♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ ♪ It's a pleasure to welcome you to our April Fool's Day meeting of the Public Arts Commission. Thank you all for your time today. If you've had a moment to look over our March 4th minutes, they took up a full two pages and are quite accurate. I saw no additions or corrections myself. Does anyone else have any additions or corrections to the minutes? Thank you ma'am. Motion and a second please. Council member, welcome. Thank you. With a second. All those in favor? Those like signed. We are on the boards. Alright, now then. Project applications. Now do you want to lead off on this then? On applications, Heather? Do you want to lead off on application things here specifically or how would you like to proceed? Yes, we did. Did you have any additions or corrections? Okay. No, it's all fine. So actually, Celeste is going to remove herself as a commission member and be the person to present this project on behalf of Moondance. Oh, how wonderful. Celeste, you can present. You all have the application in front of you. It's Lexington Parks and Recreation for the Moondance Animal Theater. Yeah, take this one. Yeah, it's here in the back. Heather, I'm just looking for the right thing. I wasn't able to download it. It's all fine. Can I do it from here? I have to go down there? You don't have to do anything other than speak into a microphone. Important part. Thank you. So familiarize us with this program. So Michelle Kosiniak with Parks and Recreation could not be here this morning. So she asked me to present this. So this is, as you can see on the pictures, and I don't know if anyone has been to Moondance before, it is a red brick structure and the stage is that same brick inside. So the only thing that was changed was a black. It was painted black. So there isn't a lot of engagement other than the performers on that stage. There's nothing visually stunning about that. And so we've wanted for some time since when you're at the amphitheater all the attention is directed towards the stage that it would have a more exciting backdrop. And also speak to that atmosphere. So I will say just a little bit of background. We have, Parks and Recreation has had Moondance for 12 years and we have created an atmosphere out there that I feel like with the programming has just drawn. So we went from having about 200 or 300 people to having about 1,200 people at the free concert. And so it's really popular. So we realized that we need to up our game a little bit with the atmosphere and the stage and so we're all in love with Wiley Caudill's work. So we talked to Wiley about doing something very Moondance-y out there and he came up with this design. So it will go really it will do the wings and the very backstage and really when you look at it in the renderings I feel like it just sort of hugs the whole stage. And it is a park that is now suddenly engaged so much by that neighborhood and you'll see the nights that we have events out there people are walking in with their lawn chairs and their blankets and then there is Southland Jamboree, there is Big Band and Jazz, there is our Summer Nights in Suburbia. Parks and Recreation does all kinds of programming out there. Movies, things like that. Also it's very rentable and people rent it. So it's very engaged space now and we also pull people from Woodford County and from all over, from downtown, from a lot of places. So we felt like something that everyone would recognize and enjoy and that would speak to the name of the place, Moondance. So we felt like this was a really good rendering and we really love it and we know that Wiley will do very good work. He warranties his work. He says the work will last for 15 to 20 years. He uses materials that will last. It's under roof so we don't expect it to get terribly damaged by weather but it is outdoors so it will have some wear and tear and he guarantees that he will do touch-ups and any kind of repair work that needs to be done. And then we also plan, as it says here, we will, the foundation, which is a wonderful citizens group that supports that park, they are putting aside money for future maintenance needs. That's good. And underneath your application is just a very simple budget. Yes. It just shows the internal cost of the budget and that Parks and Art is putting in just nearly 50 percent of that and what they are actually requesting from the Park Commission. I will add that my mother lived at Cedarhurst for four years and so the people that live there it abuts Moondance and they would all open their windows and listen and when COVID first started there were still performances there. They would sit on the lawn and kind of watch that. So I have a deep appreciation for what Moondance brings to that community. There are so many and this really started with during COVID so many other groups like Allegro Dance Project that uses that facility. Well, that's true. During COVID everyone was seeking outdoor venues and there were limited numbers of outdoor venues that were ready to go. And Moondance got, I don't want to say it got discovered then because it was fully and completely discovered at that time, but it really surged during COVID and it is now the performance home for so many groups. There has been Shakespeare, there has been dance, there has been the Moon Festival, there has been school programs, there has been band playoffs, there has been all kinds of things out there now and so we really love that people discovered it as a comfortable place. There's wonderful restrooms. It is a beautiful spot. It is being quite developed out there so the more it's developed actually it's being done fairly carefully so it has not impacted that space at all. It's really remained very usable, very parking friendly. We have food trucks that come. They don't have any problem parking there. So we really felt like the only thing that was missing was some kind of super atmosphere and color and something beautiful. This is also an area that doesn't have a lot of public art in this district so this would be a big plus introducing people to the concept of public art there in the parks and in other areas. So the enthusiasm for it with the Neighborhood Association and the Business Association has been really heartwarming and Councilperson David Savigne is very, very, very supportive and so it just seemed like this was the time for us to do this. This $5,000 is from Councilmember Savigne, correct? Yes. His support for this particular project. Precisely. What I'm actually proposing and we've done this a couple of times before, but because they have their budget, they have their matching funds, they have the artist and the renderings, I'm going to propose that we could potentially just move this project ahead and not require them to come back for phase two. They're entering sort of the prime seasonal period of nice weather before the stage gets fully busy so it could help them if Wiley was able to move ahead and do the project before they kick into their crazy season programming. Well it's really two part and I'm glad you brought that up because it is not only our season begins but Wiley's season begins so both those things just all of a sudden when the weather got nice it just boomed. We do have a little bit of a time crunch because our first shows will be there in May. In the first events period. We de-winterize it in late April and begin having things happen. I support you in expediting this proposal. The total cost of the project is $10,500. Parks and Rec with your help has put in $5,000. Moondance has put in $500. You're asking us for $5,000 to complete this and move it on. Can I make a comment on this real quick? I've been to several shows there and it's a fabulous space. It's well attended. It's great. When I saw this I really really liked with the moon and all that. One thing just maybe they could consider a different part is when I was looking at this the iron structure, white, it's kind of faded white. If they've ever considered because you see a lot of theater, everything's kind of blacked out. The curtains and all this and it seems like it'd be a really simple process to maybe spray that black and just create more, even more of a theater effect. I hate to jump on other people's design and all that stuff, but it gives you that kind of underside of that roof. You can put more stars up there or whatever. But it seems like when I see this, I love the moon and all that. Just it'd be something to consider and I think something that would be simple to do. That would make the frame more complete. You're right. It really would. I like that idea very much. I love the idea of the stars too. That's definitely a possibility. That would be something perhaps done in house with Parks and Recreation. I think so that's easy enough to put on the skid rack. Maybe a gracious ask there would help. I make a proposal to expedite this project at Moondance from phase one to phase two so they can move forward with the project. Do you want to include the funding in there too? With the funding for $5,000. So we have a motion. We're working for a second. I'll second. Any discussion on the motion? All those in favor signify by saying aye. Opposed like sign. Any abstentions? Well done. Thank you very much. Thanks guys. Well the score sheet, I did give you a score sheet for this. We still don't have our cadence down on this yet. Well I mean since we expedited it. I guess it might be good if you would just put your name on it and write approved. Just so I have that extra record. And it will be in the minutes as well. I'd like us to go through the motion of reviewing this. And if you have any questions about any of the items note that. We'll get better at that. We know what we like. This is a great thing. So if you all would turn those in on the way through or out that would be great. Yeah you can just put your name on it and just make a note approved. Or if you have any questions about any of the items for this particular project only. And I'll just collect it at the end. Thank you. And so then if we want to move on to the next application which is Cardinal Valley Elementary School. Yes ma'am. And you may recall this artist Michelle Armstrong. She's an artist and an art teacher at Cardinal Valley and coordinates their art club. She had another project before us about a year ago at Wolf Run Park. And the students painted the bridge over the creek. And that was a really lovely project. And she has involved her students in many projects around town. So this is another project that she's been working with. And she couldn't be here today because she's teaching. So I'm just going to tell you about the application. She has been working with the after school art club. And they were asked again by the Friends of Wolf Run Watershed to create designs and murals that would go on the top of the storm drains to raise awareness about the water quality and keeping Wolf Run clean. And so she has, they're not asking for any money. The Friends of Wolf Run have funded her projects. And I believe she's also, there is some money from the Cardinal Valley Art Club that they're putting toward this for supplies. And then the kids have made these four designs that are submitted. And so they are just asking for permission to move forward with it. And there is also a budget attached that shows where they're getting money. They're also doing some plantings in the park. But again, they're not requesting funds from us. All the funds have been provided. And this is another one, and we did this with her previous project because she had submitted everything in advance as we could sort of fast track this one if you all were willing. Because they also are ready to go and they can get this done before the school is out. So anyway, if you all have any questions I can try to answer them. So they're asking for official permission to proceed. That's it. Yeah. And this is a complete packet. It does have everything in it. It does. And no dollars are required. Just our consent. Right. Do we need to fill out a form on this one too then? I'm just asking for procedure. Yeah. I mean, same. I think we will vote on this, whether everyone feels comfortable with it moving ahead. And if there are any questions, you could note it on this form. But I keep files on every project. And so I'd just rather have that we did go through the process and include this even though I am asking it to be sort of fast tracked. Understood. And just to let everyone know and to make sure in the minutes it's understood that that's only something we would do on a simpler project like this and that has all of the components identified. You know, that if it was a more complex project, probably any 3D project would not be able to be fast tracked in this way. But we did realize that when someone walked in with all of the details, it seemed unnecessarily long to ask them to come back a month later. How many storm drains? It's four. Yeah. How are they going to include all the messages in these different languages? I see there's some Spanish translations here. What do you mean? Well, because I mean, this part says that the neighborhood around Wolf Run Park is also diverse in population. We plan to include messages about no trash and only clean water and all the storm drains in English. Oh, I see. Yeah, I don't know. Visually, where will it be? Yeah, I mean, each one of them has additional space. So, I mean, they're showing Spanish on that very top one. So I'm guessing maybe, you know, on the bottom one, another language could be at the bottom of that. The no trash one is so brief, you know, I could see how they could easily incorporate other languages into the So since there's four other languages besides English, I guess each one could be in a different language. Yeah. I'll ask her about that, though, since she noted it. I'm curious about acrylic paint in this site. And I think this might be something good to just approve and then monitor and see how it weathers. You know, years ago, we had done, through the EcoArt grants, a number of storm drains around town that Blake Eames did. And they did last for a couple of years and then needed to be repainted. So I'm just curious if there are some other paints, like that the rainbow crosswalk were painted out of that is long lasting, a little more durable. So it might be something that, you know, we approve this, let it go, and just see how long it takes. But it'll probably need to be repainted at some point. And we may, you know, look at just the lifespan, expected lifespan of these type of projects. Yeah. And I mean, she's done so much outdoor art that I feel confident that I mean, they've done other projects in Valley Park. They did the fence. And that still looks great. That was probably five years ago. So, but I'll ask her for more information. We find that, you know, wall murals and those kind of things where people are not walking on them tend to last longer. But, you know, surfaces that are being, you know, walked upon or like the book benches, you know, that were sat on, they tend to take a little more abuse. True. Yeah. Right. Are there any images of those final, that last project? Oh, yeah. It'd be good to see that. I mean, I can't get to them right now. Oh, you mean of the bridge? Yeah, I'd like to see the results of what they look like. Oh, yeah. I had submitted those, you know, a year ago. But I mean, yeah. But I mean, that's a finished product now. We could circulate those again. Yeah. It was at least a year ago. Yeah, I'd like to see how that's going to compensate with these new images and where that goes and things like that. And like I was saying, you know, we really want to be curious about these different paints, how long these things are lasting because just public art and paint is always going to be an issue because, again, it's going to have a time on it in terms of when it starts to turn, when it starts to become eyesore. And I think we're really going to have to polish up on that. That's a very important thing. Following up on that point, I have a question about where they're located. So they're near storm drains. They are the top of storm drains. Okay. It's the concrete lid. I don't know what you'd call it. It's like the So it's not an issue about toxins getting No. I double checked with her. And I think the first one, first illustration shows it's the top above where the water goes in. Oh, I see. So all of them would be like that on the top. But originally there was a different conversation. But this is where we've come back to. Okay. Hello. Do you have materials down there? We've got normal water. Special guest. Did we attain a motion on that? Where did we get to on that? Second project. Thank you. I appreciate it. You're doing a great job today. In order to vote, I think they're asking us for consent to proceed. They're not asking us for any money. This is one of our other things that we do. Sometimes it doesn't take money. So we have a motion to support the Cardinal Valley Elementary School Art Club and their work in Cardinal Valley. And I'm looking for a second. I'm just going to let everybody else. Thank you, ma'am. Any additions, comments or questions? All those in favor signify by saying aye. Aye. Opposed like sign. We've done well. All right. Now I think would I pivot then to Nathan for this one about the election of freedom between Geotech? I don't know. Part 4? Are you going to speak about this, Nathan? I can provide This is the first time I've looked at the Geotech report. Oh, really? Interesting. This is the first project that we've had to do one. Basically, Freedom Train hired a local company to go out and test the ground. This is what was asked at our last meeting. My understanding from this is that it says there's a certain required pounds per square inch that is needed to be able to support the structure. And that is the ground did test above that, so it seems sufficient to hold the foundation needed. In this report, you can see the area studied. They did study the exact spot where the sculpture is going. And they did core samples and then did an impact test where they kind of rammed down the soil to see how much it compacts. And so this is, you know, for a sculpture like this, this was about $3,500 to have their crew go out there. Like I said, they did core samples and you can see an image of the soil that was extracted and then they did again that compacting test. All of which tested above the need of the project. Okay. What action do we need to take here? Well, I think there were items at the last time that people had felt they needed to be able to provide to be able to move forward. So I think it's just open to discussion if you all feel like this satisfies those questions. I don't remember that discussion, but I'm sure I was here. No, it was quite a discussion. The stamped engineering drawings that were submitted did say that those drawings were reliant on competent soil composition. And so this is what this demonstrates is that the soil is able to withstand the foundation. So are we able to give a total green light to this at this time then? We've given them some money in advance, didn't we? We have given them not any money yet. Because it was all contingent on this. I'd just like to hear maybe from Andrew if you have any thoughts or others. No, this is all good. I don't see where the borings were taken. Did they provide a location map for that? Yes, the site was the last site plan that was submitted, the landscape plan after our meeting, BASA was in town and met with the landscape group and determined the exact location of where the sculpture was going to go. That was, I thought that had already been submitted to Heather, but she said that apparently you had not received it until just a moment ago. I got this on Friday. Friday, yeah. But there wasn't anything, I mean, you all had submitted those stamped drawings a long time ago. Right. But then there was discussion about the site moving. We don't know, we don't have anything that shows us what the new decision was about where it's going to be. Are you able to access your email to pull something up now? My email? That I just sent you? I don't know if you can pull it up on there. The location has been determined. Tyler, can I email something to you that you could then put up there? What is that? GTV3 at LexingtonKY.gov. Oh, okay. GTV3. Let me try that then. I missed when it was GTV3. That was great. The name of Batman changed. Thank you. I just sent it to him. Oh, you just sent it to him? Okay. That'll probably be faster. Yes, this was requested by the public. ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... Can you zoom in? ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... ... The foundry came out, they did castings on site in sections of it. Those castings then go to the, those molds then go to the foundry where they begin casting the pieces that'll be fused together. And so that is, that's in process now. We're still on, they're still on track to deliver the piece installed prior to Juneteenth this summer. So it's, it is on track as far as, but we are, we're into phase three. But the funding, we were only able to give him half of this phased funding that we're supposed to go to him. So he's out of pocket a little bit right now. So this funding is pretty crucial to go ahead and get to him as quickly as possible. I had a question about, and I know the structural documents are probably still being worked on. I see that they're calling for a two foot thick concrete base, but it's important for whatever supports this underneath that be below the frost, the frost line, and any kind of footing situation that holds that up. And- Footer is described in the engineering document. Okay. And it is 24 inches deep. Okay, I just wanted to make sure they weren't just putting two feet. If it's only 18 inches under grade, it needs to go deeper than that. But I figured that was going to be addressed, but just wanted to bring that up. The engineering drawing shows actually two layers of, that total at 24 inches deep. And then it's actually going to be 30 inches high, as far as the riser that it's on. Okay. We've got a point of clarification. Did we ask this for the project at the jail? For a core sample at the- Yeah. So they did the same tests? We already had it, because there had been other work done on site. With the drains and that sort of stuff, we accumulated all of that information. Thanks to Andrew. But yes. I'm not sure if you had your hand up, did you get your hand up? I'm sorry. It just seems like a civil engineer would be able to tell us if a site can hold the sculptures that are, whatever, the public art project without going, this seems to be above and beyond what's needed. It's not, I mean, to my understanding, that's not correct. That any site that is going to hold a sculpture of substantial weight is going to have to, you're going to have to know what lies below it. And we had to determine that at the detention center, even though that particular sculpture is, you know, I don't know, 20% of what this is going to weigh. So any time we do a sculpture of any substance at all, we're going to have to know what is underneath. Right. Well, just from our experience at Ashland with the John Henry pieces that weighed thousands of tons, we relied on a civil engineer. But your site hasn't been developed time and time and time again, which that's the problem. There are construction pits. There's all kinds of old and new utilities. I mean, it's a mess, really, when you get below anything that's gone through development. Okay. It's a different. And the civil and structural engineers will rely on the data provided by the geotechnical engineer to calculate their foundations. And that is standard design. So the civil engineer does use that data. Geotech engineer just supplies the data. So that is standard practice for design. You do have a, that is a bit of a blessing that it has never been developed before. And archaeological issues may come up, but not old plumbing and construction pits, which we encountered at the center. So I would move that we move this project forward as long as Nathan says that the molds are stunning. We should move to approve the funding. The overall height of the piece, I think it's no more than 12 feet, Nate? Yeah, they are eight foot figures. So they're larger than life. And then the hands extend beyond that. Right. So it's between 10 and 12 feet overall height. So you're not really getting into that kind of height, which, you know, you're dealing with a lot of wind situation like that. Central gravity, good solid base. And like you said, the soil sample should be ready to go. So is that a second? We have a motion and a second. A second. All right. Any other? I will have to let you know that though I have the contract ready to go, council is on break until April 15th. And what I was going to ask, and maybe Council Member Lynch could help us with this, if there was a way that we could get it walked on and double read, then that could. Stop laughing. Those are fun things. I'll come and cheer. Because otherwise we're in a holding pattern for two weeks. I think it's fun. I'll get the audience. You think that would be okay? Okay. Read it again. Okay. We'll have fun. That would help. So we have a motion and a second. Any other discussion? Anyone? All those in favor of moving forward, signify by saying aye. Aye. Well done. That's a big one, that's a big one. That'll be very, very nice. Thank you for all your expertise. Really, the entire expertise of this whole commission came to bear on this issue, so it's really great. All right, and then you have placed in here a review of the scoring metric. Do you want to preview that or update us on its change, please ma'am? I'll explain, so in your packet, what we have, what you have here is based on comments from last meeting and sort of some evolving comments, I've redone the score sheet. This is the phase two score sheet. And I have changed up, I've not yet had an opportunity to pursue our ability to use the council scoring. Apparatus, yes ma'am. But in the meantime, this score sheet, I have kind of reorganized some of the points, each item. And then on the back, it had been determined that those last two items would basically be pass or fail. They won't contribute points, but they are must haves. And so they would have to have a pass on both of those items for it to move forward. And as I've indicated in the accompanying guidelines and also in the master plan, it will have to have a score of 80% or above to be considered. And so, all of these other points will amount to 100%. Council members would put their scores in the yellow boxes and we would total them from there. I just remember from the discussion, the point about being 80 or above was kind of the crux of it. And then you've got the two pass fail things at the very end there. So, it gives a couple of kick outs besides the point totals. So, then this would be what we'd use from this point forward if we like it. Yeah, and the idea is even if we can't use this voting system, you would still be using this to determine your own score and whether you were, and then we would just say yes, yes, yes, yes. You would put that in if your score was a yes or a no. We do these by hand and you total them. Well. Or try to. Actually, you could total your own. Well, thank you. Distribute it. And then you would be inputting your decision, yes, no, yes, no, yes, no. And then we would keep these. But the idea was so that it wasn't just me doing the scoring. All right. And so, I mean, I would collect them and double check everything. But I think- So we will be using the screen. I have not pursued it yet. I'm saying I will get to it. We're on the road to get there. It's a matter of setting the stage and being able to- And then I have a quick question to do. Please. Do we not, we don't score in the white boxes. You only want scores in the yellow boxes? Yes. Okay. It's each line. Right. I just made them yellow to make it easy for you to see where to put your score. So, the white box is just there to provide balance? Yeah. For your notes. Thank you. Yes. Thank you. And you know how nobody notes it. First draft, second draft. I have a procedural question. So, are we given this in advance so when we come to the meeting we've already got this done? No. This is for us to score. So, we score in the meeting? Yeah. After the presentation. After the presentation. Right. Yeah, because this is phase two. So, typically, and it's different today because we fast track two and one has been going on for quite a few months that we'd already approved. So, but typically someone's bringing in a phase one, we give them the go ahead to move forward to phase two. And then they would come in and do a presentation with their application. You would have had an opportunity to review that application in print ahead of the meeting. But then they would do their presentation and everyone can ask questions. And then you would do the scoring. Okay. Yeah. That's typically how it would work. But we've been different, so. Thank you. Thank you, ma'am. But we were just trying to make the scoring. It's sort of a lot of fumbling around with the scores and people passing them down to me and I'm adding them all up and it just kind of is inelegant is my only word I can use. It's slightly awkward when people are sitting there. You hear Jeopardy music in the background. And also to make the scoring just more, make the weight where we wanted it to be and to include all the items. Yeah, there was some shifting among these categories. So Heather, so when we put our scores in here, and then you, I got a little lost, you're talking about on the screen and yes, no, yes, no, how the numbers convert to a yes and no, I think I'm missing something there. Well, it would just be if your total score, if you had a total score of 80 or above 80. Okay. 81 or more, and passes to both of these items, then you would be checking the yes. Okay, so it's just one yes or no, it's just either yes or no. Yeah, it would be one big yes. Okay, I thought it was related to the difference one. Yeah, and then we would just see a real tally of how many people had ended up with a score of yes. I mean, yeah, of yes, yeah, so a score of yes. Heather, in the case of the freedom train, item 13, how does that apply on the- Well, we had already approved in the amount of funding that we're providing to them, a percentage of that will be put into the maintenance and conservation fund. So that had already been approved when we approved the amount. Is that called the Blue Grass Community Foundation? It is, yeah, we have a fund there now. Then it seems like the commissioner then is obligated to receive from the artist details about fabrication, like the kind of patina and how you would go about correcting something. Conservation and maintenance plans, they have to submit that. It seems like that they may need some guidance in exactly providing details so that 50 years from now, somebody can look it up and see how you might remove the graffiti or whatever, or scratches. Do you think the artist needs help? No. Who needs help? Well, we. Well, we need them to give us that. To provide those details. Yes, and that will be documented in our files, as we have just started. Brand new to the start. To all of that. Yes, but that has to be requested from the artist. They provide it, and then that is documented and kept in the city. All right. It's a whole new world. So do we need to sanction this in any capacity specifically, or just put it into use? Put it into use, I think, unless there are any other questions. And then, just to, I have integrated some of that language in the program guidelines. Yes, ma'am. And then also, in pages 27 and 28 that are in the public art master plan. I just revised and added under project evaluation criteria. The scoring of 80% and that kind of information that people would want to know, that it might help them to know that. So it's actually stated that that is the score that will be needed to move forward. So in relation to our agenda, we finished the review of the revised phase two score sheet, and you kind of talked a little bit. Are we now reviewing the revised guidelines? Is that what we're talking about? Well, I kind of skipped over them a little bit, because there's not, I just, the guidelines are something that they sort of are following the score sheet. So I just tried to clarify in the guidelines, I can't even tell you exactly. I tried to clarify in the guidelines so that it matched The score sheet and the process of submitting a phase one and submitting a phase two. So then are the changes here in blue, is that what you're saying? No. Okay. No. I'm actually trying to look at what I. There's some highlighted text also. Those are just, yeah, no, those are just links. This is from the website. So those just show up as links. Well, it just said we were going to review it. Yeah, sorry. That's all fine. I can't, I don't think there's anything really substantial. I think it was more that I just clarified, made, I revised some of the wording to just make it a little more clear. On the master plan pages, I did specifically add that 80% out of 100. Actually, there is another thing that I found. I found a contradicting language regarding what we consider as temporary. And there had been some discussion back and forth. At one time, we had said it was one year. At other times, we've said it was two years to be considered temporary. I did, this is something I wanted to ask you about. I changed everything to two, and I'll tell you the reasons for that. And that is because I think with the amount, especially if we're awarding funding, less than two years is just not a very long time to put toward tens of thousands of dollars toward a project. And also because the capacity of the commission, I think, is to help spread what is already a thin ability to manage these projects that if we were considering projects that are less than two years, it's a lot more considering and a lot more changing out of projects and managing projects. And so that's why I am suggesting that we leave it at two years being considered permanent, we don't review temporary. So it doesn't mean they can't install something, but we don't review it if it's considered temporary. Is there, I'm just curious then, so the Southland Drive, we installed a number of sculptures there for an 18 month exhibit. Does that type of an installation, that does not come to public art commission then? Yeah, for 18 months, then no, it wouldn't if it was temporary. I think what would be suggested is, why don't you say two years, and it's really been four, so. I think for something that substantial, let it, yeah. I just think it's not, and we didn't put any, we could say, what if it's a project we were going to put money toward, I don't think we put any money toward that project. But it just, I think if we're spending a lot of money on a project for a very short amount of time, I'm not sure that's the best use of the funds. And I just don't think we have the capacity, every one of these, even the most minor ones, requires time to work with them, to review things, to talk to them, some of them require a lot of time. A whole lot of time, and others don't, but. Question about that, I tend to agree with this, but on the other hand, I was thinking if on public property, on city property, if someone is doing something that doesn't come under review at all, just go for it? Well, that's the way it's been. Yeah, but I mean, should we have, should there be something along the lines of things must be reviewed and a permission? You know, maybe, actually now that I'm thinking about it, it actually should say specifically, we can't fund projects. Because the bond funds have to be for something permanent. Right. And so, how we distinguish permanent means, really, that we shouldn't be putting funding toward temporary. But you're trying to say what is temporary and what is permanent. So you're saying two years is the. Well, so I think probably I need to change this again and say that we can review it, but we can't put funds toward anything that is temporary. That makes more sense. Yeah, that's a clarification. That should be the distinction, that we're not putting funds toward anything that's temporary. And to me, temporary should be under two years instead of under one year. But there still is a review process for something going on publicly. Yes, yes. I feel better, thank you. Yes, thank you. Yeah, yes, that makes sense. Others? Yes, ma'am. Can I request, my experience whenever I'm a part of an organization that's making changes to foundational documents, which I consider these to be foundational documents for us, I would love to see a red line version so I can see what it was before and what it's being changed to. And I would like that in advance of the meeting, if possible. I don't want to be picky, but I would love to have a red line version of, because this is the master plan that we're proposing changes to, the score sheet and program guidelines, I would love to see red line versions of all of those, so I can compare what it was to what it is. And I'm new, so that would help me. And then having this in advance would be great. Excellent request. It should be a standard practice. It would be great. We can make it so, or not bring it up, I guess is the point. So this just says we were reviewing all three of these things. Yeah. We're not making any changes to them. We're reviewing and discussing. So there are more changes to be made. So then did you touch on these pages 27 and 28 in those broad form comments? Yeah, that's where I added the 80% and up. She told us. 80% of 100 on one, I see. But I guess that was the point of the council member's comment. And that applications must receive passing scores from a majority of commission members regarding those two key aspects that are on the back sheet of the score sheet. Back of the score sheet, the number 12 and 13. But the substance of the comments of the council member would be reflected here and that some of these would be either underscore or turn red or have a different. Yeah, that's what I've done in the past. I'm sorry I just was out of time. This time. We're here. I was trying to get it out. We are taking care of business. And I guess the main thing here was just the scoring of 80 out of 100 was the big one on the one sheet looks like to me. On the second sheet, I don't see that with specificity. The artist evaluation criteria, or I don't see percentages there, so. Some of the text, some of the project evaluation criteria was moved into the artist evaluation criteria, which better matched the actual score sheet. Since some of those items had been revised. So these are items for review, it says here. We're just reviewing them. We're talking. But we're not really, we've made some suggestions to you, I think, about how these things might work going forward a little bit, maybe? Uh-huh. Just a thought. All right. Any other comments in this group? Gentlemen. Anyone? I'm still a little confused on the notion of permanence. I mean, I know what permanence is. I'm wondering, do we need to establish a minimum time frame for something that's permanent? I mean, if we say that we. It sounds real good. If something's permanent, it's there. You're saying for something that's not permanent. But we'll review the temporary projects. But don't fund them. Right. Something that's not. Well, we really cannot, are not supposed to. I will say we've broken this already. We are not supposed to put funding toward temporary projects. So we have to determine what is considered temporary. And it's not to say the city can't fund temporary projects. But this commission and the way that it is funded needs to go through that. Correct. Because there are other commissions like corridors and some others that may want to activate things for a period of time to celebrate like Breeders' Cup or something else. Yes, absolutely. It's just the percent for art funds we have restrictions about. For instance, Breeders' Cup. Well said. I do have one question for, and I'm not sure where it should show up, but is there, and this might be more of a value statement, but that if we are putting public funds into a project in this way, that are we, do we prioritize or, I mean, I think what I'm getting to is open calls for art and how the artist is being selected. Like do we encourage that? Yeah, that's all in the master plan. Yeah, absolutely. There are multiple ways that are identified. Open calls, calls with restrictions. Invitational. Invitational, yeah, it goes through a whole menu of ways. And honestly, when I talk to people, I always emphasize open calls. I just, I find a preference to that. Thanks, Georgia. Do we ever do requests for artists, like invitation, request for proposals? The detention center. Those are what I call open calls, yeah. That's because they were building and they had to spend it on that site. Well, yes, I mean, it was up to us. Anytime there's $10 million or more, a capital project of $10 million or more, the money has to be spent on that site. On the site. And so we determined to do a tri-state call for that particular. So that was open to any artists in Kentucky, Indiana, or Ohio. And so that's how we selected, I mean, for this 250 Lux project, that was a national open call. That wasn't a commission project. But yeah, I mean, depending on the project, then it's kind of determined. Is it, for the utility box projects, those are only Lexington artists. That's an open call, but only to Lexington artists. To clarify, that $10 million threshold, that triggers a review by the Public Art Commission to see if the site is appropriate to invest that money there. But it's not absolutely guaranteed. The review happens by this commission. Right. Yes. What about the women's celebration of the right to vote, that one, was that by? That was prior to the Public Art Commission being formed and fully operational. And that was a city-initiated project, but it is not on city property. It is actually on web company property. And so that was a little different sort of project entirely. Good comments. Yes, ma'am. So, just to make sure I'm understanding, we're just reviewing the changes today, and we're going to vote on them at a later time, correct? Yes. Okay. I'll come back with a different draft. Some highlighted text. And some highlighted text. Thank you. Are we to continue to review the temporary pieces? That's places, I mean, as far as the ones we've already approved are still out there. Well, there's only one. Is there any updates on those? There's only one, and it hasn't been installed yet, and that was the I Was Here project. That is for a specific period of time of 18 months. What about the Southland situation? Who's responsible for that? Is that our, is that city property? That's city property. It was funded by the city and federal funds, and then there are a number of pieces that were permanently purchased through that process. So those are- Because they were gifted. They were purchased. Who purchased them? We purchased them as part of that initial installation. We who? Lexarts and the- Because actually, we're trying to track this down right now. Well, I can- The, who, I mean, the city never paid for them. They were gifted to the city. No, the city did pay for those. Oh, they did? Yes, that was beautification- Who paid for them? Beautification funds that were part of the Southland Drive renovation project. Keith Loven and I worked on laying that project out. It was approved through the- So there was money paid? Absolutely. Okay, I hadn't realized that. I thought they were just gifted. Some of those were on loan to us, and then, of course, Gordon Gilderslee passed away. So those are being entrusted to us currently, but there probably need, we've talked about this in previous meetings, that there's some resolve that we can look at to acquire those if we would like to keep them permanently. But his brother, who's in charge of the estate, is letting us keep them there for now. They're welcome, they're wonderful. Yeah, well, the only reason I asked that question is because- May I have your attention, please? May I have your attention, please? We are testing the fire alarm system. Please disregard any alarms for further notice. Once the test is completed, announcements will be made. This is a normal operation. Thank you. They do that about the same time every meeting. All right, sir, you were saying? Like I said, the only reason I had raised that question is because you still have the pads out there, and it kind of gives the indication that this is an ongoing proposal for outdoor pieces and things of that nature. So if that's not the case, I think we need to kind of like bring that to some kind of conclusion. There are no empty pads currently out there. Yeah, those have been relocated. Great. There are some sculptures that are still out there that have not been collected by the- By the artists. Really? But just in the case of Gordon. And then also one other artist that's out of state who has not come back to retrieve her piece. So that's, yeah, there's still some unresolved things that we can consider there. Added beauty. All right. Any other questions there, anyone? So Nathan, so some of those are going to be there permanently as it stands. How many are out along that south end drive right now? There are, I'd have to do a full review, but I think there's seven of them currently. And how many of those are going to stay there permanently? Do you know? Four were purchased by the city, and the other two by Gordon are, you know- And then the one at the other is the out-of-state artist, the third one there? Correct. Okay. And are the ones that the city owns, are they going to be there permanently? Is that their permanent home, or is that- That was the intention, yes. We might move them around to see if people are awake, you know? Well, I know the Kipto Blues one, so I guess that fell into, he just, that's been, you know, we saw where that was moved down at the Whiskey Distillery District for that one. Okay. All right, any others on our three review items? Then, we're down to old business, and we have a little bit here. Would you like to make voice to that, please, ma'am? Yes, put on your calendar. We're finally going to be having our ribbon cutting at the Detention Center Project, Birth of Hope, on May 7th at 1 o'clock. So I hope you all will be able to come. So it'll be all decked out in flowers and bedding and things? Yeah. And signage, and also the detention center, and I'm forgetting the exact wording, but they wanted to incorporate this with their tribute to their officers. Wonderful. So they're combining, excuse me, they're combining the event with that, which I thought was really lovely that they have been so excited about this piece there, that they are really celebrating it in that way. It's been a wonderful partnership. It's become a wonderful partnership. They are appreciative of the attention, and we're glad to pay it to them. All right. Then is there any other new business, anyone? All business, announcements? A motion to adjourn, please? So moved. A second? Second. All in favor? Aye. We're adjourned. Well done. Thank you all very, very much. Thank you all. What goes on when the sun goes down? Hello, talking love, tangled sheets and cotton gowns. What goes on when the sun goes down? Makes the everyday life of two people in love go round. What goes on when the sun goes down? Hello, talking love, tangled sheets and cotton gowns. What goes on when the sun goes down? Makes the everyday life of two people in love go round. Makes the everyday life of two people in love go round. Where the sidewalk ends and the road begins, we said goodbye on a cold, dark night. I'm not afraid to go. You bet I'm not. Where the sidewalk ends, you left a lot. Some people leave and never come back. Some stay in touch. Some lose track. Your mind kept saying, come on, let's go. You started learning what you don't need to know. Where the sidewalk ends and the road begins, I'll wait for you. In a cold, dark night, you might come back. You had to go. Where the sidewalk ends, I'll never know. I'm from the future. I'm from the past. I guess I'll stay here as long as I can last. Whistle's still blowing, but the train is gone. Ain't no wheels gonna take me from my home. Where the sidewalk ends and the road begins, we said goodbye on a cold, dark night. I'm not afraid to go. You bet I'm not.