How do we give us a h do we give us a h do we give us a h do we give us a hug Good noon, everybody.

Are we are we live?

Yes, we are live.

Okay, thank you.

Well, that's all through order.

The city of the uh public library for my great speech.

Could we have a role called?

Yes.

Do we have my list here?

Do we have a trustee um Silveria here?

Yes.

And we have you are our new, you are not.

No.

Sorry, Bob is not here.

Bob is our new vice chair, and he's not here.

We have trustee Lord Amar here.

Perfect, and you are our new chair.

And then do we have trustee Josh here?

Perfect.

And then trusty morrow.

And then we have um Library Director Edwards.

Perfect.

Um, and we have um assistant director Melissa.

Perfect.

And we have the manager.

And we have a special guest today.

All right.

So we do move right into presentation.

So we can like to um begin.

Welcome and thanks for coming.

But this is where the presentation is.

If um you would like to participate online, you can um join via our website at I do believe it is mpl dot org.

And then if we do have anyone come in live, um, or if you are in the zoom, please raise your hand and we will take the question.

Oh, put in the record that is unable to join us today.

Yeah, that's a reasonable.

So the presentation is um on museum art, and then sorry.

So that was turned over to our trying to see where it is to pull it up.

Okay.

And then we need to connect it to the doctor to have it.

So I'm trying to reach out.

Remember?

It's not a good one.

What are you doing?

Good afternoon, library board of trustees.

My name is Brianna Schmerling, and I'm the artifact specialist for City of Modern.

I started my job in March of 2024.

And part of the main part of my job is to care for the museum's collection.

At any museum, only three to five percent of a museum's collection is on display at any given time, and the rest of the collection is in storage.

So most of the work that I do is behind the scenes caring for the collection happens and storage.

So the topics for the presentation today.

So the main topic is to cover an art inventory that I've been working on.

So I will cover the background of the types of collections or the types of works that are in the art collection, projects that I've been working on around the art collection, and then the meanings of the collection.

There are over 400 works in the collection.

149 of them are on display.

So that includes works that are at Colton Hall, Pacific Biological Laboratories, the Presidian Monterey Museum, as well as art that is in city offices, in public library, and the public art that is displayed outdoors around the city.

We currently have four artworks on loan to other institutions, and one of the artworks is on display.

It is on loan to the Monterey History and Art Association, and it is the Casa Longress mural and a mosaic.

Um to have this piece made for their dining room.

Um the work will be on loan to MHAA until 2034, and the case that the piece sits in was especially designed for this display, and it was inspired by Emil Norman's home in Bixir.

As I mentioned, that artwork is on loan.

So one of the projects that I've been working on with library museum instructor Brian Edwards as well as other collections managers at other institutions is to make sure that our loan agreements are up to date.

And so the other three works that are on loan are currently at Mario Museum of Park, and they um have those works on them to store them for us.

So we want to make sure we have updated records as well as the institutions that have the works on loan have updated records on there as well.

One of the collections within the larger art collection is the Tehaven collection.

Um the works in this collection were had a long path of making their way to the City of Monterey's collection.

Um Augusta Louise de Haven passed away in December of 1941, and she bequeathed her art to the city of Monterey.

However, her children were living in Germany, and this was at the start of World War II.

So the US government froze her property under the Alien Sedition Act, and her work sat in storage for almost two decades.

The art that's sorry, the trust then went bankrupt, and the artworks went up for auction, and an art dealer in Carmel by the name of Harold Smithson purchased the artworks, and then Mary Jacks, the daughter of David Jacks, purchased the works from Smithson and gifted them to the city, and that was how they ultimately made their way to the city.

Several of the artists whose works are in that collection are Armin Hansen, William Richel, Euphemia Charlton Fortune, and Paul Brick.

One of the collections that I found interesting when I started working on the inventory is the works of Peter's family.

Constance Peters was his second wife, and DeWitt Peters was their youngest son.

I just thought it was very fascinating that there was a family of artists, and they were all inspired by the landscapes in California and the Monterey area, as well as their travels in Europe, the travel back and forth between Europe and California.

And so a lot of their works focused on the landscape.

So where are these ones that you can use?

They're in storage.

So the previous two from the Tehaven collection, those are in storage, not Monterey Music's art.

The photo on the right, or the painting on the right rather, that is the scratch.

The next group of works that I wanted to bring up is the Monterey Angels.

Those are a common feature that are seen around town during the holiday season.

The photo on the left is part of the display that we had this past December in Fulton Hall.

The works were the city initially acquired the works back in 1956.

So the volunteer holiday decorating committee for the city commissioned the artist Erica Frank, also known as Erica Markaba, to create the Monterey Angels to have as a display during the holidays.

And then that's the one that in the photo on the left that is the 1956 version is the angel on the left.

The angel in the center is from 1973, and the angel on the right is from 1999.

And so this portion of the art collection needs still needs to be inventory and have updated condition reports and the larger art collection, we also have public art, and so this consists of statues and sculptures that are around the city as well as art that's displayed in Monterey Conference Center, the Monterey Sports Center, Hulton Hall, and Monterey Primary.

So on the museum's website, there is a walking tour that you can take to view all of the public art.

And as I mentioned, we have artwork that's displayed in the library.

There are 31 artworks in the library.

Some of the pieces were gifted to the library, and other pieces were gifted to the city, and then put on display in the space.

The painting that is on the left is actually in this room.

It is the old moderate custom house that was painted by Bernard Breakdown.

And then the Britney landscape with figures that is just above the native entrance of the library.

Now I will go into projects that I've been working on that are related to the art collection.

So this involves tracking the location of all of the artwork and updating that in the catalog record.

So the main features of the catalog record that should be recorded are the catalog number object ID, the title of the work, the artist's name, a description of the work, the dimensions, the location as I mentioned, as well as having updated photographs, and this helps with tracking the condition of your words over time.

Oh, it was closed.

Okay.

I think it's an interview.

Yeah.

I wanted to show you an example of what our catalog records look like.

Well, she's pulling it out to you, so yeah, I wonder this library question.

So the inventory is a part of the online catalog, is it separately in another database?

That's okay.

Yes.

So we have oh sorry, go ahead.

We were using a system called Pass Perfect, but we still are technically.

And so what we're working on is what Brandon is pulling up because another website called cataloging, which is another cataloging site specifically for museums.

So the difference from that library catalogs that have our ILS as well are typically used as for paper documents wherein or catalog in as perfect or museum or text because it's loan succession.

We did you the object appraisals, like all the condition reports, all of that kind of stuff, which is slightly different than what you would have for just one object base on there.

So there's a difference, but then you can do it.

You could do a search for photos, objects, paper, perspective, culture factory.

Yeah, so as Brian mentioned, we recently switched over to the collections management system catalog it.

Um, this is an example of one of the catalog records for one of the public art pieces, which is um taking flight or the great blue heron that is out in Lake Elestero.

Um so you'll see there is the object ID listed up on the um right here, and that helps with tracking um and identifying the piece.

Um we have the description, what the piece is made of, it's part of the city of Monterey art collection.

Um this down here notes the accession number that was assigned that was assigned to the work when it was purchased.

Um so this is an example of a work that the city acquired through purchasing it.

It wasn't a gift.

Um information about the artist and when the piece was created.

Um there's a lexicon that breaks down that helps with search terms for the object.

So it's a sculpture, and then it breaks it can be broken down into further categories based on what the object is, and that's just another way um of helping to identify it and also the searchability of it within notate the dimensions as well as the location.

And then you can see here that I inventoried it in November and documented the condition of it.

Um I'm not gonna scroll past it just because it had one of the pieces of the record is also the appraisal information, and so um just for constant confidentiality purposes of that, but that there's you get a sense of what um is included within a catalog record, so you can track this.

Yes, so that is more difficult with sculptural pieces like this, but for the paintings, that was part of oops, sorry, that was part of the um inventory that I worked on or have been working on, and so a lot of the paintings that I was coming across didn't have tags, and so going back and looking at the record and identifying what those object IDs are, and then tag putting an archival tag on the back of the painting.

So whoever comes along, or even if I'm going in if someone requests a painting to be hung up, um, I can track it down based off of the object ID tag.

So that will also do some sort of a role for when it's time to revisit something and have experience to written about it.

Yeah, I'm just gonna open up one more page here.

Um that's gonna be for a couple of slides coming up.

Okay.

So as I mentioned for the art inventory, there was the archive adding the archival tag, tracking the condition of the works and creating a condition report, and then the other part of the inventory is the housing.

So when I first started the inventory, Brian assisted me with it, and we went to an office space that um is owned by the city but was no longer in use.

And we found over 20 works that were part of the collection that were in this space, and so we inventoried those and then took them out of the office because they were no longer in use.

So that is the rehousing component of putting them back in storage and make sure that there's so this is a photo of our primary collection storage facility.

As you can see, there are a lot of materials stored in this space.

Um, the photo on the left is where our artworks are stored.

Um recent at the beginning of this year, we added the cart that you can see there.

Um to add to be able to add more art to the space.

There were boxes on the floor that held paintings as well as the art that I mentioned that we removed from the office space.

That was also moved to that cart.

Um and then the other two photos, the one in the center and the one on the right, those are the artifact collect artifacts and the archival and photograph collections.

Um we are at the point where the museum's collections have outgrown the storage space, and it is a concern for the safety of staff as well as the safety of the collection.

Collections need to be at least three inches off of the floor in case there's a flood, and so things on the floor.

Some of the shelf that is behind the cart is a wooden shelf, and the base of it sits on the floor, it's not raised.

With being in a historic area, there's a lot of historic buildings, which is great, but it's not great for collection storage, it's not climate controlled and just doesn't have the proper conditions of what collections can be stored.

This is um our second collection storage site, um, it is a shared site with other city departments.

Um, as you can see from the photo on the left, this is where the Monterey Angels are.

Um ideally, we would like to have a custom storage angels and not have them leaning up against one another.

Um, and to be able to easily access them as well.

Um, the photo on the right is uh a small storage room within that larger storage area that is dedicated to museums, and so there's work, there are a few artworks in there that were on display in the conference center, but they were removed when the conference center was remodeled, and they have been in this space since, and a couple of them have been approved for de-accession, but they weren't sold in auction, and so they just they have been in storage.

I'm gonna go back to the previous slide for a moment.

Um in March, uh an emergency preparedness consultant from the Northeast Document Conservation Center.

They have a program currently that is funded through the California State Library, and it is called Ready or Not, and it's specific to emergency preparedness in museums and archives.

So the consultant came out and um feedback and advice on next steps for what we should do to maintain the collection.

Um and then in June of this year, I applied for a groundworks grant, um, and that particular program is um related to cultural heritage disaster preparedness.

Um, and so with applying for that grant, we're hoping to come up with more storage solutions for the collection.

Another um component that I worked on is creating an art request form for city staff.

Um, as I mentioned, there are artworks um displayed in city offices, and the form that we had previously had outdated contact information, and so there wasn't an easy way for staff to contact museums if they wanted to add a piece of artwork to their office or have a piece removed, and so I created this um Microsoft um filled out with the office building that they're in, um, and just a bit more information of what kind of artworks that they're looking to have in the space, and the amount of wall space that they have to kind of because we have such varied sizes of paintings and photographs, getting a sense of what space they're looking to.

So now to the future needs of our collection.

A bit of what I talked about with storage kind of falls under this.

I think it was just a new park, right?

Yes.

The one with the wood background, I'm gonna say is the library.

Yes, that is the library, and so um those are just a few examples of where we need interpretive signage.

Um the photo on the left is titled Moonwalker, and it was part of the initial acquisition of art when Watering Conference Center opened.

So that was where it was initially displayed, and then it was moved to Bruce Airs Way, but there currently isn't any interpretive signage to say what the piece is, who the artist is, where it came from.

The piece in the middle is at Sister City Park.

The photo just below it is what the plaque is at the base of the work.

So as you can see, it's really worn.

You can't read the text on there to see what the piece is, who it was gifted by, and then the painting on the right, which is displayed in the library.

You can see on the left, there's a small um wall label.

That is a piece of foam board that is still attached to the wall, but the actual label that was to be attached to it has come off, so there isn't any text to say what the pieces can the artist is.

So that is another piece to go through the library, all the city offices and add signage, noting what all of these books are, um, especially in city offices as people come and go in their jobs.

Some staff don't know that we have an art collection and that pieces are part of it, and so they think that they're um that someone in their office before them left artwork behind, and then they put that as part of the art collection.

Another project um would be to review works for de-accession.

Um, so this is the formal process of taking works out of the collection.

Um, the work on the left is a tapestry that is on display at the conference center, and that was also one of the initial pieces that was acquired when the conference center opened.

Um, it's a very large piece.

Um, it takes a lot to maintain the maintenance required for a tapestry piece of that size, and if we were to take it down and update it with a new piece, we don't have the space to store one of the pieces considered for review.

Um, the path of history mural that was a map that consists of eight storage areas.

Um, it was displayed on the Portola Hotel, and they no longer wanted it, and it's not in good condition, it's peeling.

Um, and so that would be another piece to consider for deaccession, um, because it's not going to go back on display and it's not, and it's taking up um storage space as well.

Can I just be those?

Yes.

So who is the who reviews it is if they would want to do something that size it or we can do it in the so the D exceptions that goes to the museums and cultural arts commission, and then from there it goes to uh St.

House.

Another goal that we have with the collection, um, is to make it accessible online.

That was one of the um perks of switching to catalog it is they have an outward-facing site called the Catalog It Hub where the public can use collections and we currently um don't have a way for the public to view the collections outside of visiting museum spaces or the other public spaces that I mentioned um where there is art on display.

And so I wanted to show you an example of what the hub looks like.

So this is the Cameron Stanford House in Oakland, and they currently have 550 items on display, and you can categorize it based on what the types of objects are.

So they have um let's see, they have a postcard category here.

Um they have the um they have different rooms within the house and have the objects organized by those rooms.

Um, and so I'll click on the postcards.

And so if you click on an individual entry, you'll see this one they didn't put a name, but it'll list um typically the name of the work, where um the subject, um, the year, when it was printed, and so it lists most of what is in the catalog record that we see um behind the scenes, but in a public-facing way.

And the other aspect with this too is um digital exhibits can be created through the hub.

So if you wanted to create um an exhibit around a particular theme, that can be added to the hub as well, another feature I need for the collection is funding for conservation and replicas.

Um, this example here is of the moderate angels.

So this past December um library museum director Brian Edwards ordered I believe 12 replicas of angels and had them displayed um on major streets around town.

Um a lot of the angels that we have in storage because they've been displayed every year for so many years and have been exposed to the weather, they're not structurally in the best um condition, and so um Brian had these replicas created to have on the street uh posts on major streets um where they could still be visible but not have exposure to the storms with the strong winds and rain that were affecting the originals that were on display.

And so we do have we did have um original versions of the angels on display, but we're selected about which ones could go uh outdoors based on the condition.

Another example that would be for conservation.

Um this paint, and as you can see from the zoomed in photo, there are cracks throughout the paint, and that extends through the entirety of the painting um and so that would be something where we would want to um have a replica bay and uh we have original storage um another feature need is to create a public art policy um this is something that brian is working on that steps for um this would involve the display of art in public um city buildings as well as actor spaces um and this would also be to create a process for residents um and businesses to be able to apply for um art and murals right now isn't it to stay on that just so yeah i think this is something that's been on council's agenda and arts arts council as well but city councils mentioned public art policy several times mentioned that it is not a straightforward project because um if you look at how cities do typically is that public art policy is often for uh property right away and public areas that we own that's the public now if you're a private resident and you have a business you have to fit into planning guidelines with specific guidelines for how you're doing that for you so there has to be a process for that so currently if someone is working on a mural on a property um a private property they do a sign permit and so they apply for a sign permit to do a mural and so the request has been can you just have a simplified public art process with that I think I've been doing a lot of research on other cities that because we also have a national historic landmark district and we have guidelines in Canada Road district we have different districts which other cities of our science do not have so we have to keep in mind historic aspect art aspect public aspect private aspect to put it in there for process that we make sense so that's why it's not as easy as some people may think and that's why it takes a lot of extra steps to develop a policy but I'll be working on that later this year and early next year.

And then the final um need that I wanted to mention is to have is that we need art an updated art appraisal um the last time that there was an appraisal done on the artwork was in 2007 and um it's important to have a more updated appraisal done to be able to determine what our insurance coverage should be for the artwork and the city has acquired artworks since 2007 so there are pieces that are not included within that.

And wouldn't an insurer almost require that to be done or have requested it we would I will say that we have like a certain amount which we provide them the amount that we have is up to an insurer for that and the city is is totally I think from what I understand from less some cities were there like a general self-insurance one rate self-insured in terms of like a certain number of cities that are self-insured but we saw more holding to our library collection are they doing the total amount um but that photo right there those are the Bruce Eris murals and this we've corrupt it but it's the where and the rod in the bottom came off during the storm was when was the last time did we do not in the this is why we're brought on Brianna and that's just one of the things I told her as I said I really want us to have an accurate art inventory what is the condition of all of these objects that are in our collection because if you're basing something off of 20 year old data and that artwork has been outside for that time and we haven't done an inventory of what it put the condition was when you go back to the file a claim, you haven't done the work, you know make it to I but this this item right here actually the storms knocked down the posts um on that mural, and I had to go and have that taken down and put in the storage, and then when I took it down, I realized it's what terms.

So it's one of those things that you know, and in the end, I think it's really important for us to appraisal to also look at what's the what's the proper scope for our collection?

Like what we have, one of the pictures that you showed that on the recreation trail have been distributed.

You probably won't let that run if you oh which one which right the tree.

Oh yeah, there's there's we're still running out of sort of protected.

When storms are one thing, but yeah, that one.

You know, just you know, we are meaning like where people like tagged it.

Uh huh.

Yeah, so when we do that, we can just think you can do it.

There's graffiti protective, so that goes back into like a public art policy where typically when you're doing an uh an agreement with somebody that you put on there that they put in an anti-graffiti code on their artwork, and then you provide the anti-graffing wipes.

So we actually when we did the mural upstairs on the terrace, actually wrote that into the agreement that they would provide a like a coding of anti-graffities uh thing and provide antigraphy wipes for it specifically because what I will say is that is actually a recreation that painting right there, the original thing is in our finance office of the SERA.

For that, I believe it's like fossil graphics has a high quality panel that I believe can be cleaned with like so you basically yeah, so typically what you want to do is you want to provide because you can never prevent entirely like we had a a statue that we've had to have prepared at least twice since I've been here on um at Bruce Harris Way of Cantery Road, where it's the Kaleesa monument, and people have been the uh bronze glass, and so we had a stainless steel bolt, we had a uh gone in there and fixed it, but you can never fully uh fully prepared.

I didn't know that was in production, yeah.

Yeah, that's yeah, so the rich they use the a painting which hangs in the finance office as the and then just took a scan of it and reproduced it.

So the worst case is that we not just display the blog, you could replace it, right?

Um these are the links for our um City of Monterey Museum's website, um, the link for the public art, and that can be accessed through the website iOS Android, um, as well as the phone number for um an audio tour and access.

The art that hangs in the library used to be um described on the library website is that still the case is that it's right.

Um the the pieces that hang here in the library used to be um summarized and described on the library website.

Yeah, so still happening, yeah.

So actually, can you check?

Also, can you check the audio?

I don't know if you get what the audio is picking up right now.

Um so for the the website effort.

I don't remember we had a list is that had been changed since the Sarah statue was moved in the California district room, and what I was what I did is when I created that app, I've been working on creating that app that app the um monitoring walking course.

I took photos of all of the artwork here in the library and posted it on there, so it's linked into the monitoring public art on the website.

It's still these city website has a list that includes the modern library collection, has a single collection with the different artwork.

I was thinking the power.

Oh, oh yeah.

Everything's on, it's not working.

I did have one more question.

But um, do you have a sense of the uh percentage of the collection that is pertains to local history or use as opposed to general art?

Like we talked about the tapestry, not being something that is about moderate.

I would say most of the art pertains to the area.

Um whether it's a painting of a historic building in the area, or a lot of the works that we have are done by artists, and so that's where that time is.

Okay, right because I saw the arm in Cancer One was in Europe, but local art.

Yes, yeah, okay.

Um I have a bunch of questions.

They're all because of me being an archival nerd, so maybe I can with you, Brian, some time and discuss stuff.

But I have the letter, I guess.

Now, the thank Brian and uh tell everybody that she's very active in our one whole group of um art librarians and museums and archivists and Dennis Copeland actually have start this group was called art.

Our archival round table now it's some like collections.

So, yeah, county regional collections.

Yeah, but anyway, she's very active in that and has participated a lot in their meetings.

She has even taken minutes for that.

Okay, I think the minutes for the meetings.

So thank you.

Thank you very much for that.

Yeah, this is really interesting.

Okay.

So the next thing on our agenda would be to receive the update uh from Brian on fund development role.

Yeah, thank you.

So this is just a brief update.

Um, the friends and foundation were not able to attend this meeting, but they are planning on to attending future meetings.

Um, but wanted to mention that typically um I will come back to here to the board of library trustees with what we asked for on the wish list of object items from Friends and Foundation and pulling uh present for friends of foundation.

What I would like to see on the wish is nice as well.

I mostly would like to see if the Friends and Foundation are interested and willing to invest in themselves to for fund development and to put in for this quarter's wish list, which is somewhere between the bank two, so but it was somewhere between the nature of I said let's say 15 to 20,000 to hire a contractor for somebody to work on with us on working on events, and then also we talked also about them hiring somebody as a coordinator for the chocolate line event so that they would have a single coordinator because if you've been involved with that, there are a lot of different pieces, and we want to make sure that nothing falls through the crack so there would be a single kind of coordinator person from them that they would hire as an event coordinator for that.

But the fund development person would work with us in terms of our fundraising strategies or fundraising plans to go through and work with me on letters.

I sent a couple drafts, but we haven't sent it out, so I've sent it.

We can't see letters.

Yeah, exactly.

So I've had a couple drafts that I've sent to the Friends and Foundation, but they've kind of solved.

So I'm just saying like let's get a single letter out, and so we've said it to think for August 17th as our as I um what we wanted to get out with, and so but really I I brought that to the Friends of Foundation board, and they were very interested in that.

They were supportive of setting aside that money and um somewhere, as I mentioned, somewhere in the nature of 15 to twenty thousand dollars as a contractor to say this is what we're expecting, you know, for you to work on.

But does sound like an outgoing president, past president Ali Ladio might be interested.

She'd express interest there at the meeting about taking on that rule.

Um, so but that's where we're at because I I said, you know, I we could ask for some other collection or program funds, but really, especially with the project coming up with um NZP, you know, and like needing somebody on their side to be the lead and then the contact for something that we're doing that work, we need to have this kind of contact for somebody to be like that's our point person from the Friends and Foundation for moving forward advocacy as well.

So um it's been left with their Friends and Foundation executive committee for them to decide how much, what the specific details are going to be with that position, who that person would be, whether they do hire someone we know, or whether they go out for a formal bid of some sort.

Um, but that would be the next step, and then so they would typically be working with myself and Julia, and it's consistently on this and having we talked about having another event, another donor event probably in November or so, so that's where that is that happy to answer any questions on the question that is um since it's the friends and founders, they don't have to do a formal sort of big process that they want to hire consultant teams.

They because they're not a city entity, they don't have to follow the rules and they can just hire anybody they want.

That's on them.

I mean, that's where they have to work on what the the contract, you know, whether that's do they have to have a i9, you know, the W9, whatever paperwork for that independent contractor, or they just isn't an hourly employee, is it a contract for this kind of service for one year?

That I think they doesn't go to the city, it doesn't go to the city.

Right, and they have the funding, so typically they would be sending.

Typically, we would be asking them for, okay, this is what we want.

They would then send us a check and write a check out to you know, not republic library trust fund, we then deposit the check, but instead they're just using that check to pay for their library at all, doesn't go to the library.

And so we don't have to deal with the additional costs and you know, any kind of additional personnel costs that we we acquire from having somebody not paying.

And they don't want to employer, so it might be a yes, yes.

Um, let's see.

I think that line likes to print first, but isn't that also the deadline for uh NCPS and we have a project?

Yeah, so I could have a development meeting.

What's the plan?

What's the project?

I pitched a couple ideas.

I said, do we want to put this in the newsletter?

Do we want to, you know, just kind of asking the questions?

Do we want to ask the community?

Do we want to ask us donors?

Like what to um the friends and foundation want to do a general campaign, essentially, just general fund to say um a general general fund, but general support.

We want to do rather than to do a big idea, they want to do a general support campaign.

Will MCP allow that is that one would be it's say I look on the the issue for a big idea?

Right, usually that's for big ideas.

So what I said is that this year I have not seen uh CFMC and MC Weekly host the QA session.

They and then if you look on their website, it's the 2024 project.

Yeah, and so they went to 2025, it does say I worked with the application, it does say general support.

You know, it says what's your big idea for is this general support?

So it does say is this general support.

Now I don't know on their side whether they're how they're reviewing or limiting or anything like that.

I can't speak on that, but I did, but I gave my feedback to the Friends and Foundation about here's a couple ideas and this, but they've been wanting to do uh some of the leadership and money to do general support for this.

So who actually submitted the thing?

Typically, it is the Friends and Foundation president.

So maybe you're on track to get it because we've been told it's you know it's low-hanging fruit, yes, it brings in a lot of money, and I think I don't even know that people read so much about the project.

And you know, I will say because I've been involved past couple years with it where we would have the meeting, you know, we would discuss things we've discussed projects I would propose.

Project, so I'm hoping I will check back in the valley because she said she was going to work on it because typically there was there are a number of questions.

What did you get last year?

You know, what did you spend this on?

Or do you want to use this one, right?

And I want to make sure that she has all of those questions answered because in the past I've provided a lot of the actual text and content for them to submit, because they are the ones that submit the form as the friends of foundation because it's not so much the library, but it is the friends of foundation who did be the ones assuming it so I just have to make sure that when she's totally just gonna work on the draft that she sends, I'll make sure that we have all of the info for the first one we have.

And have they ever, I've never heard of them turning people down, but I guess that would be quiet anyway, if there are more nonprofits that they declined to accept any program, but I do have a feeling that we've always uh for him, and so it must be a thing.

There have been people turned out, yeah.

Yeah, okay.

I don't know the exact groups, but I do know they're items.

So it's grant application support, yeah.

So it is it is important putting it in there, you know, make sure you've got their quote.

You want to make sure you've got all of your your statistics there for it.

Right.

So we have much money left here.

Um after the matching round, I think sending two.

So when you compare the work to wine and chocolate, it raises about the same amount.

So we work for this, it's a paragraph.

Um, the uh ratio is used.

It's a good return.

Yeah, very good restart on the festival, yes.

And we did spend last year, I did put out a couple different advertisements in the weekly.

I don't know if it was helped or not, you know, where we put out advertisements for why what our project is and then put out advertisements because I don't know if people are reading that part in the in the weekly package, you know, if we have the bookly, right and generals work to the library.

I think would sell too, as much as yeah, it could be that oh, somebody doesn't want to give money for our guards that they don't want to give money for a specific thing, but they do want to give it to what I think is and with the time frame, it would be probably smart to use that in the letter that's going in on this people ready for it, not to stop them from giving on the one tax and have them remember in their all of the giving the hour, but it's right.

You want to do it before the end of the calendar?

Yeah, you're hearing suggest that they can do both things.

Okay, keep us constantly.

Yeah, okay.

Did anybody have any questions on where we're headed on fund development for now?

Okay, and we will move on with the consent agenda.

We have items three through eight.

Um, uh if we are all that, I think, to look through them all.

Or the information is beginning to meet and then we'll just send that back.

Yeah, but yeah, for this for the is there anybody who attended online.

Uh we have zero attendees online, so no public comment at this time.

Okay, so that could be a consent agenda.

Is there anything we want pulled or do we have a bunch of I'm going to approve it?

I say okay to just make comment or two.

I think I think just we have the first.

Good.

Okay.

So um all in favor and say aye.

I think those.

So we have um so we can move on from that and discuss whatever um whatever comments anybody has.

I just think how many on the library and museum because we want to be updated all the time, which is you guys have been really busy.

The amount of work that 12 people would do, and not seeing 12 people here, so we're all here.

On the desk, we all it's really exciting.

There's so many things.

Um, cancel once um I'm not sure if you stood how um when you have a deficit in the library trust fund that doesn't you overspend the library, that's the expected.

You're like really good expenditures on this.

I'm looking at the revenue time, which means that you draw in less than well no, so that the parentheses is actually over.

So we adopted the budget, looking up at some of these ten library administrations.

Um we adopted a budget, so not the only thing we're talking about.

You're actually looking at the budget 12375, and the year today actually was two thirty-one.

So it's a parentheses actually above what we expected.

And then we got to that, but then the negative because this should be just not in the color, but the negative is on the record service.

And then you're gonna be back to the pre-set, I think the zip books, right?

That was a negative of 4963.

Um that's where um so that's essentially what we call that like a 58 around 58,000 above what we expect from or I'm sorry, 5954.

It depends on the expect over.

And then the general funds reserve like fine and replacement books and printing fees, that's where you'll see eight thousand seven sixty months.

So that's the primitive.

So the budget was so low and uh like a low for proposing budget in the future, do we have the actual when you prepared budget?

Or do you do a percentage up or down from whatever that present?

Yeah, it depends on, for example, on the revenue.

Um last year I put the revenue slide to be lower for library administration because there were two large grants.

One is about the random four for the and the other one was myself with the children's direction, right?

So those are most outliers because you don't know if you're gonna get that much money because the state is not providing those kind of grants, right?

So what we look at um for this year was sort of like okay, we know we'll probably get the zip books or let's put the zip books in there, but let's decrease the state price amount, but they're not from Friends and Foundation, which was the set amount, which is we think we're gonna get XML, or we think we'll get 60,000 case.

We think we'll get that based on things we excluding the other part.

Um for the expenditures, the one thing that you can't always um you know, can't always plan for is the big I would say a big um decrease is that actually we didn't hire Melissa until May, right?

And so that is a big salary savings of a cost that comes into the actual staff budget.

So whenever you're having full-time positions and you have a gap that's in there, you're saving a lot for your salary.

So it's back, that doesn't go back to that.

So you don't plan for that is but what we did is the majority of our other um things were the like when we have certain contracts and services, um collections, all of that.

We try to keep those as similar as possible for an increase.

This fiscal year, the city did pull some of those numbers down, uh because of their budget and cost of work there, but yeah, we try to plan in the beginning of the year for the general fund to say, like, okay, we know that it's gonna cost us this much for some budget partnership membership, this much for CLA membership.

It's gonna cost us this amount for these kind of different memberships, and you know, and then that's in your membership, and so you can those are somewhat fixed, right?

And then so what happens is if there's anything that's increase or decrease, I have to work on the budget and actually provide that enough light items to the city if there is an increase in why.

So some of these things like a contract I say it's if you're writing a contract, for example, like our granite mentioning vault, the vault has a per year lease, and I can't use it per like the same year per year because that next year they've increased it by three percent.

So I then increase the budget for the vault by three percent.

So yeah, then I have to solve the city, I need 30% of money on this specific staff because otherwise it can't be right for vault contract.

So, and one other question about the expenditures.

So this wasn't the end of the fiscal year, the end of the fiscal year, but this this was a little less than because the question is, you know, spend all the money in your street, but they're gonna be well.

This is this is this is most this is general fund right here.

So for I would say, um, some of the things there are like a little bit of encumbrances here where you say like 27, 450, there's also encumbrance of uh for the lockers that we're getting coming in, and it's close to 50,000 or so.

So this is off a little bit by charges that once we receive the items we're then gonna charge them back to past fiscal year.

So this, but this is pretty close.

This is pretty close to the presentation.

So that's gonna be even pretty much expensive for 100% of your funds.

I think I think we're still.

I think we're still at the total amount.

I would still say we're probably at 90% of the general fund budget, and that part of that is because of salary savings from not having our positions full.

And so we can be in June or stuff 10% of the funding, the city takes it back.

Right, it is it, and I think cities often do that because of they will have uh across the board positions, there's always going to be salary savings for vacancies, so a lot of times uh financial planners will build that into like a certain percentage that they think we're gonna be making per time in the year, and that salary savings actually like let's say you plan for 100 million dollar budget, which only have 95 million dollars to actually spend it.

Five million dollars is gonna be from salary savings throughout.

So you actually spent you know these budget a hundred, you actually spent ninety-five.

We plan that five, yeah.

And throughout the year, the city manager's office reminded us repeatedly like don't get any ideas for doing something else with your salary savings.

Okay, that's it.

We have we've already accounted for it.

But as long as it's oh, it's internal, but that's what I think in the next year go, well, you should take all that money, so yeah, I think that'd say I was the the issue with some of those things because, for example, like we are trying to vote for approving for a library system too, and that's been vacant for several months, and you don't want to say we don't need that the staff because we've seen that like for on our Mondays for really busy happening on that person else coming in.

Yeah, just in fact, you need some of the salary savings and higher questions for the exactly add.

I mean somebody has to do the work, even if we have so it's like we're gonna hire unless it's somebody who's been in that work.

Maybe it was you.

Oh, it's across the board, you know.

But it's it's like there's like a uh we have an account for full-time, we have an account for part-time, and then we have an account for hourly part-time, and so it's a good salary savings part-time, we don't.

We have no, but I would say I think we should have to look back at it if we overspent by a little bit on our part-time hours, but that was because we opened Monday quite a bit by having those part-time hours.

We have other stuff that are out and we have stuff out on leave, and we need to fill in the schedules and shifts and things like that.

So those are things you can't always account for.

But for me, if I do overspend on that budget, I we don't shift the we don't shift the budget from there to there because if we get a uh analysis from this year to next year, it may look well.

You know, you didn't spend all your what are we called 4101, you didn't spend all your 4101 and you shifted it here, my numbers would be not.

So you want to show that you've understood, but you actually overspent, so I would overspend on that, but then when I file my uh when the finance department asks me why did you overspend on that?

I'm gonna say I overspent by $30,000 because we under spent by $200,000.

Yeah, right.

That's that's the reason that I would put in that, but I wouldn't adjust the budget numbers because then that would be fine.

For the next fiscal year.

Thank you.

I want to just one more it this should happen for you.

Should yeah, yeah.

Thank you.

Okay, yeah.

Okay.

Well, and I was just gonna make sure that on the fiber press button.

We don't get that.

Right.

There's a cash account which states now.

Yeah, and heard that her the city charter for the city charter the the authorization for expanding that's reporting leverage.

Okay.

All right, anybody else anything on finance?

And so is this part of the um, oh great.

This is the statistical book is not part of the actual consent agenda because I was working on this packet on Monday, and I didn't know how to access this thing.

So I did not upload it, but I can just definitely have to go to the next uh we'll have this set that's inside.

Yeah, that's a side we will put it sound next.

I just want to I don't know if we can increase it in the things, and then um closure schedule is pretty much like last year or this year.

Yeah, yeah, and but I did see that the uh chocolate wine was C D D, and I thought they were set.

I asked when they told me they did not set.

So if I can get a date, we'll put it on our calendar.

I thought it was February 21st.

Uh I didn't get the Saturday after President's Day, but I will all, yeah, let me know.

We'll find that out.

Let us know because we'd love to put it on our calendar.

Yeah, and so I'll be there.

Um, um this is the bottom question, which is the Christmas.

So it's Christmas Eve, Christmas Day, day after Christmas, and then the next day is a Sunday, and then next time it's a project, so it's really four and a half days.

But and the city, as far as the Saturday, especially, yeah.

So Kim, can you do better?

Okay, after we're full time we working, yeah.

Yeah, so it's the working day before and the working day after, and so depending if it's a Monday, if it's Monday through Friday people or Tuesday through Saturday people, they're gonna have different uh holidays for the Christmas holiday.

Since it's three days, but it's based on your working schedule.

Okay, then I was always three days.

But the library is closed, all three of those days.

Right.

That's gotta be the other plan.

It basically in the past it's been you know, since I've been here, it's been Kim or I like hey, can we let us be here if we are going to open all those days and then you're on part-time seasonal because your regular staff, your hourly employees that you're because your regular staff are on all are in holiday?

Yeah, I think we consistently for years have had to do the three days just because of this the way City of Holidays fall and the fact that a lot of our own calls are available either.

Um, we're fine, I think it's not okay.

Thank you.

Well, if we are finished there, it says here public comment, but we're already know that nobody is so they can give her the I can confirm there are no attendees, no public comments.

Okay, thank you.

Then are there trustee comments?

Um I don't know.

Okay.

So it'd be wonderful to have that program like we should always success.

Very nice.

Yeah.

I just want to just look at the um the new MCD place and I would love to be applying on the wall through the baby rig.

Oh, the idea was that that's okay.

Yeah, that would sound sounds like it would be a lot of fun.

You can always scare you.

I was very creative.

Uh the only thing I wanted to say is that I did go to speak at City Council last week about uh the library's being forgotten in the announcements about ABA expense weeks.

I might have been lost in the shuffle because it was like two people after me.

So I think we'll see.

Okay, director.

Yeah, I just uh thanks to the board and that I was thanks for granted for presenting.

Appreciate it.

I just wanted to make sure um also that opportunity to meet you guys and also just for folks to know what's some of the overview and scope of what's in our music, so actually it needs to see.

Um also that we've got a week left in our summer reading program.

So for reminder for folks that and for the board, get a game board, you know, if you haven't already.

Um, it's always good to you know fill the list out, color it in, we're happy to say it before you can read for somebody who knows only a week left, just color the the time that you've got, but we would love to see those sunglasses in the prize, we can do that.

If you make a special request, yeah, we can have a lot of items about the city, right?

Yeah, so but we're we're just I just want to highlight um that I think the staff has a fantastic job this year of doing the programs for everyone and all ages, and it's really shown and throughout the week if you see all the different people in the family.

So I'm copy it's something that says one.

Congratulations on all of that.

Any other comments.

Well, then I think we are ready to adjourn at 5 21.

Okay, everybody.