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From YouTube: Public Art Committee, March 31, 2022
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A
Good
morning,
it's
thursday
march
31st
at
10
a.m.
We
are
in
the
second
floor
media
room
of
city
hall.
My
name
is
john
jennings.
I
am
the
chair
of
the
public
art
committee
and
we're
here
for
a
special
workshop
this
morning.
Diane.
Will
you
call
the
role.
A
Okay,
we
have
a
very
special
guest
speaker
this
morning,
robin
nye
manager
of
arts
and
cultural
affairs
for
tampa.
A
Her
very
impressive
biography
has
been
provided
us
by
the
ever
efficient
diane
and
we
are
going
to
be
tapping
into
her
considerable
knowledge
and
expertise
with
some
questions
we
prepared
for
her
about
issues
concerning
public
art.
Robin
are
you
there.
C
Robin
okay,
thank
you.
Thank
you.
It's
a
pleasure
to
be
here
and
I
what
I
have
done
as
I
have
printed
out
your
questions
and
I
put
together
some
images
that
kind
of
at
the
same
time
give
you
kind
of
the
history
of
our
program
and
how
we
built
what
we
built
and
and
at
the
same
time,
kind
of
slide
in
to
answer
your
questions
regarding
funding
and
how
we
can
do
that.
So,
if
I
am,
I
have
no
objections
to
interruptions
or
you
can
wait
to
questions
at
the
end.
C
C
These
are
the
things
that
we
just
kind
of
keep
in
the
in
the
forefront
and
because
they're
not
part
of
our
ordinance,
it's
easy
for
us
to
update
them
to
and
to
have
them
as
relevant
and
adjust
for
whatever,
for
instance,
our
administration
might
seem
as
as
their
initiatives
for
the
for
that
mayor's
term.
C
We
are
a
strong
mayor
form
of
government,
so
a
lot
of
what
I
do
kind
of
tucks
up
under
whatever
those
initiatives
are,
so
you
see
the
vision
up
there
and
essentially,
and
I've
played
with
other
ways
of
expression,
of
expressing
it
with
our
public
art
committee,
and
essentially
we
just
want
people
to
want
us.
We
want
to
be
seen
and
and
deemed
essential,
so
it's
really
working
in
our
messaging
and
how
we
do
that
as
you'll
see.
C
Some
of
the
things
also
is
that
we
have
broken
up
into
because
our
ordinance
allows
us
to
work
within
it
and
do
various
types
of
programming
and
that's
actually,
what
makes
us
really
really
unique
is
that
we've
been
able
to
create
programs
that
work
within
the
ordinance
and
all
of
those
programs.
You
can
see
that
the
criteria
for
that
is
is
below
there,
where
it
says,
maintains
artistic
excellence.
C
It's
free
accessible,
has
wide
appeal
and
includes
educational
components,
and
this
also
allows
me
to
use
it
essentially
as
a
discursive
device
when
somebody
complains,
because
everybody
does
right
about
something
every
once
in
a
while,
and
you
just
say
well,
you
know
we
hope
to
have
something
for
everyone.
So
we,
if
you
don't
like
that,
that's
okay,
but
we
do
hope
that
there
are
things
that
you
do
like
and
that
can
speak
to
you.
So
it
really
does
allow
us
to
respond
and
to
have
it
out
there.
C
The
other
thing
I
again
just
to
give
you
a
sense
of
where
we
are
the
city
of
tampa
likes
to
run
really
lean
and
the
national
average
was.
It
is
still
a
dollar
per
person
in
terms
of
like
how
much
it
is
spent
per
on
artwork.
C
That
is,
of
course,
paltry
and
low,
but
we
have
one
of
the
reasons
we
can
do.
This
is
because
I've
learned
to
to
leverage
and
to
work
with
other
entities
and
agencies
and,
if
at
all
possible,
spend
their
money.
You
know
so
and
then
the
national
here
up
there.
C
I
gave
you
just
kind
of
a
list
about
where
certain
programs
are
nationally
there's
about
800
programs
in
there
and
all
of
these
now,
I
will
say
it's
taken
years
to
get
there,
but
we
have
policies
for
everything
that
is
on
there
now.
So
we
do
have
a
public
and
private
development
ordinance.
C
We
do
have
a
donations
policy.
All
of
these
things
are
really
really
critical
and
the
nice
thing
about
them
being
policy,
which
I
think
you
guys
have
some
questions
that
pertain
to
to
some
of
these
things
and
unsolicited
artist
requests
and
so
on.
The
great
things
is
when
they
are
policy
and
not
necessarily
part
of
the
ordinance,
then
that
means
that
they
can
be
a
little
bit
revised.
So
if
they're
just
guidelines,
you
can
go
back
and
adjust
them
when
they're
no
longer
relevant
or
they
need
to
be
tweaked
or
whatever.
C
That
case
is
now
where
these
the
public
art
programs
sit
for.
The
most
part
is
they're
all
over
the
place.
As
you
can
see,
they're
the
majority
are
in
department
of
arts
and
cultural
affairs.
You
know
if
you're,
like
the
city
of
tampa,
we've
been
in.
All
these
places
so
a
lot
of
administrations
and
such
don't
necessarily
know
where
and
what
to
put
where
to
put
these
departments.
C
If
there
is
a
department
of
arts
and
cultural
affairs,
I
think
it's
stronger
when
they're
tucked
up
under
that,
because
they
do
kind
of
speak
the
same
language
and
have
support,
but
that's
not
always
the
case,
and
and
also
that,
the
graph
on
your
on
the
right,
I
think,
probably
gives
you
a
good
sense.
Now,
it's
real
tough
on
the
funding
side.
You
can
see.
I
have
lots
of
provisos
there
with
the
with
the
asterisks
and
the
stars.
C
What
means
it
is,
you
know,
because
some
of
our
these
funding
sources
are
also
granting
agencies,
but
for
the
most
part
we
have
the
largest
collection
in
the
state
because-
and
I'm
pulling
I'm
saying
that,
because
we
are
a
city
of
orlando-
counts-
the
objects
in
their
museum
as
part
of
that,
and
that
collection
is
really
broad.
It's
it's
a
lot
of
things.
It's
photography!
It's
animation.
It's
sculpture,
it's
outdoor
things
when
I
first
came
to
the
city
and
I
kind
of
long
in
the
tooth
here.
C
I've
been
here
since
well,
23
years
now
there
were
85
objects
in
the
collection
and
now
there's
over
800
and
our
we
had
an
appraisal
done.
C
So
I
want
to
just
really
start
with
showing
you
because
the
the
percent
for
art
projects-
and
I
don't
know
how
much
tarpon
springs-
is
building
right
now,
but
they
are
a
great
opportunity
to
build
internal
relationships
and
how
these
are
just
three
projects
that
are
and
that
I
really
kind
of
wanted
to
share
about
building
advocacy
so
that,
basically,
you
can
get
more
money
and
perhaps
more
staff,
if
you
need
it
to
do
more
things.
C
So
all
of
our
projects
when
I
got
here
there
were
very
few,
I'm
trying
to
think.
If
there
were
any.
There
was
one
that
I
can
remember
that
had
that
was
integrated
into
the
site
and
integrated
into
the
architecture
of
the
of
the
location.
C
Most
of
them
were
objects
that
were
purchased
either
after
or
commissioned
afterwards
and
not
really
connected
to
the
site
or
the
space,
and
one
thing
that
the
first
thing
I
did
was
start
to
build
internal
relationships
and
pull
in
whoever
the
entity
or
the
agency
was,
for
instance,
the
park
bench
on
your
left
and
the
mural
in
the
middle.
The
tile
mural
that
that's
by
by
local
artist
bruce
marsh.
C
What
I
did
is
bring
brought
in
the
parks
department
and
have
them
part
of
it,
and
I
really
emulated
the
state's
ordinance
and
how
they
had
their
committees
set
up.
So
I
mirrored
that
and
was
able
to
get
the
architects
in
in
the
city
to
just
like
hey.
C
Can
you
lower
the
floor
half
an
inch
so
that
or
a
quarter
inch
so
that
we
can
do
a
terrazzo
floor
there,
and
I
got
that
into
the
contract
got
that
into
the
design
before
it
was
bid,
and
that
just
made
a
huge
difference.
So
it
was
able
to
leverage
that
and
then
what
I
did
particularly.
C
I
remember
well
for
the
mural
in
the
middle
at
a
pool
is
I
wrote
an
article
and
I
sent
it
to
landscape
architecture
magazine
they
printed
it,
and
then
I
gave
it
to
the
parks
department
and
then
then
I
had
a
friend
for
life.
You
know
because
it
they
not
only
saw
it,
but
they
looked
good
and
it
was
really.
We
were
off
to
good
things.
C
They
did
the
same
things
for
with
public
works
when
we
did
a
project
for
them
as
then
get
them
press
and
showed
what
the
things
that
they
could
do.
C
Another
program,
then,
that
we
started
because
these
capital
projects
and
working
with
the
percent
for
art
they
are
number
one
they're
slow,
and
I
know
you
all
know
that
and
there's
a
very
there's,
I
won't
say,
there's
a
limited
audience,
but
there's
a
specific
audience,
and
what
that
often
means
is
that
a
lot
of
the
people
that
you're
trying
to
get
support
and
get
advocacy
from
they
will
never
see
it
not
to
mention
in
some
cases,
if
you
have
a
project-
and
these
can
be
this-
this
actually
will
lean
quite
well
to
some
of
your
questions
about
temporary
artworks
and
installations,
because
the
same
kind
of
strategy
applies.
C
C
They
had
a
program
sim
to
this
and
so
did
another
another
organization
that
is
escaping
me
at
the
moment
had
one
anyway,
so
I
just
kind
of
structured
it
very
similar
to
that,
and
then
all
because
we
were
also
the
only
thing
we
had
in
the
city
in
regards
to
portable
works
were
a
very
nice
but
relatively
small
collection
of
artworks
from
graphic
studio
that
the
public
art
had
committee
had
purchased
some
years
before
and
that
just
didn't
get
us
very
far.
C
So
if
I
commissioned
photographers
that
were
all
artists-
and
I
put
that
in
council
chambers,
then
council
chambers,
and
to
this
day
now
for
over
20
years,
council
chambers
has
always
had
some
artwork
by
some
of
our
artists
in
their
spaces.
So
so
it
just
kind
of
gets
those
objects
in
front
of
them
so
that
they
can
see
what
what
what
they
do.
C
That
also
and
again,
I
know
you're
not
talking
about,
but
this
also
will
parlay
into
what
your
questions
were
in
regards
to
temporary
installations
and
such
we
started
lights
on
tampa,
basically
with
a
vision
again,
it
goes
back
because
we
believe
strongly
that
a
community
can
recognize
if
you
really
high
quality
art,
if
it's
big
and
it
just
stick
it
in
their
face,
and
so
that's
what
I
basically
was
trying
to
do
here
with
a
team
that
we
all
pulled
together
with
the
same
vision
and
it's
like.
C
Let's
make
something
really
big
and
spectacular,
and
let
people
see
what
art
in
the
public
realm
can
do.
These
images
here
from
lights
on
are
from
2015,
but
we
initially
did
it
in
2006
and
you
can
see
the
other
dates
there
that
we've
done
this.
C
It
is
a
it
really
pushes
our
resources,
but
what
it
has
done
is
it
has
established
a
one,
an
expectation
within
the
community.
It's
established
in
quality,
it's
inspired
developers
and
if
we
had
not
done
lights
on
in
2006,
we
would
not
be
tasked
with
lighting
the
bridges
in
downtown
tampa
now.
To
date,
I've
lit
six
bridges
in
downtown
tampa.
C
Five
of
them
were
for
the
rnc
in
2012.
the
funding
for
this.
Let's
back
up
to
that
for
just
a
minute.
The
funding
all
that
came
out
of
the
arts
budget
was
the
design
the
lighting
design
fee
of
the
artist
the
rest
of
it
came
from
private
donations
that
the
mayor
actually
requested.
So
we
got
funding
from
tico
and
then
some
additional
dollars
from
some
other
sponsors
and
because
again
it
was
a
mayoral
initiative.
He
really
did
act.
This
was
mayor.
C
Buckhorn
really
did
kind
of
act
like
a
linebacker
and
kind
of
clear
the
way
for
us
in
a
lot
of
that,
and
that
the
other
thing
also
I'm
sorry
I
didn't
mention
earlier
to
go
back
on
all
this
funding.
C
Is
that
one
thing
we
I
did
early
like
in
the
first
couple
of
years
of
our
founding,
and
it
wasn't
me
I
have
to
I
need
to
give
proper
credit.
It
was
to
a
public
art
committee
member
who
was
an
attorney
who
set
up
for
us
our
own,
separate
non-profit.
So
we
have
a
501c3,
that's
friends
of
tampa
public
art.
C
We
have
a
separate
board
in
which
the
arts
there's
a
public
art
committee
member
who
sits
on
the
board
always,
and
it
just
really
keeps
communication,
and
the
thing
is
most
everybody
on
our
arts
on
the
board
of
friends
of
tampa
public
art
are
former
public
art
committee
members,
because
they're
just
really
good
members
that
we
don't
want
to
let
go
when
they
know
our
process
and
they
know
what
we're
doing
and
they've
just
become
part
of
our
team,
and
this
is
our
most
recent
lights
on
installation
which
turned
into
a
basically
a
gateway.
C
I
don't
know
if
you've
had
a
chance
to
see
it.
We
just
kicked
it
off
right
before
the
super
bowl
last
year.
That's
when
the
bucks
won
right,
yeah
and
you
can
see
the
before
and
after
shots
and
these
before
and
after
shots.
I
have
to
tell
you
I
do
that
for
everything.
C
So
again,
it
just
really
is
about
advocacy
and
educating
and
building
awareness.
So
what
that
is
done
also
is
that
this
is
on
the
water
street.
We
do
work
on
several
partnerships.
These
are
a
couple
of
projects.
The
top
three
are
all
private
developers,
of
which
we
played
a
key
role
in
the
artist
selection
and
on
the
bottom
is
andrea
poli
when
she
was
also
one
of
the
installations
of
lights
on
in
2021..
C
So
again,
all
of
these
things
work
within
the
ordinance.
We
just
kind
of
creatively
figured
out,
and
this
was
a
tip
somebody
gave
me
decades
ago,
and
I've
never
forgotten.
It
is
that
you
work.
You
learn
the
inner
documents
of
your
city.
C
You
learn
how
to
work
within
the
ordinance,
how
to
learn
to
work
within
the
inner
workings
of
the
documents
within
the
city,
so
that
you
can
just
do
a
lot
that
way
and
the
funding,
as
I
mentioned,
is
yes,
some
of
it
is
city,
but
I
would
say
for
for
lights
on,
not
all
of
them,
because
some
of
them,
the
economy,
tanked
and
our
partners,
we
lost
our
partners,
and
that
of
course
keeps
it
up,
keeps
it
in
flux,
but
for
the
most
part,
opm
by
the
way
stands
for
other
people's
money,
which
is
something
that
we
we
just
really
try
to
do
as
much
as
possible,
because
we
just
don't
have
a
lot
of
resources
and
sometimes
other
people's
money
can
be
another
department's
money.
C
So
the
mayor,
this
again
was
a
mayoral
request
from
mayor
buckhorn
and
he
liked
big
things.
So
he
called
and
said
you
know
robin.
I
want
you
to
paint
the
po
garage,
so
this
doing
the
garage,
that's
a
huge
task,
so
how
we
leveraged
with
that
is
that
the
total
cost
for
the
project
was
four
hundred
thousand
dollars,
but
the
artist
contract,
the
artist
fee,
was
100
000
and
how
we
did.
C
That
is
that
we
coordinated
with
the
parking
division
and
they
came
in
and
primed
the
whole
garage
and
we
were
and
the
artist
then
of
course
were
in
they
gave
the
painting.
I
mean,
excuse
me
the
parking
department,
what
primer
it
should
be
because,
there's
very
you
know
you
need
to
be
sensitive
to
what
type
of
paint
is
going
to
work,
because
you
don't
want
it
to
fade
within
a
year
at
that
at
that
cost
and
expense,
and
so
they
used
that
paint
which
was
more
expensive.
C
But
it
really
was
a
good
gripper
for
the
paint
so
that
it
was
it's
lasted,
it
hasn't
faded,
it
still
looks
great,
and
this
is
gosh
at
least
eight
or
nine
years
old.
Now
and
again,
that's
just
a
way
of
kind
of
working
within
so
the
the
in
many
cases,
the
parking
department
they
had
painted.
C
One
section
you
know
two
or
three
days
before:
let
it
dry
and
then
the
artist
came
in
right
afterwards
and
and
worked
with
that,
so
it
is
just
kind
of
creative
coordination
again
another
before
and
after
shot.
This
is
under
the
river
walk
and
the
tampa
riverwalk
is,
is
one
that's
kind
of
cobbled
together
in
terms
of
its
funding.
C
This
particular
one
was
funded
by
a
state
grant
again,
not
our
money,
but
we
kind
of
had
the
concept
and
I
got
in
early
that's
the
thing
is
that
there
was
a
meeting.
I
remember
and
I
have
a
another
image
I
think
on
the
next
slide.
Let
me
show
you
this:
here's
another
before
shot.
C
The
image
on
your
left
is
what
the
landscape
architect
had,
or
the
architect
had
proposed
for
the
site.
C
So
this
is
on
the
riverwalk
it's
under
I-275,
so
it's
an
underpass
and
we
of
course
had
to
then
work
very
closely
with
f-dot
on
everything,
and
I
just
thought
that
looked
really
like
a
kind
of
depressing
I
mean
it
looks
so
institutional
for
it
to
be
a
a
river
walk,
and
it's
really
actually,
if
you've
been
there,
it's
a
nice
space,
there's
a
breeze,
it's
it's
the
coolest
spot
on
a
hot
day,
of
course,
so
it
really
could
be
a
respite
and
just
needed
to
have
a
little
kind
of
a
different
approach
to
it.
C
So
what
I
proposed,
instead
of
because
they
had
suggested
well,
why
don't
you
hang
banners
on
these
metal
grates
and
what
I
did
here.
These
are
the
metal
grates
that
they
were
talking
about,
and
so
it's
like.
Okay,
so
you
can.
This
is
a
an
artist
team
out
of,
I
believe,
they're.
I
know
they're
out
of
texas,
but
I
think
it's
austin,
and
so
this
is
connected
completely.
C
You
know
like
a
bifurcated
fan,
basically
connected
to
it
here.
They
had
proposed
like
banners
which
I
think
are
really
kind
of
awful,
because
then
they
they
sag
and
they
don't
look
great
and
they
have
all
kinds
of
issues
and
then,
if
it,
if
that
doesn't
look
good,
then
we
don't
look
good
and
then
the
artist
gets
upset
and
or
people
try
to
steal
it
or
it's
graffiti.
C
We've
worked
with
all
those
kind
of
conditions,
and
so
it's
kind
of
like
well.
You
know
you
have
glass
in
between
at
transit
stop.
So
there
is
safety
glass.
So
what
if
we
did
something
with
the
with
an
artist
to
kind
of
do
these
this
safety
glasses?
You
still
have
the
same
effect,
but
you
get
a
lot
more
effect
with
the
light
coming
through
and
it
really
is
an
incredible
space.
It's
just
the
artist
artist
did
an
amazing
job.
C
She
was
terrific,
and
the
other
thing
about
this
I
want
to
mention
with
the
artist
is
that
it
pushed
her
too,
which
was
really
great,
so
a
lot
of
our
artists.
Sometimes
we
will
challenge
them
because
they
have
the
right
idea.
We
think
they
have
the
right
aesthetic,
but
it's
not
necessarily
in
the
material
or
to
the
scale
that
we
think
is,
you
know,
is
needed
for
the
site,
so
we'll
kind
of
ask
them.
If
they're
open
to
a
little
bit
of
a
challenge,
do
they
want
to
look
at
the
site
a
little
differently?
C
Can
we
look
at
materials?
Do
they
want
to
experiment
with
this?
Can
we
help
them
somehow
and
it's
kind
of
fun
to
really
help
an
artist
figure
it
out
and
just
see
some
amazing
things
happen
now
perry
harvey
park
is
a
park
that
is
in
the
historic
african-american
neighborhood.
C
Actually,
that
was
kind
of
well,
not
kind
of
it
was
wiped
out
in
with
the
interstate,
and
this
is
a
an
instance
where
the
percent
for
art
ordinance,
as
you
can
see,
generated
75
000
and
the
total
artwork,
though
in
the
park,
is
750
000.
Now
this
was
a
real
turning
point
for
us
as
a
program
I
did
do
an
nea
grant.
C
We
got
a
hundred
thousand
dollars
on
an
nea
grant
and
that
went
to
that
funded
one
artist
project,
the
others,
though
what
was
really
interesting
about
this
is
that,
because
we
had
built
such
a
nice
relationship
for
with
the
parks
department
and
the
mayor
knew
we
could
deliver
that.
C
A
line
item
was
put
in
in
the
budget
for
over
six
hundred
thousand
dollars
for
artwork,
and
that
made
all
the
difference,
and
so
what
and
again
it
really
gets
creative
in
regards
to
how
you
get
more
for
a
little
out
of
out
of
purse
is
in
this
case
we
paid
that
75
all
went
to
artist
design
fees,
we
got
them
all
up
and
running,
got
them
started,
got
through
contracts
made
to
their
initial
payment
and
then
the
subsequent
levels
of
it
they
were
under
the
contractor.
C
So
it
was
just
a
very
kind
of
a
different
way
of
handling
a
project
for
us
and
it
actually
in
many
ways,
has
become
the
norm.
Julian
b,
lane
park
is
another
one
in
which
there's
over
a
million
dollars
in
artwork
in
the
project,
but
the
200
000,
which
is
what
our
cap
is
again
paid
for.
C
Now,
let's,
let's
back
off
from
that,
because
I
know
that's
a
really
that's
a
lot
to
do,
and
that's
that's
that's
I
kind
of
gave
you
the
big
swoop
of
how
we
got
to
these
big
projects,
but
I
want
to
talk
about
and
kind
of
share
with
you,
because
I
think
some
of
you
were
asking
about
smaller
projects
and
community
projects,
and
some
of
these
can
be
done
in
a
very
simple
way,
although
it
it's
never
as
easy
as
it
looks
when
it
comes
to
logistics,
to
make
sure
that
you
get
the
reach
that
you
want
mayor,
castor,
wanted
to
re-uh,
convene
or
restart
the
photo
laureate.
C
Typically
within
the
state
are
free,
they
are
just
you
know
they
don't
get
paid
and
they
kind
of
write
when
they're
inspired
to
or
when
they're
asked
to,
and
what
we
wanted
to
do
here
was
actually
get
the
poet
laureate
or
the
word,
and
I
renamed
it
to
wordsmiths,
because
I
think
if
you
could
engage
and
do
a
little
bit
more
with
that,
so
engage
with
the
wordsmith
to
engage
the
community
and
that
was
has
been
actually
a
lot
of
fun
it.
C
The
timing
was
good
in
the
sense
that
we
also
during
covid
when
there
was
lockdown
we
released
haiku
from
home
and
just
encouraged
people
to
you
know,
write
us.
We
had
over
500
submissions
with
people
writing
their
haikus
and
thoughts,
and
we
put
them
on
the
on
the
website
and
of
course
everybody
wants
you
to
make.
You
know
cards
out
of
them
and
stuff,
but
that's
not
it's
not
what
we're
here
for
and
so
the
the
other
thing
that
we
did
is
this
little
poetry
post.
C
We
call
it
it's
made
by
a
local
artist,
eileen
goldenberg
and
we
move
it
around
to
community
centers,
and
we
ask
you,
know
people
there
to
put
their
poetry
in
there
put
their
thoughts
and
it's
kind
of
like
a
suggestion
box
and
it's
amazing
which
what
you
get
some
of
them
are
incredibly
sweet.
Some
of
them
are
really
funny
and
it's
just
been
a
rewarding,
if
not
time-consuming
thing
to
do.
C
Also,
during
the
pandemic
we
had
an
artist.
We
commissioned
an
artist
to
make
a
series
of
snipe
signs
that
would
that
we
then
put
out
everywhere.
We
we
sent
them
to
our
sister
departments
and
they
parks
department.
For
instance,
there
were
a
series
of
like
three
or
four
designs
the
artist
did
and
then
we
just
placed
them
everywhere
during
the
during
the
lockdown,
and
that
was
again
a
nice.
C
Some
of
our
community
engaged
projects,
I
mean
everybody,
every
neighborhood
loves
murals.
We
ourselves
do
not
necessarily
have
a
mural
program.
We
have
done
a
lot
of
them.
We
I
find
that
murals,
because
they
are
community
favorites.
If
we
give
people
the
tools
to
do
them
on
their
own,
they
kind
of
happen
on
their
own,
especially
in
a
lot
of
communities
where
there
are
a
lot
of
artists,
they'll,
just
roll
with
it.
I
mean
they'll.
Just
you
know
they
don't
need
us.
In
other
words,
this
particular
one.
C
It
was
a
one
that
actually
did
have
a
lot
of
political
charge
for
us,
so
it
did
take
a
lot
of
time.
The
community-
and
there
was
a
community
meeting
there
and
the
artists
were
great,
the
community.
I
have
to
tell
you,
I
really
felt
behaved
badly.
They
like
yelled
at
the
artists,
and
they
did
things
that
it
just
wasn't.
It
just
wasn't
cool
it's
not
cool
to
yell
at
artists,
and
so
we
it
was
a
little
bumpy.
C
But
but
in
the
end
I
will
say
they:
the
community
loves
it.
The
artists
again,
I
just
have
to
say
thumbs
up
to
them.
They
did
a
great
job
and
there
you
see
on
the
bottom
inner
one,
the
smaller
photo.
That's
the
mayor.
There
we
drove
by
and
meet
and
greet
and
the
community
uses
it
a
lot.
So
it's
a
very,
very
good
active
space,
but
it
was
you
know
we
always
still
learn
lessons.
Another
example
of
a
community
partnership.
C
We,
the
junior
league,
came
to
me
and
they
wanted
to
do
a
bureau
for
human
trafficking
and
everybody
wants
it
downtown.
It's
like.
Well,
I
really
don't
have
a
wall
downtown,
we,
I
don't,
keep
an
inventory
of
walls,
but
in
this
particular
case
this
this
wall
was
part
of
a
parking
temporary
parking
facility
that
the
meridian
hotel
was
using
at
the
time.
So
I
asked
them
if
we
could
use
the
wall,
they
said
yes,
junior
league
paid
the
artist.
I
found
the
artist
for
them.
C
Junior
league
paid
the
artist,
so
we
didn't
have
to
worry
about.
The
contract,
didn't
have
to
worry
about
insurance
and
all
the
contracts.
That
sometimes
I
mean
cities
by
their
process,
have
to
do
all
these
particular
safety
measures
that
are
make
things
go
a
little
slower.
But,
of
course,
it's
safety,
and
we
have
to
do
that,
but
in
this
particular
case
the
artist
didn't
have
to
go
through
those
hoops,
so
it
this
particular
location
is
right.
C
Next
to
the
greyhound
bus
station,
we
talked
to
greyhound
bus
and
then
the
one
that
is
there
is
actually
that
you
see
on
the
screen
is
a
heart
bus,
so
we
paid,
and
that
came
out
of
my
budget,
actually
is
to
pay
for
the
reproduction
of
these
on
the
buses
and
in
other
media
stations.
C
We
also
did
bus
stops
as
well
with
another
artist
and
again
that
was
kind
of
a
different
type
of
a
partnership,
and
we
would
like
to
do
more
partnerships
with
people
of
social
justice
content,
and
it
just
is
gonna.
It
just
has
to
take
a
take
a
while,
and
this
one
also
is
get
we
get
into
the
unsolicited
proposals
and
temporary
installations
and
gifts.
C
Every
single
one
is
different,
so
if
you
don't
have
a
policy
again,
I
would
I
would
go
back
to
kind
of
drafting
out
what
kind
of
policies
you
would
like
to
have
the
unsolicited
proposal.
That
was
an
artwork
the
one
on
your
left.
Somebody
wanted
to
put
that
on
the
riverwalk
and
in
the
enthusiasm
of
the
people
who
were
giving
the
gift
they
kind
of
accepted
it.
But
it's
like
that's.
We
I
have.
I
really
pushed
against
push
back
because
it
it
will
not
make
it
will
not
be
maintained.
C
I
mean
what
you
see
there
is
the
foundation
on
on,
so
it
just
was
not
meant
for
our
harsh
environment
on
the
riverwalk,
so
it
just
would
not.
It
would
not
be
a
good
fit,
it
would
come
back
and,
I
think
be
a
real
headache
for
everybody
in
regards
to.
It
would
just
look
bad
really
quickly
too,
because
the
paint
was
and
all
of
those
things
you
just
kind
of
go
through
on
any
type
of
a
gift
policy
is
how
does
that
work?
C
And
why
and
that
kind
of
thing,
the
image
in
the
center
again
a
separate
non-profit,
really
pushed
to
have
this
artwork
on
the
curb
and
and
they've
moved
it
around
and
poorly
installed
it
that
then
they
left
it
there
for
five
years,
because
we
didn't
have
the
tools
to
make
them
move.
It
and
it
looked
bad
and
it
was
just
really
frustrating,
but
and
now
we
what
we
did
is
we
we
changed.
We
developed
a
policy
for
citizens,
requested
art
placement
and
they
can
apply
for
the
permit.
C
We
work
with
our
permitting
department
to
make
sure
that
you
know
we've
got
them
locked
in
that,
yes
do
it,
but
when
it's
lived
its
life
and
it's
done
it
needs
to
go
because
then
everybody
will
think
that's
ours
and
we
can't
have
anything
that
doesn't
look
good
out
there.
You
know
our
reputation
is
all
we've
got
basically
so
that
that's
a
big
concern
and,
of
course,
have
a
great
public
art
committee.
So
they
are
really
are
such
good
advocates
to
push
up
to
the
administration
and
say
what
the
needs
are.
C
What
they're
thinking
of
what
their
concerns
are
for
things
like
that,
where,
if
there's
lesser
quality
or
in
any
of
those
kind
of
things,
the
artwork
on
your
right
is
a
beautiful
bench
that
was
actually
a.
It
was
a
gift
to
the
city
and
it
worked
out
really
well.
C
The
weird
thing
is
that
it
was
the
arts
council,
which
is
not
us,
but
the
arts
council
of
hillsborough
county
gave
a
grant
to
the
artist
to
do
an
artwork
in
a
city
park
and
it's
like
well,
you
know
what
they
don't
have
anything
to
do
with
city
park,
so
it
was
kind
of
a
a
little
frustrating
at
that
point
because
they
didn't
include
what
the
foundation
cost
would
be,
or
the
placement
or
the
lighting
or
any
of
these
other
kind
of
issues.
C
So
that
kind
of
left
us
on
the
hook
a
little
bit,
but
it
worked
out
all
in
the
end
and
the
artist
of
course
did
a
beautiful
job
going
back
on
the
some
of
our
other
partners,
and,
what's
really
important,
is
that
for
the
philosophy
of
a
lot
of
our
projects,
what
we
do
is
we
just
say
sight.
Lines
are
not
property
lines.
C
If
it's
got
high
visibility,
if
it
is
it
going
to
be
of
high
quality,
if
they're
going
to
work
with
us,
and
if
it's
going
to
do
their
lighting
and
everything's
going
to
be
done
to
the
standards,
then
we
absolutely
will
entertain
the
idea
in
in
this
case,
because
we
were
really
the
housing
authority
had
a
lot
of
locations
and
properties.
So
in
this
case
we
contributed
some
funding.
C
We
managed
the
call
to
artists
and
you
can
see
there
that
we
also
did
the
manage
the
meetings
and
manage
the
artist
contract
that
worked
out
really
well,
everybody's,
I
mean,
and
also
because
it's
faced
our
park
and
we
wanted
to
make
sure
that
whatever
was
the
contents
and
such
was
complementary.
So
it
was
really
it
made
sense
for
us
to
merge
or
blend
committees
on
this
particular
case,
which
is
what
we
did
also
on
some
other
cultivating
some
partnerships
can
take
a
while.
C
C
I
don't
think
that
they
have
been
necessarily
as
successful
as
they
could
have
been,
and
that's
because
you
just
have
to
work
through
in
a
lot
of
people's
process,
the
medallions
that
you
see
those
those
are
plaster
cast
medallions
that
are
actually
they
were
clay
formed
and
then
they
made
molds
and
pulled
the
molds
into
the
spanish
or
the
corner
panels
of
the
interstate,
and
these
were
during
the
i4
expansion
project.
C
The
artist
I
I
found
he's
actually
was
a
toy
maker
and
he
knew
how
to
cast
make
molds
and
cast
them.
So
he
was
great
and
f
dot
loved
them.
So
that
was
our
first
project
together
and
then
we
worked
on
a
couple
of
others.
The
inlaid
on
the
sidewalk
on
the
right
is
with
james
toakley,
or
he
was
poet
laureate
at
the
time.
This
marks
a
historic
site,
an
african-american
heritage
site
or
it's
not.
C
It's
not
designated
a
heritage
site
but,
and
then
the
one
on
the
left,
I'm
not
crazy
about,
but
it
was
the
community
loved
it.
The
artist
was
terrific.
I
just
think
it
looks
kind
of
funny
on
the
wall
and
this
is
with
f
dot
and
again
it's
the
banners
and
I
will
not
do
a
banner
again,
but
it
it
it's
what
we
had
to
do
in
this
particular
case,
and
these
partnerships
cultivation
has
really
excelled
to
now.
C
We
are
doing
much
bigger
projects
with
f
dot,
and
that
includes
the
one
on
your
left
is
under
a
underpass
it
on
hillsborough
avenue.
This
is
actually
not
it's
a
work
in
progress.
You
just
see
the
rendering
there
and
that's
going
to
be
like
a
mural,
that's
150
feet,
long
by
14
or
15
feet
high
and
also
working
with
them
on
a
gateway
with
a
call
to
artists,
for
this
has
not
gone
out
yet,
but
it
has
come
a
long
long
way.
C
So
this
is
where,
for
instance,
we
will
pay,
but
our
agreement
will
be
with
f
dot.
Is
that
we
will
pay
for
the
design
and
we
will
get
it
through
engineering
and
then
they
will
build
it
and
they've
earmarked
something
like,
and
I
probably
shouldn't
be.
I
don't
want
to
commit
to
it,
but
I
mean
around
a
little
over
a
million
dollars.
I
think
is
what
they've
committed
to
construction
of
this.
So
why?
Wouldn't
we
work
as
a
because
it
for
for
an
entry
gateway
and
for
something
that's
going
to
be?
C
You
know
a
real
signature
for
the
city.
Why
wouldn't
we
go
do
that?
You
know
so
that's
kind
of
the
things
that
we're
looking
at
and
that's
pretty
much
it
I
do
have.
I
I
did
want
to
ask
if
you
have
any
questions.
C
There
is
one
last
slide
that
I
have
here,
because
this
is
my
recent
project
is
now
we're
also
doing
a
project
for
the
tampa
convention
center
and
again
I'm
going
back
to
our
budget
department
and
asking
for
additional
dollars,
because
our
ordinance
there
isn't
enough
by
what
the
ordinance
does
our
ordinance.
As
I
mentioned,
the
cap
is
200
000
and
I'm
working
with
legal
right
now
to
get
that
cap
bumped
up
a
bit.
C
That's
the
same
cap,
it's
been
since
1985
and
if
you
look
at
a
one
of
those
budget
calculators
that
200
000
in
1985
is
worth
511
000.
Now
so
I
think
we're
justified
to
try
to
move
that
up
a
little,
but
we
have
tried
everything
in
regards
to
or
is
what
we
know.
C
C
A
A
C
Yeah,
oh
absolutely,
there
was,
and
it's
it's
really
funny.
You
know
for
the
first
month,
one
of
the
panels
was
broken
and
what
I
think
that
was
it
was
not
anything
because
I
was
standing
there
one
time
it
was
something
that
fell
off
the
road
above
it
and
came
down
and
broke
it.
So
it
wasn't
out
of
a
lot
of
vandalism
for
the
most
part.
C
If
it's
really
and
the
lighting
there
also
was
really
up
to
so
there
it's
it's
really
bright
in
the
evening,
and
so
there
yes,
there
is
a
little,
but
I
would
say
overall
of
our
vandalism,
really
god
I
can
only
think
of
like
one
in
the
past
10
years.
A
Thank
you
again.
I
did
have
one
minor
detail
question
I
think
it
was
on
the
riverwalk.
There
were
metal
mesh
panels,
yes,
that
that
then
had
artwork
applied
to
them.
What
was
the
medium
for
the
artwork?
It
was
sort
of
watery,
not
that
the
one
prior
that.
C
Wasn't
there?
Oh
yeah,
that's
glass,
that's
safety,
glass!
That's
the
same
thing
that
you'll
see
in
subways
yeah,
so
it
didn't
it
wouldn't
shatter
and-
and
we
had
again
so
much
of
it-
you
know
it
feels
like
you're
reinventing
the
wheel
all
the
time.
At
least.
I
feel
that
way
because
you
we
had
to
figure
out
how
to
how
it
was
going
to
be
held,
and
but
the
thing
is,
is
that
other
people
have
done
that.
You
just
have
to
find
the
right
sub
for
the
artist
to
work
with.
D
Well,
yeah
again
very
helpful
presentation.
I
think
you
answered
it,
but
if
you
could
just
kind
of
elaborate
a
little
bit
you
know.
One
of
the
problems
we
have
is
is
the
location
of
of
in-kind
art
with
the
way
the
ordinance
is
written
and
it
sounded
as
though
you
used
that
geographic
location
to
be
approved
through
permitting.
Is
that
correct.
C
Yeah
now
for
temporary
artwork,
are
you
talking
about
artwork?
That
is
from
a
temporary,
I
mean
from
another
artist
from
another
group.
D
Well,
this
would
be
artwork
that,
instead
of
making
a
contribution
based
upon
news,
they
would
do
an
in-kind
piece
of
artwork
that
would
be
and
what
we
found
or
what
we're
finding
is
they're
wanting
to
place
it
on
their
developed
area
or
their
their
property
yeah,
and
some
of
it
has
somewhat
limited
exposure
to
that.
You
know
the
public
will
actually
get
to
to
see
it
right.
D
We
don't
have
any
provisions
in
the
ordinance
ordinance
at
this
point
to
you
know
kind
of
adjust
that
a
little
bit
and
it
sounds,
sounds
as
though
you
use
the
permitting
process
to
help
with
that.
C
Well,
yes,
and
no
and
the
reason
I'm
saying
that
it
now,
if
that's
for
or
use
the
permitting
process
through
with
the
private
groups,
you
know
separate
non-profits
and
people
who
wanted
to
have
temporary
installations
outside
of
the
area,
but
with
developers
now
public,
art
and
private
development.
Is
that
to
confirm
that's
what
you're
talking
about
right.
A
C
C
It's
a
different
world
and
and
the
developers
here,
our
ordinance
first
of
all,
is
not
good.
Our
public
art
and
private
development
ordinance.
It's
tucked
up
in
the
in
the
land,
use
ordinance
and
it's
poorly
written,
and
I
used
to
struggle
with
them
all
the
time
on
the
very
topics
that
you're
talking
about
because
it
was,
they
don't
want
to
do
it
number
one
or
they'll.
C
Do
it
late
number
two
and
it's
not
as
good
as
you
would
do
yourself,
because
they're
going
to
be
out
of
there
and
they're
going
to
flip
it
over
or
or
you
know,
flip
it
and
sell
it
or
if
it's
a
condo
or
whatever.
So
I
really
just
found
that
to
be
such
a
headache.
C
What
ended
up
happening
is
that
we
have
changed
our
ordinance
to
so
that
for
the
public,
art
and
private
development
portion
of
it
so
that
it's
fee-based,
they
just
give
us
the
money
and
let
us
figure
out
what
we're
going
to
do
with
it.
We
will
do
something
because
it's
restricted
to
be
within
the
region
in
which
those
funds
were
generated,
so
we
will
work
with
them.
Maybe,
but
I
mean,
if
you
tell
them
something
in
this
particular
case,
is
a
good
example
of
what
I
did
with
one
developer.
C
Is
I
just
told
him
it's
fee-based.
He
wanted
to
have
a
say
in
it
and
I
said:
well,
you
don't
one
you
don't
have
to.
I
mean
it's
not
required
that
you
do
that.
We
don't
have
to
let
you
have
a
say
in
it
and
it's
not
to
say
that
you
want
to
be
unfriendly
because
you
do
and
you
want
to
work
with
them
and
cultivate
them,
but
you
know,
I
also
will
say
something
which
is
true
in
this
case
I
said:
well,
we
may
like
that
bridge,
that's
adjacent
to
his
property.
C
D
Robert
well
just
continuing
that
a
little
bit.
I
thank
you
robin
for
this
presentation.
It's
very
impressive
to
see
all
that
you've
done
in
tampa,
and
one
thing
I
just
want
to
remark
about.
One
of
the
statements
you
had
on
here
is
that
sight
lines
are
not
always
property
lines.
I
really
like
that.
The
the
impact
of
art
it
goes
beyond
a
person.
D
You
know
a
private
area
which
can
apply
to
some
things
we're
dealing
with
here,
but
what
what
I'm
really
impressed
about
is
is
how
you've
taken
projects
and
have
sort
of
a
a
budget,
a
a
ceiling
budget
and
yet
you're
able
to
get
other
people's
money,
and
the
opm
is
one
of
the
most
exciting
things
about
it,
especially
especially,
what's
impressive
is
you
can
get
other
people's
money
before
the
building
is
built?
D
C
C
Personally,
I
mean
is
as
education
with
the
private
sector
for
people
to
kind
of
see
the
possibilities
about
what
art
can
do
and,
and
that
is
it
was-
was
the
number
one
start
with
that
and,
and
I
kind
of
I
feel
like
a
little
a
b,
sometimes
where
I'll
go
to
public
works,
or
we
don't
contract
administration
and
I'll.
C
Ask
where
that,
where
the
building
is
right
now,
if
it's
a
city
structure,
for
instance
like
where
is
that
for
the
project
with
f
dot,
which
I
know
well,
let
me
let
me
finish
that
thought,
with
with
contract
administration.
B
C
I
will
just
ask
like:
where
is
where
are
we
right
now
with
that?
Can
you
you
know
sink
the
floor?
Can
you
do
so
such
and
such
so
I'll
see
the
plans,
the
renderings,
what
the
needs
are
and
if
I
can
get
the
site,
prepped
and
easy,
and
I
can
get
it
timing
so
that
hey
look
cement
truck
just
rolled
up
and
look
this
artist
has
to
have
these
stuff.
C
He
wants
to
fill
these
forms
and
it
so,
in
other
words,
that's
through
with
contract
admin
and
kind
of
coordination
with
the
construction
of
the
site,
like
the
artist
I'll
back
it
up
the
artist
plans.
I
know
that
needs
to
be
done
by
x
so
that
we
can
make
sure
that
it's
coordinated
and
installed
by
y,
and
then
we
need
to
you
know
those
kind
of
things.
So
it's
really
on
a
case-by-case
kind
of
kind
of
thing.
Oftentimes
on
some
of
them,
like,
particularly
with
the
lights
on
type
of
stuff.
C
I'll
have
them
be
part
of
the
committee
and
I'll
pack.
That
committee,
with
people
who
know
and
can
share
with
the
developer
or
whomever
the
possibilities
of
what
that
can
be,
so
that
it's
not
just
me
as
a
talking
head
doing
a
hard
sell.
But
it's
getting
them
to
see
what
the
possibilities
are
and
oftentimes
being
educated
by
others
helps
a
lot.
D
Can
I
just
follow
up
one
question,
though
I
think
it's
just
a
little
bit
more
of
a
detail
if
you're,
if
your
project,
you
have
a
ceiling,
a
budget
ceiling
of
300
000
but
you're
you're,
hoping
that
the
project
is
really
nine
hundred
thousand
dollars.
How
does
that?
How
do
you
do
you?
Do
your
call
for
artists
for
a
three
hundred
thousand
dollar
project
and
then
do
you?
Are
you
able
to
escalate?
Do
you
I
know
at
the
university
of
south
florida
they
used
to
do
that.
D
They'd
say
here's
a
90
000
project,
but
I
think
I
can
get
somebody
to
to
use
their
money
to
make
it
190
000
project
or
something
like
that.
But
still
is
there's
the
requirement
of
of
the
call
for
artists
and
what
the
the
budget
is
and
yet
you
can.
You
can
seem
to
to
go
beyond
that
in
some
ways.
Yeah.
C
Yeah,
no
that's
a
good
question
and
how
I'll
do
that?
First
of
all,
when
I
write
the
calls
I'll
always
have
something
in
there,
that
is
a
little
squishy
about
the
budget.
I
mean
if
it's
a
because
I'll
say
budget
may
adjust
slightly
or
a
budget
is
expected
to
adjust
slightly
so
that
one.
I
want
to
make
sure
that
the
artist
I
would
you
know
that
we
never
present
ourselves
as
inauthentic
to
the
artist,
but
to
give
them
a
heads
up
that
we
know
it.
C
There's
there's
some
wiggle
room
here
and,
in
the
meantime
like
why
that
call
is
but
but
before
I
even
release
the
call,
I
have
a
good
feeling
about-
or
I
I've
done
some
homework
in
regards
to
how
this
is
going
to
play
out
like
it's
likely,
for
instance,
the
call
to
artist
for
the
gateway
with
f
dot.
That
has
not
gone
out
yet
because-
and
I
I
touch
base
with
them
on
the
phone
like
every
three
weeks,
because
I
want
to
find
out
where
their
contractor
is
where's
the
money.
C
C
So
I
I
I
it's
an
issue
of
timing
and
finesse
and
on
some
of
it,
like
with
lights
on
tampa,
when
we
throw
out
that
call
to
artists
for
multiple
sites,
I
have
a
we'll
we'll
be
crazy
busy
on
the
back
end,
trying
to
find
the
money
to
make
sure
that
we
can
make
these
projects
be
realized,
and
sometimes
we
don't
I
mean,
and
in
that
case
we
do
that
we
have
to
kind
of
prioritize
them
and
say
well,
we
can
fund
up
to
this
point
and
if
we
can
bring
in
an
artist
after
you
know,
if
we
have
the
money,
then
we'll
bring
in
this
other
one.
C
This
other
artist
or
whatever,
but-
but
I
think
what's
important
to
say,
is
that
I
started
out
small
and
slow
basically
just
with
that
in
regards
to
the
artworks
in
you
know
the
percent
for
art
projects
in
our
own
house,
so
to
speak,
I'm
trying
to
think
of
some
and
of
course
I'll
always
do
grants
like
we've
got
some
grants
out
and
pending
now
and
that
will
kind
of
lead
us,
and
I
we
don't
always
do
a
call
to
artists.
In
some
cases
it
can
be.
C
We
have
the
ability
to
do
a
direct,
select
or
a
invitational,
and
it
depends
on
the
project
in
some
cases,
whether
we
you
know-
and
it
could
be
a
relatively
large
project,
but
for
instance,
if
I
I'm
just
trying
to
think
of
one
example,
let's
say
it's
an
environmental
one
and
we
know
an
artist
one.
I
mean
the
project
really
wants
an
artist
to
address
stormwater.
C
Well,
there's
only
a
couple
of
artists
that
I
know
who
just
will
knock
it
out
of
the
park
on
stormwater
and
I
kind
of
was.
We
will
call
them
all
and
ask
them
if
I
may
present
their
work
to
the
department
and
get
kind
of
get
them
a
sense
about
what
they're
thinking
of,
because
one
that
vision
builds.
They
get
to
see
this
incredible
work.
These
artists
do
and
then
they'll
say
yeah.
C
They
want
to
do
something,
and
I
just
kind
of
say
well
what
how
much
money
do
you
all
have
and
they
said
well,
we
have
a
hundred
thousand-
and
I
said,
okay
well,
there's
some
artists
that
do
you
know,
recycle
work
and
this
this
and
this
and
the
ranges
of
these
artists
are,
you
know
ex
and
they
say:
oh,
we
might
be
able
to
find
more
money
for
that.
C
So
a
lot
of
it
is
just
kind
of
you
know
always
advocating
on
the
part
of
the
of
the
artist
for
what
what
it
can
be
because
people
I
mean,
if
you
leave
it
up
to
some
of
them
they
just
they
just
don't
know
they
just
think
it's
a
box
to
check
and
they
don't
realize
what
the
difference
it
can
make.
B
C
A
Well,
robin
if
I
could
jump
in
here,
you
mentioned
a
word
that
kind
of
has
resonated
a
lot
under
our
current
structure,
we're
a
municipal
committee
and
we're
bound
by
the
sunshine
laws,
and
I've
always
felt
that
it
was
kind
of
almost
counterproductive
and
a
bit
of
an
irony,
because
art
really
thrives
on
communication
and
we're
really
not
allowed
to
talk
to
each
other.
In
many
regards-
and
you
mentioned
that
there
was
a
501c3,
the
friends
of
tampa
public
art,
could
you
just
give
us
a
little?
A
You
know
I?
If,
if
you
would
have
the
possibility
of
maybe
just
sending
us,
you
know
their
mission
statement
and
and
charter
just
as
a
model,
because
we
did
bring
it
up
and
we
were
told
that
the
city
cannot
give
money
to
a
nonprofit.
But
do
you
know
how
this
group
got
around
it
or
how
it
was
organized
to
allow
the
501c3
to
coexist
with
the
municipal?
C
Yeah,
what
we
do
is
completely
out
there
and
open
one
of
the
reasons
how
it
started
by
the
way.
I
think
it
in
2000
one,
maybe
or
maybe
2000-
I
don't
know,
but
it
was
it
was
a
long
time
ago.
Somebody
wanted
to
donate
artwork
to
restore
or
donate
money.
Excuse
me
to
restore
an
artwork
and
the
city
didn't
have
a
mechanism
to
do
that.
A
lot
of
people
don't
want
to
give
money
to
the
city.
C
If
we're
going
to
in,
like
with
lights,
on
tampa,
for
instance,
where
we
will
get
hundreds
of
thousands
of
dollars
of
donations,
we
they
feel
they
want
to
give
to
a
non-profit.
C
So
we,
of
course
when-
and
it
kind
of
depends
on
how
the
administrations
feel
with
that,
when
we,
our
parks
department,
has
a
501c3.
A
lot
of
our
departments
do
they're
again
run
separately,
but
what
we
do
like
when
we
do
our
contract,
then
let's
talk
about
that.
How
that
kind
of
will
shape
out
is
for
some
of
our
work,
like
like
the
bridges.
Okay,
that's
a
good
example,
because
chico
gave
the
501c3
300
000
to
start
off
on
the
bridges
and
then
in
our
contract.
C
Of
course,
we
say
when
it
go:
gets
portions
of
the
payment
structure
and
actually
the
contract.
The
501c3
always
pays
first
and
the
city
pays
last,
so
we
just
break
up
the
payment
sections
by
like
that
which
I'm
hearing
sorry
I'm
getting
a
little
distracted,
but
the
makeup,
and
actually
we
don't
even
keep
keep
it
here,
but
I
mean
the
the
main
person
who
manages
it
is
my
staff
person
who
is
amazing
and
so
that's.
C
Another
reason
I
mean
where
we
do
a
lot
of
good
stuff
is
that
I've
just
got
a
really
good
team.
She
makes
sure
everything
is,
you
know
up
to
snuff
and
all
the
forms
are
paid
and
so
on.
Our
chairman
of
prince
of
tampa
public
art
is
an
an
attorney
and
they
keep
the
records
they
keep
it
all.
So
we
did,
and
we
of
course
are
go
through
everything
with
our
city
at
first
there
was
a
little
discomfort
when
mayor
iorio
came
in,
but
then
they
kind
of
looked
at
it.
C
The
legal
team
looked
at
it
says:
well,
there's
nothing
really,
it's
all.
It's
all
transparent,
it's
all
clean,
it's
all
good!
It's
not
a
it's,
not
a!
Not
an
issue
like
I
said.
Parks
department's
got
a
501c3,
a
couple
of
other
organizations
too,
and
the
parks
department,
for
instance,
when
they
get
donations
of
food
and
such
to
give
to
kids
at
the
community
center.
That
all
goes
through
friends
of
tampa
recreation.
C
I
don't
think
it
has
any,
even
though
we
do
keep
the
minutes
and
so
on.
It's
not!
I.
I
don't
think
it's
an
issue
with
the
sunshine
law
I
mean
we're
in
regards
to
the
non-profit
and
because
we're
also
within
the
sunshine-
and
we
just
haven't.
I
don't
know
it,
it's
not
a
problem
when
it
gets
as
a
matter
of
fact,
it's
a
really
useful
tool
when
people
sometimes
think
that
something
inappropriate
is
happening.
It's
just
like.
C
Well,
no,
I
mean
because
it's
everything's
right
out
there,
so
it
actually
is
has
worked
out
well
for
us,
but
but
you're
right.
The
501c3
is
not
subject
to
that
and
by
the
way,
back
up
to
that
one
reason
it's
not
subject
to
it
is
because
there
is
only
one
public
art
committee
member
who
is
an
active
public
art
committee,
member
who's
on
the
board
of
friends
of
tampa
public
art,
so
that
it's
not
ever
in
violation
of
the
sunshine.
C
There
are
former
public
art
committee
members
on
there
and
a
couple
of
other
arts
advocates
are
on
there,
but
it's
a
tiny
board
and
basically
it
serves
as
a
fiscal
agent.
So
it
doesn't
doesn't
do
any
work.
That's
one
reason
that
I
think
we've
kept
our
committee
members
together,
for
you
know
some
of
them
for
so
long.
C
It
just
really
does
maintain
the
integrity
of
the
process
which,
by
the
way,
I
also
want
to
back
up
and
say
that's
the
big
thing
that
our
public
art
committee
does
is
that
we
do
all
that
a
lot
of
that
the
work
in
terms
of
obviously
the
staff
in
terms
of
the
meetings
and
setting
that
up
and
all
that,
but
really
they're,
charged
with
maintaining
the
integrity
of
the
process.
So
it's
it.
C
B
Robin
is
there
a
way
that
you
could
also
maybe
send
us
a
copy
of
your
your
presentation
today
that
we
could
share
sure
sure
I.
C
One
thing
I
didn't
answer
that
I
see
there
was
a
question
of
from
miss
jennings
is
how
do
you
handle
unsolicited
proposals?
C
There's
two
things
I
can
mention
to
that
one
is
you
can
if
you
want
to
tell
the
again
have
it
have
it
have
a
policy
in
that
that
you
will
review
unsolicited
proposals
once
a
quarter
or
whatever,
and
have
your
committee
kind
of
do
that,
but
always
have
your
your
ability
to
say?
No.
Thank
you
in
regards
to.
Unless
you
really
want
it.
C
I
have
found
that
taking
unsolicited
proposals
usually
ends
up
being
more
of
a
quagmire
than
people
think
they
will
be
because
there's
just
it's
it's
taking
somebody
else's
vision
and
I've
had
people
ask
me
and
this
one
of
my
big
things
that
I
will
say
to
them
is
is
when
I
get
these
unsolicited
proposals.
C
I
said
we
are
not
a
granting
agency,
you
know
we
go
through
a
different
type
of
a
process,
and-
and
I
don't
want
our
heart-
our
money,
which
we
don't
have
a
lot
of,
so
I'm
very,
very
frugal
with
it.
C
I
don't
want
to
take
money
that
the
committee
may
have
a
vision
for
some
other
type
of
a
project
of
significance
for
high
visibility,
high
use
value
all
that
kind
of
stuff
and
then
take
the
time
because
it
takes
a
lot
of
time
to
do
an
unsolicited
proposal
and
money
for
something
that,
unless
it's
out
of
the
park
and
everybody
just
feels
like
it
is
amazing-
and
everybody
in
the
world
has
to
see
it.
It's
you
know.
So
I'm
I'm
very
the
same.
C
Also
with
gifts,
gifts,
what
we've
done
with
gifts,
because
there's
I
really
try
to
discourage
gifts
unless
again
it's
something
that
we
really
want,
but
we
break
it
up
and
that
you
know
whenever
they
we
get
the
proposals
for
gifts
there.
C
If
we
have
a
subcommittee
so
of
the
public
art
committee
and
they
come
back
with
a
recommendation
of
whether
we
should
or
should
not
accept
if
they
say
we
should
accept-
and
it
exceeds
the
value
that
we
need
to
for
it
to
go
to
city
council
for
acceptance,
we
prepare
that
paperwork
and
send
it
to
city
council
for
acceptance.
C
So
we're
just
very
cautious
about
that,
because
the
thing
is
with
the
donations,
one
oftentimes
you'll
get
requests
would
be
people
wanting
to
donate
one
because
it's
they
want
to
be
in
your
collection
because
it
helps
their
resume
or
it
is
you're
going
to
be
stuck
maintaining
it
and
that's
going
to
be
an
expense.
C
Do
you
have
the
storage
space
for
it?
So
there's
all
those
issues
that
just
I
think
the
vision
needs
to
be
kind
of
for
what
a.
If
you're,
building
a
holistic
collection,
your
public
art
committee
will
be
able
to
kind
of
shape
that
and
say
no,
that's
not
going
to
be
within
our
vision,
or
it's
just
way
out
there.
It
makes
no
sense
or
whatever
those
causes
are,
but
it
just
gives
you
an
ax.
You
give
have
an
avenue
to
get
out
of
it
and
to
say
no,
that's
the
biggest
thing.
B
Public
art
committee
decide
on
locations
for
projects.
Is
that
kind
of
like
the
first
step
of
you
know?
Where
are
you
going
to
put
a
project
and
then
come
up
with?
You
know
the
ideas
of
of
what
type
of
project
you
want
to
do
education?
How
does
that
work.
C
That's
a
good,
that's
a
really
good
question:
there's
there's
a
there's
a
lot
to
that,
and
typically,
for
instance,
I
mean
I'll,
give
you
the
standard
like
it's:
a
percent
for
art
project
out
of
and
the
fun
sources
coming
out
of
a
new
community
center.
Okay,
we'll
have
a
meeting
with
all
those
entities,
all
those
agencies
or
the
stakeholders,
okay,
so
whether
it's
parks
or
in
contract
admin
and
a
community
person.
C
So
if
we
pick
up
a
committee
accordingly
and
kind
of
collectively
go
with
where
those
opportunities
make
sense,
it
is
in
in
some
cases
I
will
go
to
the
public
art
committee,
because
somebody
has
said
something
to
me
whether
it
is
internally
or
the
mayor
or
whomever,
and
I
will
say
what
do
you
all
think
of
I
mean
this
location
on
the
riverwalk
has
come
up,
there's
been
a
request,
and
so
that's
one
way.
C
So
sometimes
a
location
is
presented
to
them
and
they
say
yeah
we're
we're
in
that's
great
or
it's
like.
No,
I
think
funds
can
be
better
used
x
or
we
need
to
do
that
or
this
is
a
complication
here.
You
know
if
it's
because
it's
it
conflicts
visually
with
x
or
whatever,
but
the
locations
are
usually.
C
Rarely
do
they
are
they
in
a
position
to
see
I
mean
unless
it's
like
a
site,
rarely
or
do
we
go
out
and
because
we
don't
do
it
as
as
the
program
is
the
thing
and
put
something
in
a
plaza
like
we
want
to
go
because
we
just
don't
have
that.
I
mean
you
guys,
might
have
kind
of
a
different
kind
of
a
landscape
and
situation
for
that,
and
you
know
where
there's
a
really
good
location,
and
that
makes
sense
you
know
so
it
just
kind
of
depends.
C
B
And
then
we
have
some
sites
that
kind
of
are.
We
would
love
to
put
some
artwork.
However,
it's
kind
of
more
county
property
so
like
a
lot
like
the
pinellas
trail
and
things
like
that.
So
how
does
tampa
handle
that.
C
Oh
well,
you
can
do
that
with
yeah.
You
can
do
that
with
an
agreement
and
we've
done
that
plenty
where
you
want
you
know,
and
it
could
just
be
that
you'll
maintain
it
and
you
just
want
to
have
access.
You
know
in
the
agreement
that
you'll
have
access
to
to
get
to
it
and
to
maintain
it
and
that
you
can
it
that's
just
a
memorandum
of
understanding
and
it's
very
similar
to
what
we
do
with
with
f
dot.
C
For
instance,
when
we
do
projects
with
them,
and
it
is
not
on-
I
mean
it's
their
property
clearly,
so
we
have
to
jump
through
a
lot
of
hoops
with
that
with
them.
But
again,
if,
if
we
have
the
resources-
and
they
are
all
the
stars-
align
it's
it's
worth
it,
but
yeah,
typically
like
if
you
see
on
the
pinellas
trail
is
a
great,
is
a
great
example
and
a
really
good
idea
and-
and
that
might
be
because
also
pinellas
county.
C
I
I
don't
know
the
relationship,
but
that
seems
like
a
really
good
opportunity
to
partner
with
some
of
the
things
that
pinellas
county
does.
Unfortunately,
our
hillsborough
county
here
has
a
really
not
a
strong
program.
It's
just
kind
of
tucked
away
and
it's
hopefully
they'll
they'll,
come
out
of
their
shells
soon
and
be
able
to
to
do
some
good
stuff,
but
they.
C
What
we
do
instead
is
that
we
work
with
other
entities
within
the
county,
like
I
work
with
one
of
the
tampa
bay
history
center,
I'm
working
on
an
african-american
heritage,
trail
with
them
and
they're
going
to
do
all
this
other
stuff
outside
in
the
county
and
then
it's
kind
of
like
okay.
When
you
get
to
the
city,
that's
the
point
of
connection
and
plug
in
and
our
division
runs
goes
there
within
the
and
manage
it
brings
in
the
artists
and
such
for
the
for
the
city.
B
Awesome
and
then
one
more
thing
and.
C
C
Yes,
we
did
one
for
lights
on
and
again
the
beautiful
thing
about
temporary
projects
is
that
they
can
fail
and
you
can
still
hold
your
head
up
high
because
you
tried-
and
and
by
that
I
mean
like
we
did
a
a
light
installation
under
underwater
and
it
was.
It
was
nice,
it
was
great,
but
it
was
not
smart
for
it
to
be
a
permanent
installation
between
the
water
and
the
boats
and
the
traffic
and
and
such
so
that
was
kind
of
a.
There
were
a
lot
of
headaches
there.
C
I
was
glad
to
see
it
go,
but
it
was
nice
while
it
was,
there
was
a
great
ambiance
people
loved
it
and
again
it
really
showed
possibilities.
We've
done.
The
bridge
lighting
is
about
all
we've
done
on
the
water.
We
have
had
lots
of
requests.
Some
people
would
love
to
do.
Have
us
do
something
in
a
retention
pond,
which
could
be
a
possibility.
We
did
look
at
also
and
kovid
killed
it
for
us.
C
You
know
thank
you
coven,
but
it
was
we're
doing
a
waterborne
art
parade
which
we
still
want
to
do
because
we've
got
the
we
we've
got
the
partners
and
it
was
all
lined
up,
but
it
was
great
to
have
this
kind
of
like
flotilla.
C
We
had
the
artist
even
come
down
and
do
some
do
a
test
and
then
covet
hit,
so
that
was
january
and
of
course,
we're
closed
up
in
march,
so
but
anyway,
water
for
that
we
and
I'm
sure
you
guys
know
but
didn't,
there's
the
regulations
with
army
corps
of
engineers
and
all
that
kind
of
stuff,
that's
kind
of
a
pain.
But
it's
really
nice.
If
somebody
else
will
fight
that
battle
for
you
and
you
just
bring
in
the
artwork.
A
Anyone
else
well
robin
again
our
profuse
and
sincere.
Thank
you
for
sharing
your
time
and
expertise
with
us.
It's
most
appreciative-
and
I
know
personally,
I
learned
an
awful
lot-
got
some
great
ideas
from
you.
So
thank
you
yet
again.
C
C
B
D
B
Definitely
it
also,
you
know
the
longevity
and
the
time
it's
taken
to
develop.
You
know
kind
of
thing
and
I
think
tampa
also.
You
know
they
have
a
dedicated
staff.
I
mean
it's
not
a
big
staff
but
they're
dedicated
to
the
public,
art
and
everything.
Given
the
time
yeah.
D
B
By
ponying
up
money,
you
know
and
stuff
like
that,
you
know
with
the
size
of
tarpon
springs.
You
know
we
don't
have
that
those
corporate
people
that
we
can
rely
on.
You
know
trust
me.
I've
tried
a
lot,
you
know
just
for
tarpon
arts,
but
yeah.
So
if
there's
a
big,
you
know
difference
there
and
what
we
can.
A
Right,
even
the
physical
architecture,
you
know
you
look
at
their,
you
know
the
walls
they
have
available
for
murals
or
the
lighting
projects,
and
you
know
they
lit
the
bridges
we
have
beckett
bridge
and
what
else
we
can
light
up.
You
know
you
know
so
yeah
I
mean
where
we
have
different
assets
and
different
prop.
You
know
problems.
A
One
thing,
though,
that
we
do
have
and
that
she
seems
to
be
really
in
the
flow
of
she
seems
to
be
in
on
the
ground
floor
on
infrastructure
and
tarpon
springs,
does
have
an
infrastructure
budget
capital
budget
which
is
sizable
and
and
renewed
on
a
regular
basis
with
a
penny
for
pinellas
and
now
all
the
various
federal
and
state
grants
that
are
available
tied
to
sustainability
and
climate
change.
So
that's
an
advantage.
A
D
B
D
Do
we
have
the
structure
to
be
able
to
manipulate
that
as
a
board?
If
we
have
a
project
I
mean,
could
we
take
a
project
and
advertise
it
for
this
and
then
as
we're
negotiating
with
that
artist,
go
to
somebody
else
and
put
something
else
on
top
of
that
or
is
it?
Are
we
really
locked
into
certain
funds
yeah.
D
B
D
Here's,
your
limited
budgets,
and
how
do
we
go
about
getting
bigger
budgets
and
and
it's
extending
the
the
range
of
what
we
do
and
that's
what
what
they
do
there
and
and
she's
done
it
for
30
some
odd
years
or
something
like
that's
from
what
she
says
and-
and
I
do
know
the
infrastructure
there
like,
like
you
do
you
know
in
tampa?
D
There
is
a
lot
of
people
that
are
are
engaged
in
all
this
kind
of
stuff
and
she's
able
to
work
with
you
know,
and
this
is
not
even
half
of
what
goes
on
in
tampa.
You
know
the
whole
airport
thing
and
all
that
kind
of
stuff
is,
is
totally
different,
but
they're
involved
in
it
in
some
ways:
they're
they're
involved
in
the
process,
but
the
just
to
be
able
to
enable
starts.
D
D
You
know
in
this
thing
I
mean
they're
they're
a
minor
league
in
this,
but
they
know
how
to
play
it
and
they've
they've
learned
how
to
play
it,
and
you
know,
and
and
each
city
is
a
little
bit
different
saint
peter's,
a
different
way
of
going
about
this
than
than
tampa
does
and
saint
pete
doesn't
have
the
infrastructure
that
that
tampa
has
and
yet
and
tarpon
doesn't
have
the
infrastructure
that
any
of
them
have.
What
do
we
have?
You
know
we
do
have
the
bike
path.
A
Well
funny
you
should
mention
that,
because,
when
the
topic
of
you
know
that
sculpture,
that
mike
elwell
brought
to
our
attention
was
turned
down
because
of
our
budgetary
concerns,
I
sent
an
email
to
mark
lacouris,
the
city
manager,
who
kicked
it
over
to
kev
kevin
powell,
the
building
development
director,
and
I
just
got
yesterday.
I
got
a
response
as
to
what
we
can
anticipate
being
in
the
pipeline.
A
Okay,
pioneer
homes-
I
gather
from
this
is
that
the
the
public
art
funding
kicks
in
upon
the
applicant
building
permit
applications
pioneer
homes,
no
building
permits
applied
for
flagship
bank
interesting
it's
under
a
million
dollars,
dan's
car
wash
indicates
on
their
trc
application
that
they
paid
the
fund
and
the
amount
should
be
on
their
permit.
So
again,
I
think
at
the
next
meeting
we
should
probably
have
a
budget
review.
A
The
car
wash
on
the
corner
of
us19
and
klostermann
is
not
in
the
city
limits.
Interestingly
enough,
I
wasn't
sure
about
that.
The
city
clerk's
office,
no
building
permits
have
been
applied
for
yet,
but
that
might
be
interesting
to
consider
for
an
artwork
eagle
ridge,
that's
or
eagle
creek.
Excuse
me,
those
are
the
the
new
housing
projects
on
klosterman
they've
paid,
13
and
365
dollars
into
the
public
art
fund.
A
Thirteen
thousand
thousand
three
hundred
and
sixty-five,
it
seems
very
low-
does
yeah
okay,
and
then
I
asked
if
there
were
any
others
that
you
know
weren't
on
my
list
and
the
calculated
fee
for
furman
volvo
was
24
474.53.
A
Which
was
paid
and
the
holiday
inn
express
is
in
the
process
of
permits
and
middles
can
I
can
I
forward
this
email
to
the
to
you
to
send
to
the
pack?
Okay.
A
Just
to
keep
with
protocols
so
we'll
see,
I'm
sorry
just
a
couple
of
quick
comments.
Even
without
a
501c3
being
a
city
entity,
we
can
always
apply
for
grants
from
the
nea.
So
it's
even
though
the
public
art
fund
is
our
major
source.
We
can
always
look
for
matches
as
we
exist
now
right.
I
have
a
big
asterisk
next
to
nea,
so
that's
something
that
we
should
explore
absolutely
and.
B
A
Any
comments
on
what
you
just
read
us
our
best
left
for
the
meeting
or
yeah.
Okay,
and
you
know,
I
think
we
need
a
an
art
fund
budget
update
and
I'm
gonna
need
that
anyway,
because
we
have
our
annual
presentation
sometime
in
may.
I
believe
it's
going
to
be
on
the
agenda
tomorrow's
april.
So,
okay,
I
guess
I'll
entertain
a
motion
to
adjourn
bill
second
meeting
is
adjourned
at
11
21
a.m.