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From YouTube: Public Art & Cultural Commission
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A
Chair
you
are
live.
Thank
you
good
afternoon,
I'm
chair,
katie
cornell,
I'd
like
to
invite
you
or
welcome
you
to
the
february
2022
meeting
of
the
public,
art
and
cultural
commission.
The
public,
art
and
cultural
commission
originally
called
the
public
art
board
was
established
by
the
city
of
asheville
in
2000.
A
This
nine-member
commission
serves
as
an
advisory
board
to
the
city
on
matters
concerning
public
art
in
public
spaces.
The
commission
is
responsible
for
promoting
public
art
in
the
city,
overseeing
the
city's
public
art
projects
and
ensuring
the
art
displays
in
public
buildings
and
public
spaces
in
the
city
of
asheville
are
properly
maintained.
A
A
A
Reggie
welcome
and
we
know
jasmine
washington
is
unable
to
make
it
today
all
right
we're
going
to
go
ahead
and
get
started
with
our
administrative
items.
The
first
item
on
our
agenda
is
to
consider
the
adoption
of
our
minutes
from
our
annual
retreat.
Has
everyone
had
a
chance
to
review
the
minutes.
A
A
You
approve
the
minutes:
ally
mcgee,
yes,
andrew
hi,
pete,
hi,
marsha,
hi
reggie
and
I
also
approve
so
the
minutes
are
passed,
we're
going
to
move
on
forward
to
our
continued
business
and
talk
about
the
pac
square
improvement
project.
So
I'm
going
to
hand
it
over
to
our
staff
liaison
steph
hunson
doll.
D
Hey
thank
you,
chair,
cornell
great
meeting
last
time.
Everyone,
as
you
can
see
from
your
minutes,
we're
working
on
actually
transcribing
and
getting
some
notes
that
prioritize
your
thoughts
together,
but
there
is
one
link
in
there.
I
wanted
to
make
sure
that
you
paid
attention
to
that
goes
directly
to
the
wrap-up
discussion,
so
that
is
a
really
good
thing
for
you.
Even
during
this
meeting
to
check
out
and
say,
okay,
let
me,
let's
remind
ourselves
what
felt
really
important
by
the
time.
We
ended
that
three
hour
journey
last
month.
D
D
First,
thank
you
so
much
to
ally
mcgee
for
reminding
us
last
time
that
it
would
be
great
to
reiterate
every
time
we
talk
about
what
the
project
is
and
what
the
timeline
is
and
how
much
money
we
have
all
of
those
wonderful
things.
So
I'm
going
to
do
that
for
our
for
commission
and
also
anyone
that
is
watching
so
the
pac
square
improvements
project
is
going
to
be
a
six
to
nine
month,
community
engagement
and
urban
planning
project.
D
D
This
project
is
a
continuation
of
the
work
of
the
vance
monument
task
force,
but
it
also
goes
beyond
just
looking
at
the
monument
it's
an
opportunity
for
us
to
look
at
how
we
express
ourselves
as
a
community
over
time
through
other
pieces
of
public
art
memorials
and
also
just
the
way
that
we
design
public
spaces
so
that
they're
welcoming
to
other
people.
The
request
for
proposals
that
we
have
on
the
street
right
now
is
to
hire
a
project
manager
to
help
us
go
through
that
process.
C
D
Thank
you
so
much
so
we're
gonna,
we're
gonna.
Have
this
wonderful
assortment
of
people
from
the
city
from
the
county,
we're
also
applying
to
get
some
more
cane
scholars.
Do
some
work
with
us
and
we're
looking
at
bringing
in
kayla.
So
we
would
even
have
youth
in
the
high
school
age
range
and
we're
going
to
talk
about
that
on
monday.
So
that's
an
update
for
you
as
well,
because
I
know
youth
engagement
was
something
that
y'all
brought
up
as
really
important
last
time.
So
we
did
extend
the
deadline
for
the
request
for
proposals.
D
So
as
a
reminder,
there'll
be
a
lot
of
other
opportunities
to
get
community
engagement,
urban
design,
planners
communication,
people,
graphic
designers
and
all
those
other
folks
on
board.
There's
going
to
be
a
lot
of
opportunities
in
in
the
future,
but
we
we
are
first
starting
with
like
a
project
manager
and
the
basics
with
that.
So
does
anybody
have
any
questions
about
that?
D
D
Okay,
so
one
of
the
things
that
I
walked
away
with
from
our
meeting
last
time
was
a
question
that
andrew
pose
what
was
a
response
to
katie
saying
we
should
get
some
baseline
information
and
he
said
well,
what
do
we
already
have
or
no,
what
kind
of
data
sets
do
do
we
have,
and
I
started
thinking
about
this
question
and
I
realized
I
wanted
to
provide
some
information
to
you
first,
on
a
national
scale,
so
you
learned
from
carly
stevenson
about
monument
lab
and
they're,
basically
pioneering
and
leading
the
way
talking
about
the
way
communities
can
change,
how
we
view
monuments
and
other
objects
of
power
and
immense
presence
in
our
communities,
so
they
released
over
a
year
ago.
D
Now
I
believe
it
was
a
national
monument.
It's
called
a
national
monument
audit
and
this
is
online
and
what
they
did
was
aggregate
data
from
across
the
united
states
and
also
territories
from
different
data
sets
to
kind
of
take
a
look
at
what
monuments
and
memorials
we
have
as
a
nation.
D
D
It's
not
going
to
have
every
single
monument
memorial,
but
it
has
a
representative
cross
section
of
monuments
memorial
from
all
over
the
place
and
if
you
go
to
asheville
north
carolina,
these
are
the
the
places
or
these
are
the
monuments
that
they've
listed.
Obviously
we
have
a
lot
more,
but
they
really
they
link
to
the
source.
If
you
guys
know
commemorative
landscapes
in
north
carolina.
D
This
is
it's
a
resource
through
unc
chapel
hill.
It
has
a
lot
of
stuff
on
it
that
might
be
of
interest
to
you,
but
I'm
picking
out
this
one
in
particular,
because
I
didn't
know
who
colonel
kriesman
is
so
you
can
actually
go
into
this
and
you
can
figure
out
where
the
colonel
creesman
monument
is-
and
I
was
like.
Oh
it's
in
some
cemetery.
D
It's
really
interesting.
Is
it
really
a
monument,
but,
as
I
read
through
this,
what
it
says
is
that
this
monument
originally
sat
in
front
of
buncombe
county
courthouse
at
pac
square
in
downtown
asheville,
and
it
was
right
next
to
the
thomas,
klingman,
monument
and
relocated
into
the
1970s,
and
so
I'll
share
this
with
you.
D
If
you
can
see
that
this
is
the
record
right,
so
here's
where
it
says
that
piece
on
it
so
there's
a
lot
of
pretty
interesting
information
that
we
could
be
delving
into,
and
I
know
our
friends
at
buncombe
county
special
collection
are
really
interested
in
this
piece
as
as
well
that
they
could
help
us
figure
out
like
what
has
have
monuments
and
memorials,
look
like
over
time.
D
So
getting
back
to
this
to
this
map.
This
is
a
big
data
source
for
us
to
just
kind
of
think
about
the
the
the
ways
that
we
might
start
looking
at,
what
we
know
and
what
we
have
and
the
process
that
they
used
to
look
at
this
data
is
a
lot
like
what
you
were
all
talking
about
last
month,
which
is
you
know,
we're
entering
into
this
kind
of
exploration
phase.
D
We
need
to
gather
some
information
and
connect
with
people
and
then
analyze
what
we
have
and
and
share
that
out,
potentially
into
like
a
vision
document.
This
is
also
very
interesting.
Finding
from
the
study,
which
is
these
are
the
top
50
individuals
that
are
memorialized
through
monuments
in
the
united
states
based
on
this
data
set,
and
you
probably
don't
recognize
all
of
them,
but
you
probably
recognize
that
they
are
primarily
male
and
primarily
white.
D
D
This
person
got
a
a
lot
of
monuments
memorials,
but
you
can
also
see
robert
robert
e
lee
number
six,
so
interesting
findings
and
what
we
want
to
start
doing
is
making
those
connections
between
what
are
you
seeing
on
a
national
level
and
how
are
people
managing
that
with
what
we
see
here
in
asheville?
So
these
were
their
key
findings.
D
Sifting
through
all
the
data
monuments
have
always
changed
and
they
define
change
in
a
lot
of
different
ways,
an
example
that
they
give
is,
you
know
like
there
have
been
many
names
that
have
been
added
to
the
vietnam
memorial
in
on
the
mall
in
washington
dc.
In
our
case,
we
can
look
and
say
wow
well,
there's
a
monument
to
colonel
kriesman
that
used
to
sit
in
pack
square
and
now
basically
serves
as
a
gravestone
out
in
west
asheville.
D
The
monument
landscape
is
overwhelmingly
white
and
male.
We
heard
that
already
most
common
features
of
american
monuments
reflect
war
and
conquest
and
a
lot
to
what
shirley
whitesides
has
been
saying
to
us.
You
know
the
story
of
that.
What
we
tell
is
not
the
true
story
of
our
community,
so
they
actually
break
down
each
one
of
those
four
findings
and
provide
stats
and
visualizations.
D
Here's
the
one
for
that
number.
Four,
some
data
on
there
that
basically
says
that
you
know
only
three
percent
of
the
recorded
confederate
monuments
mention
the
word
defeat
on
the
monument.
So
you
know
these
records.
They
have
are
the
ones
that
they
used.
Those
records
had
to
be
absolutely
complete,
and
so
they
only
used
about
60
000
records,
which
was
just
a
small
percentage
of
the
original
data
set
that
they
sifted
through
here's.
Some
more
information
on
that.
D
Fourth
finding
it
shows
again
the
on
the
left
hand
what
you're
seeing
is
like
out
of
the
1690
monuments
that
were
confederate
only
three
percent
mentioned
defeat,
so
they're
showing
you
in
a
visual
way.
How
kind
of
off
the
narratives
are
in
on
a
national
level.
D
So
what
do
we
have,
and
how
often
are
we
on
our
narrative,
here's
just
a
few
of
the
pieces
of
history,
public
art,
memorials
monuments,
things
that
we
use
to
express
our
our
culture
and
our
our
world
or
our
community
that
are
in
and
around
pack
square.
D
D
This
is
the
start
of
an
inventory.
It
has
many
of
the
pieces
of
public
art
that
are
in
and
around
pack
square
written
some
things
don't
have
the
artist
in
them,
etc
and
so
forth.
There's
some
lists
in
here
that
I
put
up
some
new
things
that
are
going
to
be
in
pack
square
that
we
should
probably
record
and
andrew
has
an
idea
to
maybe
geo-locate
some
of
these.
We
do
have
a
gis
later
layer
that
we
can
do
that
with
not
a
problem,
don't
know
if
we
need
to
talk
about
this.
D
Many
of
you
probably
don't
even
know
that
there
is
a
historic
marker
to
photographer
george
masa
coming
up,
and
then
we
also
have
started
this
right
here,
which
is
just
that,
of
course,
in
our
public
realm,
there
are
other
pieces
of
public
art
other
than
what
the
city
has
so
the
otobuskers
and
asheville
music
piece,
which
is
right
next
to
pax
square
reflections
on
unity,
which
is
front
of
the
asheville
art
museum.
All
of
these
things
also
make
up
a
good
bit
of
what
our
public
realm
and
landscape
is
saying
to
us.
D
B
Thanks
steph,
I
appreciate
all
that
info
and
just
it's
really
interesting
to
hear
about
the
monuments
that
have
moved
as
it
is
sort
of
like
kind
of
a
normal
thing
for
monuments
to
come
and
go
there's
a
normal
attrition
rate.
Excuse
me.
B
B
And
so
a
couple
of
questions
would
be:
do
we
go
out?
Do
we
go
out
on
site
as
a
full
meeting
of
the
commission
or
is
like
a
working
group
of
a
few
of
us
that
want
to
work
together
on
this,
and
I'd
also
like
to
see
if
we
could
get
from
the
city
side
if
we
could
get
really
a
nice,
a
nice
printout
map
of
this,
that
we
could
use
to
sort
of
highlight
locate
on
the
printout?
B
This
is
this
and
then
take
a
photo
of
it
and
go
from
there.
B
Coughing
fit
horribly
timed,
sorry
all
and
the
other.
The
other
thing
I
think
that
we
should
do
on
this
is
what
I'm
looking
at
the
monument
audit.
The
plaque
dedicated
to
zebulon
vance
is
a
separate
item,
so
we
should
kind
of
think
about
how
you
know
how
fine
grained
we
should
get
with.
These
is
the
monument
and
the
plaque.
B
This
one
item
or
two
monument
audit,
says
two,
so
I
I
think
I
like
that
approach
of
of
making
it
that
fine,
grained
so
yeah
who's
in
and
shall
we-
and
I
think
this
is
a
better
question
for
the
chair.
Shall
we
use
this
as
a
regular
meeting
of
pac
or
shall
we
get
a
non-quorum
amount
together
that
wants
to
volunteer
and
do
this.
A
I'm
happy
to
do
either
way.
I
would
you
know,
ask
members
how
involved
they
want
to
be.
I
think
you
know
when
we
did
our
field
trip
of
downtown,
we
only
made
it
to
a
fraction
of
spots.
It
takes
a
lot
more
time
than
we
thought,
and
so
I
think
it
would
definitely
have
to
be
more
than
just
one
meeting
for
sure
and
it
might
be.
You
know
we
break
into
groups
and
and
spread
out
in
the
area.
E
I'm
wondering
if
it
makes
sense
to
just
split
up
the
work
I
mean
it's
not
is
it?
Is
it
the
kind
of
by
which
you're
envisioning
being
laying
out?
Is
it
the
kind
of
thing
that
one
person
could
do
one
piece
and
cover
it,
or
are
you
looking
to
be
able
to
have
more
than
one
person
with
eyes
on
and
and
recording
and
capturing
what
it
is.
B
I
think
that
a
a
small
team,
if
we
you
know,
let's
say
that
we
could
break
into
teams
of
a
city
staff
person
and
one
or
two
volunteers
together
to
to
to
take
different
corners
of
of
to
take
different
sections
of
the
the
project
scope
area.
That's
another
thing
I
think
we
should
discuss
is
the
scope,
because
this
could
get
real
big
and
real
out
of
hand
really
quick.
B
So
you
know
if
we
wanna,
if
we
wanna
sort
of
you
know,
think
about
how
big
the
box
is,
that
we're
going
to
be
looking
at,
I
think
that's
that'll
be
important
and
that
that'll
inform
kind
of
how
how
we
should
go
from
there
actually,
but
any
any
thoughts,
or
should
I
just
kind
of
take
a
stab
at
this.
A
I
would
say
that
I
like
the
idea
of
the
small
groups,
because,
as
you
remember
from
our
field
trip,
we
got
so
much
more
out
of
it
from
our
discussion
that
we
had
around
each
piece
that
I
think
a
lot
would
be
missed.
If
it
was
just
one
person
going
through
and
checking
off
boxes.
B
Yeah,
I
think
so
too.
That's
my
that's
my
experience
is
you
know.
Teamwork
is
really
helpful.
We
can
more
than
double
the
output
so
yeah.
I
imagine
that
we
would
meet
at
the
you
know,
meet
at
the
in
front
of
the
art
museum
and
then
break
into
some
teams.
Try
to
distribute
the
the
talent,
the
skills
into
a
few
groups,
depending
on
how
many
were
there
and
then
head
off
and
head
off
in
our
different
directions
and
see
how
much
we
can
get
done
in
in
an
hour.
B
I
wasn't
actually
on
the
ground
for
that
one
so,
but
I
did
receive
the
reports
and
talk
to
people
who
did
that
and
that
was
they
literally
just
walked
around
and
documented
places
where
you
know
they'd
say
like
hey,
there's
room
for
a
car
here,
but
there's
not
a
parking
space
here
or
this
is
a
loading
zone
and
you
know
so
they
would.
They
just
walked
around
and
took
pictures
and
documented.
B
This
didn't
fantastically
throw
a
job
of
that
and
it
really
showed
that
there's
a
lot
of
flexibility
that
was
built
into
the
parking
that
we
kind
of
didn't
imagine,
but
when
you
saw
it
all
there,
so
that
could
definitely
be
a
model
for
what
for
what
we're
doing,
but
that
parking
audit
was.
That
was
big.
B
It
took
a
lot
of
time
for
those
folks,
and
so
if,
if
this
is
a,
if
this
effort
is
useful
and
helpful
and
efficient,
then
I
think
we
could
easily
sort
of
copy
and
paste
it
to
other
parts
of
the
city.
But
so
I
it
might
be
good
for
us
to
think
of
it
like
that,
going
in
to
see
how
modular
and
buildable
that
we
could,
we
could
create
such
a
system
and
just
how
how
best
to
link
up
with
what,
how
city
staff
are
to
find
this
useful
too.
B
So
that
I
think
those
are
all
things
that
we
want
to
have
well
thought
out
going
in
we're
just
looking.
B
Yeah,
okay
yeah,
but
I
would
I
would
hate
to
build
something
that
we
couldn't
expand.
Oh
yeah.
A
C
B
Like
we
don't
have
to
make
the
scope
big,
but
I
would
I
think
it
would
be
smart
for
us
to
to
build,
make
it
so
that
it's
extendable
when
we
need
or
want
it
to
be.
A
B
A
B
Yeah,
and
if
you
had
you
know,
let's
say
you
had
three
groups
of
three
I
bet
in
an
hour.
You
could
get
a
lot
done
or
just
or
be
able
to
highlight.
What's
what
you
have
to
go
back
and
mop
up,
but
that's
that's
I
mean
I
think
that
would
if
we
had
three
groups
of
three,
I
would
call
that
I
would
call
that
a
successful
day
of
work,
and
maybe
some
of
us
could
work
longer.
Maybe
some
of
us
are
or
have
a
you
know
a
shorter
day.
D
Maybe
yeah
I'm
going
to
be
happy
to
meet
with
you
and
andrew
and
if
there's
anybody
else
who
wants
to
take
a
leadership
role
like
act
as
a
team
lead
or
something
to
make
sure
that
we
format
a
document.
So
it's
useful
for
you
all.
I
added
some
fields
in
there,
like
you
know,
are
there
any
maintenance
needs,
sorry,
maintenance
needs
and
or
just
like
general
thoughts
about.
You
know
how
you
feel
about
this
piece,
but
there
may
be
other
fields
that
you
all
think
need
to
be
on
there.
D
B
A
D
Okay,
so
let's,
if
everybody
puts
on
their
calendar,
that
weather
permitting,
I
think
the
next
meaning
of
the
public
art
and
cultural
commission
looks
like
it's
going
to
be
downtown
on
pac
square.
B
B
D
That
is
a
great
question.
Actually,
no,
that's
that's
what
I
think
I
need
to
be
able
to
move
forward.
Is
you
guys
are
wanting
to
do
this
and
I
can
meet
with
you,
the
the
chair
and
the
vice
chair
to
formalize?
What
we're
going
to
do
is
our
plan.
Our
strategy
sounds
good.
B
Great,
would
you
mind
sharing
that
spreadsheet
with
us,
so
that
we
can
start
sort
of
playing
with
like
columns
or
just
like
what
trying
to
scope
out
what
we
want
to
record
yeah.
D
A
Thank
you.
Thank
you,
andrew
for
heading
this
up
from
the
board
perspective,
okay,
so
moving
on
to
the
temporary
public
art
program,
I'm
super
excited
to
hear
more
about
this,
so
carly.
If
you
want
to
take
it
away
all
right.
G
Okay,
so
hello,
everyone
happy
thursday,
I'm
here
with
you,
updates
on
the
temporary
art
program
in
pack
square
plaza.
So
today,
I'm
going
to
review
the
framework
and
the
timeline
that
we
discussed
at
our
last
meeting
and
then
also
do
a
recap
of
the
questions
and
answers
that
we
went
through
at
our
last
meeting
and
then
introduce
the
program
elements
that
myself
and
stuff
and
the
team
have
been
developing
and
talking
about
over
the
past
few
weeks
and
then
end
with
next
steps.
G
As
we
talked
about
last
time,
thinking
about
the
public
art
program
for
pac
square,
plaza
in
in
two
steps
or
phases
with
this
call
for
temporary
art
running
concurrently
with
the
visioning
process.
G
So
we're
really
hoping
that
this
call
for
temporary
art
and
the
engagement
and
the
artwork
that
we
get
from
this
being
very
valuable
pieces
of
information
that
will
end
up
informing
that
visioning
document
and
then
the
more
permanent
things
and
changes
and
elements
that
may
become
a
part
of
pac
square
plaza
in
the
future.
G
G
And
this
is
an
overview
of
the
timeline
that
we're
thinking
about
very
much
a
draft.
I
basically
have
just
shifted
everything
a
little
bit
to
the
right
from
last
time,
since
those
rfps
are
now
going
to
be
due
on
february
21st
instead
of
the
11th.
So
this
is
going
to
be
a
moving
sort
of
influx
timeline,
but
the
basic
idea
here
once
again
that
that
first
temporary
art
installation
happening
in
the
midst
of
the
visioning
project
and
then
community
engagement
for
that
for
that
project
and
effort.
G
G
And
then
two
short
term
goals
for
this
temporary
public
art
program
once
again,
a
lot
of
great
feedback,
but
some
of
the
ones
that
stood
out
to
me
were
responsive
to
the
moment.
Inclusive,
reflective
and
interactive
and
interactivity
has
been
a
theme
through
a
lot
of
the
responses
that
we
got
in
these
survey.
Questions
from
you
all.
G
Most
of
you
said
that
it
should
engage
the
community
and
have
that
interactive
element
to
it,
with
being
led
by
bypoc
artists
being
a
close
second
quality
of
art
and
the
artist
or
group
being
local.
Being
things
called
out
as
important
as
well.
G
G
G
So
we
took
all
of
your
all's,
great
feedback
and
and
also
the
feedback
from
our
speakers
last
month
to
really
dive
into
this
in
more
detail
and
I'm
going
to
pause
after
each
of
these
categories
or
elements
and
basically
ask
for
your
all's
feedback
at
that
point,
I'm
hoping
to
get
some
discussion
going
back
and
forth.
I
might
have
some
specific
questions
or
it
might
just
be
a
general.
What
do
you
think.
G
All
right,
so
thinking
about
the
theme
and
the
questions,
this
is
what
we
want
all
proposals
to
address
in
some
form
or
fashion,
and
they
we'd
also
like
for
them
to
answer
the
the
following
questions.
So
the
theme
being
social
equity
and
inclusion
questions
to
answer
through
the
art.
What
should
this
space
look
and
feel
like
in
the
future
and
what
stories
aren't
being
told
in
downtown
asheville
or
in
pack
square
plaza?
B
Hi
carly,
I
have
a,
I
have
a
question,
I'm
thinking
about
the
complete
life
cycle
of
these
objects
and
if
they
are
temporary,
they're,
really
just
temporary
in
this
location,
we
wouldn't
expect
that
they
would
go
to
the
landfill
after
this.
So
if
they're
going
to
be
temporary
here,
is
there?
Is
there
a
what
is
the
next
phase
of
life?
For
them?
B
Is
that
would
that
be
part
of
the
call
that
there's
an
expectation
that,
after
it's
in
this
area,
that
we
that
there
that
there
is
a
defined
home
for
it,
because
I
know
that
with
the
the
beautiful
art
that
was
that
was
created
out
of
a
lot
of
the
during
the
protests
on
the
board
on
the
plywood
everybody
kind
of
had
to
scramble
to
think?
Well,
how
do
we?
How
do
we
go
on
with
these
objects
now
that
they
exist?
G
So
one
of
the
things
that
we
really
want
to
get
from
this
process
is
a
capture
and
recording
of
of
the
piece
of
art
or
the
performance
or
the
pop-up
and
the
type
of
community
feedback
and
engagement.
That
comes
from
that.
So
that
could
be
photos.
Video
notes,
any
of
that,
but
that's
a
requirement
that
we're
going
to
have
of
applicants
and
then
with
the
idea
of
starting
an
archive
online
of
of
all
these
pieces
of
art
and
the
type
of
art
that
we're
calling
for
is
also
pretty
loose.
G
A
I'll
just
say
what
made
the
protest
art
so
complicated
is
the
plywood
was
donated
and
the
artists
donated
their
time,
and
so
there
was
no
clear
sense
of
who
owned
the
pieces,
whereas
with
these
pieces
we'll
know
who
owns
them-
and
you
know
it'll
be
that
organization-
that's
presenting
it,
and
so
it
won't
be.
So
such
a
gray
area,
like
we've,
dealt
with
the
protest
murals.
G
The
fountain
is
off
limits
and
then
areas
that
would
just
make
it
impossible
for
pedestrians
or
accessibility
and
the
main
thing
being
you
know
if
an
artist
or
an
applicant
comes
in
and
has
you
know,
is
inspired
by
a
place
in
this
plaza.
That's
not
listed
in
one
of
these
four
four
places
that
are
called
out.
You
know
where
we'd
be
willing
to
work
with
them
to
see
how
we
can
make
that
happen.
So
these
aren't
the
only
locations,
but
these
are
just
set
out
a
start
for
that.
G
So
the
elevated
grassy
birch
plaza
the
area
around
the
seat
wall
to
the
north
of
the
square,
the
area
around
the
monument
that
median
space
and
then
the
bullseye
at
the
corner
down
towards
market
street.
Where
areas
that
staff
you
know
are
just
initially
looked
at
and
thought,
I
think
these
could
house
some
sort
of
public
art
or
performance.
G
B
I
really
like
the
map,
but
some
of
it
is
aspirational.
The
the
the
sketch.
B
I
noticed
that
you
know
the
the
where
the
location
of
the
trees
and
a
little
a
little
traffic
island
doesn't
actually
exist
on
the
site.
So
I
I'm
just
kind
of
wondering
why
it's
a
really
lovely
sketch.
B
G
Yeah-
and
I
did
mention
that
in
the
first
time
I
did
this
presentation-
and
this
was
the
site
plan
from
2003.
cool,
I'm
mainly
using
it
just
because
of
the
clarity
of
the
image,
the
other
drawings
that
we
have
are
like
technical
drawings,
with
lines
and
tempo
and
stuff
all
over
them,
but
noted,
okay.
I
will
make
sure
and
create
a
map
that
is
up
to
date
before
we
launch
this.
H
G
Talked
about
that
a
lot
actually,
and
I
think
that
the
future
of
that
black
lives
matter
mural
is
still
under
discussion.
So
we
want
to
let
those
discussions,
kind
of
unfold
and
figure
out.
G
What's
going
to
happen
with
that
before
saying,
yes
or
no,
I
I
think
that
the
streets
and
the
crosswalks
around
this
area
are
great
campuses
for
any
sort
of
public
art
that
and
I'm
sure,
would
inspire
a
lot
of
conversation
so
yeah,
I
think,
to
be
determined,
but
we're
definitely
talking
about
that
and
I
I
would
like
to
be
able
to
include
that
in
this
call
in
some
form.
C
G
G
I
think
that
that
is
going
to
have
to
be
carefully
scheduled
and
maneuvered
with
staff
we're
going
to
have
to
do
a
lot
of
coordination
with
other
departments
and
make
sure
that
we
understand
when
things
are
happening
in
the
plaza.
So,
yes,
that
that
will
be
a
challenge,
but
one
that
I
think
that
we
can
work
work
out.
B
You
know,
depending
on
the
art,
it
could
be
an
opportunity
as
well.
So
I
I
I
can
see
a
coordination
challenge
with
that,
but
if
it
was
a
performance
piece
and
there
was
a
compatible
event
that
could
there
could
be
a
really
amazing
audience
and
presence
for
that
built
in
to
it.
It
could
be
part
it
could
be
sort
of
co-programmed
with
whoever
has
that
outdoor
event
permit.
So
that's
something
something
to
consider.
Obviously,
not
all
combinations
of
things
would
work,
but
there
are
some
that
could
be
amazing.
G
Okay,
I'm
gonna
move
to
the
next
one
here
so
talking
about
who
individuals
of
age
nonprofits
private
entities,
and
then
we
felt
that
the
applicant
must
be
affiliated
with
the
arts,
be
an
artist
or
designer
or
in
that
field,
or
a
related
field
of
some
sort
or
call
out
that
they
are
going
to
partner
with
an
artist
or
designer,
because
we
want
for
this
to
be
geared
towards
and
supporting
artists,
as
as
part
of
this
call,
and
then
also
that
the
applicant
must
be
connected
to
bumpkin
county
in
some
way,
and
I
think
we
were
that's
something
I
would
like.
G
Your
all's
feedback
on
is
like
what.
How
do
we
define
that
association
or
connection
with
buncombe
county?
We
were
thinking,
they
don't
necessarily
have
to
be
located
in
buncombe
county.
There
could
be
a
history
or
an
interest
or
other
tie,
but
I'd
be
interested
to
hear
what
you
all
think
about
this.
Yes,
surely.
I
I
have
a
question
I
I
guess
is
related.
If
you
look
at
the
picture
where
the
boys
are
on
the
base
of
the
monument,
you
have
a
lot
of
people
speaking
there
and
then
the
sidewalks
and
it
could
be
dangerous.
Well,
you
have
like
a
little
stage
if
people
want
to
protest
or
have
a
concern
not
competing
with
the
other
park,
but
a
place
for
people
to
stand
back
from
this
caribbean.
So
no
one
will
get
hurt.
I
People
have
gone
to
that
spot
to
protest,
that's
the
central
location
and
I
watch
the
people
on
the
news
of
double
loss
when
they're
protesting
and
if
you
look
the
sidewalk
around
the
fence,
they're
standing
around
in
that
area
and
if
you're
thinking
about
designing
something
for
the
future,
will
you
be
able
to
design
it?
So
if
people
want
to
go
protest
or
bring
up
issues,
they
would
be
inside
the
design
and
not
at
the
sidewalk
and
get
hit
or
something
I
was
just
thinking
about.
Safety.
G
Yeah,
I
think
that's
a
great
point
and
I
think
that's
something
that
will
come
up
during
that
visioning
process
and
thinking
about
the
future
improvements
for
the
plaza
and
how
to
make
this
space
really
work
for
how
the
community
wants
to
to
use
it
and
engage
with
it.
So
I
think
that's
definitely
something
that's
going
to
need
to
be
addressed
and
discussed
during
that.
G
Did
you
have
another
comment?
Shirley.
A
I
guess
the
reason
I
I
bring
that
up
is
you
know,
I
think
it's
great
to
leave
it
open-ended
and
let
people
make
an
argument
for
why
they're
connected
to
buncombe
county.
H
G
And
I
think
the
main
another
main
thing
here
for
the
who
is
that
we
want
to
make
sure
that
the
applicants
you
know
are
going
to
be
able
to
work
with
the
materials
install
and
maintain
a
safe
exhibit
in
a
public
space.
So
we're
wanting
some
demonstration
too
that
they're
capable
of
pulling
this
off
and
understand
what
it
means
to
work
in
a
public
space.
G
We
want
the
art
to
address
the
theme
and
answer
the
questions
that
we
mentioned
a
few
slides
ago
with
everybody
wanting
a
stipend
to
be
included,
and
we
agree
with
that.
What
we
were
thinking
was
up
to
1500
per
applicant
and
that
kind
of
being
a
range
so
based
on
a
proposed
budget.
That
would
be
a
part
of
the
application
process
and
complexity
of
the
project.
It
could
fall
anywhere
in
that
range
and
then
trying
to
think
about.
G
You
know
when
we're
talking
about
events
being
scheduled
and
some
of
this
artwork
being
maybe
just
a
couple
hours
versus
some
that
may
need
to
be
there
for
up
to
three
months
or
more.
We
wanted
to
provide
time
limit
categories
so
during
the
application
proc
process,
they
could
check
off.
You
know
we
want
a
weekend
for
this
particular
artwork
or
piece
of
art
and
then
to
think
about,
like
staff
capacity
and
resources.
G
We
wanted
to
put
a
max
number
of
those
that
we
would
accept
during
this
round
or
call
so
the
categories
we
split
up
into
two
days
or
less
and
that
we
would
accept
up
to
five
of
those
one
to
two
weeks.
We'd
accept
up
to
three
to
those
of
those
and
then
one
to
six
months
select
up
to
two
once
again
preliminary.
G
This
is
us
just
kind
of
trying
to
put
something
out
there
that
and
get
reactions
from
from
you
all
and
from
other
staff,
but
this
is
initially
what
we're
thinking
and
when
we
were
thinking
about
the
definition
of
what
temporary
meant.
In
this
context,
six
months
was
what
came
to
mind,
but
once
again
would
love
to
get
everybody's
thoughts
and
initial
reactions
to
this.
F
I
think
it
would
be
good
if
there
was
maybe
a
non-profit
rate
or
a
rate
for
youth
leadership
or
like
elementary
or
high
school.
You
know
performances
and
for
like
buncombe,
county
local
residents
or
maybe
city
of
asheville
residents,
something
like
that.
D
F
Languaging
and
you
missed
that
bit,
I
was
like.
D
E
A
B
I
would
suggest
that
the
stipend
ceiling
be
a
little
higher
okay,
because
I'm
you
know
I'm
thinking
of
hey,
I
play
in
a
six
piece
band.
I
don't
think
that
if
we
had
or
or
another
band
would
have
to
had
a
of
professional
artists
and
musicians
that
wanted
to
do
this,
that
that
ceiling
would
probably
make
me
not
even
apply
okay,
so
I
it's
not
that
so
I
think
it
might
for
a
larger
group
project
like
that.
B
For
for
that,
so
you
know
they're
somebody
who
might
you
know
they're
up
with
a
potential
applicant
that
I
would
I
would
want
to
have
in
the
running
if
they
were
interested.
I
wouldn't
want
that
to
be
their
barrier.
I
mean
so.
A
That's
a
really
good
point
andrew
you
know
you
mentioned
that
this
would
be
a
sliding
scale
and
like
how
is
that
being
determined,
I'm
guessing
it
won't
be
based
on
how
long
the
piece
is
in
place.
How
will
you
determine
how
people,
how
much
of
the
stipend
people
receive.
F
G
G
I
don't
know
I'm
going
to
need
to
also
work
with
steph
to
understand
what
our
max
budget
is,
that
we
can
allocate
to
this
so
and
then
thinking
about
that
the
range
and
then
the
number
of
applications
that
we're
going
to
select
we'll
have
to
make
sure
that
those
that
there's
a
line
and
that
we're
not
overstepping
our
budget
here.
G
D
G
B
B
My
thought
would
be
if
you
had
to
go
with
fewer
and
better
because
of
budget
constraints,
then
that's
gonna,
then
I
think
that'll
have
more
public
impact.
B
E
But
I
think
it's
important.
I
mean
to
build
on
andrew's
point
that,
because
we
had
talked
in
the
feedback
that
we
wanted
to
have
impact,
and
you
know
if
budget
pushes
us
back
into
decisions
with
prioritization
fewer
bigger,
more
impactful
pieces
would
surely
be
something
we'd
want
to
think
about,
because
your
point's
right
carly,
we
gotta
we've,
got
to
work
backwards
from
the
money
and
then
work
forward
from
the
applicants
and
options
that
are
in
front
of
us.
A
D
I
I
will
add
this.
One
last
thing
is,
and
that
is
that
there
is
an
additional
budget
that
is
set
aside
to
actually
market
these,
this
temporary
public
art
program
and
the
artists
and
their
work
being
displayed.
So
it
wouldn't
just
be
like
it
went
up
and
nobody
heard
about
it.
So
we're
hoping
to
balance
the
fact
that
there's
not
a
lot
of
money
associated
with
people,
doing
it
with
the
opportunity
for
people
to
have
their
artwork
seen
and
perhaps
be
in
the
newspaper
or
maybe
even
a
larger
publication.
H
Yeah,
I
wonder
if
it's
worth
just
asking
people
like,
I
don't
know
andrew
what?
What
would
your
band
get
paid
to
play
and
if
they
perform,
you
know,
maybe
just
see
if
we
can
get
some
numbers
of
like
what
would
be
from
people
who
do
these
kinds
of
things,
not
just
bands.
But
you
know
approach
an
artist
and
ask
them.
B
Yeah
well,
it
was
low,
but
yeah.
It's
not.
You
know
if
I'm
thinking,
I'm
thinking
of
just
using
myself
as
an
example
in
my
band,
I
know
hey
to
to
plan
and
program.
Something
would
be
a
tremendous
amount
of
time
for
whoever
is
taking
the
artistic
leadership
role
and
then
you
have
to
pay
your
subcontractors
to
actually
execute
the
performance.
B
So
so
it's
it's!
You
know
it's
always.
I
don't
want
to
get
into
like
a
my
entire
bidding
philosophy
right
now,
but
it's
important
to
it's
important
to
to
to
think
about
the
hours
for
something
that
of
that
you
have
to
prepare
of
a
you
know,
that's
going
to
happen
to
your
very
thoughtful
and
sensitive
nature,
just
to
get
the
philosophical
underpinnings
of
how
to
approach
something
in
this
location.
B
With
these
you
know,
and
then
you
actually
have
to
to
to
execute
it,
and
so
there's
be
a
lot
of
different
pieces
of
expenses,
possibly
and
so
would
1500
maybe
work
for
a
performance
fee
yeah,
but
that
wouldn't
pay
the
hours
of
time
to
build
it.
To
get
it
there,
to
conceive
of
it
to
do
your
research
into
all
the
time
it
would
take
to
meet
with
members
of
the
community
that
you'd
want
to
have
input
on
it.
B
So
there's
a
lot
of
different
there's
a
lot
of
different
pieces
of
that
and
if
we
want,
if
we
expect
that
work
to
be
done,
then
the
ceiling
needs
to
be
a
little
higher.
I
think
okay.
D
As
staff
I'll
just
say
that
one
last
thing
is,
I
I'm
I'm
hearing
you
and
I'm
also
thinking
that
maybe
we
can
try
to
find
some
partners
in
the
community
that
can
help
pay
to
make
this
a
better
program.
This
is
what's
dawning
on
me
like
right
now
I
don't.
I
don't
know
that
we
have
the
budget
to
do
to
do
it
and
yeah
ali
yeah
ali
is
thinking
the
exact
same
thing.
Exactly
listen
offline,
we'll,
basically
see
if
there's
a
way
for
us
to
maybe
look
and
see.
G
G
I
Is
shirley?
We
have
a
jazz
band
and
right
now
we
have
clifford
cotton
and
he's
part
of
the
history
of
the
jazz
band.
I
mean
the
band
that
starred
at
stevens
league
and
he's
in
his
80s
he's
working
without
jazz
band.
He
just
want
to
be
a
part
of
it,
and
then
we
have
another
anthony
griffin
and
they
volunteer.
I
So
the
kids
are
learning
with
them,
and
I
know
our
jazz
band
would
love
to
participate
and
we
wouldn't
expect
fifteen
hundred
dollars,
but
we
would
need
transportation
to
get
there
the
exposure
and
remember
we
have
young
people
later
on
they're
going
to
be
our
adults
and
they
have
performed
in
the
community
preservation
hall
and
all
and
they're
working
on
some
special
music.
So
I
hope,
when
you
think
about
entertainment
and
doing
something
during
that
time,
we
won't
forget
the
youth.
A
That's
a
good
point:
shirley
carly
we're
running
a
little
long,
just
saying:
okay,.
G
You,
for
that
note,
so
I'll
just
quickly
go
through
these
once
again
this
this
is
early
in
the
drafting
stage.
The
idea
is
to
take
feedback
from
today
and
put
this
into
a
more
formal
document,
call
for
artists
and
program
elements
and
then
send
it
to
the
committee
for
for
review.
So
you
can
have
more
time
with
it,
so
we're
thinking
no
application
fee
that
the
call
will
open
and
close
on
specified
dates
and
be
open
for
around
a
month
trying
to
capture
four
weekends.
G
In
there
we
want
to
put
together
a
selection
committee
that
will
be
made
up
of
relevant
city
staff,
pac
commissioners
and
then
key
stakeholders
and
give
you
know
after
the
submission
closed.
G
So
alignment
with
the
theme
and
the
questions,
the
amount
of
community
engagement
and
inclusiveness
and
the
creation
and
implementation,
the
level
of
interactivity
of
the
piece,
the
inclu
being
inclusive
of
the
context
and
the
history,
the
quality
of
the
submission
and
execution
and
then
originality
and
creativity
and
then
other
criteria
to
consider
or
that
they
would
have
to
check
off
is
no
infrastructural
impact.
So
it
has
to
be
reversible
or
removable
has
to
be
developed,
installed,
performed,
maintained
and
removed
without
staff
assistance.
G
G
So
thinking
now
in
the
next
one
to
two
weeks,
I'd
like
to
identify
some
pac
members,
who'd
like
to
be
on
this
selection
committee
and
help
develop
the
program
further
and
then
also
identify
those
staff,
members
and
stakeholders
that
are
going
to
be
key
to
that
selection
committee
and
partnering
with
to
make
this
a
success.
G
G
A
Thank
you.
Well.
That
was
a
lot
and
that
was
a
wonderful
presentation.
What
I'll
say
is
we
have
a
subcommittee
for
pat
plaza,
already,
okay,
three
members,
so
I'd
like
to
give
them
the
opportunity
first
to
participate
if
they'd
like
so
that's
reggie,
pete
and
jasmine,
okay,.
B
G
Yes,
I
think
what
we
meant
by
that
was
that
you
have
to
be
able
to
pull
off
the
piece
independently
of
staff
like
we're
not
going
to
help
you
build
it
or
take
it
down.
But
yes,
we'll
help
with
permitting
needed
street
closures.
That
sort
of
thing-
and
of
course
we
can
make
that
very
clear
in
the
call
and
in
the
outline
of
the
program.
E
I
just
just
wanted
to
check.
Thank
you.
I
was
just
going
to
say.
I
appreciate
the
work
that
you've
done.
You've
done
a
good
job
of
really
shaping
this
for
a
path
here
that
we
can
grab
and
move
forward,
because
this
could
have
been
something
we
just
got
bogged
down
and
just
appreciate
your
work.
Thank
you.
A
C
D
A
I
have
something
if
nobody
else
does
so.
The
arts
council
right
now
is
doing
a
virtual
exhibition
of
the
storefront
protest.
Murals
and
part
of
that
is
a
three-part
speaker
series
and
yesterday
was
the
second
one
of
those
talks
and
it
was
focused
on
bipac
public
artists
in
asheville,
and
what
came
of
that
discussion
that?
I
really
think
this
group
needs
to
consider
is
the
need
for
more
education
on
how
to
do
public
art,
and
so
I
think,
that's
an
action
item
we
should
add
to
the
list.
A
D
To
give
an
update,
yeah,
thank
you,
so
I'm
reporting
out
for
joanna
and
also
nicole
george,
who
works
for
the
city
of
asheville
and
is
managing
the
broadway
public
safety
station
public
art
project.
D
The
the
group
this
the
artist
selection
committee
has
met
one
time
and
I
heard
that
they
had
a
great
meeting,
and
here
are
a
couple
things.
They
are
getting
ready
to
release
a
call
for
artists
it'll.
The
call
will
be
released
pretty
soon
like
probably
in
the
next
week
or
two,
and
it
will
be
due
well,
maybe
two
weeks
due
the
end
of
march
or
beginning
of
april.
D
So
we'll
let
you
know
as
soon
as
that
happens,
the
call
is
going
to
be
for
artwork
that
can
carry
the
ethos
that
contains
and
references
the
ethos
of
public
safety.
So
the
ethos
is
described
as
valuing
community
first
and
service
to
others
and
supporting
others.
So
it
doesn't
have
to
directly
reference
fire,
the
police
or
anything
like
that.
D
But
that
is
the
ethos
that
they're
looking
for
and
they
are
leaving
it
open
to
a
variety
of
media
mediums
and
also
saying
that
it
could
be
one
or
several
pieces
on
site
and
there
is
the
compensation
is
up
to
eighty
four
thousand
dollars
for
the
successful
applicant.
D
So
let's
make
sure
that
we
provide
that
opportunity
out
there
for
as
many
pieces
of
these
people
as
possible
and
I'll
be
doing
my
part
by
letting
you
know
when
that
is
going
to
be
advertised.
A
D
So
my
part
of
this
is
just
to
let
you
know
that
we
are
still
working
on
some
design
concepts
for
the
art
deco
masterpiece
reinstallation,
that
is
the
marker
that
honors
the
s
w
building
it
actually
honors
ellington
as
an
architect
and
his
efforts
in
our
community.
D
So
the
the
concepts
that
we're
looking
at
are
not
only
how
we're
going
to
take
that
mosaic.
That
was
once
in
a
wall
and
put
that
into
a
marker,
but
also
how
we
would
be
looking
at
the
area
more
through
a
place
making
lens
and
less
through
a
historic
sign
and
urban
trail
marker
lens.
So
that's
we're
doing
a
lot
of
due
diligence,
including
the
other
day
carly,
and
I
met
with
the
owners
of
the
wells
fargo
building
to
better
understand
what
some
of
their
concerns
were,
and
you
know
they're
very.
D
They
love,
asheville
and
they're
very
much
looking
forward
to
working
on
the
project
in
any
way
that
they
can
so
slow
and
steady
was
the
race
on
that.
One.
A
Awesome
next
is
reinterpreting
three
stations
on
the
urban
trail,
and
I
this
is
on
the
agenda,
because
I
just
wanted
to
remind
the
group
that,
when
we
did
our
field
trip
of
stations
in
downtown,
we
called
out
three
of
the
urban
trail
stations
in
particular
that
are
on
market
and
eagles
street,
as
ones
that
really
needed
some
to
be
readdressed
are
rethought
and
those
three
are
the
block
black
art,
our
brick,
artisan
and
hotel
district,
and
so,
as
we
do
this
inventory
at
our
next
meeting,
those
are
three
stations
in
particular
that
I
would
like
you
to
really
think
about.
A
As
we
go
through
the
process
we
talked
about,
you
know
the
plaques
needing
to
be
redone
and
and
rewritten.
We
also
had
concerns
about
the
visibility
of
the
pieces
and
there
were
even
some
thoughts
about
do
these
pieces
need
to
be
redone
completely
like.
Are
they
still
relevant
for
the
story
that
they're
trying
to
tell
so?
I
just
wanted
to
call
that
out
and
ask
you
all
to
think
about
that
as
we
do
the
inventory
at
our
next
meeting
next
item
on
the
agenda
is
the
rad
public
art
walking,
tour
app
and.
D
Yeah,
so
just
as
a
reminder
for
folks
about
a
year
ago,
we
started
working
on
a
walking
tour
that
you
could
access
through
a
smartphone,
and
this
was
part
of
the
river
arts
district,
grand
opening
for
the
wilma,
dickman
riverway
and
all
the
rad
tip
improvements
we
needed
to
put
it
on
hold,
because
we
didn't
have
the
resources
that
on
hand
to
execute
the
project.
D
We
got
about
half
of
it
done
and
if
you
actually
watch
the
panel
yesterday,
some
of
it
was
referenced
right
cliesta
said
yeah,
I
did
a
recording
for
it.
She
did
and
dwayne
actually
worked
with
us
to
write
that
recording
and
we
still
need
to
record
it
with
him.
D
But
the
idea
is
that
we
are
going
to
be
highlighting
not
only
the
spaces
where
some
public
art
exists,
whether
that's
public
art,
that
is
part
of
the
city's
public
art
collection
or
it's
public
art
that
just
part
of
the
public
realm,
like
some
of
you
may
know,
there's
the
coolest
ever
mural
of
a
groundhog
on
the
old
riverlink.
D
They
don't
own
it
anymore,
but
where
the
old
cottonmill
site
was
so
we're
going
to
be
highlighting
all
of
that
kind
of
stuff,
including
foundation
walls,
and
we
have
recordings
with
different
people
and
on
carly's,
taking
the
taking
that
ball
of
beautiful
yarn
up,
and
she
can
give
us
an
update
as
to
where
we
are
right.
Now.
G
Sure
so
we
have
a
handy,
dandy,
beautiful,
I
guess
spreadsheet
that
has
been
put
together
and
we're
checking
off
all
of
the
points
of
interest
that
we
want
included
on
this
tour,
and
there
were
a
few
that
still
needed.
Audio
recording,
so
steph
and
I
have
been
working
to
you-
know,
get
meetings
set
up
with
the
people
that
need
to
do
the
recordings
and
and
get
them
to
to
say
their
piece.
We're
also
gathering
photos
of
the
art
pieces.
G
D
One
of
the
things
I'm
most
excited
about
is
that
once
it's
up
and
running,
we
can
see
how
it's
used
and
potentially
use
it
in
our
pack
square
improvements
project
to
tell
stories
about
some
of
the
objects
in
the
public
realm
there.
So,
hopefully
you
guys
will
all
once
it's
done,
go
down
and
take
the
tour.
A
H
B
A
Okay,
so
we'll
move
on
to
other
updates
and
announcements.
So
steph
do
you
want
to
speak
for
a
moment
about
the
board
and
commission
restructuring
proposal.
D
Yeah
I
I
what
I
want
you
to
know
is
that
the
city
of
asheville,
after
discussions
with
staff
and
city
council
members
and
upon
input
from
different
members
of
boarding
commissions,
has
been
creating
a
bit
of
a
framework
to
think
about
how
we
could
make
boards
and
commissions
work
better.
So
we
have
been
hearing
about
how
they've
been
working
poorly
for
many
years,
and
we
also
know
because
sometimes
they
do
work
very
well.
D
The
parts
that
are
the
parts
that
are
working
so
the
city
of
asheville
has
done
two
focus
groups
with
board
chairs,
invite
and
board
vice
chairs
to
roll
out
kind
of
an
initial
kind
of
what
carly
did
basically
to
say.
Here's
an
initial
proposal
of
what
we
think
would
work
and
would
answer
some
of
the
questions
that
you
all
have
been
asking
us
for
years
like
how
can
we
have
a
better
relationship?
D
You
know
with
city
council
and
have
more
direct
impact.
How
can
city
council
know
what
we're
doing?
How
can
we
understand
what
our
roles
are
in
a
better
way?
How
can
we
get
better
staff
support
all
those
different
things?
So
there
was
a
proposal
that
was
rolled
out
and
is
now
up
on.
There's
a
city
public
input
dot
com
page.
D
So
if
you
go
to
the
city's
public
input,
dot,
com,
page
and
I'll
I'll
I'll
find
the
link
for
you
right
now,
you
can
find
all
of
the
information
about
it,
there's
even
an
email
where
you
can
say
here's
what
I
think
about
the
proposal,
but
you
may
want
to
wait
because
there
is
going
to
be
a
larger
community
engagement
process
around
what
eventual.
D
What
is
going
to
be
the
final
version
of
this
proposal
so
and
I
to
be
honest
with
you-
I
have
not
been
able
to
read
the
information
that
has
just
been
released,
so
I
do
not
know
what
that
I
don't
know
what
that
process
looks
like
just
was
a
little
busy
the
last
couple
days
so,
but
it
it's
kind
of
exciting
and
potentially
you
know
it
could
be
like
exciting,
anxious
or
exciting
opportunity,
maybe
both
for
us
to
have
a
conversation
about
civic
engagement
and
how
we
value
our
boards
and
commissions
and
what
we
are
going
to
do
moving
forward.
D
So
I
think
that
it
should
be
said
right
because
there
is
information
out
there,
that
the
general
proposal
is
to
minimize
the
number
of
boards
and
and
commissions
so
that,
in
a
way
that
makes
them
mirror
the
structure
of
the
council
boards
and
commissions.
D
D
So,
instead
of
having
like
some
of
the
boards
and
commissions
first
of
all
would
never
go
away
or
because
they're
chartered
by
the
state
so
planning
and
zoning
that
is
a
function
by
law
we
have
to
have
performed,
and
so
everybody,
every
muse
valley
is
going
to
have
a
p
and
z
board.
D
But
in
the
case
of
having
like
an
urban
forestry
commission
and
assaysi
and
human
relations
commission,
you
know
human
relations
committee
and
this
that
and
the
other
thing
we're
thinking
about
asking
people
to
to
work
more
holistically
and
then
break
out
into
certain
certain
topic
areas.
I
don't
know
if
that's
the
right
way
to
do
it.
It
certainly
is
a
great
conversation.
Starter
though
it's
been
fabulous,
all
the
people
who
are
now
super
engaged
about
how
to
make
boards
and
commissions
great.
Thank
you
in
advance
for
your
participation.
D
I,
and
I
will
let
you
know
like
I
think,
katie
and
andrew
you've
already
participated
in
an
initial
focus
group
right.
Yes,.
B
D
A
B
A
I
was
there
and
you
know
we
got
it
right
after
that
meeting,
I
sent
all
of
the
pac
members
an
email
just
giving
you
an
overview
of
what
had
been
discussed
and
giving
you
the
materials
from
the
meeting.
A
So
I
put
it
in
the
chat
and
you
know
it
is
publicly
available
in
all
the
city.
Social
media
they've
been
sharing
out
this
public
input
page
that
you
can
go
to
to
find
out
more
about
the
proposal,
but
they
have
a
series
of
four
workshops
coming
up.
If
there
are
opportunities
for
you
to
hear
firsthand
about,
what's
being
proposed
and
give
your
input
as
well,
so
I
really
encourage
all
pac
members
to
try
and
participate
in
at
least
one
and
hear
what's
being
proposed
and
definitely
give
your
feedback.
D
Katie
posted
this,
I'm
going
to
say
it
so
that
people
who
are
watching
can
hear
it.
It
is
the
the
website
is
public
input,
dot,
com,
backslash,
c1401.
B
I've
been
no
secret
about
my
distaste
in
the
process
of
this
plan.
In
my
opinion,
the
boards
and
commissions
do
absolutely
need
work
and
what
I
really
appreciate
seeing
the
our
the
public,
art
and
cultural
commission,
you
know,
get
resources
that
help
make
that
help
make
the
advice
real
from
an
advisory
position,
and
I
really
I
it's
so
much.
It's
so
much
progress
just
having
a
little
bit
more
staff
time
to
work
on
to
work
on
this
stuff.
B
So
it's
really
appreciated
when
the
city
maintains
the
things
they
build
well,
if
they
function
well
and
I'm
a
little
concerned,
that's
part
of
the
city's
desire
to
renovate
or
demolish
some
of
these
boards
and
art
and
commissions
comes
from
the
lack
of
maintenance
that
they've
put
into
them,
not
from
the
lack
of
dedication
from
the
volunteer
people
like
us
that
have
come
there
to
help
and
I'm
a
little
concerned
that
the
plan
seems
to
already
have
a
landing
point,
very
pretty
staked
out
going
from
20
to
four
and
the
is
is
pretty
concerning
to
me.
B
It
feels
like
I'm
not.
You
know,
I
think
a
better
process
would
been
to
say
like
have
been
to
start
this
conversation
without
that
landing
point
defined
already,
because
now
we
have
to
talk
about
the
land.
Is
the
landing
point?
The
right
thing?
We
don't
get
to
talk
about
what
the
current
conditions
are.
What's
working?
What's
not
working,
so
it's
I
think
it's
a
big
distraction
and
that
the
the
city
proposal
made
a
huge
mistake
in
defining
the
end
point
in
that
way.
B
Even
if
it's
not
a
fixed
endpoint,
I
think
even
defining
it
has
damaged
the
conversation
a
lot,
and
I
appreciate
the
update
stuff-
and
I
know
this
isn't
coming
from
you
and
you're
the
you're,
the
messenger
on
on
this
in
a
lot
of
ways,
and
I
hope
that
we
can
have
this
conversation
without
having
an
endpoint
because
defined
because
we're
going
to
get
better
we're
going
to
give
and
get
better
advice
if
we
can,
if
we
can
do
it
that
way,.
H
Well,
it's
kind
of
a
moot
point
now,
but
I
was
going
to
ask.
I
got
contacted
by
broke
randall
at
express
and
maybe
other
people
did
too
about
giving
some
quotes
for
an
interview,
and
I
wanted
to
know
about
sort
of
the
permission.
Like
obviously
I'd
be
speaking
for
myself
right
in
my
own
experiences-
and
I
just
want
to
be
careful
about
that.
But
I
just
saw
that
I
was
supposed
to
answer
it
by
noon
and
I
didn't
do
that.
So
I
guess
never
mind.
A
A
A
Okay
well
and
you
know,
as
we
find
out
more
we'll
share
I'll,
be
sure
to
share
it,
make
sure
you're
informed
as
we
move
forward.
Okay,
so
I
have
next
support
for
the
african-american
heritage
commission's
funding,
because
that's
you
again
steph,
you
know.
I
Pat
griffin's
uncle
a
cousin,
okay,
gary
they've,
been
working
with
the
kids,
he's
a
jace
bass,
guitar
player
and
then
clifford
cardin
is
playing
there
saxophone
and
they
go
way
back,
and
this
is
part
of
the
history
that
they're
researching.
Now
these
are
actual
people
who
were
part
of
it.
Stevens
lee
and
I
know
cotton
is
in
his
80s
and
he
just
want
to
do
it
to
be
a
part
of
it.
D
That's
awesome:
well,
aaron
is
the
new
chair
of
the
african
american
heritage,
commission
and
so
connecting
the
dots
here
is
going
to
be
fun
and
probably
pretty
easy,
but,
as
some
of
you
may
remember,
bef
the
january
before
the
pandemic
hit
the
pac.
D
They
approved
a
resolution
you
all,
but
not
necessarily
you
if
you
weren't
on
it,
approved
a
resolution
to
provide
ten
thousand
dollars
of
funding
to
the
african-american
heritage
commission
to
explore
and
or
develop
a
monument
memorial,
a
piece
of
public
art
around
the
african
american
experience
in
downtown
nashville.
D
So
a
lot
has
happened
since
then
a
lot
a
lot.
A
lot
has
happened
since
then.
So
it's
time
for
us
to
revisit
that,
and
what
I'm
hoping
to
do
is
maybe
get
a
group
of
people
together
from
the
african
american
heritage
commission
to
come
to
one
of
your
meetings
and
have
a
conversation
about
whether
or
not
they
still
want
to
consider
using
that
funding
or
if
they
have
other
needs.
At
this
point
I
just
before
I
made
any
invites
to
aaron
and
his
group.
A
I
think
that
sounds
great
stuff,
I'll
mention
that
both
aaron
and
I
are
serving
on
the
advisory
committee
for
the
african-american
heritage
trail
together.
So
I
just
got
to
meet
him
last
week
and
I
believe
that
explore
asheville
will
be
coming
to
join
one
of
our
upcoming
meetings
soon,
to
give
us
an
update
on
what's
happening
with
the
african-american
heritage
trail.
D
That's
great,
so
maybe
we
can
kind
of
combine
those
things
and
we
can
do
some
planning.
So
if
our
march
meeting
is
going
to
be
on
site,
maybe
this
is
our
april
meeting.
Okay,
thank
you.
I
I
would
like
that.
Okay
questions,
information,
only
okay
class,
the
cotton
created
a
work
of
art
for
hotel.
I
If
delta
house
created
a
work
of
art
and
we're
a
non-profit
tax
exempt,
is
it
cons
and
we
say
it's
public?
Would
we
be
considered?
I
know
something
came
up
and
they
said
clients
to
work
could
not
be
included
in
the
public
arts
because
it's
on
private
property,
but
our
facility
is
open
for
the
community
and
also
if
we
applied
for
the
public
arts
project
with
z,
smith,
reynolds
right,
I'm
trying
to
find
out
if
we
say
say
if
we're
one
of
the
warties
would
our
work
be
considered
public
art
here
in
the
city.
I
That's
what
I'm
trying
to
find
out,
because
you
don't
wanna.
I
You
know
that
beautiful
artwork,
but
it's
on
private
property
delta
house
is
open
to
the
public
free.
So
I
just
want
to
know
would
be
we
be
considered
public
art
and
unca
want
to
help
us
with
the
project
out
in
the
yard.
So
I'm
asking
just
for
information
on
what
we'd
be
considered
public
art,
or
is
that
just
private?
D
Yeah,
I'm
not
sure
like
you're
saying,
would
you
be
considered
public
art?
It
depends
on
who
you're
asking.
So,
if
you
were
saying,
would
you
be
a
part
of
the
city
of
asheville's
public
art
inventory
unless
you
donated
that
r
and
had
it
located
on
public
property?
No,
it
wouldn't
be
part
of
the
city
of
asheville's
public
art
inventory.
D
If
I,
you
know,
define
public
art
as
any
historical
or
cultural
expression,
that's
visible
from
the
public
realm,
so
you
know
if
you
yes,
if
you're
you
know
in
in
front
of
delta
house,
if
you
put
a
piece
of
artwork
up,
that
is
from
the
sidewalk
right
there
or
the
road
that
is,
you
know,
quite
people
can
visit
it
and
enjoy
it.
And
what
have
you
it's
technically?
D
You
know
something
that
can
be
viewed
from
the
public
realm,
but
I
don't
know
what
z
smith
reynolds
thinks
as
public
art
or
how
they
define
it.
I
know
exactly
what
you're
talking
about,
because
right
this
is
that
application.
I
know
I
supported
that
and
the
south
community,
and
at
burton
street
peace,
gardens
and
yeah
and
then
and
all
of
them
had
this
similar
issue.
Okay,.
B
D
So
for
the
city
of
asheville,
yes-
and
I
think
that
for
most
cities,
municipalities,
counties
and
if
you
have
a
public
art
collection,
you
you
either
maintain
and
own
it
and
it's
on
public
realm,
and
and
all
of
that
you
know
other
thing
or
I
mean
it's
not
to
say
that
you
couldn't
have
a
partnership
with
another
private
group
who
maintains
those
pieces
of
public
art.
So
it's
a
little
complicated,
but
no
like
we
because
we
so
I
put
this.
D
D
You
know
we
actually
paid
to
support
a
bunch
of
murals
that
were
done
during
burners
and
barbecue
many
years
ago
before
we
built
the
rad
tab
and
the
way
that
we
supported
it
was
actually
by
going
and
taking
the
walls
and
prepping
them
and
making
sure
that
they
could
stand
up
for
a
long
long
time,
but
it
was
private
property
and
that
private
property
owner
decided
that
they
didn't
want
those
murals
to
be
up
kept
and
they
didn't
want
them
to
be
ever
repainted
again.
C
B
A
Anything
else
all
right,
if
there's
no
further
discussion,
I
will
now
adjourn
the
meeting
and
live
streaming
can
go
off
thanks.