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From YouTube: Public Art Committee January 13, 2021
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A
Good
afternoon
my
name
is
joan
jennings,
I'm
the
chair
of
the
public
art
committee
and
I'd
like
to
call
the
meeting
to
order
it's
wednesday
january
13th
at
2
p.m.
Marissa.
Will
you
call
the
roll.
A
Okay
mark:
do
we
have
any
guests.
A
Okay,
thank
you.
I'd
like
to
hear
a
motion
to
approve
the
minutes
of
the
december
8th
meeting
bill.
Second,
second
trish:
is
there
any
discussion?
Any
corrections,
comments.
A
Hearing
none
minutes
are
accepted
is
submitted,
we're
moving
to
old
business.
The
current
project
updates
the
illuminated
art
boxes
thanks
to
tom
function
and
his
public
works
crew.
The
illuminated
art
boxes
are
all
installed
along
along
the
sponge
docks
and
they
did
get
them
up.
Pre-Christmas
I'd
like
the
pack
to
take
a
closer
look
at
the
images
and
let
diane
know
if
any
of
them
need
to
be
relocated
or
otherwise
tweaked.
A
A
A
I'd
also
like
to
look
into
qr
codes
for
the
boxes
and
replacing
theodor
iannu's
image
in
the
prototype
art
box,
which
was
20
by
30,
with
just
a
text
sign
giving
the
public
information
about
the
website,
and
you
know
how
to
access
more
information.
A
Very
easy,
okay,
so
that's
a
pretty
right,
there's
a
a
lock
on
the
top
corner
of
the
box,
and
if
you
unlock
that
the
side
just
flops
out
one
slides
out
the
other
slides
in
perfect,
so
it's
it's
just
a
matter
of
getting
the
guys
up
there
on
a
on
the
cherry.
Picker
christopher
still
is
working
away
at
advent.
Health
he's
almost
complete
mark.
Would
you
project
the
detail
image
that
christopher
sent
us
please.
A
A
Elizabeth
indianos
in
the
cultural
center
mural,
the
mural,
is
nearing
completion
and
mark.
Could
you
project
some
of
the
images
elizabeth
sent
us
about?
This
is
basically
a
wide
look
at
the
whole
mural
she's
working
on
completing
the
sky
and,
I
believe,
they'll,
it's
hard
kind
of
hard
to
see
on
the
slide.
A
The
last
center
piece
over
the
door
is
going
to
be
an
owl.
That's
going
to
be
the
last
piece
to
come
into
it,
but
the
detail
and
the
colors
are
just
absolutely
amazing
elizabeth
suggested,
getting
stanchions
and
velvet
ropes
similar
to
what
we've
got
here
in
the
performing
arts
center
to
distance
the
public
from
the
from
the
mural.
When
it's
complete.
So
does
anybody
have
any
comments
or
diane?
Do
you
have
any
thoughts
on
that
because
I
know
that's
kind
of
your
domain.
I.
G
Can
I
have
some
I'm,
I
know
it's
really
too
late
to
do
this,
but
I
think
we
need
to
be
a
little
careful
and
you
know
up
front
in
the
very
beginning
part
of
these
process
processes
like
these
murals,
with
with
a
lot
of
images
representing
who
we
are
our
diversity,
direction
and
stuff.
G
Like
that,
I
I
think
there's
an
image
that
that's
kind
of
troubling
to
to
me
and
that's
the
one
african-american
person
is
over
on
the
extreme
right
hand,
side
in
the
corner,
standing
over
a
rattlesnake,
and
it's
it's
just
a
you
know,
it's
just
unfortunate
that
that
happens.
That
way,
it's
almost
like
it's
an
add-on
and
it's
in
an
unfortunate
place
with
an
african-american
person
and
a
rattlesnake
in
such
close
proximity.
B
G
A
Obviously,
the
sponge
diver
is
symbolic,
but
you
know
it
starts
with
the
spanish
conquistadors
and
you
know
in
the
indians
and
goes
through.
You
know
the
crackers
which
down
here
is
not
a
pejorative
term.
You
know
the
cowboys
and
then
to
the
sponge
divers
and
then
to
kind
of
modern
times.
So
I
think
that
explains
the
positioning
robert.
A
G
G
We're
really
interested
in
diversity
and
in
representing
all
people
in
our
community,
and
you
know
I
I
can
almost
see
a
black
person
looking
at
it
and
says
in
in
in
action
movies.
The
black
person
is
always
the
first
to
die.
You
know
that
that
kind
of
a
thing
you
know-
and
it's
just
a
sensitivity
issue,
how
you
read
images
and
stuff
that
I'm
I'm
just
bringing
that
up
as
as
cautionary
things.
You
know.
G
A
F
G
Didn't
know
that
and-
and
I
mean
there's
a
lot
of
symbols
of
other
people
in
there
and
then
all
of
a
sudden-
we
have
a
real
person
it
it's
well.
A
I
believe
a
lot
of
them
are
real
people
and
are
historic
figures,
and
you
know,
except
obviously,
for
the
sponge
diver
who's
kind
of
ubiquitous.
But
you
know
I
know
that
elizabeth
is
going
to
be
preparing
a
key
somewhat
similar
to
what
chris
still
does
in
his
paintings.
A
Right,
no,
I
appreciate
it,
it's
does
anyone
else,
have
any
comments
or
observations.
A
Okay:
okay,
moving
on
to
the
sponger
sculpture
project
with
the
holidays,
I've
been
able
unable
to
do
any
further
substantive
research,
but
I'll
remain
in
contact
with
shannon
peck
bartle
about
you
know
getting
some
more
hard
research
and
some
facts
about
some
of
the
research
that
she's
been
doing
on
the
black
cemeteries
in
the
area.
A
Part
of
the
project
would
entail
repairing
the
walls
and
I'd
like
to
have
a
discussion
about
anyone
who
like
to
weigh
in
on
it
david.
Do
you
have
any
thoughts?
Just
go.
C
B
C
D
Okay
trish.
Yes,
I
have
sort
of
mixed
feelings
about
it.
Okay,
I'm
a
member
of
the
art
association
and
for
many
many
many
many
years
we
have
used
the
cultural
center
for
our
our
month-long
december.
Show
it's
a
big.
You
know
it's
a
big
deal
for
the
association,
so
we've
used
the
walls
downstairs
all
the
walls
and
upstairs
and
so
forth.
D
So
on
one
hand
you
know
selfishly,
I
would
like
to
see
the
walls
you
know
be
able
to
be
used
for
that
purpose,
but
on
the
other
hand
this
is.
This
is
why
I
have
mixed
feelings
about
it.
I
can
visualize
how
beautiful
it
would
be
to
walk
into
that
room
with
those
gorgeous
colorful
paintings
all
over
the
room
and
what
an
impact
it
would
have
on
people.
So
with
that
in
mind,
I
I
want
to
see
the
project
go
ahead.
D
E
Yeah,
it
was
really
good
for
me
to
have
a
chance
to
take
a
look
at
the
the
art
itself
and
and
the
room
and
the
space
I'll
preface
anything.
I
say
beyond
this
point
with
it's:
it's
it's
strikingly
beautiful
the
colors,
it's
very
vibrant.
I
think
it
it
lends
itself
to
a
wide
audience
that
would
appreciate
it.
B
E
It's
a
lot
going
on
in
a
small
space,
so
I'm
wondering-
and
I
just
throw
it
out
there
for
everybody's.
You
know
thoughts.
If
it's
you
know
better
to
leave
it
with
the
impact
that
it
has
with
the
entrance
to
the
auditorium
and
not
kind
of,
because
I'm,
if
you're
going
to
put
the
the
ropes
around
to
keep
people
back,
you're
really
going
to
take
that
room
and
make
it
almost
a
walkway
is
what
it's
going
to
become
to
get
into
the
auditorium.
E
H
Yeah,
I
share
a
lot
of
these
sentiments.
I
think
it
would
be
like
walking
into
a
jewel
box
in
some
respects,
and
yet
my
reservations
are
maybe
we
need
to
hear
from
diane
about
tarpon
art's
use
of
that
space
and
whether
that
sews
it
up
for
the
foreseeable
future
and
limits
its
program
capacity.
H
I
think
we're
driven
right
now
by
the
convenience
of
elizabeth
being
on
site
and
having
insurance
and
that's
kind
of
a
short-term
thing.
You
know
I'd
like
to
be
thinking
longer
term
about
the
use
of
the
space
and
the
accessibility
of
it.
B
D
Did
you
yeah
and
just
in
in
commenting
on
lucy's
lucian's
comment?
The
heritage
museum
is
basically
the
same
thing
I
mean
it
has
all
this,
these
beautiful
photographs,
artwork
of
christopher
seals
and
so
forth,
and
it
has
limited.
You
know,
availability
for
the
public
as
well.
D
A
G
I
you
know,
there's
a
number
of
of
things
I
mean
bill
brings
up
that
when
you
put
a
stanchion,
you
put
the
bill
that
ropes
around
you're,
going
to
be
standing
in
about
a
10
square
foot
area.
You
know
and
people
waiting
to
go
into
the
theater
and
something
like
that
usually
wait
in
that
room
and
but
the
the
the
reservation
I
have
about
it
is
that
it's
too
much
you
know
there's
too
much
in
that
room.
It's
a
it's
a
very
bright,
bold
mural
that
you
walk
into
and
see.
G
I
think
if
you've
had
murals
on
either
side
of
that
it
would
take
away
from
that
impact,
and
I
think
the
walls
aren't
really
conducive
for
that.
If
the
walls
didn't
have
any
windows,
it
would
even
be
more
claustrophobic,
but
it
I
could
see,
painting
painting
the
sunset
and
the
sunrise
on
that,
but
I
think
you
you
mentioned
earlier
that
she's
going
to
have
key
a
key
for
all
the
images
and
stuff.
G
I
think
the
the
best
use
of
those
two
walls
is
to
put
the
key
on
on
the
east
wall
and
the
key
on
the
west
wall.
For
the
for
those
pings,
so
you
can
identify
them
and
that
can
be
a
nice.
You
know
nice
presentation
of
the
key.
G
It
could
be
a
a
line
cartoon
etched
in
or
or
printed
on,
on
plexiglas
that
sort
of
hangs
right
in
front
of
it
that
that
gives
people
a
chance
to
point
and
pick
and
stuff
like
that,
and
it's
not
going
to
make
the
claustrophobic
thing
that
kind
of
thing
on
the
wall
isn't
going
to
require
a
velvet
rope
in
front
of
it.
You
know
you'll
probably
get
fingerprints
on
it.
G
I
Hi
there
sorry
I
couldn't
make
it
in
person,
but
you'll
be
glad.
I
won't
be
spreading
any
germs
your
way
anyway.
I
actually
agree
with
so
many
of
your
points.
Trisha.
The
first
time
I
went
into
the
cultural
center
was
for
one
of
those
shows
and
so
taking
away
that
extra
wall
space
downstairs,
I
think,
would
be
missed.
I
I
also
agree
that
the
painting
itself
is
beautiful,
but
it
might
lessen
the
impact
if
you
paint
all
the
way
around,
because
the
room
is
simply
too
small
to
pull
that
off.
Liz
indiana's,
for
example,
that
there
are
places
like
the
stanzas
in
the
vatican
and
so
forth,
which.
I
We're
talking
about
here,
so
I
really
appreciate
diane
giving
the
time
for
each
of
us
to
go
and
see
it,
because
I
thought
it
was
actually
the
entrance
room
rather
than
the
one
that
he
was
really
in.
The
other
part
is
I'd
like
to
reiterate.
We
have
a
wonderful
sculpture
outside
we
have
a
bike
rack
paid
for
by
public
art
money
and
we
have
an
expensive
mural
in
this
we
have
to
serve
the
larger
tarpon
strength
community,
and
so,
even
though
again,
I'm
not
a
non-voting,
I'm
a
non-voting
member
as
well.
I
I
spend
our
money
to
put
it
more
broadly,
possibly
in
an
outdoor
place
or
somewhere,
because
we
have
really
great
our
agricultural
center
when
this
mural
is
finished,
so
that
was
it.
A
F
On
the
record,
yes,
the
cultural
center,
since
it's
been
closed
for
so
long,
you
know
people
forget
just
how
much
it
was
used,
but
we
normally
have
about
five
different
performances
throughout
the
year
in
the
theater
in
the
cultural
center,
and
we
also
work
with
the
tarpon
springs.
F
Art
association,
as
trish
had
mentioned,
to
do
exhibitions
and
and
things
and
also
they
have
art,
shows
and
and
that's
something
that
I
was
hoping
to
do
more
of
when
the
cultural
center
does
open
the
library
director-
and
I
have
been
talking
about
various
classes
in
there
for
adults
and
children
as
well
as
I'd
love,
to
have
additional
exhibitions
with
tarpon
springs
artists.
F
You
know
photographers
the
visual
artists,
you
know,
sculptors,
you
know
all
kinds
of
you
know
different
disciplines,
so
it's
to
be
determined,
but
it's
a
great
space
and
I
I
have
to
agree.
I
love.
I
think
that
the
the
mural
is
looking
fantastic.
F
I,
the
vibrancy
of
the
colors
and
everything
it's
got
such
an
impact,
and
when
you
walk
into
that
room,
I
agree
with
what
you're
saying
is
that
I
feel
like
that
is
the
the
main
event
and
to
put
something
on
the
other
walls
with
all
the
distraction
of
the
windows
and
the
doors
on
the
opposite.
End
is
going
to
take
away
the
impact
of
this
beautiful
piece
that
elizabeth
is
working
on.
F
So
that's
my
thoughts
and
my
only
other
concern
would
be
to
have
paint
and
something
going
on
in
that
room,
which
would
you
know,
keep
us
from
using
it
for
an
exhibition
or
something
of
that
nature.
So.
A
Okay,
but
I
think
we're
all
in
favor
of
the
key,
and
I
like
robert's
idea
of
putting
you
know,
breaking
it
up
into
the
two
segments
and
putting
a
key
on
each
side.
Is
everybody
kind
of
happy
with
that
something
just
occurred
to
me
too
diane.
While
you
were
talking,
you
know,
everything
now
is
like
multimedia.
I
wonder
what
would
again
I'd
like
some
comments
about.
A
F
That
appeal
to
anybody
funny
you
mentioned
that
joan
tarpon
arts
is
actually
working
with
christopher
still,
and
we
will
also
be
working
with
elizabeth,
because
what
we
would
like
to
do
is
video
make.
You
know,
create
a
video
of
his
paintings
and
have
him
explain
all
of
them
in
the
heritage
museum
and
also
have
elizabeth
do
the
same
with
her
painting
and
then
we'll
have
that
available
to
the
public
to
watch
so
yeah.
That
is.
A
Okay,
so,
unfortunately,
we'll
have
to
let
elizabeth
know
that
the
pack
is
not
endorsing
the
proposal
on
to
the
sisler
feel
murals
diane,
and
I
were
talking
about
this-
the
call
to
artists
now
that
the
holiday
is
over.
We
will
re
issue
the
call
to
artist,
but
I'd
really
like
the
pack
to
reconsider
doing
one
mural
there,
because
I
think
just
trying
to
get
an
artist
to
do.
One
mural
there
for
a
thousand
dollars
is
not
engendering
any
information.
A
I
mean
any
interest
in
the
any
of
the
projects.
So
you
know
there
are
five
distinct
spaces
there
and
I
think
to
do
all
of
them.
It
would
be
five
thousand
dollars.
You
know,
I
don't
think
it
would
be
that
expensive,
but
you
know-
and
we
might
get
much
more
of
a
response.
I
know
diane
has
done
a
yeoman's
job
of
networking
with
a
lot
of
the
different
arts
organizations
going
all
the
way
down
to
saint
pete.
A
A
F
It
could
have
been
that
it
was
during
the
holidays
that
we
put
this
out.
That's
why
we
went
ahead
and
decided
to
do
it
again.
You
know
once
the
holidays
passed,
so
the
deadline
for
this
particular
one
now
is
february
26
to
give
people
a
little
bit
more
time.
So
as
far
as
where
I've
put
it
out,
it's
already
been
sent
out
on
social
media.
F
F
Tarpon
arts
is
a
member
of
the
florida
association
of
public
art
professionals,
and
so
I
sent
our
call
to
artists
to
them
and
in
their
next
newsletter,
they're
going
to
be
sharing
that
so
that'll
go
throughout
the
state
of
florida,
so
I
mean
we'll
see
what
we
get,
but
it
may
just
be
that
it's
too
small
of
a
because
this
is
going
out
to
probably
more
seasoned
artists
than
novice
it.
It
possibly
could
not
maybe
attract
the
attention.
F
A
Well,
the
the
thing
is
that
this
harks
back
to
our
liability
insurance,
conundrum
mark
lacouris,
the
city
manager
determined
with
the
city
attorney
that
if
a
fee
is
a
thousand
dollars
or
under
the
the
artist
would
be
considered
a
limited
contractor,
I
believe,
is
the
term
and
they
could
be
included
under
the
city's
liability
policy.
A
So
it
would
just
be
the
straight
thousand
dollar
fee,
plus
an
allowance,
reasonable
allowances
for
materials,
so
probably
the
maximum
it
would
cost
to
do
all
five
walls
at
the
at
sisler
field
would
be
ten
thousand
dollars.
Okay,.
B
A
Yeah
estimating
super
high
side,
I
figured
it
would
be
like
a
thousand,
but
that's
like
super
high
size,
probably
more
in
the
neighborhood
of
what
you're
talking
about.
F
It
didn't
specify
an
amount.
I
just
said
that
we
could
that
we
would
be
reimbursing
supplies
so
reasonable
supplies.
So
I
guess
anybody.
Who's
really
interested
will
probably
I'm
sure,
inquire
about.
What's
their
max.
D
E
I'm
still
interested
in
doing
something
a
little
bit
grander
than
than
than
just
the
murals
at
that
location.
When
we
take
a
look
at
the
public
art
and
where
we
have
it
located
across
the
city,
we've
identified
sisler
as
a
true
opportunity,
where
we
have
a
lot
of
public
that
goes
to
and.
E
Little
there
you
know
I'd
still
like
some
conversation
about
something
grander,
and
I
I
don't
I
don't.
I
don't
know
what
that
is,
and
I
defer
to
others
to.
You
know
whether
it's
some
sort
of
sculpture
and
I'm
not
thinking
of
something
bronze
that
that's
that's
there.
I'm
thinking
something
that's
a
little
bit
more
interactive
that
gets
children,
because
that's
that's
our
target
at
that
particular
location.
Right.
E
A
E
F
I
don't
think
they'd
be
opposed
to
it.
I
mean,
because
you
know
they're.
I
think
it
would
enhance
the
the
ball
field,
and
I
know
that
in
several
board
of
commissioner
meetings.
I
know
that
the
commissioners
have
talked
about
wanting
something
at
you
know
sisler
field,
so
you
know,
I
think
they
would
be.
You
know
in
support
of
it
and
they
wouldn't
have
to
maintain
anything
new.
A
A
F
A
G
It
was
brought
up
about
the
the
locations
of
where
the
different
murals
are
they're
different
spots
and
things
and
would
be
kind
of
a
cacophony
if
there
were
five
different
artists
doing
that.
One
way
to
do
that
is,
if
you
had
one
artist,
do
that
and
they
could
they
could
unify
the
whole
space,
make
a
making
a
a
whole
presentation
about
it.
That
would
be
grander
in
a
way
it
would
cost
more.
The
artist
would
probably
you
know,
because
of
limitations.
G
The
artist
would
have
to
come
up
with
a
you
know,
insurance
for
it.
I
think,
or
you
could
do
some
creative
contracting.
I
mean
I've.
Always
we've
always
brought
this
up,
never
gotten
anywhere
with
it,
but
you
keep
trying
in
a
way
is
you
could
write
five
different
contracts
for
a
thousand
dollars
each
I
mean
we
always
get
the
lawyers
looking
at
us
like.
We
have
two
heads
when
we
do
that,
but
we
don't
know
why
it
can't
be
done.
It's
just
that.
It's
never
been
done
or.
B
G
Think
it's
never
been
done,
but
it
could
be
a
you
know:
a
commitment,
a
series
of
commitments.
You
do
this
one,
then
you
finish
it
and
then
you
do
that
when
then
you
finish,
it
it'd
be
the
same
artist.
Designing
the
whole
thing.
The
whole
concept
you
know
like
who
would
that
attract?
You
know
to
deal
with
that
and
you'd
you'd
have
you
might
find
some
people
that
are
intrigued
with
that,
because
it's
a
problematic
kind
of
a
project
and
some
people
really
like
to
solve
those
type
of
problems.
A
I
I
love
the
idea
of
having
one
artist,
do
five
contracts
and
and
basically
go
from
one
to
the
other,
but
that
the
the
whole
project
would
be
hinged
together,
so
it
wouldn't
be
a
hodgepodge.
I
also
like
bill's
idea
of
doing
something.
Possibly
you
know
sculptural
more
kinetic
or
so
so
those
are
the
two
ideas
that
I
find
the
most
fascinating.
A
Okay,
well,
what
I'd
like
to
do
is
you
know
we're
coming
up
on
lucy,
anne's
and
in
his
park.
So
I
think
in
terms
of
looking
at
what
she's
going
to
bring
to
the
table,
then
we
can
get
maybe
a
firmer
idea
of
where
we're
going
with
expenditures,
but
I
think
the
idea
that
robert
had
of
doing
you
know
the
five
murals
by
one
artists
is
is
a
fascinating
one,
and
you
know
I
mean
have
have
you
driven
by
there
and
looked
at
the
buildings
at
sizzler
field.
A
H
Talked
about
mosaic,
so
if
we
get
to
the
point
that
we're
doing
a
call,
can
the
call
be
broad
enough
to
include
any
surface
treatment,
not
just
a
mural
and
that
might
bring
some
more
interest.
A
Okay
other
than
the
then
the
then
the
murals
just
doing
a
wall
of
one
of
the
buildings
at
sizzler.
A
B
F
Me
can
I
just
weigh
in
one
more.
I
just
wanted
to
mention
that
all
these
calls
to
artists
have
already
gone
out
for
this
project,
and
you
know
with
the
florida
association
of
public
art.
You
know
giving
us
some
space
in
their
newsletter.
With
this
call
to
artists,
I
would
hate
to
change
it,
because
that
would
look
really
bad.
So
can
we
just
go
ahead
and
pursue?
F
You
know
this?
You
know
for
until,
like
the
end
of
february,
as
is
and
see
what
we
get,
and
you
know
if
we
do
get,
you
know
an
artist,
then
maybe
we
can.
You
know
talk
about
the
the
five
different
right
that
we
like
that
you
like,
and
then
maybe
talk
about
another
place
where
we
can.
You
know,
do
something.
You
know
larger
too,
so.
A
A
Okay,
is
that
all
right
with
everybody
to
just
since
everything's
out
there
already
to
just
go,
go
with
it,
I
mean.
If
we,
if
we
don't
get
any
responses,
then
the
point
is
moot.
If
we
do,
then
we
can
review
that
proposal,
and
you
know
if
we
get
one
or
two
and
they're
really
not
quite
up
to
snuff.
We
could
just
choose
not
to
go
with
them
and
go
with
another
alternative.
So,
okay,
excellent
solution:
okay,
we'll
defer
to
march
okay
bill
and
david
europe,
recycling
container
sculptures.
C
E
David
did
some
great
research
and
I
did
some
research
as
well
with
two
different
vendors
and
came
up
with
at
least
what
the
pricing
would
be
and
some
of
the
alternatives.
But
as
all
that
was
coming
to
being
pulled
together,
it
appears
public
works
already.
Has
some
of
these
compactor
units
in
the
city,
and
I
don't
know
diane
if
you
were
able
to
locate
or
get
an
idea
from
tom,
where
they're
located.
F
Out
for
public
to
see
you
know
kind
of
thing.
E
So
I
think
what
we
could
do
is
possibly
look,
because
he
it
looks
like
he's
going
to
be
renewing
the
contract
with
waste
management
and
when
they
do
that,
they
can
bid
out
for
some
of
these,
and
I
think
if
we
could
have
a
hand
in
perhaps
the
location
of
them,
it
may
suit
the
need
that
we
were
going
to
to
pursue.
With
with
doing
this,.
A
Right
well
long
ago,
and
far
away,
we
proposed
either
painting
or
wrapping
the
utility
boxes
around
town,
I'm
sure
you've
seen
them
in
other
municipalities.
A
You
know
where
they've
got
artwork
on
these
aluminum
utility
boxes
and
we
found
out
that
I
don't
know
whether
it's
because
we
use
duke
energy
or
what
company,
but
they
wouldn't
allow
us
to
do
anything
to
the
bot.
You
know
to
those
boxes,
but
it
sounds
like
almost
like
a
similar
project
to
take
something
that
ex
already
is
in
existence
in
a
municipality
and
decorate.
It.
C
F
One
thing
you
might
want
to
consider,
though
they're
very
big,
and
I
don't
so
I'm
it
looks-
I
don't
know
if
they
would
be
approachable
by
the
public.
That
what's
one
thing
you'd
have
to
consider,
is
that
you
know
they
might
see
it
wrapped
with
some
artwork,
but
I
don't
know,
do
they
need
a
sign
to
say,
hey
put
your
your
stuff.
F
E
F
And
then
tom,
I
guess
you
know,
would
I'm
not
sure
when
procurement
is
doing
this?
Usually
our
procurement
department
puts
that
you
know
out
so
we'll
have
to
I'll
find
that
that
out
for
you.
E
I
didn't
ask
for
multiple
units.
You
got
your
price
down
with
with
more
units
right,
but
wow
yeah
yeah
for
the
solar
powered.
Now
I
guess
that
sends
messages
back
to
public
works
when
it's
near
full
and
so
it
it's
interactive
with
messaging
to.
A
It's
worth
it.
It's
worth
an
ask.
E
G
B
A
Right,
well,
we
were
in
touch
for
a
while
when
we
were
still
considering
the
artist
alley
concept
with
the
company
that
did
the
applique
process
for
chris
stills
mural
on
the
mattress
building.
You
know
that
was
again
robert,
I'm
in
your
school
of
creative,
get
around
the
lawyers
strategies.
A
You
know,
and
I
thought
maybe,
if
they,
because
they're
they're,
bonded
and
insured.
I
thought
that
you
know
if,
if
an
artist
created
an
image
and
it
was
put
on
an
applique
and
the
applique
bonded,
an
insured
company
could
put
them
up,
no
harm,
no
foul
and
we
could
do
the
project,
but
that
didn't
work
either.
E
B
E
B
B
E
B
H
I
hope
I
won't
let
you
down,
but
the
holidays
did
happen.
Yes,
but
we
have
had
some
developments
and,
most
of
it
to
diane's
credit,
she
managed
to
snag
one
of
the
rare
telephone
appointments
with
tom
trask.
B
H
And
really
he
has
green
lighted,
the
project,
at
least
from
a
legal
standpoint.
H
He
says
that
we
should
have
an
agreement
called
a
declaration
of
covenants
that
would
allow
the
city
to
place
a
work
of
art
on
private
property,
and
it
would
have
provisions
that
retain
the
city's
ownership,
but
also
allow
the
owner,
if
need
be
sometime
in
the
future,
to
request
that
the
city
reclaim
it
and
remove
it.
H
H
I
ran
all
this
by
the
family.
They
are
in
general
agreement
and
there
is
the
added
advantage
that
the
son
of
the
property
owner
is
a
commercial
real
estate
attorney
in
tampa
and
would
work
with
mr
trask
to
come
up
with
an
agreement
that
everybody's
happy
with.
H
But
I'd
like
to
hear
ideas
from
subcommittee
members,
if
not
today,
because
I'm
springing
it
on
you,
maybe
in
brief
memos
to
diane
about
the
direction
of
this
project.
I
know
we
had
talked
at
one
point
about
landscape
art,
but
since
the
property
is
now
it's
clear
that
it's
privately
owned,
I'm
not
sure
that
is
as
appropriate.
H
A
kind
of
project
we've
talked
about
a
kinetic
sort
of
sculpture,
but
there
are.
There
are
many,
many
media
that
we
can
consider,
and
I
I
just
personally
would
love
to
see
the
project
develop
as
a
celebration
of
the
arts
in
tarpon
springs
a
musician
owned,
the
property,
the
ns,
the
innoces
were
involved
in
the
neighborhood,
not
necessarily
the
property
itself,
and
the
becketts
who
owned
the
property
in
the
40s
were
very
interested
in
our.
She
was
a
painter
I
believe,
and
they
collected
broadly
so
there's
a
real
art
relationship
to.
H
We
all
love
the
visibility
of
it
right
there
on
riverside
drive,
so
it
it
could
be
spectacular,
but
I
would
like
to
go
into
the
subcommittee
with
a
wealth
of
ideas
from
all
of
you.
So
right.
A
A
A
C
C
Kind
of
like
a
light
show,
maybe
it
like
shoots
up
jets
all
the
way
around
and
it
comes
back
down
or
something
like
that.
It
would
just
be
striking
right.
I
don't
know
what
that
would
cost,
but
every
single
time
I'd
see
that
or
I
drive
around
it.
I
just
see
that
there's
something
missing
there,
obviously,
and
something
can
be
done
to
bring
in
the
art
of
tarpon
or
the
the
heart
of
tarpon.
C
H
B
H
D
Trish,
no,
I
don't
have
any
ideas,
but
I
like
I
like
davidson.
A
Yeah,
while
david
was
talking
it,
it
brought
to
mind,
I
used
to
work
at
pepsi
cola
headquarters
in
purchase
new
york
and
they
had
the
center
piece.
They.
It
was
a
sculpture
garden,
it
had
been
an
old
polo
club
and
they
just
had
sculptures
all
over
the
place
and
the
kind
of
the
biggest
one
that
was
right
in
the
middle
it
was
a
building
was
an
octagon
with
an
open
side.
With
this
magnificent
mermaid
and
dolphin
in
a
fountain,
it
was
just
absolutely
fabulous.
A
E
Yeah,
I
think,
they're
fantastic
ideas.
I
love
water,
I
love
lights.
You
know
to
embrace
things
from
the
past.
In
in
york,
pennsylvania
we
had
taken
an
old
foundry
and
it
created
created
a
a
boat
launch
and
we
took
gears
that
we
found
out
of
the
old
foundries
and
made
gear
garden,
flowers
out
of
them
and
they
were
huge
sculptures
and
they
were
placed
all
over
the
place
so
just
taking
some
pieces
of
of
what
was
there
and
incorporating
it
in,
but
I
think
you've
got
a
great
turn.
A
G
There's
an
old
saying
that
money
makes
art
and
that's
what
we
could
be
talking
about.
With
this
thing
I
mean
you
can
see
all
these
grand
things
there
and
the
the
the
whole
structure
could
be
a
wonderful
thing
to
surround
a
wonderful
sculpture
or
a
wonderful
event
or
a
wonderful
3d
kind
of
thing
or
a
light
show
or
something
like
that.
It
just
takes
money
and
and
the
more
money
you
can
come
up
with.
Probably
the
grander
thing
you
can
have
there.
G
A
G
But
you
know
there
there
could
be
that
there's
a
theme
applied
to
it
and
and
the
theme
of
of
innis's
attraction
to
this
area
because
of
the
the
the
natural
fauna
of
of
tarpon
springs
that
natural
floral
beauty,
the
and
and
there
there
are
a
lot
of
sculptors
that
make
sculptures
of
trees
and
plants,
and
things
like
that.
That
would
be
a
little
bit
different
than
than
some
kind
of
a
sculpture
of
a
you
know.
G
A
statue
of
a
person
consider
a
statue
of
a
tree
and
it
could
be
very
striking
to
have
an
artificial
natural
representation
of
of
what
innis
was
attracted
to
here
in
the
first
place,
so
that
that's
just
my
thoughts
on
it,
but
you
know
the
the
more
money
you
can
find
for
it,
the
grander
it
is
right
and
you'll
you'll
also
attract
artists.
That
will
be
really
really
intrigued
by
that
you
know
in
different
different
ways.
G
Were
there
the
doing
a
piece
for
princeton
university
and
it
really
included
photographing
on
glass
and
and
the
photograph,
though,
was
embedded
into
the
glass
in
a
in
a
structural
way,
not
just
not
just
gluing
something
onto
it,
and
it
was
a
series
of
of
just
close
us
of
different
trees
of
different
colors,
creating
different
angular
structures
that
you
could
walk
into
and
around
and
as
the
you
know,
you
walked
around
it
and
it
was
a
very
simple
process,
a
very
simple
concept,
with
a
with
a
real,
intense
kind
of
attractiveness
to
it.
G
B
G
Our
project,
so
you
know
it
would
be
a
way
to
honor
the
the
innis
connection,
to
that
why
we
would
put
something
there.
It's
a
drive-by,
mostly
I
mean
carol,
and
I
walk
our
dog
by
there
every
sunday.
That's
our
sunday
long
walk
around
there
and
we
always
speculate
about
that.
We
go
there
because
of
venice.
We,
like
we
like
being
part
of
george
innis,.
I
Yeah,
I
love
the
idea
of
some
kind
of
water
feature
incorporated
that
brings
the
water
from
the
bayous
and
all
of
that
into
the
land
and
and
possibly
having
maybe
some
of
that
more
abstracted
foliage
plants,
tree
kind
of
sculptural
aspects,
but
I
agree
with
robert
that
in
order
to
do
this,
well,
it's
going
to
be
an
expensive
project,
and
so
we
really
need
to
decide
as
a
committee
if
we
want
to
really
make
a
big
splash
or
do
lots
of
little
things
all
over
the
place.
I
I
I
think
this
would
be
great
to
have
something
larger.
That
really
puts
us
on
the
map.
I
do
have
a
stupid
question,
but
what
is
the
actual
street
address
for
this
park,
because
I
was
trying
to
look
it
up
and
I
couldn't
find
the
actual
street
address
for
it.
I
Okay,
that's
why
I
couldn't
find
it
on
okay.
Thank
you
that
way.
I
I
wanted
to
go
ahead
and
walk
the
area
again
and
see
more
ideas,
but
I
think
the
idea
of
submitting
looking
at
the
property
and
coming
up
with
some
brainstorming
ideas
that
we
can
submit
to
diane
would
probably
be
a
good
idea
that
we
would
have
something
really
concrete
to
look
at
when
we
get
together
again.
A
Okay,
well
lucy
anne.
Thank
you
for
doing
all
that
leg
work,
especially
clearing
all
of
well
as
and
diane.
Of
course,
you
know
getting
all
of
that
legal
leg.
Work
done,
that's
a
huge
contribution,
but
this
is.
This
is
a
really
really
exciting
project
and
I
think,
echoing
what
michaela
just
said,
I
think
this
is
something
maybe
we
might
want
to
throw
all
of
our
darts
at
and
it
might
be.
H
Interesting
as
you
submit
your
ideas
to
diane
bounce
some
budget
figures
around
too,
please.
A
Right,
the
other
thing
we
we
might
explore-
and
again
this
is
you
know,
might
be
a
question
for
tom
trask,
so
I'm
gonna
set
you
a
task
of
trying
to
get
another
phone
through.
F
You
know,
I
think
everybody
should
and
I'm
just
going
to
throw
this
out.
You
know
I
I
would
say
before
we
meet
every
month,
you
might
want
to
read
through
the
ordinance
again.
You
know
just
to
refresh
your
memory,
the
guidelines,
because
I
believe
I
read
something
just
recently
in
there
that
the
public
art
committee
could
accept.
F
You
know
donations
from
other.
You
know
organizations,
so
everybody,
if
you
would
please
you
know,
just
go
ahead
and
look
at
the
ordinance
in
your
notebooks
and
stuff
when
you
get
a
chance
and
see
if
and
I'll
look
into
that
too.
But
I
do
believe
there
is.
You
know
the
possibility
of
doing
that.
B
B
F
A
So,
okay,
so
I
think
we've
got
a
lot
of
exciting
work
to
do
here.
This
is
this
is
really
fantastic.
Okay,
the
next
item
on
the
on
the
agenda.
Unless
anybody
has
any
other
comments
or
about
the
in
his
project,
I
think
we
pretty
much
covered
it.
Thank
you
all.
Oh
thank
you.
Lucian.
A
Okay,
what
I
wanted
to
do
next
is
to
codify
and
confirm
the
pac
policy
regarding
murals
on
private
property.
I
know
there's
been
some
questions
about
it:
the
artist
ally
mural
project,
which
we
poured
a
lot
of
time
and
effort
into
was
cancelled
by
the
seemingly
insurmountable
liability
insurance
issue
that
made
these
projects
untenable.
A
At
a
prior
meeting
of
the
pack,
a
decision
was
made
to
restrict
pac
projects
to
city-owned
property,
and
another
consideration
is
that
many
property
owners
and
businesses
have
already
privately
contracted
with
artists,
to
paint
murals
on
their
buildings
and
to
publicly
fund
other
businesses
would
be,
you
know,
would
be,
or
maybe
un
perceived
as
unfair.
So
I
just
wanted
to
kind
of
you
know,
get
it
solidly
on
the
record
through
a
motion
and
a
second
in
a
vote
that
we're
going
to
restrict
projects,
especially
mural
projects
to
public
property,
diane.
F
Can
we
broaden
this
and
have
some
discussion
before
we
do
that,
because
I
feel
like
at
this
point
we
shouldn't
just
limit
it
to
murals.
I
think
we
need
to
you
know
you
need
to
decide
whether
you're
going
to
allow
any
kind
of
public
art
committee
project
on
private
property
period.
F
You
know
because
that
you
know
when
opportunities
come
up,
someone
you
know,
approaches
you
one
of
you
or
you
know
or
comes
in
with
a
proposal
to
us.
You
know
we
will
know
right
away
whether
or
not
you're
going
to
allow
that
or
you're
just
going
to
concentrate
on.
You
know,
city
owned
property.
So
if
you
could
broaden
it
a
little
bit
from
you
know
any
art
project
public
art
project
as
not
just
murals.
I
think
it
would
help
us
out
moving
forward.
That's
just
my
opinion,
I'll
open
that
to
discussion.
A
A
A
You
know
where
I
thought
this
was
coming
from,
but
you
know
I
I'd
like
to
get.
You
know,
comments
and
discussions
about
it.
I
May
I
say
something:
okay,
the
murals
on
public
or
private
properties
is
something
that
hits
close
to
home.
A
couple
of
committee
members
were
not
part
of
the
committee.
Yet
when
last
january
I
wasn't
formally
part
of
the
committee,
then
either
I
submitted
a
mural
on
behalf
of
my
husband
and
the
public
art
committee
approved
it.
It
was
in
negotiations
with
the
contract,
but
it
was
meant
to
be
on
private,
a
private
wall
in
the
sponge
stocks.
A
And
I
don't
know
if
we
can
discuss
this
because
it
might
present
the
conflict
of
interest.
I
I
Then
my
husband
got
hit
by
a
car
while
he
was
on
a
bicycle,
something
that's
going
to
trial
only
later
on
this
month,
and
so
he
had
asked
to
see
if
he
could
put
the
project
on
hold
and
he
was
asked
to
resubmit
and
when
he
resubmitted
he
he
was
told.
Oh
no,
you
can't
do
that
anymore,
even
though
he
gotten
the
approvals
from
the
building
owner,
because
we
no
longer
do
this,
even
though
at
the
pac
meeting
when
we
discussed
it.
I
However,
for
larger
projects,
if
the
artist
is
covering
the
liability
insurance,
at
least
from
that
meeting,
my
impression
was
that,
yes,
we
could
still
proceed
if
the
pack
approves
the
project
and
then
that's
always
another
thing.
So
if
we're
now
saying
oh
no,
we
can't
work
with
private
properties.
I
So
I'd
like
a
larger
policy
like
diane,
pointed
out
to
make
sure
that
we're
not
just
picking
and
choosing
the
works,
still
have
to
be
approved
by
the
pack
on
their
own
merit.
I
But
we
should
decide
whether
or
not
we
will
never
do
things
on
private
properties.
We
will
never
do
wall
things
on
private
properties,
we'll
never
do
other
things
on
private
properties
or
not
because
if
the
artist
is
willing
to
cover
the
liability
insurance
out
of
the
project
money,
then
I
think
it's
possible
that
we
can
proceed
and
look
at
the
project
on
its
own
merit.
Every
single
time.
A
How
do
you
address
the
fact
that
it
might
be
perceived
as
being
unfair
by
other
property
owners
who
have
paid
privately
for
murals.
I
Would
they
not
think
it's
unfair
if
the
endless
property
gets
some
big
splashy
project,
that's
paid
for
by
pac
money,
it's
still
private
property
just
because
the
public
is
allowed
to
walk
their
dogs
when
you're
there
doesn't
mean
that
it's
not
a
private,
it's
the
same
consideration,
so
I
think
we
should
decide
one
way
or
the
other.
H
I
Okay,
if
you
don't
mind
me
explaining
briefly
I'd
be
glad
to
do
so.
Kevin
had
gotten
the
approval
from
the
committee
to
proceed
with
the
mural
project
in
the
spongebox
he
had
designed
it
he'd
gotten
the
approval.
He
was
working
out
the
details
with
tom
trask
as
to
how
to
do
this
and
then
covet
hit.
So
then
he
was
looking
at.
I
Maybe
it
would
be
safer
to
work
with
the
photo
process,
so
you
could
paint
the
painting
at
home
and
have
it
put
on
the
building
without
being
exposed
to
lots
of
people
with
covet
at
the
early
part
of
the
pandemic,
and
then
he
was
on
a
bicycle
ride
and
a
lady
hid
him,
and
that
was
just
the
last
straw,
so
he
said
you
know.
I
I
can't
deal
with
this
on
top
of
all
of
the
other
things
that
were
happening
at
work,
and
so
he
asked
to
put
the
project
on
hold,
he
was
told
he
can
put
it
on
hold,
but
he
would
have
to
resubmit
it,
and
so
he
said,
okay,
I'll
resubmit
it,
and
in
october
he
had
contacted
the
building
owner
again.
The
building
owner
said
no
we're
still
good
to
go,
but
I'd
like
you
to
do
it
on
the
other
side
of
the
building,
so
kevin
redesigned
the
project
for
the
other
side
of
the
building.
I
Then,
as
a
courtesy,
he
called
joan
to
say:
hey,
I'm
gonna
resubmit
the
the
project.
You
know
I've
got
everything
worked
out,
I'm
getting
bids
for
the
insurance,
because
the
previous
insurance
bid
had
elapsed
and
joan
told
him
that
no,
he
can't
resubmit,
because
now
the
public
art
committee
is
no
longer
accepting
projects
on
prop
on
private
property,
and
so
he
didn't
get
to
resubmit,
even
though
it
was
approved
by
the
committee
initially.
F
Questions
you
see
what
this
becomes
a
problem,
because
you
know
one
of
the
things
that
was
made
pretty
evident.
You
know
by
that,
when
we're
doing
it
on
private
property,
there's
got
to
be
two
contracts,
there's
got
to
be
one
with
the
artist
and
then
there's
got
to
be
one
with
the
building
owner,
and
so
tom
trask
is
creating
two
different
contracts
which
both
parties
have
to
agree
to
in
order
for
anything
to
move
forward.
F
So
one
of
the
things
that
simplifies
it
by
keeping
it
on
city
property,
is
that
you
know
it's
city
property,
and
so
it's
just
one
contract
with
the
artist
you
know
to
move
forward,
but
when
all
these
other
opportunities
come
into
play
like
the
riverside
project
and
things
like
that,
you
know
that's
going
to
be
two
different
contracts
and
it's
going
to
be
pretty
lengthy.
You
know
kind
of
thing,
and
so
I
don't
know
I
feel
like
we're
in
a
situation
where
you're
going
to
have
to.
F
I
don't
know
if
you
want
to
make
it
on
a
case-by-case
basis
or
what,
but
just
so
that
I
can
be
of
assistance
moving
forward
with
this.
You
know
city
involved,
I
just
wanted
to
see
if
you
would
maybe
discuss
this
and
make
a
decision
as
a
committee,
you
know
to
move
us
forward
so
that
we're
all
on
the
same
page,
basically
not
meaning
to
open
up
a
can
of
worms.
But
you
know
it's
like
we
have
one
policy
and
then
how
are
we
going
to
do
that?
Moving
forward?
E
If
I
remember
correctly
and-
and
I
may
not,
this
kind
of
came
to
a
head
when
we
were
trying
to
do
the
artist's
alley
and
there
was
so
much
effort
put
into
you
know,
trying
to
to
to
make
something
happen
there,
and
I
think
that
was
the
pullback
and
the
comment
was
made.
You
know
that
we
should
be
looking
at
the
public
buildings
owned
by
the
city
of
tarpon
springs
as
the
target
for
the
majorities
to
to
simplify
and
move.
E
F
C
Right,
I
agree
upon
doing
it
case
by
case
based
upon
its
merit.
I
do
agree
with
that,
but,
like
I
said,
I'm
new
to
this
whole
deal,
so
I
don't
know
what
we've
encountered
in
the
past,
but
I
do
agree
that
you
don't
have
full
control
over
the
project
if
it
is
on
private
property
and
that
there
could
be
some
convolution
unless
it's
in
the
contract
or,
however,
that
goes,
but
there
could
be
in
addition
to
that
that
the
property
owner
also
helps
pay
for
part
of
the
project
as
well.
D
Trish,
well,
I
don't
see
any
problem
with
if
the
owner
of
a
property
agrees
and
it's
approved
by
the
pac,
you
know
the
project
and
the
artist
can
cover
the
insurance.
I
can't
see
a
problem
with
that.
A
A
D
D
E
That
would
be
of
exactly
so.
I
think
that
that
would
maybe
make
it
a
little
bit
different
than
if
someone
just
decides
they
want
to
put
a
mural
in
their
private
building.
That's
that's
their
call
and
they
they
pay
for
it.
If
we,
as
a
committee,
decide
we
want
a
piece
of
art
right
here,
because
geographically,
that's
a
location
that
we
want
to
present
some
public
art,
and
this
is
what
we
would
like
to
see.
Then
we
have
more
control
in
it
and
I
think
therein
lies
the
the
funding.
D
A
Right,
it
was
an
assemblage
of
murals,
you
know
it's
just
shed
in
a
in
a
blighted
area
yeah,
so
you
know,
and
it
was
on
the
backs
of
buildings,
and
it
would
you
know.
A
A
Right
and
the
thing
is,
you
know
there
were
artists
that
were
contacted
an
artist
that
had
you
know,
come
up
with
you
know
drafts.
You
know
they
had
done
work
on
on
on
proposed
art
for
a
lot
of
these
buildings,
and
you
know
it,
it
just
went
away.
So
you
know,
I
don't
think
that,
because
you
know
a
project
had
moved
along,
it
necessarily
meant
that
it
was
going
to
be.
A
You
know.
Kind
of
you
know
brought
to
fruition,
because
none
of
these
other
projects
were
either,
and
you
know
I
mean
jules
was
no
longer
on
the
committee-
was
the
one
who
spearheaded
it,
but
I
know
at
least
two
artists
and
two
buildings
and
property
owners
who
were
just
all
set
to
go
when
everything
just
sort
of
caved
in
on
itself-
and
you
know.
A
Right,
okay,
right
and
the
thing
is
that,
basically,
what
happened
was
because
the
projects
were
of
a
limited
monetary.
You
know
reimbursement,
it
kind
of
knocked
them
out
of
the
park
with
with
the
insurance,
and
you
know
the
other
thing
you
have
to
consider
too.
At
the
end
of
the
day.
Even
if
we
approve
a
project,
it
still
has
to
be
approved
by
the
board
of
commissioners.
A
You
know
so
you
know.
Maybe
we
could
just
forget
about
this,
and
then
you
know
let
the
board
of
commissioners
make
the
ultimate
decision
as
to
whether
a
project
would
go
forward,
but
I
I
still
have,
since
you
know,
real
reservations,
about
doing
something
like
a
mural
simply
by
the
nature
of
it
being
permanently
adhered
to,
a
private
building.
A
You
know
you
know,
and
I've
just
had
I've
just
had
ex.
You
know
professional
experiences
and
other
phases
of
my
life.
That
just
show
that
this
is
not
a
good
idea.
One
example
is
here
in
tarpon
springs
was
elizabeth
indiana,
so
himmer
was
just
simply
painted
over.
A
You
know
what,
if
we
spend,
you
know,
ten
thousand
dollars
on
a
mural
and
the
property
owner
decides
he's
going
to
paint
it
over
because
he
he
likes
the
color
green.
All
of
a
sudden,
we
have
no
recourse,
that's
the
other
downside
to
doing
things
on
private
property.
We
really
don't
have
any
control
over
something.
It
is
making
a
sizable
investment
in
it.
We
have
control
over
public
property
because
we
could
just
say
you
know
you
know,
dear
whoever
you
know,
manager
or
director.
A
Yeah,
so
you
know
I
just
I
just
you
know
I
mean
robert,
do
you
did
you
raise
your
hand,
though.
G
Oh,
it
was
so
long
ago.
I
forgot
what
I
was
gonna
say,
but
I
I
think
the
the
thing
about
murals
is
the
the
one
thing
that
I
understand
about
them
is
they're,
not
permanent.
G
You
know
they're,
sometimes
they're
going
to
have
to
be
one
either
refurbished,
which
is
another
whole
contract
all
over
again
or
painted
over,
and
somebody
else
puts
one
on
it.
I
think
I
think
that's
the
thing
about
about
the
danger
about
these
big
mural
projects
like
in
st
petersburg.
They
really
tout
their
mural
project,
now
they're
going
to
have
to
cancel
some
of
those
out
or
they
don't
have
any
more
room
and
and
they
they
they
have
to
work
out.
G
Some
kind
of
deal
with
public
private
in
that
and
the
thing
about
a
public
art
commission
like
like
we
are,
is
that
in
a
in
a
town,
the
size
of
tarpon
springs,
we're
liable
to
run
out
of
public
property
and
we're
going
to
have
to
we're
going
to
be
forced
to
sort
of.
We
want
to
continue
being
in
our
council
to
to
work
more
with
the
private
sector
and,
and
there
has
to
be
some
kind
of
an
understanding
there
and
whether
this
this
council
gets
more
powerful.
G
On
this
thing,
unless
we
can
convince
them
that
there
is
a
threshold
to
meet
for
doing
private
murals
in
in
the
city
and
what
kind
of
incentives
do
you
give?
You
know
it's
almost
like
in
big
cities,
they
they
trade,
air
rights.
You
know
it's
an
abstract
thing,
but
it
it
it's
something
that
developers
really
understand
and
covet
is
having
air
rights,
and
so
the
the
thing
you
know
like
the
federal
project,
federal
or
public,
a
lot
of
big
public
projects.
G
One
percent
of
of
of
construction
is
supposed
to
go
to
to
the
arts
in
some
way
or
another,
but
that
that's
something
that
that's
been
worked
on
and
agreed
upon.
I
mean
we
don't
have
that
kind
of
clout
here
to
do
anything
this
way.
So
in
some
ways
I
think
yes,
let
the
I
mean
they
want
to
take
the
burden
on
themselves.
Let
them
have
the
burden,
I
mean
we
can
make
recommendations
and
I
think
that's
who
we
are.
G
D
G
Than
to
do
it
blanket,
so
you
don't
have
this
issue
of
of
a
a
project
being
started
and
then
for
some
unforeseen
thing.
I
don't
know
how
the
contract
was
written,
but
there's
always
things
in
it
about
the
artist
not
being
able
to
continue
for
some
unforeseen
reason
for
some
azure
that
kind
of
stuff
you,
you
know,
there's
provisions
in
it
there's
contingencies
and
the
fact
that
this
proposal
had
to
be
resubmitted
and
start
all
over
again
where
it
was
already
in
the
pipeline.
G
You
know
it.
I
I
don't
know
whether
the
contract
you
know
dealt
with
that
or
not,
but
I
think
these
kind
of
things
happen.
Pete,
you
know
for
art
projects
take
a
long
time.
Things
can
happen
within
it
and
then
there's
bill
you're
in
contact
with
somebody
that
you
can't
get
in
contact
with.
G
B
G
Complex
and
you
know
if,
if
we're
in
an
advisory
role
and
not
making
the
final
decision
on
this,
we
don't
have
the
the
power
to
to
really
work
this
out
the
intricacies
of
this
in
such
a
way,
I
think
what
we
can
do
is
we
can
say
this
is
the
best
project
we
can
see
for
this,
and
this
is
what
we'd
like
to
see
happen
and
then
let
the
city
council
sort
of
sort
of
go
over.
That
I
mean
we've
watched
this
thing
about
the
development
up
here.
G
A
Yeah,
just
coincidentally,
I
have
a
good
friend
robert
knows
him
richard
hawes.
He
does
trump
lloyd
murals
and
he
did
one
in
yonkers
where
I
was
working
and
back
in
the
mid
90s.
It
was
an
over
half
a
million
dollar
mural
and
monday.
They
ripped
it
all
down
the
whole
thing's
gone.
A
C
I
One
thing
I
was
curious
about,
I
I
heard
beforehand
and
it's
only
anecdotal,
but
I
understand
you
said
that
the
boc
has
to
approve
the
the
project,
but
isn't
there
a
threshold
of
under
15
000?
That
makes
a
difference
too.
Could
you
clarify
how
that
works.
A
It's
so
high:
well,
if
it's
under
15
000,
it
can
be
approved
by
the
city
manager,
but
for
the
most
part
it
has
to
go
before
the
the
board
of
commissioners.
F
A
D
To
I
move
that
we
approve
projects
on
a
daytona
baytown
case-by-case
case.
Thank
you
case-back
case.
A
A
David
all
in
favor,
aye,
okay,
well
opposed
okay,
so
going
forward
every
project
we
will
examine
on
a
case-by-case
basis,.
E
G
G
You
don't
see
them
anymore,
correct
and
and
they'll
there's
a
good
case
in
point
richmond
virginia
for
some
reason.
One
went
the
mural
crazy,
but
they
didn't
have
control
of
it
like
saint
pete
does,
and
they
were
just
all
over
the
place
and
you
stopped
looking
at
them.
You
just
didn't
look
at
them
because
there
were
so
many
bad
ones.
G
E
G
Don't
know
if
there
is
a
consensus
on
that,
I'm
not
I'm
not
really
involved
in
that.
The
only
thing
is
I.
I
was
involved
in
a
project,
a
project
in
new
york
and
in
sort
of
canada
called
art
park.
You
know
up
in
the
niagara,
niagara
falls
area
and
it
was
a
park
where
artists
were
brought
in
for
for
the
summer
to
build
us
a
sculpture.
G
It
was
a
sculpture
part
and
but
not
everything
was
3d
sculpture
like
you
would
think
it
was,
and
these
were
all
artists
that
were
invited
to
come
in
and
paid
money.
They
stayed
there
or
they
worked
there
for
three
months
and
the
whole
idea
was
people
paid
to
go
into
the
park
and
watch
artists
make
art,
and
but
the
thing
is
at
the
end
of
the
season,
they're
all
torn
apart,
so
they
can
start
all
over
again
the
next
season
right,
because
the
whole
thing
was
the
experience
of
watching
art
being
built.
G
H
A
Selfie
artwork,
I
saw
an
example
of
some
cute
little
selfie
things
that
were
done
with
perspective
they're
in
your
folder.
I
just
thought
you'd
like
to
see
them.
I
don't
think
we
should
consider
doing
them
here
in
tarpon,
but
I
just
thought
they
were
interesting.
F
Oh
okay,
based
on
your
ordinance,
we
are
supposed
to
elect
a
chair
at
a
vice
chair
every
january
meeting,
so
joan
has
served
and
she's
done
an
outstanding
job,
and
I
just
wanted
to
let
you
all
know
ahead
of
time
that
she
could
be
re-elected,
but
only
the
the
members.
F
So
the
five
of
you
are
eligible
to
be
a
chair
and
a
vice
chair
also
the
I
just
wanted
you
to
know
that
the
chair
does
interact
with
city
personnel
pretty
regularly,
as
joan
has
done.
She
you
know
runs,
they
run
the
meetings
and
they
also
have
to
give
a
presentation
in
front
of
the
board
of
commissioners
every
year
with
updates
on
our
on
your
budget
and
your
current
projects,
and
then
the
vice
chair,
of
course,
steps
in
when
the
the
chair
is
not
available
for
for
whatever
reason.
F
So
before
we
do
any
voting.
I
wanted
to
ask
the
current
regular
members
if
they
have,
if
you
have
an
interest
in
being
the
chair,
if
you
would
raise
your
hand.
F
Okay,
so
I
see
lucy
anne
and
I
see
joan.
Okay,
so
would
one
of
the
regular
members
want
to
make
a
nomination
of
each
of
these.
D
Candidates,
yes,
yes,
I
would
like
to
nominate
joan
as
to
continue
as
chair.
Okay,
do.
F
So
then,
I
guess
we're
going
to
continue
with
joan
as
the
chair
if
let's
take
a
vote,
if
any,
if
everyone
wants
joan
to
remain
as
the
chair
of
the
committee,
if
they
would
please
raise
their
hand,
okay
great.
Thank
you.
Congratulations
thank.
A
F
That
and
a
vote
for
luciana's
vice
chair.
Okay,
thank
you.
Congratulations,
lucian,
okay,
great
city
announcements.
One
of
the
thing
I
think
I
already
told
you
all
about
the
florida
association
of
public
art
professionals
and,
in
addition
to
our
the
call
out
to
artists
that
they're
putting
up
on
their
newsletter
for
us
they're.
Also,
I
sent
them
information
about
our
story,
book
time
and
naya
on
the
installations
and
also
about
the
illuminated
art
boxes.
F
So
we
should
have
pictures
in
their
newsletter.
You
know
on
on
those
things
as
well,
so
that
is
great
and
also
from
saint
kate.
Those
are
the
people
who
do
the
maintenance
on
our
our
statues.
One
of
the
things
that
they
were
looking
into
is
the
the
bench
they
talked
to
a
lot
of
the
the
places
that
do
boating
kind
of
maintenance,
and
I
guess
the
shellac
or
whatever
that
product
was
that
they
used.
You
know
the
people
would
say
they
they
put
it
on
every
week.
F
It's
kind
of
a
special
marine
thing
that
they
use
for
boats.
So
saint
kate,
is
they
ordered
a
specialty
one,
which
is
you
know,
a
lot
higher
grade.
That
will
last
a
long
time
because
we
don't
want
them
out
here
every
week,
so
that
was
kind
of
backward
because
of
the
holidays.
So
he
told
me
that
it
is
coming
in
on
friday
and
so
they're
hoping
to
be
out
here
to
do
the
maintenance
on
the
statues
either
next
thursday
or
friday,
which
is
the
22
21st
or
22nd
of
january.
A
I
gather
since
it's
routine
maintenance
and
it's
within
our
budget,
that
you
could
just
go
ahead
with
the
payment
when
the
increase
comes.
F
A
Okay,
are
there
any
additions
to
the
agenda
for
the?
I
guess,
it's
the
february
meeting
the
scene
lucian.
H
Yeah,
based
on
our
discussion
of
the
murals
and
private
property,
I
think
it's
time
that
we
look
at
the
provision
that
we
have,
that
we
will
entertain
proposals
from
artists.
H
A
H
That
makes
sense,
I
don't
know,
I'm
get
when
I
put
the
mask
on
I
get
stupid,
but
just
seems
that
might
eliminate
a
lot
of
misunderstanding
when
we
have
to
turn
down
a
project
or
that
that
we
guide
it
a
little
bit
more
from
the
beginning.
That's
actually
a
very.
A
A
Right,
instead
of
shotguning
everything
you
know
with
okay,
so
marissa
did
you
get
that
for
the
agenda
item
for
the
next
okay
I'll?
Try
to
write
something
up?
Okay,
anybody
else
agenda
items
for
the
next
meeting.
Anyone
the
next
regular
meeting
is
going
to
be
wednesday
february
10th
at
2
pm
back
here
it
is
3
35
and
do
I
hear
a
motion
to
adjourn
trish
second
bill
meeting
is
adjourned.