City of Bloomington, Indiana Arts Commission, 8 Jul 2020

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From YouTube: Bloomington Arts Commission, July 8, 2020

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meeting agenda: https://bloomington.in.gov/onboard/meetingFiles/download?meetingFile_id=6801

A

B

Welcome everybody: how are you all doing.

B

Lots of thumbs up very well, uh shall we jump straight into the agenda.

B

Sean or do you have anything to insert before.

B

That yeah, we can do that. I'm sorry! Let me.

C

Bring it up just so everybody's got it real quick. I.

C

Think can everybody see the agenda yep, okay, um yeah, so take it away. Brian.

B

All right, so we don't have any members of the public at this point correct.

C

Well, we have b squared beacon, I don't know if dave wants to say hello, we can.

C

Unmute him yeah: let's go ahead, hello.

B

Welcome to the meeting, how are you doing I'm doing great.

B

All right well, at the end, if you have any questions, please make sure that.

B

um We hear them sounds good fair enough. um Can I ask a quick.

D

Question at the beginning of the agenda, because it wasn't, it wasn't available.

D

uh Online beforehand, um is there gonna, be any discussion.

D

Of the mural at people's park, yeah yeah dave it's on the agenda. Sorry.

C

I thought we got that posted uh it's it yeah! Well, after we do the.

D

Minutes we'll dive right in. I see it there. Okay, I'm sorry yeah, no.

C

That was my bad. I thought we got it posted, so I'm gonna.

D

Mute myself now: okay! Well, thank you for joining us. We will go.

B

Straight into the minutes, I know that sean shared those with us.

B

Earlier this week, did everybody have a chance, a chance to review.

B

C

Everybody see them where's this. Yes, I moved to approve it.

E

From the june the june june last meeting june meeting yep.

B

Do we have a second.

F

Second, anybody have any changes or comments to make.

B

All right well eye motion to approve the minutes.

B

So we'll go down the list, as noted on the chat.

B

All right hold on my check, disappeared. Somehow you're, taking over my entire.

B

Screen right now, oh am I so. If you hit escape it should.

B

All right, um karen: do you have karen? We have to do a roll call, vote, yeah.

C

Sorry y'all karen nope elizabeth.

G

Essence, yes elliot yes, quentin.

F

G

In case you joined the bet.

G

Nick, yes, valeria, yes, rachel, yes,.

B

Did anybody not vote.

B

All right, the minutes are approved sean. Do you have any updates on the.

B

Financials for us yeah, I'm showing them right now, uh so in.

C

The 402, which is our um one percent fund,.

C

uh We have 61 635, so no changes there and then from the.

C

403, for those of you, um the the newer.

C

Commissioners, this is leftover funding from when the city used.

C

To do a postcard project and for dave's interest. uh This is uh leftover money.

C

From that, so this is a non-uh. This is a non uh once this money's gone.

C

This money's gone uh so this is 3961.

C

So this is no changes, so we traditionally. This is what we'll.

C

Support for food and beverage for our art side at city, hall or other kinds.

C

Of kind of public engagement funding is usually this fund, and then this is leftover money from the.

C

um One percent projects over the last couple years, it's kind of our rainy day.

C

Fund for a big project or if we're short on funding, so those are.

C

The difference between those two so that no changes, no changes. Anybody.

B

Have any questions regarding the financials.

B

All right, let's move right along so as we know.

B

A lot has been happening in bloomington over the last week.

B

And one of the things that we really need to address is the people's park.

B

Mural, so sean is going to give us a little bit of the history behind it and.

B

Kind of some options as to what we should consider moving forward and.

B

We'll open it for discussion after he is done so take it away sean yeah! So I'm going to stop my screen. Can everybody see me? I.

C

Got it on grid view, so um so yeah so people's park.

C

uh That mural project specifically has had a couple different iterations.

C

And different um lifes so originally in the late 90s.

C

When rhinos was involved, there were four or five panels that.

C

Teens through the rhinos program could it was basically four by eight sheets.

C

So there's always been this kind of turning or this changing.

C

Of that mural space, when I got here in 2016.

C

Bicycle garage asked that structure to be removed.

C

And rhinos was kind of in immense transition and so that program kind of.

C

Faltered, naturally and kind of went away, then.

C

We did us in partnership with the civil streets program, we did a mural that was only up for a year and then we.

C

Brought in eva allen through an rfq process, so it's always been kind of a.

C

Changing mural um eva's contract was actually it commences.

C

On august 31st of this year, because it is a highly demanded space.

C

Because of the history history of kind of that mural changing.

C

It was always with the intention that that mural wasn't going to last forever and, as we've all talked about right.

C

No, no public art is truly permanent. um Thinking about how.

C

Neighborhoods change communities, change those kinds of things.

C

We tried to do the best we could, in terms of a variety of community engaged.

C

Approaches with eva you know, there was the trans flag and.

C

The pride flag that was added 2nd street baptist is in mural, which is.

C

Designed by samuel plateau, who is one of the first african-american architects to.

C

Break the color barrier in the 30s so um but it was obviously a mural.

C

That celebrated diversity, through kind of a white lens and through whiteness.

C

um So anyways that's kind of the the kind of history of this public.

C

Private partnership, we technically oh, go ahead.

B

Can you tell us a little bit about what the prop the history of the property is.

B

As well yeah so that so well and just to get.

C

Into this, the wall is owned by bicycle garage.

C

We don't own the wall, we we have provided.

C

Mural opportunities, but it's ultimately bicycle garages.

C

Say on what goes in terms of if the partnership will be continued.

C

If there's another mural, it's ultimately their wall, their property right that.

C

Faces the park, the community has been very frustrated.

C

Historically, because there has never really been closure.

C

Around the history of people's park for some, so the site was formerly a.

C

Black-Owned business that was firebombed by the kkk in 1968.

C

It was a business that was a black-owned bookstore and was kind of.

C

Seen as an anchor in the community there's a really great indiana archive.

C

Through iu, I think it was a research student that wrote a really.

C

Amazing kind of history of people's park um since the fire bombing, the building.

C

Was uh deemed unsafe, it was knocked down and.

C

Then the property owners deeded the pro deeded the land over to.

C

The city that it had to remain a park- it is one of our only urban quote,.

C

Unquote, urban parks and what I mean by that it's not a green park.

C

um You know it's a lot of, um you know pavers and it's a that's what I mean by.

C

An urban park so um that's kind of the.

C

General history of the site, um the kind of public-private.

C

Partnership that we're in with a bicycle garage so.

C

I've spoken with ann and bob and they are.

C

uh Comfortable with the potential of pursuing a new mural.

C

They think it's time in terms of kind of community conversations, and so I don't.

C

Have a plan, I think I wanted to open this up to the arts commission for us to discuss, um but I've spoken with nick and briony.

C

About a couple, different potential approaches that we could do, which would be a more community engaged process that would include community meetings.

C

And paying the artist to be involved in those community meetings.

C

Having it more being more of a community designed mural.

C

In in nature, rather than leaving it up to an artist to interpret what the.

C

Community wants, um as well as we tried this with switch.

C

Yard park being explicit about supporting artists.

C

Of color and making sure that those voices are.

C

Brought up and kind of bumped up through the public art process.

C

And and kind of removing barriers for access in that way,.

C

As well as um engaging various community stakeholders, um I've.

C

Been playing email tag with black lives matter, bloomington to kind of discuss.

C

This approach to see what they would think I've had a couple inquiries out to um and spoken with, iu first nations about.

C

Some language and thinking about um you know, equity,.

C

Through that um that particular community um so.

C

That's, that's really, that's all I have right now, so there's no there's nothing set in stone. There's.

C

We're not the parks department is not gonna.

C

Because the contract is almost almost over um we're not doing repairs.

C

On it and we're not buffing the mural, which is a legal.

C

Term in terms of uh painting over the what was written on there so right.

C

Now it's going to stay up for the, so we figure out the direction of the.

C

Mural, essentially, I see that you want to speak rachel. I.

B

Just want to make sure is everybody aware of what was that the mural I shared my screen.

C

Here, yeah, but if you haven't seen it, it was very quick, so I just want to make.

B

Sure that everybody's up to date on that yeah, let me.

B

And before we open it to discussion nick is there anything you want to add.

B

Based on your conversations with sean.

H

uh No, I think I think sean pretty well covered it.

H

And I think just uh uh obviously it being a private private.

H

Property, you know this just just reiterating. There are.

H

Limitations what we can do you know, so I think sean's putting good effort.

H

Trying to work with um uh the property to owners, property owners.

H

um To put us on a path to maintain um some partnership with them.

H

um But yeah plan is to.

H

Leave this untouched in its current state until.

H

uh We know what the the next step is: okay, rachel yeah.

E

So um I had a protest. The past few days have been.

E

Really intense, um thank you to those that have reached.

E

Out to me, um but we last night.

E

After the protest, I spoke with um two of the organizers actually.

E

About that space and um I'm meeting with one of them tomorrow.

E

But we had been talking quite a bit um about the about people's park.

E

And what the space used to be, and just all of that in general.

E

And they, um when I told them, I was on the arts commission, and that we were.

E

Looking at you know what the next steps were with that mural, and I told him that, like.

E

I felt it was really important that it's a person of color.

E

That actually does do the mural in that space. I think it's really important to.

E

Be able to uh to give the black community like a.

E

Chance to reclaim that space um and because I don't think I fully.

E

Realized that it was the garage, the bike um shop that owns that wall, but.

E

Because they do own that wall, we don't necessarily it's a private. If.

E

It's a public private, prop uh partnership. We don't actually have to.

E

Go through a full rfq process or anything like that.

E

Which means like, could we not all discuss.

E

Different artists that we want to select from and then engage.

E

Those artists with the community, rather than doing an open.

E

Call and like having everyone submit and potentially most of the artists.

E

Submitting, probably a majority of them, if not all of them being white, can't we do our own research as a.

E

Commission um and seek out um black artists in our.

E

Community, as well as work with blm and enough, is.

E

Enough in all of those organizations to identify black artists that we can actually reach out to and ask if they.

E

Are interested in this project and then asking if they're interested.

E

Maybe get if let's say three or four are interested getting a quick proposal from each of them.

E

And selecting it that way, rather than like going through the usual.

E

Public art process, since it is a private property.

E

That's just that's my two cents. They had like three or four artists. They told me.

E

Off the bat that they would love to see, do that mural, which is like why I'm.

E

Thinking if we can somehow facilitate that, keep it more contained.

E

Right, yeah! No, that's that's a really great point.

C

I I can look into that. um I I um this is gonna sound, totally absurd.

C

um But uh just because of the current state that.

C

We're in um people might say that that's.

C

um We might have to go through a public process.

C

But I think we can do that homework of reaching out to those artists that you.

C

Know that you're, aware of, but I think it might have to be a public legally, it might have to go through a.

C

Public process for a couple different reasons, but.

C

That's similar to what we did with switchard.

C

Being very explicit about the opportunity and really prioritizing that and protecting that language.

C

Is really important for us moving forward, no matter what, in terms of our.

C

Commissions in terms of equity and inclusion, but.

E

That's a great point, I just I'm curious, then how is this any different than the.

E

Mural on the b line with vectrin, because that.

E

Was a public private prop uh partnership? We didn't, we did an open.

C

Call it was an open call: oh okay, yeah.

C

Yeah nick, you wanted to add something: go ahead: bubbat.

C

Let me babbitt you're on oh beautiful. There you go, I got you unmuted you're.

C

Good, thank you. I have one question: is there.

I

Is there a potential for a problem with the owner of the.

I

uh The bike shop or whose property it is saying that well I this I want this. I.

I

Won't allow this or anything else has that been kind of.

I

Talked to him so so that we're not making a decision that he's gone.

C

Yeah that I mean that's one of the challenges with public private partnerships. I think they understand um ann and bob from what I've.

C

Engaged in, I think they understand the significance of this moment and.

C

What the community's going through and and they're, okay.

C

Yeah us being specific about the black market, us.

C

Being specific about what happened, but then also thinking about.

C

You know um when I was talking with iu first nations. You know.

C

Continued existence and representation for indigenous communities.

C

You know that there's there's like also black joy and quentin can kind of speak.

C

To that in terms of the conference, so thinking about those kinds of.

C

Narratives and theme works. um That is one potential scary thing.

C

About us being involved in public-private partnerships, always.

C

Which is the property owner? Can we can go through this process.

C

Commission work, um but that's why we have shifted to doing the open call.

C

Process so we can say we're selecting these two artists, we're going to pay them to refine their ideas. Then we can also.

C

Include the property owner in that conversation, so that we don't get down one track and then have to.

C

um And we we're we're not in the business of censorship. You know we're.

C

Always going to represent the artists and that's what I try to do as a staffer.

C

Is represent the artist's intentions with these public private partnerships.

C

So but that's a really great point: that is a concern.

C

I mean there's concern in the community that.

C

That this could be vandalized again or that the property, if it is celebrating.

C

Black market, and what happened is that it could intense.

C

um Incentivize white supremacist groups right like like this is this- is the.

C

State of affairs we're in and negotiating, I think the role.

C

And the responsibility of public art is a really key.

C

um Key aspect in our community, but I think also there's a lot of weight. Put.

C

On that, because it is visual right, I think a lot of communities right now are going through this with um a prime example of criticism. As the.

C

Dc mayor, uh putting black lives matter and.

C

Renaming um the street that, but then also not.

C

Actually, having a conversation about um you know.

C

Defunding, police and what the community concerns are, so I don't want us to also.

C

Look like we're doing political lib service without actually addressing other equity issues in our community, and that is something.

C

That we, as an arts commission, need to really.

C

I think I would lean on you all to help with those conversations that.

C

We have been trying to do equity and inclusion in terms of our calls.

C

And thinking about how we're bringing new artists to the table.

C

uh You know tyler and I's involvement and and.

C

The creation of the blacky brown arts festival those kinds of things I think.

C

Matter over time, as um addressing these kind of concerns,.

C

But I think because it is visual right and it is visual art. The.

C

Crux of that is there's a lot of weight in the community on us and on the community through public art.

C

In terms of closure, in terms of community healing.

C

And dialogue, so would it be possible to.

I

Decide on deciding something thematic that the building owner would approve.

I

Before the call, and then the call would be more specific.

I

Like a mural that tells the story of a people's park or the story of the.

I

Bombing or um that that's that would be hard to.

I

Refute because that's what the place is- and this is a story to tell we have had.

C

That in the theme, when we've done public private partnerships because of the nature of the calls.

C

You usually have themes or elements to be included and not limited to.

C

So we can be very explicit um one, so I have like I've just been taking notes.

C

Let me try to find um what I have real quick.

C

In terms of some of the language which I would have the property owner.

C

um Yeah say the property owner can also be.

B

um Involved in the whole process, perhaps in a limited capacity at the.

B

Beginning but we shouldn't make any big decisions without.

B

Kind of their sign off yeah so, for example, like themes and elements.

C

To consider would be history of people's park, the black market, with the link.

C

To that various website civil rights, history in bloomington.

C

Celebrating individuals, like george and by tally, pharaoh the second street.

C

Baptist church and its architect, samuel plateau.

C

Neil marshall, black cultural center, indigenous history and continued.

C

Existence and representation in the region- black indigenous and people of color joy, like that's just that's not.

C

Finalized language by any means, but those are kind of some of the frameworks.

C

That could be included just in the conversations that I've been.

C

Having with community members and other artists and art communities around this.

C

Kind of process, well, I mean I would just suggest that.

I

Maybe talking to the building owner first making sure.

I

He's on board with this, because people are really out.

I

Of their bloody minds right now and it's putting it lightly um and.

I

You know, um if I I think specifically if we say we want.

I

The story told of people's part and we're being we're being cut and.

I

Dried specific to that place, and it is hard to refute.

I

uh And might I mean to eliminate.

I

uh Protests against the bac for a mural god don't need those anymore.

I

So and then and then and getting his approval up front before we go.

I

And then create a whole, an issue where this man has a bicycle shop and then.

I

I

Have protests against his bike shop yeah, we'll involve them stupid, saying.

I

This, but it but what's going on now, is just so.

I

Outrageous and people are so.

I

Crazed, no all right. I I see that nick wants to speak as well.

H

Yeah I mean, I think I bet all of your points are.

H

Are right on you know, and I think I just I I do want to reassure.

H

H

While well, I think the intensity of the current situation and and the his.

H

History of this individual site um put extra import on this.

H

Traditionally, with with these sort of public-private partnerships, if we've had criteria that we put into.

H

um An rfq that is reviewed with the property owner in advance. You know I.

H

Think that, whatever process we have for reviewing this, um I think you know we'll be extra. I.

H

Think we all should make sure that we're extra careful to you know dot our eyes and cross our t's. um But I.

H

Think what you're describing traditionally has been part of the.

H

Framework of this sort of public-private partnership.

H

But you know, I think, even before bringing this to the bac and even really before any preliminary.

H

Discussions with say, brian and I um I know shawn has had multiple.

H

Conversations with the the property owners, um you know, because I think that that the balance that we want to strike is.

H

You know having having a a piece of artwork that.

H

Is appropriate to the site? You know that, isn't um you know just I don't know.

H

Isn't just sort of you know: flowers, yeah, commercial, like overly commercial.

H

Overly disposable, um you know it, it doesn't need to be a visit.

H

Bloomington advertisement, you know um at all times and I think.

H

That um you know, I think, the balance to.

H

Strike is you know, art can challenge people.

H

It can um it can make people uncomfortable.

H

You know, but you know, should we stop short of making. You know.

H

Of it you know yeah, we want to avoid something that is full on incendiary. You.

H

Know, and um and going to you know specifically.

H

And you know entice, you know uh a lot of viable reactions.

H

You know I think yeah we'll have to we'll have to find that balance, and that balance you know the property owners are going to be part of that conversation. um You know, but it seems like sean.

H

You've you've set pretty good groundwork with them to kind.

H

Of get us to this point: yes yeah, okay, uh next, rachel and then.

B

I would like to hear from other commissioners who have not spoken on the topic. Please uh thanks. um Yeah.

E

Two things that I want to bring up, one is.

E

I'm not worried about people protesting if they don't like the mural. I think.

E

That then people should protest. I think it's people's park.

E

And I think if people are protesting the bac, then we did not do our job properly.

E

So I don't think we need to be concerned about protesters they're, not the issue.

E

And they're, not the issue of everything, that's happening in bloomington right.

E

Now white supremacy is, and so for me it is.

E

Very important that we are actually like, we are taking those risks. If, if.

E

We feel it's necessary and if we think that the community thinks it's necessary.

E

And wants to see that happen then we should do that. I don't want to just like.

E

Shy away from topics, but I also sean I hear what you're.

E

Saying you don't want it, we don't want to increase additional presence of white supremacists in the area and like it is.

E

Very touchy all around and that's fine, but I think if people are protesting.

E

With crowds that are similar to what we're seeing this week,.

E

That means we didn't do our job right, so I don't think we should be fearing.

E

Protesters the second thing is um beyond what ends.

E

Up being on the mural sean, I really like the list you have put.

E

Together of a variety of different options to give artists some creative freedom, so it's not so specific.

E

Like draw the exact scene or whatever hap that happened in the 60s, but.

E

Keeping it still interpretive, however, I know at one.

E

Point we had discussed a plaque or something of that sort to.

E

um Kind of tell the story similar to like the plaques along the v line.

E

um Is that still in conversation, and um can we potentially still do that.

E

And have it next to the mural or somewhere within the park.

E

Yeah, so can we partner with um iu professors.

E

In at neil marshall, black history center and.

E

Just get have them, maybe even craft. The actual historical statement rather.

E

Than it us just being pulling something from the web and then yeah people's park.

E

Has always been historically for the people right, so we should.

E

Really keep that in mind yeah, so the chamber led that with an iu group.

C

So the so it's the chamber, the city's been involved, but it's really the.

C

Chamber's lead on that and then there is a park kind of like in park.

C

Signage when there's um there's some renovation, that's gonna happen to.

C

People's park in the next couple years, I don't know how that falls because of switchyard park and some of the other priorities, like lighting upgrades, those kinds of things.

C

But yeah so I believe I think it got postponed because of covid. Actually, so I.

C

Think the chamber is actually like working on getting it up and running pretty soon. In terms of that, and then I believe that the parks.

C

Department will have a interpretive sign similar to what's in.

C

Other parts when the upgrade happens, so that's that's what I know at this.

C

Moment and um yeah, so the chamber's been.

C

Leading that so that's been going on, I don't think we're concerned about and.

C

Just to clear the air, I don't think we're concerned about protesters in terms of like. I don't think that yeah, I'm not.

C

Concerned about that at all, I think people in the community are.

C

Concerned about um the just the current state of affairs.

C

We're in and making those kinds of statements and potentially harming their.

C

Business or harming their co-workers, and I can understand.

C

That kind of mindset um I get that it was just mentioned.

E

People protesting the pc and honestly, like I would love to see.

E

More people protest us and like push us to do better work and do work that the.

E

Community wants so I don't think, that's something we should ever fear. That's all all right, any other thoughts from other.

B

Commissioners, uh I want to say something I think like I.

J

Definitely second rachel and what she said. I think.

J

We have been quiet a lot of time and I think this is the the right spot.

J

um Because of the history of the place, so I think we really.

J

Need to focus on that it's the moment and we need to support uh the community.

J

That it's not uh not have been supported for so long.

J

And I also understand that that we need to be sensitive to the fact.

J

That the the the owner of the.

J

The wall may suffer consequences uh depending of whatever uh it happens,.

J

In our decisions, but definitely I second rachel- I think that it's a.

J

Moment to act and not be afraid.

B

Anybody else cares: let's have a quick. Oh sorry,.

K

um I'm a little concerned that if we move too quickly on making a change.

K

That's going to be another kind of statement that we don't want to make so sean. Can you.

K

Speak to realistically how long it would be before.

K

uh There would be a new mural there. uh We.

C

Legally, uh it's uh august 31st would be the soonest we could do.

C

Anything um based on the current contract, but I don't think.

C

uh Yeah, that's all of concern too, uh so I think you know having this.

C

Discussion with you all uh engaging some other.

C

Community members and then releasing an rfq and then maybe.

C

You know building a time frame into that. It's still gonna. Take us some time.

C

But I've been I've been concerned about the optics of painting over it as well.

C

And you know the community: the mayor has been very concerned by that because it could look bad. In terms of I mean it's a.

C

It's a very well intentioned addition to the mural.

C

um In terms of the color choice and how it was laid out.

C

Those kinds of things, so um I don't have an updated timeline. It's.

C

Kind of what the commission thinks, I think, it's time I think we'll need to kind of you all, as commissioner members will need to be out.

C

There- and you know, rachel's very well, connected and very close to some of the key organizers so like having those kinds of conversations will be helpful as we move forward and we think about what is a good timeline for that.

C

But once again it's it's. The property owner.

C

At a certain level can do whatever they want, so they could paint over it.

C

I don't know if they will do that, but they do have that option.

C

So I'm trying to kind of once again the public art being kind of this balance in.

C

The community and kind of you know um us kind of.

C

Balancing a variety of perspectives and interests in the community as much as.

C

Possible so clinton so sean. I have a question.

J

When, once the the new mirror, oh mortal, is there so how many years that it stays.

J

There I kind of missed that yeah, that's open.

C

So right now the current contract was three years. I think with this one we.

C

Would probably do somewhere between three no less than.

C

Three, but no more than five, probably um and just go from there and.

C

See how how how that works with the artist also.

C

The scale the mural that kind of stuff so somewhere between.

C

Three to five years, usually, is what we do for that space.

C

F

Who's also about a timeline and moving forward so.

F

You kind of touched on it, I mean, do you, do you all have an opinion about that.

C

Like in terms of like what do you all think in terms of the how we should move on this, I mean in.

C

Terms of I mean the 31st would be the early. If we could do anything. I don't.

C

I don't know if we're going to hit that benchmark anyways with I mean even with.

C

Kovid- and I don't know how partisan I think realistically we're not.

B

Looking at anything before six months,.

F

What do the yeah think about like right now, so it's been.

F

So the black guys might have been sort of put on the space. What are the owners.

F

Actually saying about the mural like as it is as it stands,.

F

Right now, what are their feelings, and so what I don't know, what do those.

F

Conversations look like what do they want to see happen to the wall.

C

Yeah, well I mean, I think um they I haven't spoken with them in about.

C

A week it was, I spoke to them kind of when it happened and communicated with eva and all that kind of stuff, and I said, hey you know our contract is coming up on this anyhow.

C

Maybe it is time to kind of update and kind of.

C

Refresh the mural so to speak and they were.

C

Supportive of that I don't know, I don't know.

C

I haven't had a current conversation with them about timeline and their expectations, so I'll need to go. Look back around and.

C

Have that kind of conversation with them, but they were, they were very interested.

C

In I think, understanding and I communicated.

C

To them the importance of the potential of a mural to bring about.

C

Closure right and I think in a lot of different ways, people's park has never really had that.

C

I know that there's been various ways of you know, protesting and gathering there.

C

I know that there was a redesign in the late 90s. It used to be a very.

C

Heavily used teen park and then there was a incident.

C

That happened with public safety officials or individuals.

C

And then the park was kind of lost to that particular community.

C

And then you know it had been a site for occupy and then.

C

Individuals experiencing homelessness and housing insecurity so.

C

It has been this gathering space and- and it's always been a point of contention.

C

um When, when the eva's mural was put up, it was.

C

Kind of ill-timed against the app and has always been kind of.

C

In a certain subject of the community considered art washington park,.

C

um But at the same time, not every public art piece we do is.

C

Going to make everybody happy right, and I think we all know that we've.

C

Seen it with our even the public cars public art calls that we've been involved in, but I do think it is an opportunity for us to think about uh critical dialogue and closure and.

C

um Thinking through that strategy and what this means in this moment.

C

Alongside of addressing other issues of systemic racism,.

C

Is systemic racism in the community and other equity issues that we need to.

C

Address, as the arts commission so elliot.

L

Oh yeah um thanks bernie yeah. This has been super interesting as a newcomer.

L

You know I I didn't know this long history of the park. I knew it for what I.

L

Saw it was which was kind of like a sort of instagram selfie background.

L

That sort of like welcomed to bloomington, to be totally crass about it.

L

um So it was very interesting to know that there's a longer history there and.

L

I'd be very interested in, I know rachel mentioned this plaque, or what have you.

L

But some kind of tangible, long-standing memorialization.

L

Or narrative of that history for people like me who come here and even.

L

Maybe iu students or faculty, what have you or people who come.

L

To the town who just aren't deeply rooted here, uh that that would be.

L

A really interesting approach- and I will say I mean as someone who.

L

Used to write a lot about street art and not so much anymore, bloomington has.

L

Been a very interesting place to see uh the discourse of street art, it's.

L

Maybe not very artistically sophisticated, but the the language is.

L

Interesting and so it would be interesting in some.

L

Way- and I don't know how possible and I'm not talking about like a word cloud here but like it's, it's just interesting that there's a lot of.

L

Public discourse happening with um with spray paint and graffiti.

L

And and how we could potentially capture that spirit in a way that was.

L

Meaningful and not like you know, a kind of series of like bombs.

L

I don't know I'm just thinking out loud but um yeah. This seems like an important.

L

Moment to really to meet that moment, rachel.

B

Okay, it looked like you wanted to speak all right.

B

Before we kind of pivot into, I wanted to say something.

B

Yeah, I was gonna, say essence you're the only one I'm missing.

B

Yeah sure so I wanted to uh support what sean was saying about getting the.

M

Community involved in this process, I feel like.

M

That would be um that could go towards that. That.

M

Community healing effort, um especially if we're talking about the history.

M

Of that location, while we're um discussing possibilities of what goes up.

M

As the mural, I really like that idea.

M

um And I'm uh I'm I'm game to like brainstorm. What.

M

That actually looks like that's great yeah. I think it's going to.

M

Take all of us in this moment right and I think.

C

And one one thing I and I might put nick on blast because I know he's got.

C

Deep cuts on reddit, but um it's been interesting in the community too. That.

C

I think another thing that we struggle both as an organization, I think all of.

C

Us, because of is communication and.

C

Storytelling- and I think this is a moment for us to really kind of.

C

Talk about that and talk about our process.

C

And um you know for us as well like we, it was interesting. We got some.

C

Criticisms about nita abby chanel's work um on the graduate which.

C

Is really interesting because her work as an artist right now is the most relevant in terms of what's going on in our country and.

C

As as an artist interpreting, but I don't know if people.

A

Could I don't know if it's because we relied too much on that public private.

C

Partnership to kind of handle the pr around it and you know, there's those.

C

Kinds of conversations, so I think, as we think about this and.

C

Brings up a really good point, too, about really being involved in that community.

C

Process and maybe um really kind of doubling down those efforts, rather than you know, focusing on the finished project. And um I think that that to me was an.

H

Interesting criticism of the disconnect between nina's work in.

C

The community and her larger work in nationally and.

C

How community members weren't aware of that at all, and so you know just thinking about that and.

C

You know nick and I were talking about you know the graduate is supposed to be.

C

Providing a placard there to explain, nina nina's work but like who know you.

C

Know is the placard enough right and thinking through, I think, all of us. You know, as we kind of leave this meeting.

C

Over the next couple weeks, thinking about those things about you know the process of community engagement, especially, you know, as we think about.

C

This digital platform um and uh what that looks like for all.

C

Of us so anyways and then I'll be quiet all right, we're on point three.

B

Of 10 for our meeting and we're halfway through our meeting.

B

So I'm gonna pivot and ask sean. What do you need from us today.

B

To keep this moving, do you need any decisions, any direction.

B

Any commitments yeah, I think, if you guys are, if you all- are comfortable.

C

With uh the general approach that I talked about, I can start to kind of.

C

Share that with the public art planning committee and you all as a whole.

C

Going into the next meeting, obviously involving the property manager.

C

And just kind of making it a big team effort. But if.

C

I think you all are in agreeance that that is the general direction we should.

C

Go I can kind of firm that um which would be like I said.

C

um You know beefing up the budget to allow for community engagement and.

C

Paying the artist in that process, you know being more.

C

Explicit about that working on the language and the theme.

C

Works, I need to, like, I said, connect with various community groups and I would love if you all, as community members or.

C

Bac members would do that as well on behalf of this project.

C

So those are the two I would say the two most concrete things that I think I.

C

Needed in this moment, anybody have any.

B

Questions regarding that those requests all right. Well, it seems.

B

Like you have our approval to keep moving forward and just shoot us.

B

An email, if you need anything specific between now and the next meeting.

B

Yeah, can I just make a comment very quickly.

J

I think that the fact that life um black lives.

J

Matters was written on top of the mural. It's a.

J

Also, a good thermometer for us, an indication of the what the society.

J

And what the population is really talking about now I.

J

Think we should listen to that yeah and we can archive that moment too.

C

Right so we have a city archive. I can put.

C

The kind of uh you know I have documentation of the murals over the.

C

Years and so that there's also this, like digital presence, that I don't think we think about in terms of our work- and I.

C

Just want to put that out there too yeah. That's a great idea. This mural was.

B

Up for nine months or forever long, this is what it was all right.

B

Let's move on to other public art projects.

B

The trades district garage which the rfq closed today.

C

Yep I have uh I I don't know, then the last count I had.

C

Was 80 and there's still a bunch more in my inbox, so we have a lot of submissions that I have to turn around very quickly.

C

So I will keep you all posted on that tyler's working.

C

Endlessly on updating a excel sheet for our meeting on.

C

Friday, so I'll have more there and real quick I'll just take over.

C

For nick, unless you want to add anything after I give this update.

C

Fourth, street we're moving forward. uh Construction has begun.

C

um We're we've had the final meeting with the contract negotiation.

C

So we should get the paper on that uh switchyard.

C

I'm waiting in an update for rachel uh in that group on the final designs.

C

uh And then trades is underway uh with uh the engineering and construction.

C

Design review so that's been under, that's been issued and.

C

Under contract and so we're trying to figure out how to build the thing, so those are the updates on those and I'll keep them brief, and then nick, I don't know if you need to add anything.

H

um I don't think so, but I will just pose the question.

H

um You know for the uh trades garage um project and I know we've discussed.

H

Some of this over email um sean is there anything you need in the very short term. You know ahead of uh that meeting friday to help prep.

H

Things, no, I'm gonna try to get you all ready to.

C

Roll friday at noon, I know brian connected me with.

C

An architect who's going to serve on the first panel with us and maybe we'll serve throughout the whole process.

C

And just to give a general update, we'll try to narrow it down to two finalists.

C

Out of, however, so many submissions we get pay them to refine their ideas and.

C

Then, similar to what we did with the trade sculpture build that kind of it'll still be pretty tight, because the.

C

Construction is underway for the garage. We can't really do a lot.

C

Of change orders. But if we needed to run electrical in a specific spot or.

C

Maybe not put up drywall! That's what that's why I'm trying to rush through not rush through this but tee this one up, so that we're not doubling up the.

C

Work and potentially impacting both budgets, the construction budget and.

C

The art budget so.

B

All right not listed here, but do you have any updates on.

B

Duke 10th street mural or the jordan river projects.

C

I have put those on pause uh because of other.

C

Things, that's fine that just lets us know where we are yeah.

C

Those are those are on my to-do list, but they're kind of paused at the moment.

B

Okay, any questions regarding any of the public art projects.

B

All right that was a quick one. Let's move on to the miscellaneous section.

B

We'll start with the waldron: if sean you can give us an.

B

Update on what's happening internally and then.

B

Quentin and nick you can give us an update on the letter that we're drafting.

C

Yeah we're still in the process of transferring and trying to figure out.

C

What that looks like and where the funding is coming from and what that's.

C

Going to be so, I don't, I don't have a whole lot.

C

August is one uh supposedly: the transfer will.

C

Be complete, um and I know that we've gotten a lot of.

C

C

Hard mail letter from the bloomington watercolor society- I know arts ford.

C

Bloomington has written a letter where uh gallery walk, has written a letter so we're getting a lot of those kinds of.

C

uh Inquiries and and support to keeping the wall journey in art center.

C

B

uh But hold on: let's get just an update from quentin and nick regarding the.

B

Letter and then we can have comment on the entire topic. Quentin. Do you want to go? Do you want me.

H

To oh, you can go um well short version. Is.

H

Quentin's waiting on me um to uh to to to add some to it, like basically.

H

um Quentin and brian and I did a call with.

H

um Sally gaskill and a former bac member and.

H

um And mia michaelson um and uh they gave us a really good.

H

Walkthrough of the history of the building.

H

um And it's it's different uh stages of evolution. They gave us some.

H

Good insight on um the process involved in.

H

uh You know sort of sort of each of those stages.

H

um You know previous handoffs of of control and ownership.

H

um So we have some good notes there and then.

H

uh Sean and I had a good good, quick conversation.

H

About some stuff, and so I've been like digging through the comp plan.

H

And basically, looking for um some good specific.

H

Buzzwords uh and concepts for the um you know for for council and and the.

H

City but uh uh quentin did the.

H

The heavy lifting of of writing the first draft of the letter, which is.

H

Fantastic, so I'm just gonna try to pepper in some things.

B

All right and when all of that is completed, you'll share it with everybody.

B

To get you know any additional comments or.

B

Notes before we sign it as a commission, hopefully.

B

Before the next meeting yeah, indeed, okay, uh questions regarding the waldron.

I

I just have one question: shawn, do you know if abby.

I

What equipment ivy tech is leaving or not, or if the city's buying the.

I

Theater or and all the rest of that yeah I don't know, I do not at this.

C

Moment we we're very concerned about that too. I know probably a lot of the.

C

Ceramic studios and the classroom stuff, we'll probably.

C

Go to main campus yeah we're trying to there and there was.

C

Some stuff that was handed down from the bac.

C

Baacc to the waldron, so we have kind of a.

C

Track list and that's part of it right because we we don't want to take the.

C

Building, if there's no lighting for the theater right, so we're trying to.

C

Negotiate what what's staying and what's going so, I think a lot of it will.

C

uh I'm under the impression that a lot of it will stay other than the classroom.

C

Spaces stuff like that, so.

J

Thank you elliot. Did you want to speak, or did I just see your hand go by? Oh no,.

L

I'm just just gesticulating yeah, it's my.

L

Gesticulation rachel, this isn't about the waldron.

E

Though so I don't know, if we're gonna get to grants and stuff.

E

I know I know we don't have a lot of info on grants. I just have a question.

E

Should I wait.

B

Hold on on that for just a second uh one thing to consider for everybody.

B

Regarding the waldron is the ivy tech awards that happen at.

B

The end of the year, um those will obviously not be.

B

Happening- and I just want thinking and.

B

um Overall opinions from you, perhaps at the next meeting, if you can.

B

Just take that as homework as to what role the bac should play.

B

In those sorry ups is arriving or something is.

B

Happening with my dogs, um just to figure out, you know if we want to.

B

Kind of take over that or what role should we play.

B

In the ivy tech awards, as they played for the community.

B

um With that, okay yeah, that's just a very quick question.

H

Like um I'm curious how many people on the.

H

Commission have been to the ivy tech awards before.

H

Okay cool I attended last year and it was.

B

Eye-Opening, in the sense that there is a lot of potential.

B

But I think it went untapped um and if you remember from the strategic.

B

Plan research that we did there was several.

B

Kind of requests from people saying I would like to be.

B

Recognized as doing something important for the city.

B

Of participating of um just doing a good job kind of thing.

B

So there is, there is potential for us to step up.

B

And not necessarily name the artist of the year, but.

B

Perhaps um you know community engagement and other things that could come from.

B

The name of the city without creating offense or highlighting.

B

One business or one group over another entirely on name and talent,.

B

And recognition but effort and how they, how they are.

B

Impacting the city.

C

Well, I think also too the uh the original awards the community awards. I.

C

Think was the bloomington area, arts, council, and it was their kind of advocacy moment. uh It was a way to generate more.

C

Advocacy and then I think, paul kind of tried to take that on as well.

C

So one thing for you all to consider, too, is how.

C

Moving forward, how do we want to deal with arts night? Is there other.

C

Opportunities to do that is that the potential you know so I would start to think about. I think we do need to do advocacy in the.

C

Community, so the question is: what does that look like?

C

um Maybe it's? Maybe it's through arts night.

C

In june, with the grantees and other you know, maybe it's more of an art.

C

Celebration in general, not just to celebrate the grantees, so that's just.

C

Something to consider exactly and some of that.

B

Is included in that bac rethought document.

B

And also, as drafted in the first strategic plan that we were working.

B

Back in january that I emailed you all the link.

B

um At the end of the meeting last last month,.

B

So that brings us back to kind of giving you an update on the bac rethought.

B

Document which, unfortunately, did not get a lot of traction this month.

B

um I did not get enough feedback to really give you.

B

A consolidated update karen had some questions elliot, had a.

B

Couple of comments as well and babette, you shared an email with all.

B

Of us that basically kind of covered a lot of what is in the.

B

Strategic plan, so at this point I just want to open it to the floor to very.

B

Quickly see if there's any updates or anybody had additional thinking.

B

On this, that is not reflected in the document so that I can keep.

B

Moving this forward and really start to walk away from just figuring out who we.

B

Are or who we want to be and what we want to do and start to apply that into a more tangible strategic plan and.

B

Actionable items moving forward.

J

um I would like to say something I think like regarding the vet's comment.

J

I completely agree with her that education.

J

Is a very important factor that we should.

J

uh Definitely consider to bring it back if we are going to split the groups. I.

J

Really think that the idea of having the the groups and the.

J

Discussion, it can work very well and but.

J

Of course, I appreciate environment all the work that you did.

J

Putting those ideas together, I was like at the first meeting.

J

Last time I was thinking, oh my goodness, this will be a lot of work.

J

But yes, I think like when I saw how you line it up.

J

It is possible to do, and I do uh I did see like.

J

First thing that came to my mind was if we would.

J

um How would group them it is by business um like a non-profit or.

J

Either different areas- and um so I thought it was very interesting.

J

I have my opinion with that. If we're gonna vote, I I really would like to express and what I think about it, but anyway.

J

I feel that um it's very important and I had a meeting with byron.

J

When we're saying that, I'm looking for different.

J

Ways that maybe we can find to support local artists.

J

That are not just by grants. uh If that is a different ways, I have.

J

Been researching on that and I found something that may be an.

J

Interesting alternative for us that can work.

J

Together, not to replace the grants, but some other alternative for artists.

J

And it's kind of a platform where would be.

J

uh Putting the people that want to donate.

J

Those sponsors uh and the artists that can.

J

Put their, what are my needs for my project, what it is.

J

And then, when the the the donor see it and that he wants to donate, he.

J

Can choose and and kind of fund that project.

J

Without us having to go to a grant, so there are.

J

Some things that I'm looking for I'm, particularly as an artist.

J

I don't like the grand um idea, it's a kind of complicated for many.

J

Artists and just one of the things that I want.

J

To point out is that uh going back to how to group.

J

Those people I do want to express my opinion that.

J

um Dividing the individual, independent artist.

J

As a business, we are not a business, it is a tax classification.

J

That we have to following, but we are not a business.

J

We are very disorganized and we really don't cannot compete.

J

Into the world of a non-profit or profit business.

J

So just some thoughts that come to my mind.

B

Fantastic, that was great feedback. Anybody else.

B

Rachel, um we kind of I think, spoken about that.

E

Similar to what valeria is saying uh back when, when andy was the.

E

Chair of the commission about like how do we start bringing in.

E

Dollars that um from businesses that can then.

E

Be redistributed not necessarily as grants or anything like that so kind of.

E

A similar approach of connecting businesses with artists.

E

um I'm hesitant, though, on a lot of a lot of that approach in.

E

The sense that um technically.

E

The arts alliance um of greater bloomington.

E

Is that resource for the individual artists, so it.

E

Looking through babette's email again like I totally agree that we should be.

E

Connecting existing groups with people rather than.

E

Reinventing the wheel and to me that feels very.

E

Much as if we're reinventing the wheel, because that is part of the mission of.

E

An organization that is already in this town, so I think really it's it's getting back to like.

E

How are we helping people find these organizations.

E

And putting and connecting them rather than us doing, additional work.

E

To to try to connect individual artists with an individual.

E

Business um so that's kind of a twofold totally.

E

Agree um on the the need to to be more of a.

E

Liaison and generally helping people understand where all the different.

E

Organizations are in this town. um I have a question about the education.

E

Stuff a little bit, I do think that our role is important.

E

um As a commission to be educating the community.

E

And um facilitating an advocacy, but what exactly do you mean by.

E

Education because I've said this in previous meetings- I am.

E

Very hesitant on us coming up with you, know, monthly.

E

Workshops weekly work, whatever it looks like.

E

That's really should not be our role. um I think.

E

It's great if we can help facilitate and partner with another organization to host a workshop.

E

Like there's, um I don't know like partnering with the iac to do a whole.

E

Session on grants, because they actually do that they will come down and do a.

E

Whole training on that um and hosting those, but not having us.

E

Actually be the ones that are planning something from start to finish.

E

um So I'm just trying to wrap my head around.

E

What education is because I do think it falls under.

E

Community engagement and then I think that it's actually a.

E

Much broader conversation, because community engagement is not just educating people, but it's also learning from our community. So I just wanted some clarity on like what we meant by.

E

Education: okay, who wants to define education.

I

Well, I think your points are extremely well taken. Rachel.

I

And and the same thing for valeria, but what I see our role is not.

I

Taking over any of existing organizations.

I

But connecting those organizations and helping them.

I

With their needs and helping them to connect with each other.

I

One of the things that that my understanding and again I'm kind of new.

I

Here, like elliott, um maybe a few years extra, but not much.

I

But um I think one of the problems that bloomington has had is that they've had.

I

So many well-meaning people who have tried very.

I

Hard to get different things going and and started.

I

And a lot of times, they've been clashing with each other.

I

As opposed to working together, so I I see the bac is helping to.

I

Facilitate the groups to work together that, when it.

I

Comes to if, um if.

I

There are two levels of grants you have organizations which.

I

Need grants and or, and you have individuals who need them.

I

I think what we should be doing is trying to help the different.

I

Organizations in town talk to one another and.

I

See what it is that we could do for them um to help them.

I

The other, the other thing I mean right now.

I

Everybody in the um in any form of the art community is.

I

Pretty shot um without any outlets, and there are a.

I

Lot of different places that are doing very creative things, maybe it's just a.

I

Matter of of um of reaching out and trying to have.

I

Different groups get together to talk about it. That would give them.

I

Ideas to help make them a little bit more whole.

I

So I think, there's just a lot of a lot of things within the community.

I

That um that we can do um I, I.

I

So that's how I see education in general. um We.

I

uh I have done various seminars in town, which were things very simply.

I

Different levels of building whether it was sophisticated webshot as.

I

A website selling you know product doing things how you.

I

Can put your groups together where people just don't know or just.

I

Doing uh small things on how to set up a business.

I

How to set up a not-for-profit- um and I mean there's just so many.

I

Things that there's some that that um that I think.

I

We could help with. I mean can't hear that, and I agree that, like oh.

E

Sorry there was an echo. um I agree that, like there definitely.

E

Is room for all of those things and teaching people how to build websites.

E

And do all of that, but that to me that is not our role in.

E

The sense that um I just.

E

I that's that's, not our role to be teaching.

E

um In that sense, because we also need to be planning the strategic plan to be.

E

A long-term plan that is hopefully sustainable.

E

And my concern is like what happens when you know.

E

You leave potentially and then there isn't somebody.

E

That is be leading that right or what happens.

E

When, like you know, I leave or whomever leaves.

E

We want, whatever we put in a place now to be able to be handed off.

E

In a way that new commissioners, after our terms, are up.

E

um They're able to kind of continue with whatever.

E

Work we've started like we're. Building that foundation.

E

And I'm concerned that, as we are talking about this.

E

We're we're, I love that we're like dreaming, big and we're like these are.

E

All the things that we need, because I'm in total agreement like we do need those.

E

Resources, but I don't think that we can dive.

E

Straight into that, because we don't even have the foundation built yet and we need to like think about longevity, a little bit more.

E

Rather than a short-term fix- and that's kind of I don't know, let me.

I

If I define it this way, you're absolutely. Why? Because we want to look.

I

At it, in the macro, not the micro and if we're looking at it, not so much.

I

As these are, these are the things that we need to teach.

I

But that this, but that we become facilitators.

I

That's all that, under uh that we are looking at the things that we we.

I

Can facilitate and can make happen, we have a.

I

Committee, that's set up for that, so, instead of right now would it and and.

I

I I may be totally wrong, but we're one big committee.

I

uh So to speak with two sub ones, underneath it, um you know the pub.

I

You know public art and grants underneath it and I'm just suggesting.

I

That we put underneath that some a couple of other things in place.

I

In terms of structure that can then decide how they're going.

I

To go and reach out, oh yeah, I mean I have a community.

E

Engagement subcommittee for sure yeah clinton.

F

So I was just thinking about sort of defining education. I think I grew both.

F

Of you all, I kind of do feel uh so I hit a bit and I hear rituals, but.

F

I feel, like I'm leaning a little bit more toward feeling like some of this. I could see this getting sort of out of hand right uh and I think.

F

That that feels like what regulator's concern is like us, taking on our responsibility for a lot of these things. But I think there is a way.

F

For us to sort of piggybacking on sean and essence's earlier point.

F

uh Some of the to me, some of the community engagement work, is also.

F

Educational right, so maybe it's not necessarily us having to.

F

Worry about like what does it look like for rachel or.

F

Writing somebody sitting down have to plan out a workshop just like consistently, but even thinking about things about.

F

Like how we could bring in uh community members to talk about.

F

um The people's park in this sort of history to me is an educational.

F

Opportunity right, like in those sorts of dialogues right how do.

F

We, how can we sort of facilitate, create, facilitate the space.

F

For those dialogues that happen, and maybe what does it look like for us.

F

Who do we bring in to do that, so that it doesn't end up being something.

F

That, like rachel or elliot, or somebody else, is having to take.

F

On like control of these workshops, because it does feel like something that.

F

Could then be more sustainable right like if we say we want to host four community dialogues uh and we can bring in outside people to.

F

Host those conversations and to talk about uh the role of public art in the uh in the city of bloomington.

F

I think that feels like something that is a bit more sustainable.

F

uh And something that we could uh maintain long term and it hits both of.

F

Those sort of educational goals, as well as our community engagement goals,.

F

And I think particularly now, it feels like we're in a decent time to do that.

F

Because I think it'll be easier to get people it's easier to get people to come to zooming than it would have been to get them to come to city hall right and that's just real. uh And I.

F

Think that having these sort of platforms now gives us an opportunity to open up access and maybe interests, because we.

F

Could I just I just imagine us being able to bring in so many different people uh to lead those sort of dialogues and.

F

Conversations just from the networks that each of us have.

F

It feels like there's a way that we can do this, that doesn't create.

F

uh More stress, yeah um and- and I that was that is.

B

Closer to what my original intention in including this into the document was.

B

Is we're enablers we're just bringing in groups or individuals into one room.

B

To have a conversation, and the commissioner.

B

Involvement, one is just coming up with the idea of what.

B

And all of this can be pretty much set in stone for the next five years. Is.

B

Figuring out, you know what happens when um and which ones are.

B

Free kind of like free topics for something that is timely and relevant.

B

And then just having a commissioner kind of take the lead for one meeting.

B

Because I don't want it to be always myself.

B

But have dif that way. We have. Everybody, have a presence.

B

And everybody gets to be known by our citizens.

B

um And it's just you're the one who introduces the speaker you're the one.

B

Who says, thank you and I have one more question for you and that's it um so really it doesn't require a whole.

B

Lot of legwork um any other comments regarding this.

J

Yeah, I want to add it to this and uh yeah quinton. Thank you very much for.

J

Bringing it out I feel like when I think about uh I.

J

Think my mind is set up like I want to find ways.

J

That you really, we really can um empower local artists and.

J

When I talk about education, I'm not talking about education, people how to.

J

Write brands so education, educating the artists, but I talk about.

J

How can we um empower the artists to educate the.

J

Community, so we have a powerful tool. We have.

J

Some uh very good skills, and so how can we bring it? One of the things.

J

That you have in the document is like empower young.

J

Youth, so how can we instead of just offering grants, maybe.

J

We can um think about how can we fund programs that will educate.

J

uh The community that will serve the community to.

J

Open the horizon of arts and instead of just giving a grant for.

J

An artist to do a performance or create some or release.

J

A cd or something that it's really uh into.

J

Their own and just our own profit, but also.

J

To encourage that we're going to share our um skills, artists.

J

And to the community in bloomington, so we can.

J

uh Let this artistic community flourish in bloomington. That's what I'm talking.

J

About education, I really went to some.

J

Grant and uh workshops, and things like that.

J

And I and and end up, never writing a grant for my art.

J

But if you ask me, can you come and teach uh youth and even if it's for free, I.

J

Will do that for my heart? I don't want to do that, but what I'm saying is how alternatives we have that we can be.

J

Make our what I'm looking for is: how can we.

J

Enrich our community artistically and how can we use the artist.

J

As a facilitator, to enable that.

J

Flourish into the arts in bloomington and.

J

Just to uh finalize, I want to make very clear.

J

That, as an artist uh bloomington organizations, never paid me.

J

uh The only one that paid me to work for them.

J

Was trash and refashion, and this reflects.

J

A lot of times we do fund organizations, but.

J

Because of uh it's more convenient to bring money from.

J

Outside, if we have or to invest in artists that comes from outside so.

J

That's what it is paid and a lot of times.

J

Artists, local artists are asked to perform.

J

Or to do their art for free as a marketing, so I just want to point.

J

It out, and I think that my role into this commission.

J

Is more and more, it's becoming to become a voice.

J

For independent artists in town that, and how can we make.

J

These people kind of work to the community.

J

And be uh funded for their work. So that's why I'm talking about.

J

Education, not just us, educating them, but how can those.

J

Artists can educate the society and how can we fund them to do that?.

J

Nick, I I think, um valeria, I think everything you're saying.

H

I get it conceptually and I I agree with it. um I don't know.

H

Ethically, spiritually, whatever you know like I, I.

H

I agree that um you know one of the scourges of society is arts.

H

You know artists musicians, whatever flavor being expected to perform for the.

H

Sake of self-promotion or self-marketing or whatever else right.

H

Like people should be paid for their work, you know same as, if someone's working on your car or whatever else right like.

H

um So I agree with that. I think the thing I'm struggling to.

H

Connect um is exactly what um what our role is in that like when I.

H

When I hear you talk, I I hear that, um like thinking about.

H

Grants grants and the one percent through our public arts um uh committee, those are.

H

The two sources of funding that we have you know and so.

H

um And and there are guidelines for how we have to apply that funding and so.

H

If we're talking about making funding available to other artists.

H

It either, you know, maybe it fits within the education realm.

H

You know, maybe it is, um you know we coordinate.

H

uh Like a workshop and there's the workshop on grants, but maybe there's the.

H

Other workshop on how to engage with foundations or how to.

H

Seek um you know, sponsorship or whatever else.

H

That's not my area of expertise, I think there's, maybe an educational.

H

Lens um but the rest requires fundraising.

H

Which is a, I think, a huge endeavor um for us and and probably not our best.

H

uh The best use of our of our energy, so I just I guess.

H

What I'm trying to understand is if I'm uh grasping.

H

Your view correctly or if there's something I'm missing like like.

H

I think it's the fundraising or maybe not fundraising, I think it's the financial part, the the funding of artists, part that I'm not quite following what what you want us to do, or is it just.

B

Perhaps an evening where it's the topic to.

B

Discuss is artist, pay and educate the.

B

Festivals, that are, you, know, guilty of doing this.

B

And why that is not the way to go. You know finding somebody who can present to.

B

The topic: why that's not the right way to go and what are some alternatives? What are the best practices yeah.

B

Sorry bernie would that speak to your need.

J

Valeria sorry, I was trying to find my own mutes.

J

My video, yes, uh I think that it's uh and that's.

J

More or less and I think unique for bringing that's what I'm.

J

Brainstorming trying to see other countries trying to see other.

J

Models, and if there is anything that we can do to maybe kind of.

J

In a sense, help more, I don't know but yeah.

J

That's. Thank you. Thank you. Yes, it's so so you, you see a need.

H

And you're you're saying like how do we address it right? It's sort of an open.

H

Question yeah, okay cool. I just I wanted to make sure there wasn't a specific idea that you were proposing that I was missing.

J

How can we really address that yeah, this issue.

J

Yeah- and this is a complicated question to think about yeah yeah- this is.

B

Something that I talked with valeria about um separately, and so we agreed that she would do some research.

B

And try to figure out if there was something that we could apply.

B

um At our scale, moving forward to address this issue so she's going to.

B

Take this on um as kind of like her her research.

B

Project and her contribution to to the bac.

B

um So I know that karen wanted to speak at some point and.

B

Just before I let her speak, I want to let you all know that karen has.

B

Offered to take on the strategy the drafting of the strategic plan.

B

Perhaps, with your help rachel for sure, since you were so.

B

um Involved in that other draft and there's a lot of information that you.

B

Can share with karen and obviously if anybody else wants to help.

B

In um I'm sure karen would appreciate that, but really.

B

Kind of she's going to take the helm on this one.

B

And hopefully that we're going to start, you know.

B

To have everybody take a little thing here or there.

B

Nick clinton, with a letter, the vet is looking into how to break down.

B

um The potential of the educational nights and things like that.

B

So, karen, you wanted to say something.

K

uh Yes, I I think that um when I mentioned.

K

Education, I had a very different vision of what that meant, and it certainly.

K

Wasn't giving workshops? I was more interested in how we might.

K

Get involved with arts, educators and children as seeing them as a.

K

Component of the public- and you know not necessarily thinking.

K

About any specific thing that we might do, but.

K

Thinking about using them as a resource uh about.

K

Thinking about the next generation of artists and art appreciators, and how.

K

We might envision data in our work as well.

K

um So um you know, pardon me if that was was when I sent that an email that was.

K

Taken uh very differently than how I meant it.

K

um And secondly, with the um strategic uh plan rachel. Thank you. Thank.

K

You thank you for working with me. uh um My.

K

My feeling is, is that part of the reason that it's sort of.

K

Bogged down is that we're getting into a lot of detail.

K

About um how we're gonna do things, and I think what we need to really look at.

K

Is just what what are our goals? What do we say is our goals for the next.

K

Five years- and we have you know, we have any number of ways to operationalize.

K

Those goals- and I think that that's what our meetings will be about um and how we go about that.

K

For instance, when babette talked about well, we need someone in charge of.

K

Community engagement and etc. um I think it's enough just to say these are going.

K

To be, you know, our focus, for you know um the.

K

Next, five years and we're going to really work toward.

K

Strengthening our understanding and our participation in these areas.

K

So in many ways I think from the strategic.

K

Plan document that we started out with and the one that uh briani gave.

K

uh I think they could actually be two documents. I think we can have an.

K

Inner focus working document and then the outer document that will.

K

Give us a lot more flexibility, because who knows what's going to happen.

K

Next, I mean every time I think that things aren't going to happen.

K

They do and then we I mean it's just you know I I don't know what to expect.

K

At this point, so I think it's flexibility is really important, so.

K

That's the tactic that I'd like to take I'm very happy for any feedback from from folks. If you.

K

Haven't had a chance to give it and I'll get working on this. You know.

K

Pretty quickly, that's all I had to say about that.

I

I highly echo what karen said because to me the document needs to be.

I

About our goals and a basic structure, an overview.

I

Structure without the little the details as to.

I

What it specifically means, or doesn't that that comes next.

I

It's that big balloon that we need first yeah.

K

If I can help you, I would be my pleasure and if I'll just confuse the issue.

I

That's fine too yeah, and that was kind of the intention of the rethought.

B

Document it was to get rid of all of the noise in the conversation.

I

Yeah, the petty stuff and focus on the big picture um rachel you.

B

Wanted to say something uh yeah, just it was it's more of a.

E

Question for valeria in um thinking about.

E

The uh how we can support individual artists.

E

Differently- and I think I agree with nick's point- I.

E

Initially interpreted your um your suggestion as being very.

E

Fundraising focused like we would have to raise funds in order to pay artists.

E

To do work do things for us like give talks and seminars and whatnot for us, and we don't have the funding or the.

E

Time to do that, so I I think I'm assuming then that the.

E

Approach is not the bac is bringing in local artists to.

E

Teach something and we're paying those artists, but rather we are working with.

E

Other organizations to connect with those artists so that.

E

Those organizations pay those artists. Am I understanding that right.

E

Okay, yes, the goal would be to maybe be able to.

J

uh Have this way that people don't have to beat you.

J

To a grant but say I have a project, I need these and this and this and this.

J

And that is there. Somebody wants to fund it.

J

So we can connect to them to fund it, so I don't.

J

But, like I said, I don't know what it is. I really. This is a brainstorming thing.

J

But I just feel like if we have opportunities to find a different way.

J

Would be amazing, yeah? Definitely well. I think individual artists will probably.

E

Show up in the strategic plan somewhere, so I just wanted to make sure I.

E

Understood, okay, so we are uh down to five minutes.

B

And I know that we can continue this conversation for a long time.

B

um I I see your hand by that, but before we move on, I just want to see if.

I

Has any questions before we run out of time.

B

Because we can choose to go over if we want to. But we need to be aware of.

L

Public dave, do you have anything wait? Sorry. What did you say does dave.

B

Have any questions as part of the public before we run out.

B

Of public time, are you asking me if I have.

D

Questions? Yes. If because we only have five minutes.

B

Left to the meeting, I want to make sure that if you had any questions or.

B

Comments, yeah dave we're going to be respectful.

C

Of your time since you've been on the meeting, oh well, first of all,.

D

Thank you. Thank you. So much uh second of all, um I heard at some.

D

Point during the meeting uh someone mentioned the idea of uh how.

D

Zoom is, is, uh is a great tool um and I I totally agree in every.

D

Public body that I brush up against, I I try to.

D

Encourage them to find a way to maintain as an augment.

D

To in-person meetings once they eventually resume.

D

Some kind of a zoom portal so that a member of the public.

D

Would have an opportunity to to watch the meeting and also.

D

uh To weigh in and and comment um because the the bloomington arts.

D

Commission is not something I would ever have the.

D

Time to to make time to cover um it's a happy coincidence of the city.

D

Council being on uh break right now um and.

D

The fact that you guys are on zoom, um so I hope that you'll you'll consider at.

D

Least, exploring the idea of maintaining zoom.

D

Access to meetings, um even when you're, all in the same room.

D

If there's one laptop running sort of broadcasting, the meeting on zoom.

D

So that somebody can not only watch but also weigh in.

D

And you also, I mean cats, doesn't typically record you guys.

D

um And zoom is a way to get a sort of a a a version of it.

D

Recorded so that it's preserved in a way that.

D

That that these meetings haven't been up to now.

D

So, anyway, thanks thank you so much um enjoy listening to.

D

Not just the people's mural discussion, but all the rest of it. I feel like I.

D

Learned a lot more about how public art works just for having sat through the meeting, so thank you.

B

Well, we appreciate having you here with us tonight.

B

And thank you for the feedback. Okay, but one more comment, quick thing: uh we did.

I

Not discuss the meeting for that they had about the hospital.

I

Site yeah we're not gonna discuss that one.

B

Tonight um there hasn't really been that much update. Okay, I was just gonna say I found it absolutely fascinating.

I

uh And highly encourage anyone who can pick it up, who didn't see it.

I

And it's and that's again another opportunity.

I

For us to be involved in a very big picture,.

I

So that was it correct all right, so, regarding the bac rethought.

B

Document I encourage you to add any comments, notes or observations that you.

B

Want to make sure that karen has, as she.

B

Starts to leave the strategic plan and karen reach out to anybody rachel.

B

Or babette, who has you, know, shown interest, but anybody.

B

Else that you think might help with a specific section.

B

um You just send them an email and tap into them. I'm sure everybody's willing.

B

To give it lend a hand as needed and.

B

Before we wrap up, I have one well actually a two-part question for.

B

All of you, as I find ourselves basically in the.

B

Middle of the year- and you know when you are in a job.

B

Whenever you are out in the world there's a moment where you have to kind.

B

Of self-observe and review what you have.

B

Done and what you want to do so, I would like, if you could answer.

B

What is the most relevant thing that we have accomplished.

B

In the first half of the year as the bac.

B

Anybody are we answering now yeah go ahead, oh okay. What do you think.

B

To you personally, what is the most relevant thing we have done.

B

In this first half of the year, shifting our grant funding to.

E

Support during covid like an immediate response.

E

Shift as well as partnering with the buea to increase the amount of funding.

E

Available and to have enough funding for.

E

Hopefully, a second round since kova's not going anywhere.

L

Yeah, I would totally agree. I the versatility, the nimbleness of that is.

L

Pretty incredible, um I think it's it's a testament to the.

L

Work y'all have been doing um and that I've largely been observing.

L

And then also just knowing that local governments have a.

L

Certain level of nimbleness that state and federal governments just.

L

Really can't you know, in a kind of level to observe like what the local needs are yeah. So thank you, sean for all the hard work on.

B

Your end as well, to make that happen and for the speed.

J

How you did that was amazing. Thank you. It takes a village.

C

I didn't do it alone, so it takes a village, but personally I think that is.

B

Also, the most relevant thing that we have done, and I really.

B

Want to highlight the fact that sean was so instrumental.

B

In making that happen as well as rachel- and you know, everybody that was involved.

B

In the nitty-gritty, but it required a lot.

B

Out of sean beyond what is expected, and I really appreciate that so that.

B

Leads me to the second question is: what do you think should be the most.

B

Relevant thing that we accomplish before the end.

B

Of the year I could answer again, but I'm going to.

E

Let someone else go first, I definitely would say uh whatever.

M

Community conversation we're going to set up around people's park.

E

Full agreement, I think, when you focus on how we engage with the community.

E

More when it comes to public art is specifically people's park.

B

Any other um ideas or needs, or just.

B

Approve of that idea.

C

Can I ask a question too on that note, though specifically I mean this.

C

In terms of we kind of talked about this, what what is the, how do you off.

C

How do you all view those street murals, the black lives matter.

C

You know black trans lives matter that are going up in cities with the traffic.

C

Paint, how do you, how do you, how does the art commission feel about those murals depends who's doing them? It depends.

E

Who's leading the conversation, and I feel like a lot of them that have.

E

Been personally, I think a lot of the ones that have been put up around cities.

E

Have been um done with a white lens and I think.

E

That that's that's problematic, because action's not being taken beyond that.

E

It's a lot of virtue, signaling, and I think we need to be very.

E

Wary of that, um I don't know how I'd be interested actually to hear and how.

E

Other people feel about it because that's just been my take.

E

From the articles I've read yeah I would agree. um I know I made some.

L

Comments about it earlier, but it's I'm not used to a place that has this.

L

Kind of, like very literal, verbal kind of uh graffiti culture and.

L

It does feel like a lot of virtue cycling to me. It feels like a kind of.

L

Analog version of social media, um and so it's I don't know who these.

L

Authors are that are anonymous to me, but I just.

L

Getting a sense of the climate and the politics of the community.

L

I think there's a lot. I think we should go a lot deeper.

L

Than just those statements.

M

M

I I think that the history behind that space.

M

Gives us context and.

M

It complicates uh that that mural uh that space, because.

M

It's just not coming out of the blue, we're not just planting the streets.

M

Because people are protesting, there's history and there's context. That's.

M

Already built into that space now, if we were just painting it down all.

M

Of kirkwood that would be different or all down walnut or.

M

um College that would be different, but it seems.

M

That location carries with it. um The history.

M

That um the other spaces didn't necessarily have so.

M

I think the way that we bolster, that is to to have those conversations that.

M

We're talking about we're not just slapping it on the wall.

M

We're not just having anybody slap it on the wall, um but we're gonna have that that effort put in.

M

um And and have the people there? Hopefully, if they push back, we.

M

Understand why and and we can move from there.

I

I I just want to echo how profound I think what else has said is.

I

Is that history uh does give context and that that is.

I

What is the most important thing for us to do, specifically in people's park.

I

But throughout the city, uh when you travel.

I

Through europe, one of the things that that always.

I

Impressed me so was every every street I went down, there was.

I

Always a plaque that explained historically what had happened, what.

I

Hadn't happened and um I I think it.

I

The more I learned about the history of bloomington, I mean listening to joy, read.

I

On msnbc- and I think that art and it's a chance for us to reflect.

I

On that history, and also for what we do to reflect that history.

G

Next, uh I I totally agree with all that, and I.

H

Think that um you know if, if, if we're talking about.

H

Like a very hyper specific thing that we could accomplish through the end of this year, I totally agree with um you know the the mural at people's park. I think maybe sort of a broader concept.

H

That I would attach to that is that you know if we can finish this.

H

Darn strategic plan um and that that obviously, but I think that.

H

Like sort of the footnote, there is when we're talking about uh education.

H

Earlier um quentin, I think, basically articulated.

H

Exactly where I sat in that conversation.

H

But I think that what I would hope comes out of this strategic plan is not just.

H

That we come up with a bunch of like titles and subcommittees to go. Do hyper specific things towards that end, but.

H

That we create a framework to apply different lenses to everything we do.

H

Including the existing things that we do you know, and so you know, I think, what.

H

We're talking about right here is: how do we apply the educational lens.

H

You know, or the community engagement lens to this specific thing and how do.

H

We make sure that um our strategic plan- and you know our.

H

Structure is set up such that we make sure that we apply.

H

That sort of lens to future things that we do right like I.

H

Think that, like you know, six years from now or whatever, when none of us are on this, um this commission, it's, I don't think we.

H

Really care as much whether people um uh do are promoting workshops or.

H

Doing social media or whatever else it's are they applying these concepts.

H

You know to whatever they're working on at the time, so I'll get my soapbox, but.

H

I think you all are smart.

B

Fantastic any final thoughts on any of this.

E

Grant's question is now: okay, uh sure cool uh yeah. I agree with what everyone.

E

Said earlier essence, I said it, I think you said it beautifully for here. um My take was more just like on. What's.

E

Happening in other cities right now- and I think it's good we're talking.

E

About it, because we don't want to do that here in this.

E

Town- and I don't think we will, um my grant question is as.

E

Happy as I am that we've we turned that application process.

E

And everything around so quickly, um sean, I haven't heard anything about.

E

Whether or not we're still hopping on calls with people.

E

To talk to that, to the organizations that were given a grant.

E

And I have no idea what the status is of funding.

E

And when funds are going out and we are still in the midst of covid- and I would.

E

Love to help- and I don't know if anyone else has any ideas of how they want to just like.

E

Keep communicating with those that were awarded funds.

E

Because it's been a few months since we've reached out to any of them to say.

E

Anything it's like you're rewarded and then we've kind of gone silent. I feel like have you collected all of the signed, mousse or.

E

Like what's that yeah I mean yeah, I've been communicating.

C

With folks, everybody, except for three groups should be paid by now,.

C

Urged to be, if they're it's in the po process,.

C

We had to get new documentation from the buea.

C

Funding mechanism, since it was two different pots of money.

C

But everybody should be getting paid within the next 30 days.

C

That have submitted their paperwork we haven't. I haven't had a chance to.

C

Schedule a call with all the grantees, yet I have had a couple calls with venues and music promoter.

C

Since our last meeting, the festival calls kind of fell off because everybody.

C

Is either going digital like midway and lotus is going digital, so I didn't feel.

C

Like we needed to continue those conversations in the meantime.

C

But the idea is to get now, tyler has compiled and it has like a kind of.

C

A venn diagram of groups that I've talked about collaboration issues and so.

C

I just haven't had a chance to connect with her on that, but the hope is to move forward on that.

C

And once again, I've been kind of holding back on the second round of the uea.

C

Funding just to see how this year is shaking out with everybody.

C

And seeing what the kind of needs are the venue group asked to have a survey.

C

Done which I've started to compile notes and.

C

Started to get drafts on like how getting through 2020 and then to 21.

C

People are feeling, so that's that's just a quick update on that.

C

But I've always also been kind of pulled in a couple: different directions.

C

So I haven't been as on the ball on that. As I said, I mean let.

E

Me know how I can help um as grant's chair. I want to be able to.

E

Help in some way with this, especially since, like we're out of the chaos of the middle of the grant cycle,.

E

um Now is like when I can be that post grant support.

E

So yeah, thank you. I appreciate that really it took it took a while for.

C

People to sign the contracts and get the get their affidavit signed.

C

And their paperwork filled out I mean I'm still hounding people weekly to turn in their paperwork so yeah. I.

B

Mean I still signed a contract just this morning, yeah yeah, I mean from one of the grantees yeah, so I mean they've.

C

They've had that for a while, so it's it's yeah, so most.

C

uh Let me look this up real quick. I think.

C

uh Most everybody, except for and actually while you're looking that.

E

Up, um I would I kind of want to get a feel from all of you. I would like to.

E

Start the grants conversations again like subcommittee.

E

Meeting whether it's once a month or once every other month right now, as we.

E

Figure stuff out, but um in august next month I would love.

E

To start those up again, so we can start thinking about next year be prepared to.

E

Jump in and help and shift gears and whatever the buea needs.

E

As we approach fall, um grants have has also like the committee.

E

Has it's usually me elizabeth and quentin.

E

um Nick you were on it and then off at bryony.

E

You recently joined it, so I I would love to stabilize it a bit.

E

And also um essence, I know you've expressed interest.

E

In the grants- and I really want to to bring you into that fold, so you can.

E

Become more familiar with the process um as a heads up, I will likely I.

E

Prefer not to be the grant's chair, starting in 2021.

E

Whatever the next year is 2020 didn't happen,.

E

um So I want to help you all in the next six months or anyone.

E

Who's interested in potentially becoming the grants chair to get really familiar.

E

With that process, so I want to start those meetings up again. Is everyone cool, okay, valeria, you're, interested.

E

Amazing, um I will send a message out to those.

E

That have told me they're interested in continuing with grants, but if anyone else hasn't told me yet reach out to me, hang on, I can add.

C

Everybody right now: oh thank you perfect, um but yeah. I just.

E

Want to pick those meetings up again and uh at least start the conversations.

E

Of what we want the grants to look like next year, so wait is valeria. Essence, it's on there wednesday. The next one is july. 17Th.

E

E

We can do it july 17th if you all, are still.

E

Up for that or we can move it to august, I, whichever one we want to start with.

E

Next yeah valeria.

J

Oh yeah, I'm happy to help and, like I said, I usually work better when people.

J

Tell me what to do, especially because I'm new, so I.

J

Appreciate you give me some things to do and yes, yeah. Thank you.

C

Yeah in essence, I have you on that meeting too. I don't know if your iu.

C

Account allows you to accept, google invites, but it would be a google email.

C

And valerie I just emailed you so you should. You should be on all the.

C

Scheduled meetings, which is the third friday of every month, okay, am.

B

I on it, you are now.

B

Oh good, because I know I'm not I'm always asking rachel. What is the.

B

Next one I was like, I don't know, we should talk about that.

E

In the next meeting, um so yeah just is everyone cool with.

E

Starting july, then, that's what next friday.

G

uh Yeah not this week, the following: yes, not this week for the following week,.

E

Awesome, I will be in touch with you all. Okay, do you.

G

Do you want to share why you want to step down as part of your commissioner.

G

Announcements sure so I still will be involved with.

E

The commission, but um I have accepted.

E

The fellowship I received to attend grad school at risd.

E

So I will be getting a master's degree again thanks.

B

While still in bloomington, while still in bloomington, still working for.

E

Secretly full-time and basically still doing everything.

E

That I'm doing, but I'm also trying to be smarter and say no to things nick trying.

E

To step down from things, so um I still want to be involved and.

E

But I also want to like pass that toward jon yeah. I think it.

B

Will be a perfect opportunity for you to be able to kind of mentor somebody else into the process without you know, somebody.

B

Just taking it on without not not knowing what the history is or what.

B

Has been done um so, let's jump into commissioner.

B

Announcements and sean you can talk about the paper pavilion project as well. I can yield my time just commissioner announcements.

B

Okay, it's fairly late, any commissioner announcements.

B

All right well we'll leave it to rachel, then, and we'll.

B

Adjourn this meeting at 6 44., unless anybody has anything else to add.

C

Thank you all. It's so good to see everybody.

B

Thank you and we'll see public art on.

A

A

A