah it was like a name i was like i was gonna go there but i'm gonna let angela tell you what it is no you go the golden spike conundrum yes so in 1997 um i i want to be accurate and hold on just one quick moment 1994 okay hold on just a second i got it here hold on 1994 the work is 27 no no no that's not it 150 year old chicago colony bolded bold gold never mind go go for it i'm gonna mess it up so okay here we are so in in 1997 um on the north side of saint brian greenway underpass at boston avenue which the this is part of the reason that it's been brought to our attention is because of course of the boston bridge project i asked questions and they said oh there's something there which is not art in public places but apparently um when the city uh attached the saint brian greenway trail between main street where it originated and golden ponds where they started building it in from in the 90s they made a commemorative moment by city council driving some golden spikes um and created a plaque and the idea was to mimic the transcontinental railroad connection so those were the places where the two that that that um connection happened and so that was fantastic but it's not an art in public places piece and i don't so the question is the ownership of course piece of it and when the demo happens of that space they'll have to come up so i got an email basically saying hey what should we do with these things and i just had to share because it does make me laugh because of course that's the whole purpose of art in public places right is when you commemorate a moment in time with a thing in it um you can have ownership and track how long the uh how long it's been in place and what it is is it three feet long to holly's point from earlier are they inches long or you know what is this so um it's just a conversation at this point but the word salvage came into place and i was like i don't think art in public places wants to adopt it as of right now it seems appropriate that taking some photos of it and taking photos from the past and having that that be acquired by the museum uh would be appropriate but then as we think bigger and we start thinking about the new boston avenue project that may be getting images of these of these pieces and mixing that in you know the new with the old might might be a good idea so uh really nothing to discuss really no no point to be made other than maybe you remember it happening maybe you were there when they drove the spikes in um but yeah it's there i've never seen them i i might go visit but yeah i'll let you know kind of what comes of it i've got a question what connection does long one have to the transcontinental railroad which was way north of here it went across the Wyoming and northern utah i don't know but i will i can find out for you you know it was a mirror of concept right that that these two that these two points the st ring greenway trail was meeting with the new ground that they were breaking to make the full loop of the st great you know so that that is i mean and that's quite comprehensive for for and and uh progressive for a city to have a trail that really goes the full city and that you can and so when they started the development piece of that part to golden ponds and connected it with the original they drove the spikes like that that that's the point where the project started in the nineties and they were meeting um where is this it's well i wouldn't know because it's not a part of the art and public places collection so i don't have any i don't have images i don't but i do it says on the north side of the saint brain greenway underpass at boston there's a dedication plaque and some spikes in the ground adjacent to the greenway so i'm gonna ask parks i mean it's a parks thing right it's a um and paula paula just came out with her book but i i'll have to review and i don't think it was in there anyways i have a call in all if i get my answer before our meeting's over i will let you know so anyways um the point is just like that um what's to happen when they come up and chances are they'll be acquired by the museum and we'll we'll see that they make it their way there but in the future as we art and public places do the boston bridge underpass project it might be nice to nod to this moment in in the city's past so i just thought you all would really think that that was fascinating like i do i'm a collections geek i'm sorry i'm a geek too so i just have to tell you my expert um he he said like the light rail or the old choo choo railroad oh my goodness and that's all i got really okay guess what we're on two friends commissioner comments did we do new business yeah that's just what each of us did oh sorry administer anything else she said today that that was kind of her administrators report so i'm just i just have a question about budget um how has cove it affected our budget this year or is it too soon to know you're muted but yeah sorry um so the budget had has been approved i know that they're in those wonky moments of the rollover bit i don't know if kim's there and can speak more about that but um so the reporting should be available in the next couple like month or two but our budget is flat so our budget is the same as last year uh asset wise that line is a hundred thousand and you know um things that are annually budgeted like shock art comes out of that right um things um encumbered dollars right we'll show up but we're flat so we have had no no impact i i would just add andria that um you know a couple years ago when there were a lot of city projects that were happening um the art and public places fund balance was um really kind of padded if you will um so we've got a lot of money in the fund balance um and we continue to get revenue in every year as a result of additional projects so we're not at risk at the moment certainly we're not i think you you're familiar with past years when there were major recessions i think even if we do see a downturn in some of the city projects we've got enough in our fund balance to to carry us for quite a long time so i think we're doing pretty well thanks kim that's comforting and i know this city is committed to art and and work so just want to let you know that um for the record um our rail station at second and main was one of the most important facets of the central part of the united states um and i'm i was told to read a capstone undergraduate um um um thesis but that was my son so he's done so much history on longmont that i'm not joking he like knows more about us than anything so it looks like that it really is a big deal so might be worth investigating i'll let you know so right now it's basically at the top of um natural resources of hey we have spikes they need to come out what's going to happen to them and i i throw my lean's way i said museum acquisitions would be a good place but before we take a jackhammer to any concrete we might want to well and i think also talking to carmen as we talked about earlier today carmen Ramirez and also talking about to the people that were here or the ancestries would be great awesome so we are um back to a number 12 which is commissions reports or comments anything else i'm just so excited to see new commissioners danielle trisha jennifer oh you guys are awesome you're gonna love this group um i wish you could all come together and like this pow wow but it's gonna happen in your tenure so um i'm just so excited to have you here i'm emotional because it's just a wonderful amazing group of people and i think you will love angela she will tap your energy like nobody's business um my sister actually this is the sidebar he's dropped on my conversation with angela and she goes oh my god you and amir she's just like you she's so full of energy and i'm like yeah that's probably why we like our jobs so any other feedback on tonight i would love to hear trisha what would you like to know before like in your next we have four minutes left well what would you like to know i'm good my brain is nice and full how about you jennifer what would you like to know anything that we can help you understand more i thought of something a few minutes ago but now it's left me so okay so email either trish or email angela and i will give you answers okay i'm i'm pretty good i i'm saying i'm not i don't have to know everything at once it's okay if it comes in a little at a time or some at a time and um i am i am very interested in these banners and i'm excited to go to look at those because i am a fiber artist and also i'm not a conservator though friends and um i want to just see what these i mean this is the thing with fiber art it is not really designed to be permanent especially stuff like that these banners that are exposed to the light and the dust and the you know people coming in and out they're really not designed to be permanent the only kind of fiber art that can really be permanent is really stuff that has conservators or they have like that big sacristy in the church where they put everything carefully away and all that that's why angela and i met conservator or we mentioned conservator because we wanted to talk about that but yeah right but anyway take a look all right um who am i missing our other new person oh danielle you are trying to be quiet i thought i was gonna get away um i am just taking this all in i've already learned a lot tonight so i'm really excited to just keep keep hearing what you guys all have to say and to just kind of just jump in isn't it fun a lot it's really cool it really is so i'm excited okay well i'm really excited to have you here so let me look at our last i think we did really well angela we are two minutes ahead of time um so anything else for the good of the order um angela once again you've done an amazing job happy new year everyone new year okay so we are now at eight or seven fifty eight i would like to see if anybody would like to move to adjourn i so move cindy tiger and randy long seconds all in favor all right gall bless you all wonderful thank you everyone thank you all so much thank you amy welcome on the new commissioners thank you thank you so much


The traditional medical view on obesity is summed up nearly a century ago. All obese persons are alike, and one fundamental respect, they literally overeat. While this may be true in a technical sense, this is in reference to overeating calories, not food. Our primitive urge to over-indulge is selective. People don't tend to lust for lettuce. We have a natural inborn preference for sweet, starchy, fatty foods, because that's where the calories are concentrated. Think about hunting and gathering efficiency. We used to have to work hard for our food. Pre-historically, it doesn't make sense to spend all day collecting types of food that, on average, don't provide at least a day's worth of calories. You would have been better off staying back in the cave, right?  If you were able to steadily forge a pound of food an hour, and it had 250 calories per pound, it might take you 10 hours just to break even on your calories for the day. But if you were gathering something with 500 calories a pound, you could be done in five hours and spend the next five practicing your wall paintings. So the greater the energy density, the more calories per pound the more efficient the foraging. So we developed an acute ability to discriminate foods based on calorie density and to instinctively desire the densest. If you study the fruit and vegetable consumption of four-year-old children, their liking correlates with calorie density. They prefer bananas over berries, carrots over cucumbers. Well, duh, isn't that just a preference for sweetness? No, they also prefer potatoes over peaches, and green beans over melon, just like monkeys prefer avocados over bananas. We appear to have this inborn drive to maximize calories per mouthful. All the foods that researchers tested were naturally less than 500 calories per pound, bananas topped the chart at about 400. Something funny happens when you start going over that. We lose our ability to differentiate. Over the natural range of calorie densities, we have this uncanny aptitude to pick out the subtle distinctions. However, once you start heading towards bacon, cheese, and chocolate territory, which can reach thousands of calories per pound, our perceptions become relatively numb to the differences. No wonder since these foods were unknown to our prehistoric brains. It's like the Dodo bird failing to evolve a fear response because they had no natural predators, and we all know how that turned out. Before sea turtle hatchlings crawling in the wrong direction towards artificial light rather than the moon, aberrant behavior explained by an evolutionary mismatch. The food industry exploits our innate biological vulnerabilities by stripping crops down into almost pure calories. Straight sugar, oil is pretty much pure fat, and white flour, which mostly refined starch. First they have to remove the fiber, because it effectively has zero calories. Then brown rice through a mill to make white, and you lose about two-thirds of the fiber. Turn whole wheat flour into white and lose 75%, or you can run crops through animals to make meat eggs and dairy, and remove 100% of the fiber. And what you're left with is crap—an acronym used by one of my favorite dieticians, Jeff Novik— calorie-rich end-processed foods. Calories are condensed in the same way plants are turned into addictive drugs like opiates and cocaine. Concentration, crystallization, distillation, and extraction. They even appear to activate the same reward pathways in the brain, put people with food addiction in an MRI scanner, show them a picture of a chocolate milkshake, and the areas that light up in their brains are the same as when cocaine addicts are shown a video on crack smoking. Food addiction is a misnomer, and people don't suffer out-of-control eating behaviors to food in general. We don't tend to compulsively crave carrots, right? Milkshakes are packed with sugar and fat, two of the signals to our brains of calorie density. When people are asked to rate different foods in terms of cravings and loss of control, most incriminated was a load of crap, highly processed foods like donuts, along with cheese and meat. Those least related to problematic eating behaviors? Fruits and vegetables. calorie density may be the reason people don't get up in the middle of the night and binge on broccoli. Animals don't tend to get fat when they're eating the foods they were designed to eat. There is a confirmed report of free-living primates becoming obese, but that was a troop of baboons who evidently stumbled across some dumpsters at a tourist lodge. The garbage-feeding animals weighed 50% more than their wild-feeding counterparts.  For millions of years, before we learned how to hunt, our biology evolved largely on leaves, roots, fruits, and nuts.


that have been leaked. Maybe it's because they're the only two where the camera work when the excitement of the pilots is such that they're not going, oh, look, another piece of space debris. Yeah, I see that every day. Like, if the pilots are saying that, then it has no truck. The people who were working on this supposedly investigating this for the government and a program that cost $22 million are the ones who eventually were responsible for the circumventingly leaking this. Two videos. Getting two declassified. All the undeclassified ones are probably a lot more boring. Well, also, so Stephen Reyn in the chat room in YouTube brings a really good point up, which is that there are top secret projects in space from different countries, from lots of countries. Yeah. So it could be trash. It could also be something that's taken off or landing and we didn't know about it or... Yeah, it looks too small. It looks like debris. It doesn't look like it's powered at all. It looks like a cold thing falling from low earth orbit. So it looks like a little bit of space trash. None of the footage shows it darting around or doing any of the moving things that the, you know, visually is the only time we've gotten a report that it did something wonky like that. Yeah. So I'm not impressed. I don't have, I don't have... Not impressed. Yeah. Yet you were upset that we hadn't looked. Which one am I talking about? Physics please. I'm mostly talking about the tic-tac, whatever, tic-tac one. There's a follow-up to the tic-tac, which is they say is the same object seconds away, 60 miles, but it could be a different object because they didn't have continuous traceability chain because of the contact with the thing.  There are multiple conversations that need to be had about what we're putting up in space. Physics police is also bringing up Starlink. And there's so many articles. I mean, so it's number one, we don't know everything that every country is putting up.  Number two, Starlink is going up and it and other reflective satellites are creating visual, visual trash. It's like, you know, so no more dark skies. There was a, a report that... Space station just got hit. You know, space station just got hit by something. Yeah, but beyond that, astronomers, even just people who want to look at the sky, there was a, an analysis of the various satellites that are going up into the sky, various latitudes on the earth and then times of day when people would be able to have no occlude, no none of their sky occluded by like satellites, by reflective satellites, if you were observing say at you know, a giant telescope or something and doing observations. And it turns out there's like very, it's turning into very little parts of the earth. It's like every, the only spaces now are below 30 degrees in the southern hemisphere that have unoccluded skies and it's only from like maybe, I think it was from, from three to six a.m. or something like that. It was like, it was just, it's kind of crazy when you start actually mapping out as this, these researchers have done what in our skies is being covered and Starlink is a huge driver of that visual trash and it's really going to affect astronomy, visual astronomy. So there's space trash, there's astronomy, there's all sorts of things that we need to be talking about how we're freaking using our space because people are just using it because there's so much of it and then it's going to be gone. But if they are, if they are advanced craft, if they are, if they are, I still stick to there from the future and the reason that we keep finding them off the coast and and then now going into the water maybe they're looking for baby sharks because the future doesn't have baby sharks and the planet's losing the oxygen because nothing can keep fertilizing the coral reefs properly. So they're coming back for to steal the baby sharks which do breed off the coast of Southern California. No, it's not for that reason. It's just because they like the song. Oh boy.  So they're going to pull up. Who's flying that? Yeah, it's like pulling off under the freeway.   It's like that.  They see just a planet surrounded by floating garbage and they're like, keep going, keep going. My cat really wanted some screeches, screeches. I think this time of year it's not that they want scratches. It's that they want help shedding. I am a shedding assistant for my animals. They have to cover the whole house. Oh, physics police, because you put it in all caps. I really want to. Please don't. Yeah, I will go. Cutting out the internet is getting earthquakey. I think we should probably head out anyway. Fun talking about aliens, baby sharks, space trash, chronotypes and shift work, shedding animals. Yes, and then Blair will get sleep and be able to wake up and not be tired tomorrow. Oh, I'll be tired for that. Okay. Yeah. Alarm goes off in seven hours. Yeah, I gotta go too. Are you going to bed? Or are you staying up? I have to stay up a little bit longer, but not for too much. Yeah. All right. Say good night, Blair. Good night, Blair. Say good night, Justin. Good night, Justin. Good night, Kiki. Good night, everyone. Thank you for joining us. We will see you again next week. We look forward to seeing you once again for more fantastic science. Have a science week filled with science goodness and fabulousness. Stay safe. Stay well. We'll see you then. Bye.