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From YouTube: Public Art Committee December 8, 2020
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A
B
B
B
prior
to
calling
the
role
we
have
some
business
to
deal
with.
We
do
have
a
physical
quorum
present
and
the
committee
prior
to
roll
call
would
need
to
make
one
of
the
following
motions
and
vote
on
it.
One
a
motion
to
vote
to
allow
the
absent
member
to
participate
virtually
due
to
an
extraordinary
circumstance.
B
B
B
Okay,
I'd
like
to
entertain
a
motion
from
the
from
someone
on
the
committee.
C
I
make
a
motion
that
we
allow
harper
to
participate,
remember
to
participate.
B
Okay
marissa,
could
you
call
the
roll
yes.
F
B
Okay,
we
have
and
we
have
a
guest
today,
artist
elizabeth
indiana's
mark.
Do
we
have
anybody
else
in
attendance
on
online.
B
Okay,
I'd
like
to
entertain
a
motion
to
approve
the
minutes
from
the
october
13th
2020
meeting
I'll.
B
Bill
is
there
a
second
second
trish?
Okay?
Is
there
any
discussion
on
the
minutes?
Any
comments.
Corrections
I'd
like
to
entertain
a
motion
to
approve
the
minutes.
A
B
B
The
proposal
and
attachments
were
sent
to
the
pac
members
prior
to
the
meeting,
as
well
as
being
printed
and
distributed
in
hard
copy
at
this
meeting,
but
we
would
appreciate
some
artist
details
and
comments
and
explanation
about
the
project.
B
H
Elizabeth,
oh
yes
hi!
I
can't
really
tell
where
everybody
is
I'm
here.
I
guess
obviously
at
the
site.
Thanks
for
letting
me
zoom
in
yeah,
I
proposed
an
an
extension.
I
guess
everybody's
got
the
paperwork
of
the
surrounding
walls
of
at
the
cultural
center.
H
It
just
kind
of
was
a
natural
evolution
for
me
to
think
in
this
direction,
thinking
about
where
we
are
and
which
walls
face,
which
way
to
extend
the
concept
to
augment
the
concept
to
consider
the
setting
of
the
sun
on
the
west
wall
in
the
rising
of
the
sun
on
the
east
and
southeast
wall,
and
also
to
continue
on
on
the
south
wall,
with
some
of
the
continued
landscape,
local
flora
plants,
flowers,
critters
and
shells,
and
and
stuff
like
that.
H
So
I've
been
excited
by
in
the
past,
murals
that
I've
seen
in
the
white
house
and
also
in
mount
vernon
and
virginia
and
different
places
and
even
columbia
university
where
these
kinds
of
landscapes
continue
on
and
so
that
in
the
site
and
our
rich
cultural
landscape
sort
of
drives
my
concept
here.
H
I
think
there
are
some
pictures
and
clothes
there
that
show
you
some
examples
of
where
this
kind
of
thing
is
not
just
in
these
places.
But
when
you
see
them
and
some
of
my
very
rough
sketches,
I
only
included
two
of
them.
H
I
didn't
do
all
five,
although
I
have
sketches
for
them,
I
didn't
want
to
overwhelm,
but
the
sunrise
and
sunsets
included
are,
you
know,
make
me
think
about
the
artist
turner
who's
just
well
known
for
this
kind
of
thing,
and
they
just
always
moved
me,
our
florida,
sunrises
and
sunsets,
especially
on
the
west
coast,
where
we
are.
I
think
we
could
all
agree
are
quite
stunning,
and
you
know
we're
surrounded
by
this.
H
So
the
the
wall
measurements
are
all
here
and
they
are
considerably
more
square
footage
than
the
the
the
wall
that
I'm
currently
working
on
and
there's
so
yeah
the
wall.
I'm
working
on
now
is
260
square
feet
and
the
the
next
wall,
or
the
walls
around
surrounding,
are
maybe
closer
to
650
square
feet.
So
it's
considerably
more
square
footage,
but.
H
A
lot
of
the
detail
work
that
is
behind
me,
portraits
and
characters,
and
maybe
52
elements
are
not
as
detailed,
but
there
is
considerable
detail
for
a
minute
there
I
thought.
Well,
you
know
a
sun
set
doesn't
have
as
much
detail,
but
then
I
thought
of
all
the
brush
strokes
and
the
kind
of
blending
and
nuance
that
you
have
to
get
in
a
turner
painting
only
on
a
giant
wall
and
I
sort
of
backed
myself
up
there
a
little
bit
thinking.
That
is
a
lot,
but
so
that
is
my
concept.
H
I'm
happy
to
entertain
any
questions
or
you
know
further
discussion.
If
anyone
wants
to
pose
some.
H
B
No
we're
going
to
talk
about
the
progress
on
the
mural
later,
but
this
is
just
for
the
the
proposal
that
you're
submitting
now
the
empty
one
right
here.
So.
H
Just
walk
around
and
show
you
some
of
this
wall
space
yeah,
okay!
Here
is,
you
know
if
you
go
from
here,
that's
where
this
is
the
west
wall,
and
so
this
is
where
I
envisioned
the
sunset.
There
are
some
areas
in
the
wall
that
are
still
kind
of
bubbled
up
needing
some
resurfacing.
H
H
A
D
I
have
a
couple
of
questions
on
a
couple
of
different
levels.
I
wasn't
on
the
committee
when
this
project
was
approved,
so
I
don't
have
a
lot
of
the
background.
So
forgive
me
elizabeth
if,
if
this
is
repetitive-
but
I
don't-
I've
never
been
in
this
space,
at
least
since
the
mural's
been
started,
and
I'm
wondering
what
is
the
function
of
this
room
within
the
museum.
H
Well,
let
me
let's
see
get
you
caught
up
with.
Where
did
I
put
the
hold
on
a
second.
B
I
H
There's
a
lobby
and
it
it's
the
entryway,
the
gateway
to
this
lovely
renovated
theater.
This
mural
I
I'll
just
have
a
a
sketch,
that's
not
so
not
as
crisp,
but
this
was
a
mural
that
was
done
and
in
the
city
of
tarpon
springs
on
the
wall,
where
christopher
stills
reproduction
of
one
of
his
paintings
is
now
on,
with
the
champ,
the
chamber
of
commerce
building,
and
this
mural
that
I
just
showed
up.
H
This
mock-up
was
painted
in
the
late
70s
that
I
I
had
done
and
designed,
and
so
this
was
the
the
beginning
or
the
the
blueprint
of
what
this
is.
Only
this
is
refreshed
and
updated
and
a
lot
more
exciting.
I
I
would
think,
because
it's
not
on
a
big
wall
with
cars
whizzing
by
and
the
characters
are
more
like
you
might
see
in
a
narrative
where
many
are
facing
you
looking
at
you
in
the
face,
animals
are
more
proactive,
so
it's
a
lot
more.
I
think,
engaging
and
detailed,
because
it
is
a
closed
space.
H
It's
I
see
it
less
as
a
mural
and
more
as
a
giant
painting
really
because
people
will
be
able
to
get
up
close
to
it.
So
I
I
didn't
really
paint
this
as
abstractly
as
you
see
in
the
outdoor
mural.
You
know
that
was
more
pick
for
values
for
colors
or
pick
a
red
and
make
a
light
red,
a
dark
red,
a
darker
red,
a
pink
and
make
a
you
know.
You
paint
an
apple
with
that,
but
these
are
more
module,
modeled
and
refined
and
detailed
oriented
images.
Because
you
can't
you
aren't
an
enclosed
space.
H
It
is
an
entryway
to
a
theater
and
it's
a
feature
of
this
unique
building.
So
it's
a
whole
different
mindset,
but
that's
where
it
began,
and
this
is
how
it
will
function.
I
guess,
as
a
waiting
area
as
an
entrance
to
wonderful
exhibits,
not
exhibits
but
plays,
and
maybe
a
meeting
place
for
for
people
at
times.
You
know
because
there
are
other
rooms
upstairs
and
downstairs
and
I'm
not
sure
a
hundred
percent,
what
all
the
boc
and
the
city-
and
you
know
what
what
they
have
in
mind
for
the
other
sections.
I
H
B
I
Diane,
no,
I
was
just
going
to
say
you
know,
I'm
the
director
for
cultural
and
civic
services
and
the
cultural
center
is
under.
You
know
my
umbrella,
and
you
know,
since
it's
been
going
through
renovations
for
the
last
two
years.
You
know
we
haven't
been
able
to
use
it,
but
we
finally
have
now
done
the
checkout
with
the
construction
company.
I
So
you
know
we
are
planning
to
start
utilizing
that
you
know
again
in
2021
when
covid
I
guess,
gets
a
little
bit
more
manageable,
but
that
particular
area
where
the
mural
is
you
know
now,
with
with
elizabeth.
We
use
that
quite
a
bit
because,
with
our
shows
that
are
in
the
theater,
that's
kind
of
like
a
reception
lobby
area
for
our
shows.
I
You
know
when
people
gather
and
also
we
have
had
the
tarpon
springs.
Art
association
and
the
guild
have
have,
you
know,
shows
and
different
and
exhibits
in
there
as
well.
When
tina
buchovales
was
the
folk
life
coordinator,
she
did
quite
a
few
exhibits
in
there
as
well,
so
we
are
still
hoping
to
use
that
space.
I
You
know
for
certain
exhibits
and
it
might
be.
You
know
different
types
of
visual
artists,
not
just
you
know,
painting
but
perhaps
sculpture
photography.
I
I
Tours
you
know,
because
it
is
quite
amazing
as
far
as
the
history
goes
so
we've
also
considered
you
know
doing
some
tours,
because
there
are
some
kind
of
interesting
back
stories
for
the
cultural
center,
so
that's
just
a
little
bit
of
the
details
of
usage
and
what
we
are
planning
to
do
in
the
future.
Thank
you.
J
I
have
a
question
in
general,
but
I
don't
know
it's
more
of
a
philosophical
question,
since
the
project
is
inside
the
cultural
center,
unlike
some
of
the
other
public
art
projects,
it's
not
as
accessible
in
the
sense
that
people
don't
just
happen
upon
it.
They
have
to
actually
go
there.
So
my
philosophical
question
was:
should
we
think
about?
Do
we
want
to
do
some
other
projects
that
are
more
openly
visible
before
we
spend
more
money
on
this?
J
I
have
no
problem
with
continuing
it,
but
we
have
a
limited
amount
of
money,
so
I
would
like
to
see
some
projects
in
some
of
the
underserved
areas
happen.
First,
the
cultural
center
now
has
this
new
mural
that's
going
to
be
unveiled.
It's
got
the
story,
time
sculpture,
which
is
beautiful.
I
just
I
was
just
there.
I
wanted
to
look
at
the
space,
but
it
was
locked,
but
so
I
don't
think
there's
any
problem
with
doing
it
at
some
point
in
the
future.
J
C
Yeah,
it
may
make
a
comment,
certainly
one
one
problem
with
doing
what
you're
suggesting
would
be
the
limit
on
the
insurance
that
elizabeth
has
to
pay,
excuse
me
or
we
have
to
pay.
I
think
the
deadline
for
this
insurance
is
september.
21
that
it's
over
am
I
right.
B
Elizabeth
has
secured
and
paid
for
the
insurance
herself.
C
B
C
So
that
would
kind
of
you
know
kind
of
make
you
want
to
make
you
go
ahead
with
the
project
and
get
it
done
within
that
time
frame
right.
H
I
I
feel
like
by
the
end
of
december.
I
should
have
the
majority
of
things
done,
I'm
here
every
day,
except
on
the
weekends-
and
I
am
just
you
know,
metal
to
the
pedal
here
stay
all
day
and
then
go
home,
but
I
I
feel,
like
at
least
you
know
close
to
done
90
with
some
connecting
of
background
and
foreground
details,
and
I
was
also
asked
to
consider
and
and
requested
to
look
into
a
sealer
and
ways
to
protect
it,
and
so
that
will
carry
over
into
january.
H
B
Detailed
photos
of
the
mural
mark.
Could
you
could
you
project
the
the
two
images
of
the
mural?
I
know
we're
out
of
water,
but.
B
B
H
You're
progressing,
if
you
can
look
just
if
you
don't
mind
me,
is
this
out
of
order
to
say
something.
H
If
you
look
at
well
yeah,
thank
you
mark.
That's
we're
missing
a
a
remington
florida,
cowboy
cracker,
but
that's
okay!
If
you
look
at
the
doorway
in
between
the
two
sections
which
might
be
back
up
a
bit,
there
is
a
christopher,
still
mural
sort
of
linking
the
two
together
here.
Let's
see
right
over.
H
Here,
a
puppet
and
a
palette,
so
in
a
way
that
kind
of
lyrical
and
the
painting
styles
don't
even
look
beautifully
together,
it's
sort
of
a
gateway
to
the
arts
as
well
with
that
little
tiny
semi-circle
painted
over
the
the
entrance
way
connecting
these
two
things
so
something
I
meant
to
mention
beforehand
but
yeah.
I
think
that
you
know
I'm
on
a
roll.
H
The
some
of
the
more
tedious
stuff
has
been
charac.
You
know
characters
you
want
to
get
right
like
seminal
princess
and
spaniards
and
florida
cracker,
boys
and
certain
animals
and
stuff.
So
I
feel
like,
as
I'm
going
up
it's
getting
a
little
bit
faster.
H
So
therefore,
I
think
you
know
by
the
time
I
do
every
single
thing,
including
finalizing
the
research
on
the
sealer,
and
doing
some
test
patches
in
different
corners
of
two
different
products
that
I've
discussed
with
experts
and
so
forth.
H
It
should
be
the
time
frame
and
I'm
still
covered
by
insurance,
all
the
way
through
september,
so
it
would
be
kind
of
a
natural
extension
to
continue
in
that
manner
like.
I
think
it
was
trish
who
made
a
point.
B
Can
we
have
a
motion
and
a
second
to
approve
and
then
go
into
further
discussion?
I'd
like
to
make.
I
It's
completed
now,
and
so
we
are
anticipating
getting
back
into
it
sometime.
You
know,
perhaps
in
in
january,
in
a
limited
capacity
depending
on
kovid.
G
A
I
It
but
yeah
we're
anxious
to
get
back
in.
D
Yeah,
I
I
understand
why
we're
looking
at
this
piece
of
new
business
first
because
of
a
courtesy
to
elizabeth,
but
I
I'm
wondering
if
we
can't
consider
this
along
with
the
several
major
items.
We
have
down
agenda
that
are
going
to
require
some
resources
and
that
we've
been
talking
about
for
quite
a
bit
of
time
that
that's
my
little
piece
of
uneasiness
on
making
a
decision
right.
This
minute.
B
I
B
Fiscal
year
october,
1st
to
september
30th,
okay,
would
people
like
to
consider
a
deferment
to
next
month
on
this.
A
Yeah,
I
would
it's
it's
something
where
the
the
project
is
growing
and
whereas
it
it
would
be
very
effective
and
profound
in
that
space
if
you
walked
in
there
and
it
was
surrounded
by
it.
But
I
I
just
feel
like
right
now.
This
is
just
this
has
just
come
out
upon
us,
and
we
do
have
other
things
to
consider
and
this
if
this
could
be
tabled
to
this
for
discussion
next
month
to
see
where
we
are,
with
the
other
things.
I
Diane-
and
I
just
wanted
to
explain
why
it
came
up
suddenly
and
everything
on
our
website
tarponarts.org.
We
have
you
know
on
the
public
art
section,
there's
a
section
for
any
artist
to
download.
You
know
the
paperwork
and
go
ahead
and
put
in
a
proposal
and
as
a
courtesy
to
whatever
artist
at
whatever
particular
time
decides
that
they
want
to
go
ahead
and
submit
a
project
to
the
public
art
committee.
I
What
we
decided
is
that
you
know
I
would
if
I
had
a
completed
project,
I
would
bring
it
forward
at
the
next
meeting
as
a
courtesy
to
that
artist.
So
you
know
that's.
The
thing
is
that
you
know
we
never
know
when
an
artist
is
going
to
go
ahead
and
complete
that
I
can
always
try
to
give
you
all
a
little
heads
up.
You
know
before
a
meeting
and
say
hey,
you
know
we
are
going
to
have.
I
You
know
a
new
proposal
coming
just
so
you're
kind
of
aware,
but
you
know
it's
just
kind
of
a
if
the
artist
puts
forth
all
the
work
to
put
together,
you
know
a
very
comprehensive
proposal.
We
want
to
give
them.
You
know
the
courtesy
of
just
bringing
it
forward
to
you
all
as
soon
as
possible,
so
I
just
wanted
to
explain
that.
Okay.
G
H
Oh,
I
think
what
I
have
in
the
proposal
is
that
I
would.
I
have
sketches
that
that
you
see
there,
I
don't
have
all
of
them,
but
I
would
probably
take
as
I'm
completing
every
single
thing
here
in
january.
H
I
would
also
be
working
on
the
final
sketches
for
the
new
proposal,
because
I
so
finishing
up
here
through
january
also
submitting
the
final
sketches
and,
if
approved,
then
I
would
be
right
in
here
still
and
continue
on
with
getting
everything
ready
and-
and
you
know
all
my
stuff's
here
and
and
even
if
you
know
well,
if
there
was
a
delay
or
it
could
stay
here,
but
it
hopefully
if
it
was
voted
on
and
approved,
then
everything's
in
place,
including
insurance
and
equipment
and
paints
and
all
that
kind
of
stuff.
H
If
it's
not,
then
you
know,
I
would
take
that
time
to
remove
things.
So
it
seems
like
for
me
to
to
do
this
whole
other
phase,
which
is
three
times
the
square
footage
of
of
what
I've
been
working
on.
Although
a
little
bit
less
detail,
I
would
like
to
get
on
it
right
away
and
you
know
get
up
to
september.
If
I
finished
early,
that
would
be
great,
but
I'd
like
at
least
that
little
bit
of
wiggle
room
and
if
covet
is
all
cleared
up,
and
you
know
if
we
get
a
solution
to
that.
H
You
know
that's
another
wonderful
thing
to
consider,
because
the
space
could
be
more
active
and
and
whatnot
and
I'd
be
painting
on
scaffolding
or
or
a
ladder
or
both.
It
was
right
where
you're
sitting
right
now
at
the
diocese
there.
H
I
worked
on
birds
leaving
the
earth
which
is
at
the
airport
on
scaffolding
right
through
commission
meetings.
So
if
I
was
able
to
get
through
that
20
by
20
foot
square
project
with
people,
I
think
you
know
we
we'd
have
a
solution
to
to
me
being
here
and
also
visitors.
It
would
be,
you
know,
contained
and
dealt
with.
I
think
successfully.
I
I
Mention
too,
that
you
know
the
process
would
be
that
once
if
the
public
art
committee
did
approve
this
project,
it
would
still
go
to
the
city
manager
and
then
there
he
would
have
his
questions
and
then
also
it
would
have
to
be
a
new
contract
with
you
know
mr
trask
tom
trask,
as
well
as
and
then
elizabeth
and
tom
trask.
I
You
know
the
city
would
have
to
agree
on
terms
and
then
it
would
have
to
also
go
to
the
board
of
commissioners
and
based
on
their
agenda.
Sometimes
you
know,
depending
on
the
importance
of
what
they're
dealing
with
you
know,
it
gets
kind
of
long.
Sometimes
you
know
so
I
have
no
way
of
knowing
where
it
would
be.
I
mean,
even
if
you
all
approved
it
in
january,
I
have
no
idea
where
it
would
fall.
You
know
with
the
boc,
because
that
wouldn't
be
done.
I
B
The
process
is
that
we
would
have
to
approve
it
and
then
it
would
go
to
city
manager
attorney
board
of
commissioners.
So
even
if
we
approved
it
today,
it's
conceivably,
wouldn't
you
know,
get
full
approvals
until
maybe
the
end
of
february
at
optimistically
yeah.
So,
okay,
thank
you.
Does
anybody
have
any
comments
or
emotion
as
to
whether
we
should
go
forward
with
this
or.
C
F
B
Okay,
do
you
want
to
maybe
just
table
this
until
the
end
of
the
meeting
after
we've
discussed
our
other
projects
and
maybe
could
just
come
back
to
it
briefly?.
B
C
B
Okay,
so
it
I
can't
vote
so
lucian
bill
david.
We
have
a
motion.
B
B
H
Well,
I
could
throw
in
one
thing
here
that
is
significant:
the
walls
surrounding
this
mural.
When
I
first
drew
on
this
wall
it
was
very
textured
and
peely
I
mean
I
had
to
draw
on
it
to
really
get
close
to
it,
because
there
was,
I
didn't,
get
in
the
building
until
late,
because
it
was
being
renovated,
and
so
once
I
got
scheduled
for
a
narrow,
a
narrow
kind
of
window
to
come
in
and
draw
this
this
out
into
completing
the
drawing.
H
I
discovered
there
were
lots
of
bubbling
bubbled
up
areas
that
really
couldn't
be
worked
on
without
peeling.
It
was
just
not
going
to
work,
and
in
about
a
week
the
city
would
say
what
what
is
this
wall
here?
That's
peeling
it.
It
did
have
to
be
resurfaced,
and
the
city
did
that
and
did
a
wonderful
job
with
it.
So
it
got
replasted
and
surfaced,
and
it's
just
a
beautiful
surface
to
work
on.
H
H
I
think
the
walls,
especially
when
this
is
finished,
and
maybe
there's
some
consideration
for
some
stanchions
and
velvet
ropes
or
something
to
keep.
You
know
people
from
or
getting
too
close
it
would
kind
of
deal
with
both
because
the
walls
would
have
to
be
resurfaced
and
they
would
look
nice
but
who's
going
to
pay.
H
For
that
not
sure
I
don't
think
it's
in
the
budget
anymore
for
the
city,
I'm
not
100,
but
if,
if
this
project
went
forward,
the
walls
would
be
resurfaced
and
that
would
be
kind
of
scooped
up
in
this
proposal
with
and
the
city
would
deal
with
that
again.
But
if
it's
not,
then
you
just
have
these
walls
that
need
to
be
addressed
so
that
the
whole
place
looks
nice.
H
Now
perhaps
you
can
share
more
insight
on
that
diane
because
you
know
more
about
the
building,
but
that
makes
sense
you
know,
as
is
these
walls
need
to
be
addressed,
to
look
really
nice
and
smart
and
all
tied
together
and
pristine
to
come
into
this
place.
If
there's
one
mural
so.
I
I
know
that
I
don't
have
it
in
my
budget
to
redo
walls.
In
fact,
that's
what
the
the
contractors
painted
the
walls.
It
is
a
historic
building,
it's
very,
very
old,
and
so
some
of
those
nuances
are
going
to
be
there.
If
there's
going
to
be
a
mural
painted
in
that
area,
I
believe
you
know
moving
forward.
We'd
have
to
have
that
built
into
the
proposal,
because
I
don't
have
that
you
know
the
square
footage
was
done.
We
got
an
estimate
and
it's
like
six
thousand
dollars
to
refinish
those
to
have
it.
H
Look
at
what
I
was
getting
at.
I
think
it
was
like
1,
4,
260
square
feet
and
the
people,
the
agency
that
was
worked
with
and
did
a
wonderful
job,
and
this
is
twice
that
so
I
think
it
would
be
maybe
more
in
the
ballpark
of
3
000.
But
yes,
it
would
have
to
be
addressed,
and
I
guess
what
I'm
saying
is
there
might
be
a
way
to
get
two
for
the
price
of
one.
Otherwise
I
don't
think
any.
I
don't
think
it's
just
they're
just
going
to
be
fixed.
H
B
Okay,
well,
I
see
that
we've
already
used
40
minutes
of
time
and
it's.
B
B
Okay,
this
is
not
on
the
agenda,
but
it's
going
to
be
pretty
pretty
brief.
I
received
a
request
for
consideration
of
a
mural
at
the
tarpon
springs
elks
lodge.
This
was
something
that
was
proposed
to
them
back
in
the
battle
days,
when
we
were
talking
about
doing
murals
on
private
property.
B
So
I'd
like
to
just
defer
this
to
go
on
the
january
agenda,
but
I
just
wanted
to
give
you
a
heads
up.
Okay,
current
project
updates,
the
illuminated
art
boxes.
B
All
the
components
are
in
place:
the
boxes,
the
solar
power
generators
and
the
art
prints,
but
public
works
has
been
faced
with
many
challenges
and
they're
doing
their
best
to
install
the
boxes.
We've
had
rain,
covered
symptoms
among
the
employees,
etc.
So
they're
going
to
try
to
get
them
up
as
soon
as
they
can
next
item.
The
christopher
still
mural
at
advent
health
is
progressing
elizabeth
indianos.
I
think
that
we
discussed
extensively
the
progress
on
the
first
mural
project
and
then
we
have
the
plaque
for
story
time
diane.
I
B
Okay
and
now
we
another
thing
that
diane
has
really
worked
on
and
presented
to
us
was
the
maintenance
quote
for
saint
kate.
We
have
a
maintenance
line
in
our
pack
budget
and
we
did
not
use
any
funds
from
that
line
in
2020,
so
whatever
was
budgeted
would
just
roll
over
to
2021..
B
Our
top
priority
is
the
preservation
of
the
newly
installed
storytime
sculpture,
because
there's
consider
considerable
concern
about
the
wooden
bench
that
the
sculptures
are
sitting
on.
Yes,
diane.
Do
you
want
to
give
a
brief
overview
of
the
maintenance
figures.
I
Sure
st
cates
came
out,
and
one
of
the
concerns
is
that
it
is
a
teak
bench
and
it's
been
in
storage
for
gosh.
You
know
a
year
or
more
and
it
really
needed
to
be
sealed
properly
because
it
had
been
in
a
showroom
before
so
they
need
to
come
and
clean,
restore
it
and
seal
it
with
a
marine
grade
teak
system
which
they're
from
very
familiar
with,
and
to
clean
and
lacquer
and
wax
the
bronze
statue
to
pro.
I
You
know,
rent
to
protect
them
from
the
elements
and
then
seal
the
concrete
base.
So
that
would
be
a
pretty
substantial.
You
know,
1
850
to
you
know,
get
that
really
preserved
and
I
feel
like
that's.
You
know
if
we
do
anything,
that's
something
that
needs
to
be
done
now,
because
you
know
it's
in
a
on
a
lawn
system.
It's
getting
sprinklers
on
it.
I
It's
getting
all
the
elements,
so
you
know
the
the
more
that
teak
batch
sits
out
there
and
protected
it's
not
going
to
be
a
good
thing,
and
then
they
also
and
were
very
instrumental
in
installing
the
nyads
down
at
the
sponge,
docks
and
and
then
alma.
When
they
went
to
see
alma,
they
said
that
they
were
concerned
because
the
the
welds
to
attach
her
tail
had
been
broken
and
that
needed
to
be
repaired.
I
So
what
they're
recommending
is
just
like
a
general
semi-annual
cleaning.
You
know
any
restoration
that
needs
to
be
done
and
you
know
doing
a
wax
seal
on
all
of
them
and
they
would
come
out.
You
know
quarterly,
if
needed,
to
do
an
assessment.
You
know
we
can
all
kind
of
take
a
look
at
them
and
see
if
we
see
anything
that
is,
you
know
a
problem,
you
know,
keep
them
abreast
of
it,
but
they're
recommending
like
a
semi-annual
visit
for
maintenance.
I
B
Right,
you
should
have
a
print
out
of
this
in
your
in
your
handouts
and
the
total
for
ammo.
With
the
two
visits
is
and
twenty
2031.26
cents,
the
niads
would
be
three
thousand
four
hundred
and
fifty
seven
dollars
and
fifty
cents,
and
that
would
include
maintenance
on
the
fountain
storybook
time
would
be
three
thousand
six
hundred
and
fifty
three
dollars
and
seventy
six
cents.
It's
for
a
grand
total
of
9142.52
cents.
I
This
is
something
to
keep
in
mind
as
you
all
move
forward
with
projects
and
what
type
of
art
you
decide
to
place
there
is,
you
know
also
what
type
of
maintenance
would
be
involved
with
them
as
well.
You
know
we've
had
bike
racks
before
you
know
throughout
the
city,
and
you
know
the
only
repairs
that
were
needed.
You
know
if,
if
so,
they
don't
really
need
much
maintenance
other
than
any
kind
of
repair,
and
we
haven't.
We've
had
a
minimal
of
that.
So.
B
F
B
I
Summer
and
winter,
one
of
the
things
that
they
explained
to
me
when
we
were
doing
the
nyads-
and
this
is
you
know,
maybe
more
so-
for
the
naiads
but
alma-
is
exposed
to
is
that
because
of
our
seve,
our
weather?
With
you
know
the
salt,
water
and
the
salt
spray
coming
and
hitting
them.
You
know
it
kind
of
corrodes
the
statues
quite
a
bit
more
than
you
know.
If
something
was
out
in
a
park,
you
know
somewhere
just
with
the
regular
elements.
I
So
but
then
we
have
acid
rain
to
contend
with
so
anyway,
but
you
know
what
we
can
do
is
have
them
come
out
and
do
an
assessment,
maybe
and
just
kind
of
do
one
and
just
see
if
we
could
get
away
with
one.
You
know
a
year,
just
an
annual.
I
So
it's
up
to
you
all.
B
Unfortunately,
a
lot
of
the
maintenance
has
not
been
done.
It's
sort
of
one
of
those
things
that
fell
into
a
hole
and
alma
in
particular,
was
in
really
bad
shape.
You
know
she
looked
like
she
had
a
bad
case
of
psoriasis,
but
you
know
they.
They
went
out
there
and
they.
You
know
they
polished
her
and
waxed
her,
and
she
really
looked.
You
know
significantly
better,
but
this
is
a
significant
repair,
because
it's
a
crack
in
the
weld-
and
that's
that's
really.
G
Yeah,
I
I
think
we
should
move
forward
with
the
needed
now.
You
know,
okay,.
B
Okay,
do
I
hear
a
motion
to
approve
the
needed
now
projects
for
state,
saint
cates,
which
would
come
to
three
thousand
two
hundred
and
twenty
seven
dollars
and
fifty
cents
bill
any
seconds?
Second,
second
trish,
all
in
favor.
B
B
Okay,
that's
passed
the
bahamian
sponger
project
I
reached
out
to
annie
dabz,
who
was
the
president
of
the
rose
cemetery
board,
who
put
me
in
touch
with
educator
and
phd
student,
shannon
peck
bartle.
She
was
the
individual
who
was
featured
in
the
tampa
bay
times,
article
which
diane
sent
to
all
of
you.
B
I
met
with
shannon
and
she
provided
me
with
a
list
of
sponge
hookers
who
were
interred
in
rose
cemetery
and
other
documentation
is
included
in
the
national
register
of
historic
places
for
the
application
for
rose
cemetery,
and
I
also
have
funeral
records
for
many
of
the
black
sponge
workers.
B
I'd
like
to
continue
working
with
shannon
to
do
more
research.
So
I'd
like
to
just
defer
this
project
until
I
can
get
more
documentation.
B
J
B
J
Make
a
point
of
order-
just
I
don't
know
when
to
do
it,
but
in
the
information
that
we
have
gotten
via
email-
and
you
just
mentioned
it
again.
You
referred
to
something
which
was
historically
accurate,
but
I've
pointed
out
before
referring
to
the
profession
of
the
individual,
as
hooker,
I
think,
is
detrimental.
J
I
I've
worked
at
newspapers.
I
can
just
see
a
headline
saying:
bahamian
hooker
installed
at
the
sponge
docks,
or
something
like
that.
I
make
this
point
because
saint
pete
college,
where
I
work,
we
had
a
similar
issue.
We
had
a
sports
team
that
was
called
trojans
when
they
were
initially
called
trojans.
J
I
think
it's
a
great
idea,
but
how
we
discuss
it
matters
to
people,
and
I
do
not
want
somebody
to
look
at
our
committee
and
say:
oh
all,
these
white
people
call
these
things
hookers
anyway.
If
you
can
make
a
motion
to
please
amend
our
language
and
how
we
discuss
this.
I
would
much
appreciate
it.
B
B
C
A
Else
are
we
sure
all
these
people
were
hookers,
not
not
divers,
sponges.
A
Wear
a
mix,
that's
the
thing,
that's
so
it
we're
identifying
something
that
not
all
of
them
are
that
when
this
this
list
here,
black
spongers
and
tarpon
springs.
That
says
it
I
mean
that's
that's
factual.
This
is
you
know,
covers
covers
everybody
here,.
C
A
Just
just
singling
out
the
the
spongers
who
who
used
hooks
is
is
not
all
of
these
people
on
this
list.
B
And
maybe
in
some
explanation
we
could,
you
know
you
know,
explain
what
the
process
was.
Okay
and
so,
let's
see,
did
I
have
a
motion
to
continue
to
do
research
with
shannon
peck
bartle
on
this?
Yes,
yes,
okay.
I.
D
I'd
like
to
throw
in
another
observation
about
language,
if
I
could
at
this
point
since
we
seem
headed
in
that
direction,
I
like
the
idea
of
using
the
general
title
spongers,
because
a
lot
of
the
people
of
color
working
in
the
industry
were
working
as
divers
as
sponge
hookers
and
also
as
general
cutters
and
craftsmen
in
the
end
end
point
of
the
industry.
D
But
after
looking
at
this
list
of
people
in
rose
cemetery,
I'm
seeing
that
more
than
half
are
from
places
other
than
the
bahamas.
So
I
I'm
uncertain
about
clinging
to
the
bahamian
title.
We
know
we
had
definitely
key
west,
so
I
think
the
bahamian
really
excludes
a
lot
of
people
who
were
born
in
the
united
states.
B
C
B
Okay,
the
next
aisle
item
of
business
bill's
near
and
dear
to
your
heart,
kyle
pierce.
There
doesn't
seem
to
be
any
communication
with
him
and
I
would
like
to
hear
a
motion
to
cancel
the
project.
B
G
B
Okay,
diane
the
sisler
field.
Murals,
do
you
want
to
discuss
the
handout
and
the
publicity
so
far
on
it.
I
Well,
we
have
sent
it
out
via
you
know,
social
media,
and
it's
also
creative
pinellas
and
the
st
petersburg
arts
association
have
shared
it
on
their
websites
as
well,
and
we
have
not
had
any
anyone
sending
a
proposal.
Yet,
okay,
I
think
one
of
the
problems
is
to
be
honest
with
you
is,
I
think
you
know
we
tried
to
do
this
during
the
holidays.
You
know
thanksgiving
christmas
time
right.
I
You
know
with,
I
think
things
going
on
with
the
covet
increases
and
just
people
you
know
in
general,
getting
into
the
holidays.
I
I
just
don't
feel
like
they're
focused
on
that,
so
I
would
recommend
we,
you
know,
leave
it
out
there
but
go
ahead
and
you
know
maybe
do
a
better
push
in
january.
That
sounds
great.
C
G
G
G
You
know
art
project
project
where
they
they
can
submit
and
be
chosen,
and
maybe
there's
a
some
sort
of
a
honorarium.
Yes
honorarium,
that's
that's
that's
bestowed
upon
them
and
we
can
put
those
on
the
container
for
six
months
to
a
year
and
make
it
an
annual
project
or
you
know,
do
something
along
those
lines.
So
I
just
kind
of
need
to
know
what
the
thoughts
are
of
the
committee
with
moving
forward
again,
it's
it's
kind
of
a
fine
line
there
with
it
being
the
public
art
committee
and
a
recycling.
G
You
know
compacting
trash
receptacle,
but
there
may
be
some
ways
that
we
can
incorporate
some
young
artists.
You
know
in
the
mix.
G
And
you
know
we
went
down
a
path
with
mr
pierce
and
trying
to
get
some
piece
of
sculpture,
a
fish,
sculpture
or
a
crab,
or
something
that
could
be
utilized
for
recycling
kind
of
a
lessons
learned.
Something
public
art
wise
more
than
likely
at
sunset.
Beach
is,
is
the
area
that
we
thought
would
be
a
good
target
area
in
working
with
the
city,
public,
art
or
public
works
group.
It.
G
F
G
Then
david
came
up
with
some
ideas
again,
making
it
compacting
and
somewhat
movable
with
the
kinetics
portion
of
it,
and
so
that's
where
we
are
as
of
right
now.
A
Robert
yeah,
how
are
these
harvested
so
to
speak?
I
mean
how
do
they
get
emptied.
G
That'll
be
public
works
and
probably
the
waste
management
do.
G
Believe
it's
done
manually,
but
I
don't
know
that
for
certain,
but
there
were
specifications
that
public
works
gave
us.
That
said,
you
know
they
want
a
container
this
size
and-
and
I
believe
you
know
we
could
get
that
vetted
through
them-
to
make
sure
that
this
would
meet
there.
A
G
You
can
actually
put
a
a
panel
on
this
one,
so
you
can
put
a
panel.
You
can
attach
a
paper,
you
can
attach
it.
So
if
you
take
a
look
at
some
of
the
specifications
and
it
may
have
been
on,
I
think
there
were
four
pages
initially
in
this:
they
they
do
have
the
ability
to
attach
advertising
pieces,
okay,
and
so
the
thought
was
potentially
to
take
k
to
12
artists
and
put
their
artwork
on
there
as
an
attachment,
potentially
right.
A
If
I
may
kind
of
just
throw
out
an
alternative
concept
to
this
whole
thing
is
that,
instead
of
trying
to
make
them
into
art
or
put
art
on
them,
why
don't
we
use
them
as
objects
that
reference
art
in
a
way
like,
for
instance,
do
each
one
of
them
as
a
paint
each
one
of
them,
the
color
wheel,
in
other
words,
one's
red,
one's,
yellow,
one's
blue,
one's
green,
one's
orange
and
and
very
brightly
colored,
so
that
you,
you
use
all
those
aspects
of
the
color
wheel
in
it
and
they're
just
pretty
much
what
they
are,
but
the
the
color
is
what
stands
out?
A
I
mean
that's
that
that's
a
I
don't
know
what
the
difference
would
be.
This
would
be
the
cost
of
this
project
or
what?
But
it's
just
one
in
which
it's
saying,
instead
of
putting
art
on
everything,
you
know,
we
got
the
light
boxes,
we
got
the
murals
and
we
got
this
and
putting
more
drawings
and
more
stuff
on
it.
A
Where
I
I
can
see
where
you
have
inviting
people
to
are
inviting
kids,
especially
to
deal
with
how
to
how
to
deal
with
recycling
and
climate
control-
and
I
mean
climate
change
and
those
kinds
of
things
I
I
can
see-
there's
an
advantage
of
that.
But
there's
also
sometimes
there's
so
much
of
this-
that
you
don't
see
it
anymore
and
and
a
change
of
course,
is
just
the
bright
colors.
You.
A
B
G
Would
you
like
some
additional
research
on
what
the
cost
would
be?
Okay,
so
I
to
buy
the
next
meeting
I'll
have
some
costs
and
you
know.
J
Costs
are,
and
if
we
had
custom
colors
like
how
much
more
would
it
be
like,
would
the
manufacturer
be
able
to
do
it
since
they're
gonna
paint
them
somehow
anyway,
and
that
way
we
would
be
able
to
see
if
it
might
be
feasible
to
do
it
from
that
end,
rather
than
hiring
somebody
locally
to
paint,
because
maybe
the
paint
would
adhere
better
if
they
do
it
absolutely.
B
Yeah,
do
I
have
everybody's
approval
to
proceed
with
this
bill
and
david?
I
think
just
look
into
some
more
details
and
I
guess
at
some
point
you'll
probably
have
to
talk
to
public
works,
probably
after
the
holidays
when
they
come
down
to
earth
so
yeah,
but
I
think
it's
an
interesting
project.
I
think
we
should
go
forward
with
it
with
more
research.
Okay,
lucian.
Do
you
have
any
comments?
Oh
I'm
sorry.
I
thought
you
had
your
hand
raised.
D
Oh,
I
was
scratching,
I
I
I
will
just
say
I
do
like
the
color
wheel
idea.
I
think
sometimes
we
go
overboard
in
trying
to
ornament
and
decorate
functional
items.
You
know
in
an
effort
to
make
them
disappear,
and
I
think
sometimes
just
sticking
with
their
functional
impact
is
a
good
idea.
B
So
you
guys
will
look
into
getting
costs
and
talking
to
public
works
and
getting
specs
and
all
of
that
sort.
Okay,
the
golf
course
water
tower
should
we
continue
or
just.
B
D
I
think
we
are
kind
of
prioritizing
as
we're
going
down
this
list.
I
I
don't
have
much
to
add
on
the
gis
map,
except
as
as
it's
incorporated
into
our
consideration
of
various
projects.
I
yield
to
you
bill.
G
So
I
would
like
to
see
that
incorporated
and
again,
if
you
just
take
the
time
to
to
take
a
look
at
the
map,
I
mean
some
things
become
glaring
as
to
where
we've
got
most
of
our
public
art
and
some
areas
where
you
know
we
could
do
a
little
bit
better
and
some
of
the
the
the
traffic
routes,
the
highly
traffic.
You
know,
high
traffic
routes.
I
think
they
have
a
whole
lot
of
opportunities
for
us
to
to
a
little
bit.
B
G
D
D
D
Super
I'm
going
to
ask
catherine
to
talk
about
the
property
in
just
a
few
minutes,
but
I
thought
I
would
quickly
summarize
as
quickly
as
I
can
the
public
art
committee's
interest
in
a
project
on
that
property.
D
Along
with
that
discussion
at
one
of
our
later
meetings,
it
was
noted,
mistakenly
that
the
property
we're
talking
about
was
in
fact
a
city
park.
That's
a
confusion
that
has
persisted
and
I
think,
with
catherine's
help
and
some
other
research
I've
figured
out
why
it
was
ever
thought
to
be
a
public
park
back
in
the
mid-20s
that
whole
neighborhood
was
planted.
As
a
new
subdivision
called
innis
park.
D
Innis
drive
is
along
there,
as
is
park
avenue.
The
development
got
a
slow
start
because
of
the
economic
situation
in
the
20s,
but
in
the
spring
of
1925,
george
ennis
jr
did
in
fact
dedicate
one
of
the
paintings.
That's
now
in
the
uu
church
collection
on
the
hillside,
where
the
diamandis
property
is
today
that
that
house,
I
believe,
was
not
yet
built.
D
I
think
that
created
the
confusion
that
this
was
at
one
point
a
park.
It
has
always
in
fact,
been
part
of
the
privately
owned
parcel
that
includes
the
castle
house
at
the
top
of
the
hill
and
the
the
point
that
we're
talking
about
using
for
a
piece
of
public
art,
along
with
the
public
art
committee's
interest
in
this,
and
that
was
enhanced
when
we
started
working
on
the
gis
maps
and
identified
heavily
trafficked
routes
through
town.
D
This
also
became
a
matter
of
location,
location,
location,
quite
independently
of
the
public
art
committee,
lynn,
whitelaw,
who
many
of
you
know
as
the
founding
director
of
the
leipa
ratner.
Art
museum
has
had
a
long
time
interest
in
the
innis's
and
has
done
deep,
deep
research
into
the
careers
of
both
innis's
and
their
involvement
in
tarpon
springs.
D
Another
thread
that
has
come
together
with
our
interest
in
pursuing
a
project
here
is
the
deep
historical
interest
of
the
diamandis
family
who
have
owned
the
property,
since
I
think
1972.
D
But
I've
asked
her
to
describe
the
ownership
of
the
property
and
its
connection
to
artists,
both
visual
and
performing
artists,
and
to
also
talk
about
the
various
uses
of
the
point,
which
is
where
we
would
presumably
try
to
place
a
piece
of
public
art.
So,
catherine,
if
you
can
join
us.
K
Can
you
hear
me
now
yeah
hi?
How
are
you
thank
you
yeah
that
lucian
she
pretty
much
summarized
the
the
history
of
the
property
and
that
all
everything
she
said,
I
I
concur
with
the
property
was
bought
in
20s
by
a
gentleman
okay,
the
famous
cornettis
from
I
want
to
say
eastern
europe
and
he
came
to
the
us
and
he
was
had
wanted.
K
He
had
would
put
on
these
shows
there
at
the
property
and
he
they
described
that
area
which
you're
calling
the
point
where
the
wall
is
as
his
band
shell
and
he
had
concerts
there
and
he
lived
at
the
property.
I
think
for
about
five
to
seven
years.
I
believe
and
then
might
have
moved
to
the
northeast
after
that,
the
the
property
when
my
parents
bought
it
in
19.
I
thought
it
was
71,
but
it
could
have
been
72
was
it
it
was.
K
In
that
point
there
was
it's
quarterback,
a
garden.
There
was
grass
filled
as
it
is
now
and
on
the
sides
there
were
rose
bushes
prior
to
my
parents,
purchasing
it.
Some
of
the
old
photos
that
we
have
of
the
house,
which
I
forwarded
to
louisiana,
have
died
the
point
or
the
pit
the
walled
area
filled
in
with
water,
and
it
was,
I
think,
probably
when
it
was
sold,
maybe
sort
of
my
understanding
was
from
speaking
to
my
mom
marketed
as
okay.
This
was
like
a
a
bathing
area.
This
is
you
that
this
was
their.
K
Your
pool
could
walk
down
and
swim
in
the
pool
in
the
40s
or
50s.
Whoever
had
the
home
at
that
particular
time
had
fish
in
the
pool.
I
know
that
my
mother,
because
she
was
grabbing
tarpon
springs
and
she
would
her
and
her
girlfriend
walk
that
way
to
school
and
walk
by
the
house
and
there
were
their
fish
swimming
in
the
pond
or
in
the
pool
at
the
point.
K
But
during
the
entire
time
in
my
lifetime,
since
my
entire
life,
my
parents
had
it.
There
was
always
it
was
just
filled
in
with
grass
when
mr
krill
purchased
the
property
it
various
papers
in
the
area
covered
the
story
because
it
was,
he
was
a
you
know
in
the
20s
he
was
a
millionaire
who's.
Moving
to
tarpon
springs
is
a
big
deal
in
the
tampa
bay
tribune,
as
it
was
called
at
the
time.
K
Also
the
paper
in
the
miami
covered
it
I'm
not
sure
if
it
was
the
herald,
then
or
went
by
another
name,
but
but
they
also
cover
the
story,
and
they
spoke
about
the
fact
that
he
had
some
he
had
in
his
paintings.
He
collected
art
and
and
artwork
and
sculptures
and
whatnot,
and
he
had
in
his
paintings
that
he
brought
into
the
home,
and
you
know,
hung
somewhere
in
the
home.
I
I
never
saw
those
those
paintings
or
did
not
seen
photographs
of
those
later.
K
The
becketts
bought
the
home
beckett,
who
was
the
county.
A
county
commissioner
bought
the
home
and
lived
there
for
quite
some
time,
and
after
that
I
think
there
were
two
other
owners
before
my
parents
bought
it,
but
that
that's
lucian
went
through
a
nice
history
of
the
property
that
the
that
property
has
always
been
in
private
hands.
It
never
never
belonged
to
the
city,
it
was
as
lucian
noted.
K
His
name
is
in
one
of
the
articles
from
miami
from
the
miami
herald
or
miami
post.
During
that
time,
so
probably
a
little
digging
there.
I
could
probably
get
some
more
information
as
to
why
I
decided
to
use
the
name
in
this
park.
I
mean
the
streets,
obviously
innocent
and
parked
there
meet
at
the
point
where
you
know,
but
why
he
decided
to
use
that
name
to
market
the
area,
but
that
was
the
name
that
was
chosen
at
the
time.
So
that's
all
that's
all.
K
K
B
Any
questions-
yes,
I
just
wanted
to
katherine.
I
just
wanted
to
thank
you
for
coming
today
and
speaking
to
us
and
I'd
especially
like
to
thank
lucian
too
for
bringing
this
all
together.
I
think
it's
not
only
fascinating,
but
you
know
very
inspiring
for
a
you
know:
a
location
for
public
art.
What
I'd
like
to
suggest
perhaps
is
to
create
a
committee
possibly
incorporating
catherine
and
lynn,
and
you
know
possibly
you
know,
generating
you
know
some
ideas
as
to
what
we
can
do.
B
D
Yes,
I
agree.
I
also
think
we
need
an
early
consultation
with
mr
trask
on
what
sort
of
agreement
we
need
to
move
forward.
I
know
we'll
gather
lots
of
lots
of
ideas
based
on
the
history
and
the
use
and
the
historical
and
artistic
associations
with
this
property,
but
I
think
before
we
get
too
deeply
into
that
planning,
we
need
to
have
an
understanding
of
what
kind
of
legal
agreement
mary
and
the
city
need
to
develop.
B
B
You
know
it's,
it's
just
it's
just
incredible,
but
I'd
like
to
entertain
a
motion
to
you
know,
move
this
forward
with
lucian
and
a
committee.
B
J
Okay,
my
question
was
directly
related
to
what
luciana
was
saying
as
far
as
legal
since
its
private
property
would
people
be
allowed
to
walk
around
there
if
we
installed
a
sculpture,
for
example,
and
would
we
be
able
to
write
into
a
contract
if
we're
working
with
a
private
property
owner
that
if
they
sell
the
land
that,
if
we
spend
let's
say
just
pulling
a
number
out
of
a
hat,
50
grand
on
a
sculpture
or
something
there
that
the
new
owner
would
have
to
could
only
buy
it
contingent
upon
them?
J
Keeping
that
sculpture,
that
kind
of
a
thing
would
that
be
this.
D
D
My
response
to
her-
and
I
hope
it
was
correct-
was
that
the
sculpture
would
be
part
of
the
city
of
tarpon
springs
collection.
The
city
would
retain
ownership
and
we
would
have
some
sort
of
agreement
to
place
it
there
and
if
it
any
time
in
the
future,
at
the
end
of
a
term
of
agreement
or
change
of
ownership,
the
city
would
be
able
to
take
it
back.
D
But
there
are
other
forms
of
art
that
can
happen
there
too,
and
I
think
the
history
as
a
band
shell
as
a
water
feature
as
a
garden,
all
blend
inspiration
for
thinking
outside
the
box
on
what
kind
of
art
we
do
there
and
just
to
answer
your
first
question.
D
B
Okay,
so
we're
gonna
move
forward
with
this.
C
J
I'm
sorry,
I
had
a
follow-up
this
past
month.
It
was
made
very
clear
to
me
on
a
personal
level,
that
the
public
art
committee
is
no
longer
actually
working
with
projects
on
private
property,
which
is
why
the
project
that
you
guys
had
approved
last
january,
which
was
withdrawn
and
wasn't
going
to
be
resubmitted.
J
B
I
believe
that
the
decision
was
about
murals,
I'd
have
to
go
back
and-
and
you
know,
look
at
the
exact
wording.
Diane
do
you
recall.
I
B
Okay,
yeah
because
yeah
lucian,
maybe
that's
something
you
can
broach
with
mr
trask
as
to
whether
we.
D
Would
I
I
will
I
I
too
thought
it
had
specifically
to
do
with
the
lower
cost
murals,
specifically
an
artist
alley,
but.
B
I
But
just
keep
in
mind
that
when
you
do
you
know
whatever
your
decision
is.
You
know
when
you
do
a
project
on
private
property,
that's
going
to
take
two
different
contracts,
at
least
depending
on
the
ownership.
So
it
has
to
be
a
separate
contract
for
the
property
owner
to
agree
as
well.
As
you
know,
the
artist.
So
you
know
there
that's
a
double
dip.
So
to
speak.
I
B
Okay,
any
announcements
from
the
city
diane
well.
I
I
just
wanted
to
mention
to
you
all
that
last
email
that
I
sent
you
just
it
was
with
you
know
the
pinellas
they're
gonna
be
doing
a
strategic
art
plan
and,
like
I
said
it's
just
something
I
saw
that
was
of
interest
and
since
you
all,
you
know,
are
really
kind
of
looking
at
the
projects
you
want
to
do
for
2021.
I
You
know
I
thought
there
might
be
some.
You
know
good
information.
That
comes
out
of
that.
If
you
have
the
time
you
know
to
to
listen
in
it
might
give
you
all
some
some
good
ideas
so
just
wanted
to
mention
that
and
please
be
patient
with
our
public
works
guys
because
you
know
there
are
you
know:
they've
had
some
issues
with
you
know
kovid,
and
so
they
can't
be
out
there
and
and
they're
they're
limited
to
begin
with
in
numbers.
B
Okay,
thank
you.
Diane
additions
to
the
agenda,
as
I
mentioned
before,
the
elk's
mural
and
again,
that
would
be
something
that
would
you
know,
would
bring
up
the
whole
issue
of
private
property
and
a
mural,
so
I'd
just
like
people
to
give
it
some
thought.
As
I
said
you
know,
there
are
unusual
circumstances
that
you
may
want
to
take
into
consideration.
Otherwise,
we'll
just
you
know
notify
them
that
you
know
about
our
blanket
decision
not
to
do
anything
on
private
property.
F
B
Well,
it
can
it's
it's
something
that
can
be
brought
up
again,
but
the
thing
is
that
we
had
basically
done
a
lot
of
work
in
previous
years
with
a
concept
called
artist
alley
which
stretched
from
the
bike
trail
to
hibiscus
and
former
members.
Jules
eichmeier
and
rob
merton
had
done
a
lot
of
leg,
work
on
it
and
had
basically,
it
was
the
back
of
the
buildings
that
front
down
to
tarpanav
and
they
had
approached
all
of
the
building
owners
had
gotten
permission
from
them
had
even
gotten
a
couple
of
artists
on
tap.
B
For
you
know
to
do
some.
You
know
designs
for
some
murals
back
there,
and
then
we
started
running
into
all
of
these
problems
with
you
know
the
insurance
and
other
considerations.
B
So
we
just
kind
of
made
the
blanket
decision
to
just
work
on
city
property,
and
that
was
also
kind
of
bolstered
by
the
city
manager,
who
came
up
with
a
kind
of
workaround
for
the
you
know
for
the
insurance
you
know
with
the
thousand
dollar.
B
You
know
cap
on
the
fee
that
would
make
them
you
know
minor.
Subcontractors
was,
is
the
exact
term
so
that
they
would
be
covered
under
the
city's
liability
insurance.
F
B
Usually
murals
by
their
very
nature,
only
last
for
maybe
three
to
five
years.
You
know,
and
I
mean
we
tried
everything
when
the
christopher
still
mural
was
put
on
the
side
of
the
mattress
building.
He
used
an
applique
process
and
the
company
was
insured
bonded.
They
had
you
know
everything
that
we
needed.
So
we
thought
that
you
know.
B
So,
if
you
know
anybody
in
the
insurance
business
and
would
like
to
have
at
it,
please
do
no.
I
do
not,
but
if
you
go
back
and
look
at
some
of
the
old
minutes,
you'll
you'll
see
kind
of
the
roadblocks
that
we
kept
encountering.
So
you
know
we
decided
to
just
welcome
back
lucian.
Sorry,
we've
lost
you
there
for
a
minute,
but
we,
you
know,
we
just
sort
of
made
the
decision
to
just
continue
to
just
work
on
on
city,
property.
B
Okay
and
that's
why
you
know
we
we
have
a
you
know,
a
bunch
of
different
locations
that
are
are
owned
by
the
city
for
doing
you
know,
murals
on.
B
Yeah,
but
the
thing
is
that
the
the
the
cap
of
the
fee
to
the
artist
would
be
a
thousand
dollars,
plus
their
cost
of
their
material,
so
that
would
basically
only
be
of
interest
to
you
know.
You
know
young
emerging
or
student
artists.
I
tried
to
talk
mr
stackhouse
into
doing
one
for
a
thousand
dollars,
but
he
turned
me
down
flat.
I
And
and
david
one
of
the
things
that
we
found
with
the
applique
process,
you
know
with
mr
trask,
our
city
attorney-
is
that
you
know
he
said
the
contract
is
with
the
artist.
So
in
other
words
the
artist
can
go
ahead
and
do
their
painting
in
their
own
studio
and
everything
and
that's
fine,
but
when
it
comes
to
adhering
it
to
the
wall,
the
artist
is,
if
he
contracts
with
the
person
to
adhere
it
to
the
wall.
I
You
know
he
still
has
to
hold
the
insurance,
because
what,
if
the
the
person
who's
putting
it
on
the
wall
defaults
or
whatever
it's
it's
kind
of
a
protection
thing
so
or
what
you
could
do
is
have
the
contract
be
with
the
the
gentleman
who
puts
it
on
the
wall,
but
somebody's
got
to
have
the
insurance.
You.
I
So,
whether
it's
the
artist
or
the
person
who
you
know
puts
it
onto
the
wall,
somebody's
got
to.
F
D
Just
sort
of
an
aside
on
insurance,
we
seem
to
talk
about
it.
A
lot,
and
I
know
it
was
a
huge
stumbling
block
for
that
particular
project
and
we
have
found
a
workaround
for
small
thousand
dollar
projects,
but
when
it
comes
to
a
major
project,
I
don't
think
that.
I
And,
however,
mr
stackhouse
can
probably
speak
to
this
too,
but
you
know
even
like
the
wall
prep,
for
you
know
that
could
be
worked
into
your
proposal
as
well.
You
know
if
it's
not
what
you
would
consider
you
know
workable
for
you.
You
know
that
not
only
insurance,
but
all
you
know
the
equipment
needed
as
well
as
the
prep.
A
Yeah
and
the
that's
usually
standard
practice
on
a
large
scale
project,
it's
right
up
front,
and
anybody
that's
done.
One
of
these
before
is
probably
going
to
know
that's
required,
and
there
are
certain
things
that
you
can
can
have
having
discussion
with
the
project
manager,
whoever
you're
working
with
as
to
who
does
what
to
want.
B
A
Sometimes
the
the
the
pla,
the
the
project
manager
receiving
this
project
will
allow
certain
work
to
be
done
in
order
to
make
it
more
applicable
to
to
the
artist,
but
quite
often
you're
you
you
do
have
to,
and
you
know,
supply
your
own
insurance.
A
B
A
C
A
That
hundred
thousand
dollar
project,
so
the
artist
quite
often
is,
is
just
squeaking
into
that.
In
fact,
a
lot
of
artists
who,
if
they're
not
really
familiar
with
all
this
kind
of
stuff,
can
end
up
going
out
of
pocket
because
they
quite
often
with
these
hundred
thousand
dollar
budgets,
they
are
not
to
exceed.
You
know.
B
G
B
G
B
Right
just
to
give
you
the
story
time
and
the
niads,
I
think,
were
close
to
200
000
diane.
B
I
thought
it
was
like
190,
something
like
that.
That
was
probably
the
biggest
expenditure
that
we
made
and
the
second
one
was
elizabeth's
first
yeah,
the
first
the
project
she's
working
on,
and
I
think
that
was
50..
Yes,
so.
C
My
concern
is
the
time
factor.
Okay,
the
question
is:
what
value
is
it
to
put
it
off
to
next
month?
What
are
we
going
to
know
next
month
that
we
don't
know
now,
we've
seen
the
concept.
You
know
we
have
all
the
information
so
between
now
and
next
month.
C
What
are
we
gonna
do
to
make
a
better
decision
the
time,
the
time
frame
it
has
to
go
for
approval
to
the
attorney
the
contracts
and
so
forth,
and
the
insurance
only
lasts
until
september,
and
it
takes
a
bunch
of
time
to
get
this
done
in
her
project,
and
if
it
goes
beyond
september,
then
we've
got
the
other.
You
know
the
other
insurance,
so
my
concern
is
just
the
time.
If
we're
going
to
do
it,
I
think
that
we
should
go
ahead
and
approve
it
and
let
it.
B
B
Okay,
well,
I
think
what
what
kind
of
I
got
the
impression
that
elizabeth
was
kind
of
hinting
at,
and
I
think
robert
just
reinforced
it
is
that
you
know.
Perhaps
she
could
work
that
into
her
contract
to
repair
the
walls
and
you
know
adjust
the
price
accordingly,
because
I
think
I
believe
she
quoted
the
number
of
like
three
thousand
dollars.
B
C
Which
need
to
be
done
anyway
right
according
to
her,
I
I
have
a
question.
Diane
said
that
that
it
had
been
painted,
those
walls
had
been
painted
and
so
forth.
I,
I
wonder
why
those
problems
weren't
taken
care
of
when
the
wall
was
painted.
Well,.
J
C
I
I
think
it
looks
really
great
and
I
think
what
she's
speaking
about
is
a
surface
that
she
considers
paintable.
C
Things,
it's
not
that
it's
just
does
not.
C
C
A
You
haven't
discovered
yet
it's
an
old
building,
right
and
old
buildings
have
a
lot
of
problems,
so
the
preparation
for
a
permanent
work
of
art
should
should
be
something.
That's
that's
a
prerequisite
really
for
for
this
and
a
lot
of
times,
municipalities
will
prepare
that
wall
and
make
sure
that
that
their
money
is
spent
well
in
in
in
having
art
put
on
it,
but
other
times
they
say
no,
it's
up
to
you,
you
know.
So
that's
and
that's
it.
A
My
just
my
my
opinion
on
this
right
now
is
that
it
it
was
a
project
that
was
accepted
now
this
is
a
another
project
really,
and
it's
it's
just
to
me.
It's
just
some.
You
know
like,
like
it'd,
be
a
great
luxury
to
be
working
on
a
project
and
say:
oh,
I
think
it
should
be
bigger,
you
know
and
and
it
whereas
yes
we're
all
in
agreement
to
that,
but
I
I
just
think
to
say:
oh
okay
and
here's,
the
money
you
know
is,
is
you
know
as
well?
A
You
know,
maybe
next
month,
we'll
have
more
information
about
this,
so
so
it
gives
us
time
to
think
about
it
rather
than
to
to
buy
it
on
site
unseen,
really
due
diligence,
I
guess
is
the
term
that
could
be
used
well.
B
We
have
two
valid
schools
of
thought.
We
have
the
you
know,
let's
move
it
forward
and
then
we
have
the
other
one
to
you
know
defer
it
to
next
month
to
get
more
information.
Lucian.
I'm
sorry.
D
I'd
I'd
like
to
address
trish's
question.
I
think
one
thing
we
can
know
next
month
that
we
don't
know
now
we'll
have
hopefully
more
information
on
the
black
sponger
project,
which
we've
talked
about
for
a
long
time
and
wanted
to
get
really
really
right
and
we'll
have
at
least
more
preliminary
information
on
the
d
amanda's
property
possibilities.
D
So
I
think
it's
really
a
matter
of
priorities
and
if
we
make
a
decision
now
on
the
on
the
mural
project,
we've
really
sort
of
cut
out
opportunities
for
other
possibilities
and
particularly
the
black
spongers.
I
think
we've
all
agreed
in
one
way
or
another
that
that's
a
part
of
our
community
that
we
have
not
done
full
justice
to.
I
Well,
what
happened
before
is
you
know
with
the
like:
it
is
a
historic
building,
so
the
plaster
of
course,
is
old
on
it.
So
when
elizabeth
was
starting
her
project,
you
know
there
was
these
pockets.
E
I
You
know,
like
you,
said,
if
you're
going
to
spend
a
whole
bunch
of
money
on
a
you
know
a
mural.
You
want
to
make
sure
that
it's
not
going
to
crumble
in
you
know
a
year,
so
they
agreed
to
go
ahead.
You
know
if
project
was
already,
you
know
approved,
and
you
know
contracts
were
done
and
everything
to
go
ahead
since
we
were
in
renovations
anyway
to
go
ahead
and
do
it
for
elizabeth.
You
know
at
that
time.
I
I
No,
you
know
so
that
would
have
to
be
done
and
you
know-
and
I
don't
know
where
that
money
would
come
from.
But
speaking
from
someone
with
limited
budget,
I
would
sure
like
to
see
it.
You
know
come
from.
You
know
the
contract,
but
like
it's
like
mr
trask
says
everything's
negotiable.
So
you
know
it's
like
that's
a
decision,
for
you
know
the
city
manager
and
the
board
of
commissioners.
Not
me.
F
B
B
I
So,
however,
keep
in
mind
that
we
are
going
to
be
using
that
building
at
some
point
next
year
and
we
you
know
she
may
have
to
start
and
stop
the
event
depending
on
what's
going
on,
so
that's
another
consideration
as
well.
We
can't
just
close
down
the
entire
building
for
someone
to
paint
it.
You
know.
So
I
don't.
I
I
A
I
I
don't
know
whether
elizabeth
would
be
agreeable
to
this
or
the
city
would
be
agreeable
to
this,
but
I
remember
in
italy
visiting
many
churches
where
things
are
going
on
and
you
walk
right
past
the
scaffolding
and
you
do
this
and
that
and
I
think,
for
a
lot
of
people.
One
of
the
highlights
of
their
tour
would
be
to
see
an
artist
making
a
mural
as
they
you
know
right
in
front
of
it.
I
mean
that
that
could
be
really
something
that
would
be
exciting.
A
So
I
don't
see
you
know
she
would
have
to
stop
for
if
there
was
a
some
kind
of
you
know,
event
there,
but
you
know
the
all
the
paraphernalia
left
out
that
she
didn't
want
to
have
stolen.
You
know
I
don't
think
anybody's
going
to
steal
a
big.
I
Scaffolding-
and
we
did
talk
about
that
about-
they
would
be
interested
interesting
for
the
public
to
see
it.
But
right
now,
when
you
go
toward
it,
you'll
see
how
much
stuff
there
is
so.
But
what
would
the
art
committee
like
to
do
that?
Should
I.
G
F
B
B
B
3
40
3
46
and
I'd
like
to
entertain
a
motion
to
adjourn.