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From YouTube: Public Art Committee
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A
A
B
Good
afternoon
it's
two
o'clock
on
tuesday
november
10th
2020..
My
name
is
joan
jennings,
I'm
the
chair
of
the
public
art
committee,
and
I
would
like
to
call
the
meeting
to
order.
B
The
meeting
is
today
at
the
performing
arts
center
at
city
hall
and
it
meets
all
safety
and
social
distancing
guidelines
meetings
are
conducted
using
robert's
rules
of
order
and
are
being
broadcast,
live
on
youtube
and
simultaneously
on
zoom,
just
as
a
matter
of
procedure.
I'd
like
to
read
a
an
email
that
was
received
by
diane
wood
from
alternate
member
oberlander.
B
B
B
Furthermore,
I
have
a
final
meeting
with
the
adjunct
union
and
st
petersburg
college
at
3
p.m,
via
zoom,
right
after
the
pac
meeting,
I'm
on
the
negotiating
committee
for
the
adjunct
union,
and
if
I
do
both
meetings
via
zoom,
I
can
attend
both.
Otherwise
I
would
have
to
skip
the
pac
meeting.
I
think
it
would
be
better
if
the
committee
continues
to
meet
via
zoom
with
the
coveted
numbers
going
down
considerably.
B
Well,
I
know
that
governor
desantis
opened
the
state
to
meetings.
That
does
not
mean
we
must
do
that.
I
think
we
would
still
be
safer
to
meet
online
until
a
vaccine
is
distributed.
There
was
a
reply
from
diane
to
oberlander
talk
to
the
clerk's
office.
Please
write
an
email
before
tuesday
stating
the
reasons
you
will
not
be
attending
the
meeting
in
person
just
by
zoom
stating
the
covet
concerns
and
then
leaving
the
meeting
for
another
at
3
pm
send
the
email
to
my
attention.
C
Sure
I've
actually
lived
in
tarpon
springs
for
over
10
years.
Had
two
houses
here
went
on
a
little
excursion
for
a
year,
and
my
parents
have
lived
here.
My
sister's,
my
sister
has
a
little
business
down
there
called
ella's
boutique,
so
we've
we've
kind
of
in
in
been
in
this
tarpon
springs
for
so
long
that
we
kind
of
feel
like
we're
a
part
of
it,
and
so.
B
C
B
Mr
stackhouse,
ms
oberlander,
here
maurice,
I
guess,
there'll
be
a
notation
that
about
the
two
members
on
zoom,
correct.
Yes,
okay,
it
doesn't
mark.
Do
we
have
any
virtual
guests
in
attendance
today.
B
Okay,
I'd
like
a
motion
to
approve
the
minutes
from
october
13th
2020..
I
moved
that
we
approved
the
minutes.
Can
I
get
a
second
please?
Oh.
E
A
B
Okay:
okay,
we're
going
on
to
old
business.
The
current
project
updates
the
illuminated
art
boxes:
20
boxes
were
ordered,
received
and
are
in
storage.
B
All
printing
of
the
vinyl
panels
is
complete
and
is
being
stored
by
the
printer
ups
at
the
public
shopping
center,
a
waiting
installation
which
was
discussed
at
some
length
at
the
sponge
docs
town
hall
meeting
last
night
on
november
9th.
The
sponge
docks
merchants
association
in
particular
urged
the
installation
of
the
art
boxes
to
add
light
and
art
to
attract
tourists.
B
E
B
E
B
Right
they
weren't
numbered.
So
what
I
did
was
I
I
downloaded
a
map
and
put
little
yellow
dots
where
they
should
go
so
we'll
probably
be
there
when
they're
installed
right,
diane,
just
sure,
yeah
and.
B
Well,
I
know
that
several
people
from
the
mayor
to
all
the
commissioners
kind
of
gave
it
as
a
expedited
job
to
mark
lacouris,
and
I
did
make
some
comments
I
wasn't
prepared
to.
But
it
seemed
that
a
lot
of
concerns
that
were
voiced
by
the
merchants
here
last
night.
B
A
B
They're
putting
music
speakers,
it's
nothing
to
do
with
us.
It
was
just
okay,
I'm
just
I'm
just
curious
right.
B
Discussed
last
night:
okay,
okay,
christopher
still
the
mural
at
advent
health.
The
work
on
that
is
progressing
and
concrete
was
re
recently
poured
for
the
new
er,
so
the
renovations
in
construction
is
proceeding.
B
Okay
mark
can
we
have
the
photograph
of
the
indiana's
mural
projected.
B
Please
elizabeth
presented
her
progress
on
the
cultural
center
mural
and
this
is
an
overview
shot.
So
I
think
you
can
see
that
it's
filling
in
really
nicely
the
details
are
just
extraordinary
each
each
one
of
the
figures
in
the
animals
is
almost
a
freestanding
work
of
art
in
itself
and
all
of
the
background
will
be,
you
know,
filled
in
with
you
know,
greenery,
but
she's
trying
to
really
get
the
figures
and
the
you
know
the
animals.
B
You
know
done
initially
and
then
you
know
adding
the
background,
but
because
she's
working
inside
she
felt
compelled
to
add
a
lot
more
detail,
and
she
mentioned
something
very
interesting
that
since
she's
become
a
grandmother
since
she
did
the
last
mural
she's
changed
the
the
presence
of
the
object
of
the
subjects
in
the
painting
so
that
they
look
directly
at
you
and
she
said
that
she
found
that
that
would
be
much
more
appealing
to
children
and
families
which
I
happen
to
agree
with.
B
But
I
think
you
get
an
idea
I
mean
I
could
have
you
know
she
sent
me
some
really
detailed
ones,
but
I
think
you
can
get
a
feel
for
what
it
is.
As
you
can
see,
it's
it's.
A
collage
of
different
components
of
life
in
tarpon
springs
they're,
not
necessarily
grouped
in
any
particular
order,
but
it's
it
will
have
a
key
explaining
what
each
one
of
the
animals
and
figures
are
very
similar
to
the
keys
that
exist
in
the
heritage
center
for
the
still
paintings.
B
B
Okay,
the
plaque
for
the
story,
time,
sculpture,
diane,
is
that.
F
Yes,
I
heard
from
fastsigns
and
they
should
have
it
done
probably
by
the
end
of
next
week.
F
It
was
because
we
did
the
aluminum.
It
was
more
like
close
to
like
four
hundred
dollars,
which.
C
F
Was
great-
and
we
also
were
you
know,
talking
about
the
maintenance
of
our
bronze
statues
and
so
I've
reached
out
to
saint
kate
arts,
who
did
the
installation
of
the
nyads
at
the
sponge
docks
and
asked
them
to
give
me
a
proposal
for
maintenance
on
each
of
our
statues,
so
one
for
alma
at
craig
park,
one
for
the
story,
time
sculpture
at
cultural
center
and
one
for
the
nyads
at
the
sponge
docks.
So
I
have
not
received
that
you
know
from
them
yet,
but
that
will
give
us.
F
You
know
a
maintenance
plan
for
each
one,
because
you
know
based
on
the
construction
and
everything
like,
for
instance,
I
can
see
that
storybook
time
is
probably
going
to
require
some
good
maintenance
because
of
the
bench
yeah.
That
kind
of
thing.
So
anyway,
as
soon
as
I
get
that
I'll
share
that
with
the
committee
right.
B
B
There
was
an
article
today
in
the
tampa
bay
times
about
rose
cemetery
and
one
of
the
things
that
was
mentioned
in
addition
to
interviews
with
both
annie
dabz
and
alan
quarterman
is
an
african-american
sponge
hooker
who
was
interred
in
the
cemetery,
with
some
historical
references
to
his
role
in
the
spun.
You
know
the
origin
of
the
sponging
industry
in
tarpon.
B
This
is
something
that
I
had
been
unaware
of
until
this
point,
and
I
think
it's
going
to
bear
some
further
research,
maybe
by
talking
to
annie
and
or
ellen,
to
find
out,
you
know
who
this
person
was
and
to
kind
of
follow
up
with
you
know
the
way
some
of
the
people
in
the
community
feel
about
the
project,
so
we're
going
to
defer
that
for
further
examination.
B
I
was
shocked
when
I
read
the
article
diane
forwarded
the
link
to
it
to
everybody
not
too
long
ago,
so
you
probably
didn't
have
a
chance
to
look
at
it,
but
it
was
really.
It
was
a
well-researched
and
well-written
article
and
it
was
about
a
woman
in
hillsborough
who
was
incorporating
it
into
diversity,
curriculum.
F
Joan
I
think
lucian
has
her
hand
raised.
Oh
I'm
sorry.
D
That's
okay!
I
don't!
I
didn't
know
how
to
get
your
attention
being
in
this
situation.
I
did
notice
toward
the
end
of
that
story.
He
was
the
the
fellow
who
was
the
sponge.
Diver
was
born
in
1898,
so
he
really
doesn't
represent
that
very
earliest
group
that
we
keep
trying
to
capture
some
specifics
on.
He
was
obviously
a
sponge
diver
and
that's
really
a
beautiful
graphic
on
his
tombstone,
but
he
is
probably
early
early
20th
century
rather
than
19th.
B
B
Right
thanks
for
bringing
it
to
our
attention,
lucian,
okay,
now
we're
back
to
our
wonderful
pelican
brief,
yet
another
unsuccessful
text
sent
to
kyle
I'm
waiting
to
hear
back
from
him.
The
last
communication
we
had
from
him
indicated
that
he
was
still
working
on
it
or
planning
to
work
on
it.
So
I
guess
we'll
just
keep
deferring
it.
It's
an
approved
project
until
we
decide
to.
A
B
Okay,
now
we're
up
to
the
sisler
field.
Murals
lucian
had
sent
a
request
to
diane
about
references
from
past
meetings
about
sisler
field
and
when
I
started
digging
into
emails
files
and
other
documentation,
I
found
out
that
it
was
a
a
project
that
was
mentioned
in
a
may
19th
commissioner's
workshop
19th
of
night
2019,
as
as
something
that
they
wanted
to
do
as
a
priority.
B
It's
come
up
frequently
since
then.
It
was
part
of
the
presentation
that
was
made
to
the
board
of
commissioners
at
the
end
of
june,
and
I
think
I'm
going
to
take
a
little
bit
of
a
hit
on
this
one,
because
I
kind
of
let
it
drift
to
the
back
burner,
and
I
think
it's
something
that's
you
know
easily
accomplished.
I
don't
think
it's
a
very
complicated
project.
B
I
spoke
to
diane
about
generating
a
draft
of
a
quilt
artist
and
she
sent
me
a
template
for
americans
in
the
arts.
Is
that
that's
the
yes
and
what
I
did
was
I
created
two
flyers,
one
of
which
was
kind
of
a
more
popular
one
that
has
some
of
the
details
about
sisler
himself
and
it's
enclosed
with
your.
B
Your
handouts
and
that's
the
paint
me
out
to
the
ball
game,
and
there
are
five
distinct
buildings
that
are
all
you
know,
have
very
different
shapes,
so
what
I
thought
would
be
appropriate
would
be
to
have
artists
submitting
concepts
is
to
peg
them
against
the
individual
buildings,
and
then
we
we
know
from
markle
chorus
that
the
city
has
authorized
an
artist
fee
of
up
to
a
thousand
dollars,
plus
reasonable
expenses
for
materials
that
would
obviate
the
need
for
expensive
liability
insurance.
B
So
something
like
this
would,
at
this
rate,
would
obviously
appeal
to
young
emerging
artists
and
students,
and
I
think
this
would
be
a
you
know,
a
perfect
project.
You
know
geared
in
that
direction,
and
it
would
be
nice
if
we
can
pull
this
off
to
some
extent
in
time,
for
whatever
baseball
season
we
might
have
coming
up
in
the
spring.
C
B
B
Yeah,
I
mean
if
you,
if
you
look
at
this
one,
the
call
to
artist
the
second
page
in
in
your
handout.
It's
kind
of
a
this
is
a
little
more
detailed
one,
a
little
more
formalized
called
artists,
but
it
gives
a
project
summary.
You
know
who
the
commissioning
institution
is
a
site
description.
B
The
design
criteria
you
know
designs
may
include,
but
are
not
limited,
limited
to
baseball
themes,
a
budget,
a
timeline.
You
know
how
they're
going
to
submit
their
proposals,
usually
what
they
do
is
they'll,
do
a
sketch
or
a
draft
and
send
a
digital
version
of
it
to
diane.
Diane
is
our
clearinghouse
for
all
of
this
information,
and
you
know
we
are
also
going
to
be
reimbursing
them
for
reasonable
costs
for
materials.
B
B
E
B
B
Yeah
so
in
other
words,
let's
say
that
the
the
side
of
the
bleachers,
which
is
kind
of
that
trapezoidal.
C
B
Geometry
is
bad,
don't
hold
me
to
that
building
number
three!
On
the
other
flyer
you
would,
you
would
submit
a
design
specifically
for
that
structure
and
then,
when
all
the
designs
come
in,
we
would
appoint
a
jury
to
have
people
look
at
the
at
the
designs
and
you
know
select
which
ones
you
know
that
are
going
in
the
in
the.
B
C
D
I'm
visible,
I
have
to
admit,
I
was
a
little
surprised
to
see
this
full-blown
call
to
artist
in
our
packet
because
reflected
in
the
minutes
that
we
just
approved
the
proposal
to
do
murals
died
for
lack
of
a
second
last
month
and
the
ensuing
discussion
by
committee
members
indicated
that
we
would
like
to
discuss
it
a
little
bit
more
and
maybe
consider
other
art
forms.
D
So
I'm
I'm
surprised
we're
going
ahead.
You
know,
after
the
the
committee
really
didn't
agree
to
that.
So
I
I
for
one
would
love
to
see
mosaics,
I'd
love
to
see,
sculpture.
I
think
we've
we've
done
so
much
with
murals
that
this
bears
a
little
bit
of
discussion,
especially
given
last
month's
lack
of
a
second.
B
I
I
guess
I
guess
what
my
thought
was
on
this
is
that
I
agree
with
you
about
sculptures
and
murals,
but
I
think
when
we
get
into
that
subject
matter,
we're
really
we're
not
talking
about
a
thousand
dollar
budget
anymore.
D
I
don't
know
that
we
need
to
be
limited
to
a
thousand
dollar
budget
if
this
is
an
important
location
and
we
feel
it's
it's
worthy
of
consideration.
I
just
I
would
like
to
hear
a
little
bit
more
discussion
and
actual
consensus
of
the
group,
because
we
didn't
have
it
last
month.
E
E
I
think
we
need
to
do
more
there,
but
you
know
if,
if
this
is
a
a
small
project
to
get
something
started
and
take
advantage
of
some
of
the
location,
I'm
okay
with
that,
it's
just,
I
think
I
don't
want
to
stop
with
that.
B
Right,
well,
I
think
you've
praised
it
perfectly.
It
is
low-hanging
fruit,
and
you
know,
I
think
you
know,
as
I
said,
you
know,
with
the
thousand
dollar
threshold.
If
we
do
decide
to
do
these
murals,
it
would
be
geared
for
you
know,
emerging
and
student
artists
and
I'm
sure-
and
the
thing
is
at
at
this
rate,
you
know
we'd
get
something
up
and
if
we
did
wanted
to
do
something
more
ambitious
down
the
road
they
could
easily
be
painted
over
if
they're
not
considered
appropriate.
I.
A
Trish,
excuse
me,
I
was
just
wondering
if
some
of
the
committee
feel
like
we
should
have.
Excuse
me
different
types
of
art.
Are
we
on
a
strict
budget?
For
this
I
mean,
can
we
do
the
murals
and
also
add
other
things
to
it?
I.
E
B
A
B
B
B
G
Can
come
up
with
so
yeah,
so
is
it
the
so
you've
authorized
an
artist's
fee
of
1
000
and
you
have
father
so
so
is
that
is
that
a
set
thing
that
we
have
to
have
it
at
a
thousand
dollars
well,
or
could
it
be
more
for
for
one
or
two.
D
B
Would
get
them
into
the
status
of
independent
subcontractors,
so
they
would
be
covered
under
the
city's
liability
insurance.
G
B
And
that's
the
problem
we've
had
with
you
know
the
mural
projects
in
the
past-
and
I
know
you
know,
like
elizabeth-
had
to
spend
quite
a
bit
of
money
to
get
artist
insurance
that
satisfied
the
requirements
that
was.
G
I
think
you
know
if
we,
if
we
get
more
ambitious,
it's
going
to
become
a
more
complex
thing
like
like
bill
is
saying
he'd
like
to
see
kinetic,
but
kinetic
could
require
some
engineering
and
also
kinetic
also
can
be
a
an
attractive
nuisance,
which
I've
run
into
many
times
as
an
artist.
You
put
something
outside
that
that
I
mean.
G
Sometimes
you
know
like
there's
the
laws
that
that
railings
in
in
in
railings
on
on
patios
have
to
be
so
so
wide,
because
because
kid
could
stick
their
head
in
it,
that's
an
attractive
nuisance
right
right,
so
so
art
design
out
in
the
public
really
requires
that
a
lot,
and
that
requires
a
little
bit
more
of
an
involvement
than
than
say
a
thousand
dollars
or
even
five
thousand
dollars,
because
that
could
require
laying
down
a
foundation
making
sure
the
thing
is
has
got
its
own
structural
integrity
right
and
and
is
not
dangerous.
G
D
Now,
I'm
sorry!
Okay!
All
of
that
considered,
I
understand
all
of
those
precautions.
I
think
we
have
an
incredible
opportunity
here
to
expose
youth
to
quality
works
of
art,
and
I
understand
the
thousand
dollar
threshold
when
you're
trying
to
get
small
murals
done,
but
I
don't
think
we
ought
to
go
for
the
lowest
common
denominator
here.
I
think
it's
an
opportunity
to
to
showcase
some
really
challenging
art
that
might
open
the
eyes
of
youngsters
who
are
there
engaging
in
sports
and
I'd
like
to
see
a
saying
a
little
bit
higher
too.
B
See
I'd
like
to
do
both.
I
think
that
this
engenders
community
involvement
for
young
people,
and
I
agree
that
they
should
be
exposed
to
the
higher
denominator
art,
but
I
also
think
they
should
be
encouraged
to
participate
in
art
at
this
level.
It's
it's
kind
of
sort
of
an
entree
into
the
world
of
public
art.
It
might
inspire
some
children
to
do
some.
B
You
know
creative
thinking,
creative
projects,
creative
art
without
us
getting
you
know,
you
know
hit
for
a
big
tag,
but
I
don't
think
it
obviates
the
need
for
doing
a
major
project,
and
I
think
I
think
we
should
probably
get
going
on
something
like
that.
B
You
know
I
I
I
guess
I'm
in
the
odd
position
of
agreeing
with
both
points
of
view-
and
you
know
you
know,
even
if
we
do
one,
you
know,
you
know
as
bill
suggested
at
least,
as
I
said,
it'll
bring
some
community
involvement,
which
I
think
is
important,
bring.
G
Can
I
can
I
come
in
on
this
sure
there
is.
There
is
a
possibility.
G
I
I
don't
know
whether
we
can
do
this
or
not,
but
if
we
were
to
go
maybe
a
little
bit
further
and
think
of
this
as
a
mosaic
or
tile
work
to
where
we
could
incorporate
the
schools
themselves
and
and
have
have
somehow
another,
maybe
connect
this
up
with
saint
pete
college,
or
something
like
that,
where
you
you
have
just
subway
tile,
just
bought
white
subway
tile,
which
you
can
then
paint
on
and
then
fire
it
or
coat
it
or
something
like
that
and
a
lot
of
communities
do
this
where
they
get
organized
organized
groups
working
to
to
write
the
you
know,
say
a
story
about
sisler
field
or
about
baseball
or
about
baseball
and
tarpon
springs,
and
things
like
that.
G
And
then
you
get
a
really
wide
range
of
possibilities
on
it.
It
doesn't
have
to
be
the
whole
park,
but
it
could
be
one
major
wall
and
then
you
could
use
that
as
a
springboard
to
get
this
to
happen
again
and
not
only
in
this
location,
but
maybe
in
some
others.
I
mean
people
love
to
see
this.
G
You
know
you
love
to
look
at
100
images
that
kids
have
made
of
what
baseball
is
like
in
titan
springs
or
something
like
that,
but
that
I
could
see
happening
in
a
way
because
it,
but
it
would
require
a
sort
of
a
broad
community
involvement
with
an
institution
that
can
do
the
the
technical
stuff
to
to
put
this
up
right
and
that
that
would
be
something
I
could
see
happening.
That
would
generate
a
lot
of
excitement.
You
know,
because
every
kid
has
how
many
parents
and
relatives
and
stuff.
C
F
G
I
you
know,
that's
just
a
suggestion
for
this,
how
I
could
go
a
little
bit
further.
You
could
start
it
with
if
you
have
the
five
thousand
dollar
budget.
I
think
you
could
probably
do
this
for
that,
not
on
all
the
buildings,
but
on
one,
and
it
would
be
more
than
just
painting
on
a
wall
and
and
that's
the
that's
the
thing
we
want
to
get
past
a
little
bit.
Having
done
large
mosaics,
I
mean
that
it's
a
very
complex
thing:
it's
not
just
gluing
something
onto
the
side
of
the
building.
A
G
You
know
so
it's
you
know
it,
but
there
there's
a
little
bit
of
work
in
that,
but
I
think
it's
very
doable.
B
Okay,
what
constantly
keeps
you
know
rattling
around
in
my
brain,
because
it's
been
my
biggest
bugaboo
since
I've
been
working
on
this
committee?
Are
all
the
liability
issues
and
you
know
that's
a
fantastic
project
but
you're
involving
children,
you're
involving
groups
and
other
institutions,
and
you
know
we
go
back
to
the
famous
l
word.
You
know,
and
you
know
I
I
guess
that's
why
you
know
I'd
like
to
see
at
least
one
of
these
things
done.
Just
as
I
said,
you
know
to.
B
D
Yeah
I
I
like
that
idea
of
looking
for
the
solution.
I
also
like
the
idea
of
maybe
starting
with
one
thousand
dollar
mural
and
then
in
terms
of
the
collaborative
tile
project
painting
on
tile,
isn't
the
field
under
the
purview
of
the
wreck
department
and
can
they
serve
as
the
partner
to
us
and
what
and
would
then
the
city's
liability
cover
them.
D
G
A
A
What
is
interesting,
what
was
interesting
to
me
was
there
was
a
there
was
a
big
long
wall.
It
was
a,
I
don't
think
it
was
a
public
building,
I'm
not
sure
what
the
business
was,
but
this
was
something
that
they
used
to
depict
sort
of
the
history
of
johnson
city.
I
took
pictures
of
them
and
I'm
going
to
send
them
to
the
committee
so
that
you
can
get
an
idea
of
what
the
cities
are
doing,
but
what
they
did.
They
went
to
the
schools.
A
They
went
to
the
schools
and
each
of
the
schools
in
the
vicinity
were
responsible
for
one
of
the
paintings
that
they
did
on
the
wall,
and
then
they
had
a
plaque
that
had
the
history
of
what
they
did
and
why
they
did
it
and
so
forth
about
the
history
and
so
forth.
That
was
the
first
big.
I
called
it
a
plaque,
you
know
one
of
painted
and
then
they
had
the
row
of
paintings
that
were
done
and
planned
by
the
schools,
the
school
children.
A
D
G
A
A
I
haven't
been
on
the
website,
but
you
know
I
just
got
home,
and
so
I
haven't
put
all
this
together.
I
have
my
photographs
that
I
put
on
facebook,
but
I
was
going
to
send
them
to
the
committee
so
that
you
know
we
can
discuss
that
and
hopefully
get
some
information
from
their
art
committees
on
how
they
finance
the
insurance
issues.
A
F
I
just
wanted
to
remind
everybody
that
you
know
with
the
the
schools
and
covet
and
you
know
being
out
of
session
everything.
It
can
be
a
little
difficult.
F
But
I
wanted
to
remind
you
all
too
about
a
way
that
you
could
facilitate
getting
the
kids
involved,
because
if
they
do
the
artwork
in
their
class,
remember
you
can
put
these
pieces
together
in
like
a
collage
format
right
and
then
have
the
building
wrapped,
with
the
way
that
you
know
chris
still
did
the
mattress
building,
but
that
might
be
a
way
to
get
a
nice
collection.
F
You
know
of
student
artwork,
but
not
needing
to
worry
about
the
you
know
the
insurance
and
things
like
that,
because,
as
long
as
the
artwork
is
done
in
the
artist's
studio,
you
know
right,
then
the
it's
not
required.
But
if
it's
done
on
public
property,
then
the
insurance
is
required
right.
F
I
don't
know
the
answer
to
that,
but
I
was
just
thinking
if
you
know.
I
know
that
the
artwork,
if
it
was
done
in
pastels
or
acrylics
or
whatever
you
know
they,
the
method
was
that
they
could
take
and
take
a
picture.
But
I
would
think
that
if
it
was
a
mosaic
they
could
they
would
have
to
take
a
photograph
of
it
too
and
then
you
know
put
it
on
the
wall.
B
B
B
Bill
second,
second,
patricia
sacklin,
all
in
favor,
aye,
okay
nays.
B
E
How
do
we
go
about
the
the
next
step
or
the
next
phase?
To
do
something
more
substantial,
I
mean
what
what
what
do
we
need
to
do
to
lay
the
groundwork
to
get
that
started.
E
No,
I
I
I
you
know,
I'm
not
the
artist,
so
I
don't
have
the
idea
of
of
what
it
should
be
right.
I
mean
somehow,
we've
got
it.
Somebody's
got
to
get
their
hands
around.
You
know
what
can
this
be
right
so
that
we
can
all
kind
of
get
around
it
and
push
forward.
B
B
I've
been
craving
a
lot
more
committee
involvement
with
just
such
projects,
and
I
think
you
know
I
think
it's
key
that
you
know
people
come
back
with.
You
know,
and
I've
been
kind
of
moaning
and
complaining
for
months,
because
this
format
is
not
conducive.
We
used
to
be
like
around
a
table
and
I
think
it
was
much
easier
to
twist
ideas
around
and
thank
god,
these
chairs,
swivel
yeah.
B
Yes,
but
you
know,
I
I
think
you
know
like
lucian
seems
to
have
a
lot
of
different
concepts
about
you
know
a
major.
You
know
art
piece
in
tarpon.
You
know
we
did
get
the
ickeria
sculpture,
which
is
probably
one
of
the
first
contemporary
sculptures
we've
gotten
in
town.
That's
a
step,
you
know,
so
I
think
we
have
to
you
know,
get
this
momentum
going
and
see.
You
know
what
kind
of
art
is
out
there
kinetic.
C
B
G
You
do
run
into
some
liability
with
that,
if
you,
if
you
design
it
as
a
playground,
you
you
get
there's
there's
lots
of.
You
know
requirements
for
that.
You
know
you
got
ada.
You
got
all
this
kind
of
stuff
to
deal
with
with
participation
as
soon
as
somebody
touches
something
I
mean
you
know
as
an
as
an
artist,
you
build
something
and
you
you
say
well,
somebody
can
touch
it
and
you
know
they.
Then
you
know
they.
Don't
the
general
public
doesn't
quite
touch.
Something
like
an
artist
would
touch
something
right.
G
There's
a
certain
understanding
of
the
the
reverence
of
the
thing
some
people
just
deal
with
it
like
it's,
a
rock
right
there
in
the
middle
of
a
park.
I
think
I
think
that
you
know
designing
an
interactive
playground
is,
is
a
really
good
way
to
go?
It's
probably
an
expensive
way
to
go
right
and
you
need
a
place
for
it
to
be.
You
need
a
really
ideal
place
for
something
like
that
to
be,
and
dartmouth
springs
happens,
to
have
sort
of
two,
and
you
know
two
entities
to
it.
G
You
know
and
which
one
you
know,
which
one
is
it
and
that's
what
I
was
thinking
about.
You
know:
how
do
we
go
about
with
proposing
a
a
signature?
G
It
needs
that
kind
of
specific,
because
when
you
start
attracting
artists
that
can
deal
with
something
like
that,
they
can
deal
with
it
more
in
a
more
contemporary
way,
not
a
statue,
but
something
that
that
has
an
involvement
kind
of
thing,
and
it
has
a
reverence
to
a
relative.
I
mean
that
a
relationship
to
to
where
it
is
and
to
what
it
is
that
you're
going
to
attract
people
they're
going
to
get
very
creative
with,
and
but
you
you
sort
of
need
a
place.
G
You
need
something
for
them
to
build
off
of
you
know,
and
is
there
a
major
you
know
a
major
park
here,
a
major
area?
That's
that's
open.
You
know
like
like,
for
instance,
a
really
great
spot
that
I
know
a
lot
of
people
have
looked
at
and
I
I
happen
to
see
a
photograph
from
back
in
the
20s
of
the
park
in
front
of
mamma
mia's
mural.
G
G
Like
that,
it's
not
now
a
parking
lot,
but
before
that
was
those
trees
or
trees
were
there.
There
was
pinellas
avenue.
There
was
time
that
has
always
been
there
and
everybody's
always
wanted
it.
It's
sitting
there
as
a
parking
lot,
it's
very
useful.
I
parked
there
all
the
time,
but
but
that
would
be
a
really
major
central
place.
It
would
be
on
the
way
I
mean
during
an
epiphany.
It
would
be
along
the
the
route.
G
I
mean
it's
it's
it's
the
way
in
you
you're
going
to
go
to
to
the
docks
you're
going
to
probably
go
by
that.
So
that's
always
I
mean
I've
talked
with
people
involved
in
the
county.
They've
always
had
their
their
sights
on
that
that
spot
yeah,
because
that
that
is
the
spot.
I
mean
that's
if
you're
in
downtown
saint
pete,
it's
the
waterfront
in
front
of
the
pier.
You
know
that
that's
the
kind
of
thing
or
in
clearwater
it's
down
by
where
they
want
to
put
the
the
music
venue
you
know.
G
D
Yeah
we
have
a
new
option,
a
new
option
that
I
think
is
every
bit
as
exciting
as
mother
mira's
parking
lot,
which
traditionally
was
kind
of
the
town
square.
But
in
the
recent
election
the
population
of
tarpon
springs.
The
voting
population
agreed
to
purchase
the
hoffman
property
at
the
foot
of
tarpon
avenue
overlooking
spring
bayou.
D
I
know
there
is
going
to
be
a
public
hearing
on
the
use
of
that
property.
There
are
ideas
that
the
safford
house
be
moved
there,
but
I
think
that's
a
great
opportunity
for
a
a
landmark
work
of
art
and
it
could
fit
very
easily
with
the
with
the
safford
house.
So
it'll
take
some
coordination,
some
convincing,
maybe
some
lobbying,
but
I
I
think
that's
the
currently
available
opportunity.
D
B
So,
if
it's
possible
to
kind
of
you
know,
reclaim
mother
mears,
which
I
I
think
was
like
a
town
square
garden,
and
I
think
that
big
urn
was
one
of
the
original
pieces
from
the
garden.
That
would
be
a
great
place
for
a
couple
of
major
art
pieces
and,
as
lucian
suggested,
the
hoffman
property.
B
So
I
think
that's
we
should
get
on
the
radar
screen
for
any
consideration
for
things
that
are,
you
know
going
to
be
discussed
for
the
property.
G
I
think
that
that's
really
a
great
suggestion
that
that
particular
piece
of
property,
because
think
of
the
photo
op
of
the
procession,
the
the
the
whole
event
that
goes
on
right
there
I
mean.
A
G
And
how
this
could
be,
you
know
not
necessarily
figurative
sculpture
could
be,
but
there
could
be
some
kind
of
thing
that
deals
with
the
whole
involvement
of
epiphany
and-
and
you
know
how
how
it
really
sets
that
event
apart,
I
mean
one
I
I
went
one
year
and
I
was
like
part
of
a
crowd
of
20
000
people,
which
is
you
know.
What's
that
and
what's
the
population
of
tarpon
springs?
G
I
mean
it's
right,
you
know
it's,
a
lot
of
people
came
and,
and
it's
a
very
visible
spot
and-
and
I
think
it
it's
something
that
a
lot
of
people
can
interpret
that
in
many
many
different
ways
and
you
you
could
get-
maybe
that
that
major
piece
of
of
sculpture,
a
major
piece
of
art
in
that
particular
site,
because
it's
important
enough
to
the
city,
to
pinellas
county,
to
the
tourist
board,
to
all
that
kind
of
stuff
and
think
of
the
photo
op
of
something
really
impressive
right.
There.
F
Yes,
excuse
me:
I
just
wanted
to
remind
the
pact
too
that
you,
you
know,
if
you
do
these
big
major
art
installations,
you
know
that
artist,
whoever
is
chosen
for
that
project
can
wrap
their
the
cost
of
their
insurance
into
the
cost
of
the
project
right.
So
I
think
that
helps
with
you
know
the
the
expenses
that
the
city
is
asking
for.
You
know,
because
any
major
project
you
know
is
gonna
require
time
and-
and
so
I
think,
that's
a
a
good
thing
to
let
artists
know.
G
B
B
E
Yeah
we
we
talked
to
department
of
public
works
and
they
had
four
things
that
they
would
like
to
see
from
whatever
we
do,
and
that
would
be
that
the
top
of
the
cans,
single
opening
with
rain
shield
and
hinged
lid
with
removable
container
non-perforated
to
keep
rain
out
and
prefer
recycled
material,
but
must
be
commercial
grade.
E
G
E
The
original
thought,
with
the
is
it
goby
fish.
Okay,
was
more
of
an
open
style,
and
I've
done
those
already
as
a
a
litter,
pickup
type
thing
that.
E
But
if
you're
doing
something
permanent
with
all
kinds
of
debris
that
can
be
put
in
there,
I
understand
why
that's
a
negative,
plus
they're
very
difficult
to
empty.
So
you
know
I
do
have
we
have
everything
from
the
the
regular
containers
that
you
can
get
that
artists
can
yeah
right.
So
I
I've,
I
pulled
a
couple
of
things
that
are
possibilities,
but
the
the
fish
that
we
had
originally
started
with.
It
seems
like
it's
not
something
that
dpw
would
be
interested
in
having
to
deal
with.
E
B
I
think
that
kind
of
permanently
drives
the
stake
into
the
heart
of
that
concept.
E
E
Out
there
that
we
can
help
to
identify,
but
the
the
fish
itself
out
at
sunset
park
is
probably
not
going
to
tory
diane
did
any.
Is
that
pretty
much
what
you
got
out
of
conversation
with
tom
and
the
last
thing
you
want
to
do
for
our
poor
department
of
public
works
folks
is
make
their
life
more
miserable
with
something
that
they've
got
to
maintain.
B
Okay,
now
I
think
I
don't
know
whether
we
need
a
motion
on
this,
but
because
I
think
bill
gave
a
pretty
thorough
report.
I
think
we're
going
to
kind
of
abandon
the
gobi
fish
concept
and
do
you
want
to
perhaps
get
some
of
that
information
about
alternative
containers
out
to
the
pack?
And
maybe
we
can
get
some
opinions
on
okay,
so
that
will
just.
C
E
Yeah,
it's
interesting.
You
mentioned
that
because
dunedin
has
okay,
okay
and
I
did
take
a
picture
down
there
along
the
the
trail
that
that
compacts,
so
yeah.
E
C
C
B
Was
that
was
the
primary
objection
when
this
first
came
up,
and
you
know
it
was
originally
meant
for
pure
recycling,
mostly
the
plastic,
water
bottles
and
that
kind
of
thing,
but
human
nature
being
what
it
is.
You're
going
to
get
the
half
people.
E
B
E
B
B
Getting
homework
your
first
day
of
school,
okay,
okay,
here's
another
bugaboo;
the
golf
course
water
tower.
B
Okay,
I
think
you
know
we
discussed
the
fact
that
very
little
of
it
is
readily
visible
and
it
would
be
an
enormous
undertaking
and
I'd
like
to
get
everybody's
input
into
whether
this
is
something
we
should
cancel
defer
or
keep
alive.
G
A
That
says
a
lot
trish
yeah
I
would.
I
would
like
to
see
it
deferred
or
canceled
for
right
now.
B
E
A
little
we
don't
have
a
whole
lot
more
to
to
talk
about
other
than
the
fact
that
the
corridors
were
at
it,
lucian
put
together
the
streets
and-
and
she
hit
him
right
on,
because
I
went
to
the
comprehensive
plan
that
identified
the
different
traffic
routes
throughout
the
city
of
tarpon
springs
and
she
was
spot
on
with
with
the
different
corridors.
E
So
that's
what's
been
added
to
to
the
map
itself.
Lucian,
any
other
comments
you
had
on
it.
D
Just
one
sort
of
tangential-
and
that
is,
I
asked
diane
to
get
from
the
finance
office-
the
list
of
construction
projects
over
time
that
have
contributed
actual
dollars
to
our
fund
and
they're
scattered
all
over
town.
So
I
think,
having
a
wider
view
than
the
heavily
concentrated
central
core
of
the
city
is
justified
if
we
can
find
the
right
spots
and
if
we
can
find
the
right
projects.
But,
for
example,
there
is
a
a
major
project
out
in
the
encloat
area.
D
There
have
been
projects
close
to
the
highway
if
not
on
the
highway,
and
that,
of
course,
is
not
an
ideal
location,
but
but
our
funding
is
coming
from
a
very
broad
geographic
area
within
the
city.
So
I
think
I
think
we
have
every
justification
for
widening
our
scope.
B
Okay,
I
know
that
we
had
kind
of
a
discussion
on
that
under
new
business.
Do
you
want
to
consolidate.
B
The
discussion
of
the
gis
map
with
the
the
financials.
D
B
Okay,
does
anybody
have
any
questions
or
comments
about
these?
The
contributions
to
the
public
art
fund.
B
B
The
mermaid,
the
mother
mirrors
mural
the
nyads.
I
guess
the
nyads
and
storybook
time
were
our
biggest
expenditure
to
date
on
any
art
pieces
about
160,
000,
other
expenditures.
B
Again,
they're
kind
of
you
know
routine
maintenance
and
signage,
and
you
know
that
type
of
thing
then
there's
some
illustrations
of
the
innis
project
that
we
discussed
and
then
the
gis
maps
did.
You
want
to
add
anything
further
bill
or
lucian
about
the
gis
mappings.
E
E
So
and
again,
everything
is
to
try
to
make
it
easy
to
make
some
of
these
decisions
that
yeah
that's
a
good
project,
that's
where
it
needs
to
be,
and
I
think
this
should
help
us
with
some
of
that.
B
E
B
In
fact,
diane
just
discussed
it
earlier.
We
have,
we
have
a
line,
a
maintenance
line.
I
think
it's
2500
annually
in
the
budget
we
use.
I
don't
think,
we've
expended
it
all
in
the
past.
F
F
Why
I
was
getting
you
know,
most
of
the
artwork
doesn't
really
like
the
bike
racks.
If
something
breaks
you
know,
we
would
have
to.
B
Yeah
when
I
made
the
presentation
at
the
end
of
june
to
the
board
of
commissioners
in
a
powerpoint-
and
I
guess
you
could
go
back
to-
I
think
it
was
june
23rd,
the
the
powerpoints
on
the
youtube
video
and
there
was
a
breakdown
of
our
budget,
including
the
expenditures
and
what
was
allocated
for
maintenance
and
what
was
actually
expended.
Okay-
and
I
think
the
the
only
major
thing
we
did
as
diane
said
was
arma,
but
you
know
I
think,
going
forward.
B
We,
as
diane,
said
you
know,
she's
just
going
to
get
an
estimate
from
saint
cates
who
we
found
to
be
the
I
guess,
the
most
knowledgeable
and
reliable
in
terms
of
doing
those
brawn
bronze.
You
know
restoration
and
preservation
techniques,
they
did
a
beautiful
job
on
alma.
F
F
Like
I
said,
the
one
that
I
feel
like
is
probably
going
to
take.
The
most
care
is
story
book
time
because
they're
it's
on
a
teak
bench
and
it
needs
to
be
sealed,
and
you
know-
and
so
it
was
in
storage
for
a
long.
You
know
time,
so
that's
the
one,
but
they
have
been
out
and
actually
they
saint
kate
came
out
and
restored.
F
The
the
sponge
diver
recently
at
the
sponge
docks
too
so
they're
they're
well
versed
on
their
care.
Lucian.
D
This
isn't
exactly
maintenance,
but
it
occurred
to
me
when
I
was
at
the
docks
you
know.
Looking
at
the
locations,
we've
talked
about
for
the
art
boxes,
the
possible
african-american,
sponger,
etc.
The
landscaping
on
the
existing
sponge
diver
statue
is
very
formal.
It's
their
topiary,
trimmed
bushes
and
some
other
flowering
shrubs,
and
I
don't
know
whether
this
is
the
appropriate
time
for
this
discussion,
but
I
think
we
maybe
need
to
pay
attention
to
the
landscaping
and
its
appropriateness
for
the
sculpture,
for
example,
on
the
sponge
diver.
D
F
That's
well
that
it's
a
city
sculpture,
but
it's
not
the
public
art
sculpture,
we
that
was
donated
by
one
of
the
family,
one
of
the
greek
families
years
and
years
ago,.
F
B
Yeah,
it's
just
like
the
the
cross
retriever
statue.
Next
to
the
cathedral
is
not
one
of
our
statues
either.
It's
a
private
one
yeah.
B
B
G
B
Okay,
the
innis
property
discussion.
I
believe
we
got
some
material
from
karen
lemons.
F
I
know
that
at
one
of
the
public
art
committee
meetings,
meetings
in
his
property
was
identified
as
a
great
location
for
something.
So
we
had
this
information
that
we
did
back
in
january,
and
so
I
wanted
to
pass
that
on
to
the
public
art
committee.
F
So
you
would,
and
we
do
have
the
name
of
the
owner.
The
owner
would
just
have
to
be
approached
to
see
if
they
would
be
interested
in
some
sort
of
art
there.
Okay.
G
E
B
G
B
B
C
C
B
Right,
I
think
I
heard
well.
One
of
the
things
that
was
kind
of
a
component
of
the
original
art
box
proposal
is
that
the
all
of
the
images
in
the
boxes
are
photographs
of
artwork
there,
and
I
gave
diane
a
spreadsheet
with
all
of
the
artists
information
and
her
assistant
at
tarpon.
Arts
is
working
on
a
brochure
so
that,
when
people,
if
people
are
interested
in
buying
any
of
the
artwork
that
deal
directly
with
the
artist,
I
don't
know
how
it
would
work
to
set
up
a
pack
gallery
per
se.
B
B
B
A
On
you
were
talking
about
the
gallery.
Excuse
me,
excuse
me
where
the
wine
shop
is
now,
I
guess
the
wine
shop
moved
into
it.
The
reason
they
closed
was
like
personal
family
problems.
Also
the
cobia
came
in
and
that's
why
we're
closed
otherwise,.
B
B
So
do
nothing
till
we
hear
from
you
correct,
right,
assume.