Um, this is the last public art commission meeting.

I'm will be presiding over.

I've been serving for too many years, so I'm retiring.

Um, but welcome.

Uh tonight we have to flip flop things around a little bit.

Um, sorry I didn't mention that.

Um, before we continue, I'm gonna have everyone introduce themselves around the table.

I'll start.

Am I right?

Lisa Lambert.

So we're waiting till six.

We got a couple commissioners out sick.

We got a couple of commissioners come in late.

Um, so we're we'll we'll move the voting items to six o'clock, and then the other discussions up.

So we're not able to review the minutes and approve them, so we're gonna skip that.

Um nor the uh proposal that was submitted.

So if the DOT is ready, we'll be happy to have you come join us if you'd like.

Sit at the table.

And tonight we have did Tanisha leave?

Oh Tanisha, oh my god.

Do you want to do you want to come up here?

You did.

Yeah, come on up.

Uh Tanisha Murphy, John Adams, and Betsy Parmelee.

And so the reason why we've asked you to come tonight is because Emmanuel has been spearheading this, you know, DOT IAD1 project and how we can integrate art into it.

Um since I think I started on the commission in in 2018, it feels like it's been a long time since you've been discussing this.

Maybe it hasn't been that long, but not quite that long, but not but some years.

Um and I know that there's been several discussions, and we're trying to figure out how the public art commission can best help be a tool to be integrated into these things and help bring in local artists uh in and just support you know the art scene and celebrate our community in a respectful way uh through art, um you know, hopefully in a collaboration.

So Emmanuel, I'm gonna let you take the lead on everything and sort of go over all the stuff we've been working on.

Okay, all right.

Well, thank you, Tina.

Um does everybody have uh one of these sheets?

Okay, so I just tried to summarize um sort of where we are and what needs to be done, and um so put simply um in thinking about the Almond Street corridor, uh which will be the boulevard at grade um as part of this larger project.

Um the city has an interest in doing two things uh well more than two things, but but I think the ones that are pertinent to us right now uh and directly related to the work of the parks department and the public art commission is finding space for public art.

Um most well okay, just finding space for public art, sculpture uh seems to be the preferred way to go.

Um just because we don't have walls you know in uh you know that that are that are part of the uh of the project.

Um and secondly, uh space for uh lots of planting uh for for urban forestry, okay.

Um with that in mind, um some of us in the public art commission and in the parks department began discussions about things like you know what can the city provide and and what does the city need?

And so uh if you look at you know what the city needs, so space for public artist sculpture, the construction of pedestals for public art for public sculptures, um, which um my understanding is the parks department can build, um, and how big those things are uh depends on I guess the ultimate dimensions that the DOT team has for the boulevard, um, and that will also determine the kind of work that we can put there, uh the scale of the work that we can put there.

Um now at the moment the city does not have sculpture, all right.

So we talked, I say we, uh Ann Cofer and uh Tina was involved, Josh Wilcox, uh Commissioner Byrd, uh in s in discussions over the last year and a half or so about developing a system whereby we can borrow sculpture from local universities or from art parks or from museums, okay, with the idea that the city would build a relationship with a network uh of institutions, and uh would it would try to borrow pieces uh of appropriate scale um that we could install in the boulevard for say two to three years, uh maybe longer, maybe less, but certainly two to three years seems seemed reasonable in our initial discussions.

Um and and and pursuant to that uh uh there were some initial discussions about the extent to which the city would be responsible for transporting the art, insuring it, um uh and installing it.

Okay.

Because it's my understanding the state doesn't do that.

So yeah, the city would take on that.

We've gone through a couple of iterations of letters that we would send out to institutions seeking such a relationship.

We haven't yet done anything with it, partly because we haven't yet had this kind of discussion where everybody who's a participant is in the same room, okay.

Not because we have a big sack of money or something, but that we might go for grants and then work through the uh Syracuse Parks Conservancy, which can receive money and handle it more flexibly than the municipality can, uh, and that that would be another way to get art.

Um in that case, reaching out to individuals, um, but also uh reaching out to say universities saying to students that may do a sculptural piece as a thesis that you know we're looking for a piece of a certain kind of scale that might end up in the boulevard uh and then challenge the the art the student artist to come up with something bold and you know um and and compelling so which would be a good way to build a good relationship between the public art commission and the parks department on the city end with those institutions, okay, and with the understanding that DOT always gets something of quality in those on those pedestals, okay.

Um so uh you know, as we were talking about before we all began the meeting, um right now the public art commission is having this discussion, the parks department is having this discussion.

Um there is a an almond street um what is it uh the Almond Street Corridor Committee that is having this discussion and we need to somehow find a way to get some some people from all of those groups in the same space to talk about this.

Um by the way, with the understanding that any art that ends up being displayed in the corridor still ends up coming before the public art commission.

Okay.

Um so um so I'm hoping that you know at in the foreseeable future that we'll have an opportunity to have the DOT team talk about you know where it is with regard to the design of uh of the boulevard um and then how that design has space for Steve Harris's team's plantings, um, you know, and and and uh and he has certain spatial needs and so on and so on, and then uh where on each block we might have opportunities for for public art, so that we get out of this eventually not simply excuse me, a traffic corridor, but a really um an urban design statement, okay, that it you know that speaks of what Syracuse has been about, is about, maybe come, okay, and and an ongoing relationship between the city and the state about you know keeping that um that that urban design that compelling urban design statement alive and evolving.

So that's that's where we are as I see it at the moment, and um and again I've been with the Almond Street team.

I've been with the public art commission.

Um Tina and I have had some meetings at the Parks Department.

Um, and we just need to find a way to there's there's no it yet that we can either modify or react to or anything.

Um I'm a little worried that uh particularly with the Almond Street team, which has a bunch of architects on it, so um, we could get way into the weeds about dimensionality, and still not quite know what we're talking about and working with.

Um I'll say thank you for having us.

Um I think I can echo everything you're saying that I think we need to get all these different groups together so we can all at least be working off of the same um concept of what's available, what we can and can't do.

So definitely appreciate having us here so we can start this dialogue.

Um I think you know, one thing um what I'm finding is being responsible for the 81 project is we seem to just be leading the charge on everything across New York State, it seems whether it's things like air quality noise, but public art is another element that uh New York State DOT doesn't actually have a policy about public art.

We have policies on many, many things.

We don't have a policy on public art.

So um I think we certainly as a team see that there are opportunities for public art, but I think um what I'm hearing from from our executives from our legal team, and I don't want to sound like a bad bureaucrat here, but I think we need to understand how the process would work to ensure that we all get art that we're comfortable with.

And full disclosure, you guys all know this about me, probably.

I'm a civil engineer, I'm not an artist, so this is entering territory that I am not, I don't live in this, you guys live in this, thank goodness.

So um, but I think you know, when DOT has um had public art on their projects, it has not gone well.

So um I think as a group, one of the things I think I need help with is how we would do that, what it would look like to have public art.

How would we ensure that um it is something that the city is comfortable with, New York State DOT is comfortable with, and everyone in between the community is comfortable with.

Um, so I think you know, have starting this dialogue, I think the timing is critical.

Um, but I will I'll I'll talk a little bit about just schedule, just so we can kind of all get our bearings because this is a huge project, and oftentimes people feel like, oh my god, you haven't spoken to us, so that must mean you've forgotten about us and there's no chance.

Um so the Almond Street corridor, and where you're specifically talking about, we'll say the area from Erie Boulevard to Van Buren Street, that's in what we call contract eight.

Contract eight has gone through our EIS design, and we have not started the final design.

So the timing is perfect for us to start this engagement.

I guess I want to say that that it is not like the the, you know, we're not past the point.

It's not like it's been through final design or anything like that.

Um so I think getting the right people together on a regular basis to kind of talk about these things, to talk about widths of medians and tree coverage and potential, but with the caveat, if you can all appreciate that, we'll need to understand how the process would work before we can actually give a final yes, we can do that.

Does that kind of make sense?

Yeah.

And I think you know, just to you know, kind of let you know that we have certain processes in place when we're reviewing applications, and they typically involve, you know, this isn't a building, but it would be approval from the entity, and also we want letters of support.

We we want the community to be aware of it, and since this is such a big project, like what that would look like is I think you're right, to be determined.

We sitting everybody in the room and saying, how do we make sure everybody's aware and not saying, well, how come I didn't know about this?

But you're always gonna get that.

You can't always avoid that, you know.

But put it out as many channels as possible to get people aware of it, and and also giving people the opportunity for public input.

But the I think what's different about this, it's a little tricky if we go off this model, and what Emmanuel's talking about is that these sculptures are already pre-existing.

So we're not commissioning, we're just borrowing sculptures.

And this is just one model because that we don't really have the funding to do large-scale sculptures.

We could probably find the funding to do the transportation of these sculptures and the insurance and stuff.

But um, so this is why we went this direction until we can get just to that other spot.

Okay.

Um, but so that kind of makes it a little different in that, you know, this could be a voting thing where you have these are the sculptures that we have an option from.

DOT says yes to you know, these, and then go out to the public, and then they vote.

You know, it could look something like that.

Okay.

Um but you know, we'd have to really kind of put that system in place and then implement so to speak a little more off of what Tina's saying is we have multiple systems in place to approve public art, um, whether it be sculptural or mural form.

And um, you know, we could work with you guys to develop a system that works best for DOT.

Um, and even if we if I I like to imagine that someday we will be able to commission a piece, but should we get this loan program in place, um you know, things like maintaining the works.

I I understand there's a certain um bench rod basically rotting um and it was a sculptural work commissioned at some point, and I think it's in DOT on DOT property right now, and yeah, the blue couch, the blue couch.

Um, you know, we don't want that to happen.

Um and so setting a time limit for a loan can prevent that.

And within our current application process, um stipulations for upkeep, maintaining a piece, um plans for if something gets damaged, um, all of those contingencies are like built into a project, so that um you know, should something happen to a work, um we will have built-in a way to say, hey, look, this piece is rotting on public property, it is a nuisance, and we will remove it.

Um that that's part of what we are already doing in a lot in the projects we have.

So we we would be the group to to work with, and I don't know if you know like uh how much like how this group functions.

So we we are comprised of community members, um uh local artist and arts I'm an arts administrator, and um, you know, uh Emmanuel here is uh public sorry landscape designer, landscape architecture.

City planner, I think.

City planner, yeah.

And so we have a diverse range of perspectives, and um Tina spearheaded the city as canvas project where we worked with um federal funding, which got really restrictive on how the public interacted and projects were selected.

And so we've been we've enacted well that wasn't restrictive, the restrictive part was how it could be spent.

Yeah.

So yeah, I mean underst understandably.

So so here's the other thing too, is that if it's DOT land is where is the city come into that?

Because if you're putting if we're putting art on your land, theoretically based on our rules, you would be responsible for maintaining it.

But if there's a relationship built where it's some weird quasi-ownership, then we would still have that partnership and say every two to three years we we rotate it out if somebody damages it, the city's insured it, you know, that's where we can kind of look at it.

And I think those are all the things, you know, that our executive team and our attorneys are are thinking about.

And there is a process.

I mean, we have a process for people to put things uh in our highway boundary, if you will.

So I think that's that's already set, whether it's you know, the you know, insurance or whatever.

I think it's more of the the actual art that ha gives everyone a little pause, but it sounds like the process exists.

It's just maybe we need to get a very, you know, uh 101 on the art commission of Syracuse on how it works, what it really looks like, an example of how it's played out.

I think that would really help us with the dialogue um and how we could support this because I you know, I've worked and lived in this area for a long time and I've seen how Syracuse has evolved.

So I'm as an invested in how this looks as everyone else.

So it's just um I think it's educating everyone around me that's going to be.

If I could add to like just it would help our executives for like examples, like has a similar program been implemented somewhere, and uh maybe not on a borrowing basis, but you know, other cities with examples, um, those sort of things, so we can get an idea of you know, present to them.

Oh, that's easy to or an example of something that you would want to travel here to actually examples of actual artwork that they can compare with.

Something similar in a similar setting.

Yeah, size.

Yeah.

Yeah.

So if there was precedence of this type of work, you know, stuff happening before, even to I don't know if there's been places where they've borrowed art pieces like this on a piece of on view now that's borrowed.

The whale tail.

Yeah, you probably have seen it.

Oh, this is from Stone Corey.

It's right in Perseverance Park near um original grain.

And it was so popular, it was originally a two-year loan and it's just been extended.

I think it's also because we don't have the money to move it, but I'll go look at it.

I often hear nice things said about it.

No, it is cool.

But yeah, so you know, any good public art program attempts to make sure, I mean, we're not gonna please everyone, and there are some people who just don't like public art and they're never gonna be pleased.

Um I'm not worried about them.

Uh I am, but can't do much, um, other than not do public art.

So um we'd like to do public art.

So um we have, like I said, multiple processes by which we go through to make sure our community knows about has opportunity to reflect on and support or reject a project.

So what do you need from us moving forward?

What's our actionable items?

So if there's a place, I you know, I did go on the website and I looked at the application a little bit, but if if there's if it exists or if if you could provide kind of like what we were talking about, the process and how you vet things, how the community is involved, how long the process takes.

And I you know, I can follow up and summarize this in an email if that helps.

But examples I think would help us, examples of the artwork, examples of how you've done this process before, um, and how it's gone.

I think that would just help us kind of put together a package.

Yeah, I don't think this commission hasn't really we I mean we can't commission art.

I don't, so that hasn't really happened, but like through like City as Canvas or TNT, I can talk to you a little bit about that.

Um but I mean some of this other stuff we can definitely put together for you if we do a slideshow or whatever you need packets, but yeah, whatever that you know, whatever's easiest.

I don't want to put a heavy burden on the team to do that, but anything I think would help us.

Yeah, no, I don't think it's a burden.

I think we all want this, so we're willing to do what needs to be done.

Uh just it's hard because you don't know the like final design, but I mean, do you are you thinking like four pieces of art?

Are you thinking a dozen?

Are you thinking like I mean, it's easy to say as many as we can, but uh what would be your ass?

You know, like if it looks just like a how much space will be available.

Do we have about how much of a space is available that we can then determine how many pieces would fit there or what style of art we're going for?

I mean the size of the property.

Well, we uh there are a couple of suggestions.

Um if if um and I can pull some of this together for you that uh there was a project done back in around 2007 or eight um by the Metropolitan Development Association, now Center State CEO, uh, and they had a concept in which they showed what appeared to be a desire for at least one per block on the boulevard.

Um we also did a studio project at ESF two years ago, I think it was, in which we um built on that approach, and um I think we were looking at the possibility of uh putting the the works of art toward the intersections, okay.

Um and um with the result being that there were probably two per block, okay.

Um yeah, it on yeah um and the idea that the intersections kind of become arenas where from which the art can be seen um without interfering with turning lanes, we took that into consideration.

Um I think right now the the the this this the the DOT uh conceptual that Joe Driscoll's almond corridor team is looking at, I think shows no public art, it shows mostly plantings in the boulevard, okay.

Um so but that that's that's relative to the Almond Street corridor, but I think there are a lot of other examples we could get out of Philadelphia, Boston, Chicago of how they have placed art and plantings uh you know in in boulevarded situations.

Yeah, um those examples would be really helpful for our executives to no, I think we can come up with a bunch of visuals that might be of value uh, you know, and if we need to, we can also do mid-rid or Barcelona or something like that.

Um let's do that.

I mean, they they've they've they've been doing it longer and do it really well.

Um so but I th I think you know, as as as Tina suggested, though, we we haven't done this before.

Okay.

So hopefully we can find a way to find enough trust among the participants.

Uh yeah, we can grow grow in this.

And I think an action item for us is, you know, I I'm not familiar with Joe's um 81 Almond corridor.

I I think we might think we know what it is, but we can reach out to Joe and find out what that is.

Um of the misconceptions we hear a lot about Almond Street and the Boulevard is it'll be like Commonwealth Ave in Boston, really wide, like a park.

That's not the case.

So, you know, we have to level set also.

I mean, I think the median at most is maybe 20 feet.

So one of our action items, I think, with how we determine how to meet together is show you what the plans could be.

So we know, like you said, so we know what we're working with, so we're not thinking uh something much bigger than actually is available, just you know, reality.

So I think one of my questions is how best to get everyone together.

Is it these monthly meetings?

Is it other meetings?

I know I don't want to put you guys on the spot for something you can't talk about, but you know, if there's a different way to get, you know, the parks team, who's responsible for maybe maintenance, the our commission players, Joe, our team, because we have landscape architects, so you know, how do we get that together?

So I think you know, for us, we have task forces which so any commissioners, two or more, so three or more commissioners is a we'd have to be up open to the public.

So we form task forces to kind of specialize in certain areas and take on the larger tasks of our master plan.

And so a manual, I was it just you on this one dealing uh with I-81 on the task force.

The moment, yeah.

So I could join.

Um I have some flexibility to attend meetings in Syracuse now.

Okay if need be.

And I'm retiring, so I could if they wanted me to, I can join as a community member and then help out there.

So there's that.

There's task force meetings, which we've met like with you at parks.

Um, and then you're more than welcome.

These are monthly public meetings that we have.

It could be on a running agenda item, I81 updates, which we've actually had, but you know, without we're just talking about ideas.

So there's a number of ways that we can continue to, and you don't have to be here every meeting.

I don't think that's necessary, but maybe once there's further developments, you guys come back, and then you know.

Okay, perfect.

Yeah, like the task force.

I like that.

Okay, yeah, that's perfect.

Okay.

Um, and now the there's another thing, not just the sculptures, but there's the murals, which I think is what you brought some information on.

Yeah, so just um, so we have been developing so along um wherever we have some infrastructure that's available that we thought it could um have some murals, some artwork, we have had our landscape architecture team develop.

So this is what we are taking out to the community.

Um these may look very complete, and I will say that some of them are like specifically the Onadaga Nation mural, that we worked very closely with the Onadaga Nation community.

But the other ones, they are conceptual, their themes, and the reason they're they look so developed is so people could understand the level of detail, and you're all artists, so you can I think appreciate that.

But this is just you know, we'll be um going to TNT meetings, we'll be going wherever there's community that wants input, so you can take look, pass along.

So these are in the areas, so for example, um on I-81 north of 690, you know, the canyon as we call it, there's a lot of that retaining wall, so that'll be places where we'll have murals.

Um Krauss, there's some space on the bridge abutments.

Um, and then along the new uh business loop 81, where instead of crossing over the city, it's coming down to street level, there's tiers of retaining walls, and we're proposing um some murals on that.

Um these would actually be made of a polycarbonate material.

Um so they wear well.

We've heard anywhere from 20 to 50 years, I think durability, and they're made up of multiple panels.

So if one panel gets damaged or worn down, you can potentially replace it versus say concrete or um you know something less durable.

So um definitely looking for feedback.

We have these on our website.

Um we have a Google form where people can provide input.

So if you're aware of any uh groups that would like to perhaps chime in if you guys have comments, we're you know, we're open for ideas.

The other thing is those are they're also like multiple options.

So aside from probably the the uh nation one, that one's set, but they're just looking at different options of uh feedback.

So we know these are just concepts, but let uh have you thought about and I guess this is where I was wondering if we have local artists or artists within the not just in Syracuse but the region that have particular styles that maybe they could apply to this concept so it gives it a little bit more character.

Have you thought about that or is that not in your wheelhouse?

So we have, and I'll I'll go back to my first um we don't have DOT doesn't do that yet, so we have to figure out if we can do that.

That's my honest answer.

Um ideally these get installed while the contractor is there.

So I would say the ones along um the 81 corridor, like court, Spencer, Bayer, that contract should be done by next fall.

So in a perfect world, we would have these installed then.

Um if it has to be done at another time, I guess we could deal with that.

So unfortunately for those, time is kind of critical.

So um who designed these?

Who are the artists who so our landscape architects that are on our team worked pretty closely with actually the mayor's office?

So this kind of evolved.

Um we were showing just a very basic treatment on these walls, and we heard from um the mayor and others that like no, we need this to be a gateway to our beautiful city.

Um so that's where our our landscape architect team came up with these designs.

So they okay.

Yep, they're just concepts.

Yeah, yeah, yeah.

I got community is like we don't want this at all.

We want this, we want it to show is anything going on flowers.

We've developed that.

Uh is anything going on the bridges on um going down into the valley?

We have those big bridges.

Oh, those retaining walls or the bridges.

Yeah, the bridge walls that are right there on oh oh you're talking about um the 80 that they just off of uh Seneca Turnpike?

Seneca Turnpike itself, yeah.

No, we don't have anything planned for there.

Could we get something planned for there?

Because that will get tagged.

And that's our big fear as because I live in the valley, that's a big fear of ours.

Is that because it is so close to the wall uh roads and stuff that that should have something there?

Because it is a huge part, and that is a very busy street, as you know, that that should have something there to help deter that.

And this is right along Seneca Turnpike you're talking about, yeah.

Yeah, the two you have two giant overpasses there.

It's a big zone.

We don't have plans for it right now.

Okay.

Um can I ask?

So are you doing a call for artists to not at the moment?

So how are these concepts being realized?

If it's happening, start printing it on a polycarbonate and then installing it up.

Okay.

So the basically the artist is your landscape architect now.

So it's the yes.

So if the community comes back and says we want dinosaurs, we will go back to our landscape architect and say they want dinosaurs.

They don't want this that's on here.

And they develop a design based off of the community's feedback.

I think one thing to keep in mind too is particularly the ones north of 690 on the business loop 81, is that's really high speed.

And um, so driver distraction is something that we have to be very concerned about.

Um so I think you'll notice that some of those ones might be a little bit more basic, like easy to understand, so you're not it's not catching your attention for too long.

Um the ones on the south side, we have recreational paths there, they're going a little bit slower, so those are a little bit more detailed down there.

The Syracuse dinosaurs, yeah.

So we're known for it.

Yeah, yeah.

Well, I've seen in other format um some of those ideas for where it comes down to grade toward Van Buren, and you know, it's well thought out.

Um, you know, and then um I'm hoping that uh you know the the community, the broader community will particularly the south side.

We feel like there's a lot of I mean, one of the examples, the two concepts that we have down there, um the 15th ward takes some historic photographs that they they kind of mesh together the to into a collage of what the 15th ward used to look like, the barbershops, the meat market, you know, some recognizable photos photoshops or uh photos.

The other one, there's uh precedent example of uh cultural wall, and I I think it was Ohio that had that.

Um so it was you know, going to the community and who are the most important, you know, important people, places, architecture, you know, that's meaningful to the community and and kind of sports people, arts people, um, you know, that could be an incorporated one of those cultural walls.

Um, and then there's options of do we want to just focus on.

I mean, we had two examples is Libacotton or um Jeanette uh Van F's, but could be anybody, but it doesn't have to be those people that you could um so we're looking for that one.

I I see a lot of community feedback for.

You does there any like you guys looking at copyright and what you're using and all that stuff because also I'm wondering if depending on where it's located, I don't know where our jurisdiction ends.

But do we have to review any of this stuff and approve it, or is this outside of our jury?

That's a question I had because all of this is within our within our right of way, so I don't know how that works with the city.

But if it's in city within the city, within the public property, it technically does, but I don't know how that applies to a highway cutting through.

I don't it's trying to be careful here, like so like noise ordinances ordinances and stuff, like we try to abide by the cities, um, but we're we're kind of exempt from them as a state agency.

So we wouldn't put up anything.

I don't think we would put up anything that the city objected to.

Um, yeah, no, no, I'm just as far as jurisdiction and get an approval on that.

Yeah, because everything that's on public property mural or sculpture has to come through us, but not only on public property, but publicly visible.

No, if it's on well, if it's a two house, if it's a private residence, I can put a mural on that without coming to the commission.

If I have a sculpture on my private property, I don't have to come through the commission.

What about on the side of a business building?

If it's on a business, it has to come through the commission.

Right, yeah.

Yeah, look into.

Can I um I mean it looks like this is far along, and so this recommendation would be maybe for the future, um, and maybe for the execs to consider, and maybe we should also put together something for you guys.

Um, because there are um other very successful public art projects that go on highways where um other states commissioned artists, um, and then work was um so the parameters for each location, like it can't be too busy, it's gotta have this, it's got you know, like it has here are inspiration items like this.

You've got your little, I'm gonna call it a move board, but all of that's made available, and then you can do a call um and then artist design based on that, and then the result is um you know very specific.

Um, and then that way that the and then the neighborhood votes on them.

Um there was a really great one in Maricopa, Arizona, um, on bridges.

But I could send you guys images up, but we've seen this.

Yeah, but you guys don't have a system for that, yeah.

The RFP and exactly so but I but maybe that's I see I see this is done.

Well, I mean, it's when it comes to an artist being commissioned, that's where there's just uncertainty right now.

So we had to move these forward.

Yeah, we felt like and yay, we support thank you.

No, no complaints.

But um, I understand.

Yeah, and those, like I said, the reiterate what you said, they they've involved from I mean, it used to be a different type of retaining wall with no real art on it, and then the you know, again, interactions with the mayor's office and how we develop those themes, and then the historical society has could tell you who were some of the main figures here historically.

And that's what I think a lot of that is.

So I think someone asked about copyright.

I think some of these would we would they would work through the um onadaga historical society.

So if the mayor's office was contacted, I don't know, I'm just a question for Saisha.

How do we get I feel like we get left out of a lot of conversations?

I mean, there's this ID one, there's there's uh the $50,000 that was given from NISCA from Eric Ennis to the Philadelphia artist Chris Murray to finish his Beheim mural.

Um there's DRI money coming in downtown.

Um I mean, there's been other conversations that we've just been left out of, and it's this is the mayor's office.

So, you know, again, we're a resource, we're a tool.

Um, and maybe we could have helped guide some of this content.

Like, you know, how do we get how do we make that connection more efficient and better?

Like I think we're starting right here right now with having Betsy at the table.

Yeah, now we know.

Well, I don't want to take up any more of your time.

I think this has been extremely helpful for us.

And we will set up a follow-up task force, specialized meeting, and really get down into more of the details.

Sure.

Yeah, and I mean feel free to contact us.

I I shook my head, Professor Carter, because I didn't know if you thought it.

I'm sorry to call you out, but you know, we're here to have this dialogue in whatever format.

So just um reach out.

Um whatever, you know, this is important to us.

So that's why we're here.

Thank you so much.

Thank you.

Do you have any ways that I can try to push that area?

Please let me know.

No, because that's like a huge concern with I know the people in the D is very worried about that already because they tagged it once early on.

And it hasn't been tagged yet.

But that's something they're very concerned about.

I know.

It does have anti-graffiti coding, yeah, um, which makes it easier to remove, but I recognize it's not.

Yeah.

Yeah.

Okay.

Thank you so much.

Thank you.

Thank you.

Thank you.

Yay!

Public art is happening.

Um, so there's a couple other things that we need to talk about, but before we do, I'd like to give the floor to our um oh speaker concepts.

Thank you.

Um our uh application.

Um SPAC 2518.

This is unboxed the utility box art project round two.

We need to call them meeting the order.

We already called it to order.

Oh, or do we mean go over the minutes?

Oh, you're right.

We do need to go over the minutes, but let's go.

You can roll them to stay afterwards, but I I think you probably want to get home to eat.

So if you want to come off and well, I know I am, so I'm speaking for us.

Um you're welcome to sit at the table if it's more comfortable.

You could stay up there, whatever you feel.

I just bring my laptop to do my little like you're good.

You're good.

We've got you guys have everything.

So I'll come and sit down.

So well.

Thank you guys for hearing our application again.

Um, it's great to be back to share round 2.1, as we're calling it of the utility box art project.

So from the downtown Syracuse Foundation with the downtown committee of Syracuse.

We started this pilot program last year to showcase artistic talent in our local community and utilizing overlooked public infrastructure such as utility boxes.

And over these last two rounds, we've feel like we've had a great response and a great success in having six total utility boxes painted so far by five different local artists.

And the work, the reception of the work has been so positive that we've heard from the community, from people sharing them online, to the artists, putting out the information about them doing it, just to seeing people on the street engage with it.

We've been really and media support.

There's been each time we've wrapped one of the um rounds of it, there's been a media story, we've put out our own information, and it's been again really well received.

So for 2.1, we have identified two new canvases, uh, two utility boxes, one in the downtown east neighborhood at the corner of East Genesee Street and South McBride, and one in the southern downtown neighborhood at the corner of South Warren and East Onondaga.

Uh, there's photos of both in the application packet, so you can see where it is and the proposed piece for it.

This round differed slightly from the previous two rounds as we did not do a public call for art, instead, identifying two previously um identified artists that applied for one from each round and looking at the size of the box and the scope of the work.

They were each a finalist, one from round one, one from round two, and we thought this would be a great way to give um an opportunity for these previously applied artists who had gone through the whole process, were identified by the review committee, and both received a lot of votes, but the work that they were up against received more votes.

So we saw this as another an opportunity to give a second chance to artists, and these artists are Michael Calabresi with his very whimsical salt potato boat and Shailen Harris's um Joyful and Bright Bees and Flowers.

So again, it's a deviation, but it's still these artists did go through the process.

The public saw their work, so we thought that this was a different way to give a second chance and also expedite the process to hopefully finish eight full boxes by the end of this year and be able to use funds that we have from two remaining grant sources the CNY Arts very long ones, the re-grant one that we have from New York State as well as the Central New York Community Foundation.

So in each of the packets, there is a small write-up about each of the work where they, as part of their application, each artist had to talk about the work that they submitted as well as photos.

And like with the previous rounds, the downtown commission, uh downtown committee, our environmental maintenance team will work to maintain the artwork.

We look for graffiti tags, um, stickers, the bane of some of the existence of um so we remove them the best we can.

If the artist does need to be brought back in to do any repairs or touch-ups, we will pay the artists for their work out of our maintenance funds that we've put aside for the ongoing maintenance of these.

So, you know, the goal is for these sanctioned works of hand painted signed artwork to act not just as a deterrent for unsanctioned artwork, but to create moments of joy on the streetscape to activate them and to provide platform for local artists and something that we hope to continue to do past round 2.1, hopefully into a full round three.

And you know, we work in partnership to identify these priorities and identify and public art is one of those, and using these infrastructures and hopefully deterring some graffiti on them to keep it ongoing, you know, the public artscape growing in downtown.

So not too too different from one and two, just a little bit different with the process of it.

Questions.

I actually have a question.

Yeah.

So the last round you used one, somebody used a vinyl application, I think, or something like that.

How is that holding up?

So that was one of the applicants.

Uh it wasn't with the winner.

So they are all hand painted on there.

I thought the feather one was the right.

That one did not win public vote.

So it wasn't, but we do um so any of those that come in because we are open to different processes.

We have discussed with um the city if that's okay.

Like, can we use decals?

Can we use this?

And you know, looking at certain things like it can't cover vents, but it is it is possible.

So we have not done one with a decal yet.

Um not saying we're not open to it, but yeah, you know, so if it happens, you know, it's it's interesting.

I haven't Do you know the lifespan of that material versus hand painting?

The one that that artist um spec'd out for her application was one that was an exterior decal used a lot for advertisements on, I believe, like benches and exteriors of buildings.

So it's meant to be a colorful um decal with a graphic or something meant to be on the exterior of a building.

So from the product specs that she sent us, it had a fairly good lifespan.

I the then main, and I think she was gonna include a bit of hand painting too for some of the areas that it wouldn't be able to go to.

But then, you know, some of those the question of maintenance would then a new one need to be ordered.

It didn't play into any effect of if she was chosen or not.

Again, that was purely public voting, but with some of those different materials.

It is, you know, the vinyl wraps that I've seen other cities do.

There is a good length of time, but replacement is I think a fact of full.

And depending on if it's exposed to the sun and all that jam.

Yeah, yeah, there's a different lifespan.

You know, we paint it can fade too, but it can bring somebody to do some touch-ups.

We've had to have an artist do touch up here and there as you know, people graffiti pens.

There is a vinyl mural in Auburn.

Oh, really?

Is it holding up really well?

Gorgeous.

Really?

Where in Auburn is it?

It's been up at least five years now.

Okay.

Um we may be going on five years.

Um, it's absolutely gorgeous.

And I used to have the art of the guy who does these often.

Um really great specs on the product.

Um, yeah, that's yeah.

So something we haven't done, not that we wouldn't do it and just be a different, you know, how we look at the maintenance of it and hopefully longevity and next time in Auburn, I will have to go check that out.

Yeah, you can't miss it.

All right.

Uh, any other questions?

Uh timeline on this just because it's getting colder.

I know they're gonna be outside, it's darker earlier now, like it's dark.

So if it's approved, uh the artists have um the ability to start tomorrow.

Um I've met with all the artists, the the two artists have been contacted and we've gone through the timeline.

So the timeline would be through the end of November last year.

We did have an artist working through mid-November.

The two of them are both traveling, so it just we wanted to extend it out.

Um we will um facilitate a meeting with them with um the people at the art store because they're very knowledgeable if there's any products or anything they need to know about cold weather, the painting.

Hopefully, we'll have a warm November.

I think the technology's gotten a lot better where you can paint in like 30 degree weather.

Yeah, it's not like 50 degree anymore.

So they're all aware of that, so they have until the end of November to do that, just to give them the length of time both of them, you know, asked for to have that accommodated.

So, but they're aware of it being cold, they're both uh local enough that so we're hoping with weekend with enough weekends and afternoon days that they'll they both feel confident with the timeline, which I think I have detailed in the application, including.

I mean, these are small enough where it shouldn't take them two months to do these, right?

Right.

Hopefully, with the weather, if we don't have a rainy um wood, we've had a fairly dry uh fall.

We've had a fairly dry uh fall.

Um, you know, I've met with both of them at the locations that they're at.

They are the smaller boxes, and depending on their timer, um the speed in which they're working, it might you know, hopefully be a quick one.

But they both felt comfortable with it as you know, and they'll meet be meeting with the representative owner, not the owner, but maybe one of the salespeople at the art store to discuss um materials and if there's any considerations they need to take.

So we'll set up that meeting.

The art store has been wonderful about meeting with any of the artists from this project to uh go over materials if they have questions, and yeah, it's been wonderful.

I just want you to be aware that the Nottingham High School now has a public art program.

Me too.

Yes, they just started it this year, and it's one of the the teachers teaching it actually done murals here in the city.

Cecily is the teacher.

So if you have that information to pass along, that'd be wonderful.

Just thinking of like maybe a next one development.

3.0 is a student.

It's right now it's in development because she did reach out to me about it too.

And I think they're trying to figure a lot of things out.

It'd be great to connect with them.

Even if they want to come and see the public art that we have in downtown, we you know it'd be a great or talk to one of the artists that have done it.

That would be a great just to give an idea of like here's some budding public artists, here's some of the artists that have done it.

Um they're creating the whole thing right now, but it might be something you guys really want to get in on so that it could be a possibly a project for the end of the year for maybe not this year, but at some point, yeah, that you guys will be able to do that and provide the materials while they kids get exposure to seeing what it's like for real.

Yeah.

Because they see it, you know, if you see it, if you're driving along, it's like how do you do that?

How do you get to that point?

And so it'd be a great education and skill building.

Going through the whole process, even of this.

Yes.

Great for the kids.

Yeah.

Thank you.

That's a great great thing to know.

Any other questions?

I got a motion.

Benny first motion to approve.

Oh, we got a tie here.

Fight, fight manual seconds.

All right, all in favor.

All right, motion carries.

Thank you so much.

Thank you guys for supporting this and continuing to support this.

We'll have a total of eight in one year.

We're excited.

Everybody have a great night.

Thank you again.

Um can I uh run to that?

Oh, yeah.

I'm just gonna say I approve the minutes.

Okay.

In case you guys need to take it.

So yeah, we have to take a minute to review the minutes.

And what uh Deborah, Deborah, Deborah is here.

Uh I'm gonna mention something if she's okay with it, and then if she feels comfortable, um invite you up and you could talk a little bit more about the project.

But um, we got a couple more things to work through.

Um, but I just wanted to let you know that I I'm gonna talk about that project.

So and which I think will tie into what Lisa was referencing earlier.

Um so if anybody, if everybody could take a minute to review our September 9th minutes submitted by Benny Guzman.

Thank you, Benny.

So I do have a discrepancy because I know last meeting we had Joe come in to continue with the um the grant demonstration.

So I don't know if that was technically part of a SMAC application.

Uh because if not, that would be 2518.

Yeah, it was 19.

So the current one that we just approved is 19.

Uh 2519.

The minutes should be fine, but just for the next one, it would be 29.

25.

Got it.

Yeah.

Other than that.

Annika's last name, isn't it?

Her.

I think R R.

I thought so, but I also looked at the application.

That was what was on there.

So I could be wrong.

And everybody's ready and get a motion to approve.

Emmanuel first.

Um, do we have a second?

Advantage.

Sure.

All in favor.

I alright.

Motion carries.

Okay.

So a couple of things here.

Um just real quick.

Our website.

I know it was supposed to be launched in May of three years ago.

But the logo.

We did all the you know communities forum.

We did our mission vision, and then we were supposed to do a new logo, rebrand and get this bathroom sign out of here.

So when can we start working on that process?

So I can't speak for that.

I would have to talk to whoever you're working with to design that.

I know the website is still in progress.

It's in it's kind of pause until we hire our coordinator.

Right.

Which that'll be out by Friday.

We'll have the um posting on Indeed.

So we're we're looking for a new public art coordinator.

Um, I know I've been in the works with um Jason, who um Ann was working on the website, and it's still on our radar.

Anne did talk to me about the logo before she left, and I understood that this was not what the commission wanted anymore.

So I think that would be one of those task force or committees.

Is there a task force that it's leading this?

Benny and Chew.

Essentially, yeah.

Because I know that we all but we also did this whole like branding kind of discussion regarding the website and everything.

So yeah, it was all tied together.

Yeah.

Do you all have examples of your of a like proposed logo or you will work over the artists?

Uh Ruthney was supposed to help us based on our identified mission vision and then was a goals, or what did she call it?

Okay, actually, yeah.

Yeah, that descriptions.

It was more than mission vision and we kind of got stuck there, and then it was around that time where uh Anne was then also in transition out.

So I think that's just kind of where we got.

We kind of got stuck because yeah.

Um Ruth and he's back because she was out for a while, so I think we can move on with this.

Okay.

So I'll connect with Ruth Lee.

Okay, and then I'll get back to you.

All right.

And then um, I did send everybody a welcome packet.

Um, I we can talk about it after a little bit.

I want to, you know, introduce Deborah.

Um I I threw this together.

I don't I won't be, I won't be offended if y'all are like, this is terrible, throw it out, or chop it up, or I just needed I wanted something to get out into the world because for the past year, I have been trying to create some protocols, some standardization so that when a new commissioner comes in, they know what they're doing.

They know how open meeting laws work.

We have some New York State even office training on open meeting law that you could tap into, which is you know, I I've consulted with them on questions that we've had, and they're always changing.

Open meeting laws can change.

So it's really important that whoever you hire that they receive training on open meeting law regularly, like every year.

And same as the commission, we need training on open meeting laws.

Um the other thing too is I did was talking to Joe Barry a lot.

I wanted to do a deep dive in our application process because there are some issues.

We are not consistent.

Um where one rule applies to one, it doesn't apply to another.

Um, you know, insurance, for example, uh, or who submits.

I know you know we've had conversations, United Way or even Downtown Committee, they just came in and submitted for unboxed and they represented the artist, the artists weren't here.

But tomorrow's neighborhoods today submitted, didn't submit, they had the artist submit.

And it's it's a little weird because we need to look at funding sources.

That is our responsibility, because we need to make sure that the project is properly insured.

We need to make sure that it can happen, you know, all of those different things.

So Benny, it's in the it's in your court now.

Thanks.

Um, but Joe Barry's really great, and he's been super helpful.

And every time I've emailed him, he's always gotten back to me.

Uh so I I definitely think that that should be y'all need to sit down with him and have this discussion in an executive session because the chair can call executive session if it's legal, if it's in terms of legalities.

So you have to ask your questions and frame them in legal terms.

Um but I think the ultimate goal and what we've been trying to work on for the past year is a standardization so that no artist comes in feeling like they were mistreated.

And if they don't check all the boxes, then we can say to them, how do we help you?

Because we're here to help and bridge connections, not push people away.

So, you know, that's to be worked on, but you know, that's something I have been trying to work on for the past year.

I know we all have, but it just didn't happen.

Um what is the other thing I want to say?

So, yeah, the com the welcome packet.

I don't know how we want to handle that, but that's you know, we can't do that in emails, it has to be in a public setting.

Um, but again, it's just like welcome to the commission.

This is your role, this is who you talk to, this is the things you need to know.

Um, and it may not be spelt out perfectly in here, because honestly, I thought our meeting was last week, and so I rushed to get it done, and then I realized we had another week.

But I wanted you guys to have enough time to look it over at least and have some thoughts on it.

Before we dive into that though, briefly, because I know we don't want to stay here all night, but Deborah reached out to me, Deborah Little.

Uh, she has a project that I think would fit into our educational component in our master plan.

Uh, she wants, she had a vision to do murals on our city schools, and to make them positive, welcoming spaces, uh, whether that's through affirmations or that's positive imagery.

But Lisa is an art teacher at Elms.

And Cecily, like she said, Cecily reached out to me, they are developing a program at Nottingham for public art.

So this could be a good partnership with the city school of district themselves to create some public art on their own buildings.

Um, I don't know if you feel comfortable talking.

Or if you would like to, you can sit at the table with us and yeah, just a couple minutes and then we'll move on.

Good evening, everyone.

You won't be long.

Um, thank you so much for um sparing some time for me, and thank you so much for your text.

Um, it's very nice to meet you.

My name is Deborah Little, and I am a native Syracusan.

Um, my primary residence right now is in Las Vegas.

I started a nonprofit organization, and um was told to come home to implement it.

So um my nonprofit has a partnership with the Syracuse City School District.

Um, it's called the Personal Educational Development Program.

Last year I worked with nine different schools, four middle schools and five high schools, and I asked for students who have high absenteeism, low grades, and bad attitudes.

And when I go into the schools, I work with them on four different um issues, or then I issues uh elements.

And ultimately, the question for my students are what's the vision for your life?

Very non-traditional education.

Um, each one teach one.

Um we have a legacy learning lounge, which is our tutoring program.

Um, I give out gift cards for every week that you have perfect attendance, and I start working with my students on a project to improve a condition in their schools, and then parallel to that, is the your life is the project.

What's the plan and a strategy for your life?

I'm on my second year, uh just getting started this year.

And so there's one Sunday when, and so I'm just getting started, meeting with the principals, my ambassadors, and this week I was a meeting with some students for the first time.

A few weeks ago, I did not go to church.

I'm a member at Bethany Baptist, and I sat at in the yard at Lincoln Middle School.

I live directly across the street until next week.

I'm moving.

And as I sat there, my truth is I just sat there in prayer.

Okay, Lord, I'm here again.

You've brought me home.

What's the plan and a strategy for my life now?

And so Lelore speaks if you're quiet enough and listening intently enough, you hear him.

So I started walking around Lincoln Metal School, beautiful Sunday morning, and I noticed the condition of the exterior of the building.

So I mostly was looking at the sidewalk, the weeds, the overgrown, and my thought was clean up project for the students at this school.

We can clean up the outside.

However, the Lord's visions are always bigger than our own.

But he said, look up, look up.

So when I look at Lincoln Middle School, it is a huge canvas.

It's a huge brick, brown brick building that only has windows that I saw in the front, which is the offices.

So both sides are just these big brick walls.

And when my spirit heard, look up, because I was looking down.

I literally get emotional about it.

Because the kids that I work with need to hear messages that encourage them and inspire them and remind them of their brilliance and what they can be and accomplish.

And so the vision that I had was that one big old wall in the parking lot that could have 80% of success is just showing up.

Congratulations on being a success today.

Now you get off of a bus every day, and you read that, you see that, as well as like flowers, birds, other major motivational quotes that speak to the value of education.

And that's only one school, and that's only one side of the building, because the other side of the building is exactly the same.

A little bit different in the structure of it, but big brown brick wall.

So my focus has been on the students because superintendent said, make your own schedule, do whatever you need to do, but make it work, Deborah.

Make it work.

And last year we were a success.

And this year I had students texting me saying, Miss Little, when are you coming back?

Mr.

Bora, when are you coming back?

Like literally asking.

So I'm coming back.

I'm here.

I'm here.

However, what I decided to do was a little bit of homework, because I'm I'm I'm I am an artist, but not like you all.

Um and I'm creative.

And my thought was so I made an appointment with the current superintendent and the incoming superintendent to share the vision.

Unfortunately, my meeting is on September the 29th.

So just before Superintendent Davis leaves.

And the meeting.

October 29th, sorry.

Oh, I you thank you.

October.

October.

Time is flying.

I know.

October 29th, just before he leaves.

And the meeting is scheduled for 3 p.m.

in the parking lot of Lincoln Middle School.

And that's when I figured I would share this vision.

And when I made the appointment and I talked to the superintendent Davis, I said the vision is just bigger than me.

It just really is.

So my thought was I should do some homework and find out what's how would this even happen.

And so that's when I went down to an art to the art community, which is Genesee Street and Gifford.

Fayette and Gifford.

Get us.

Thank you.

Thank you.

It's been a long day for me too.

And then I was introduced to Tina, and then she called me, and we had a lengthy conversation.

I wasn't looking at this as a project that I take on.

I just was given a vision on a way to improve a condition in the city of Syracuse.

And while my focus is primarily students, because that's the measure of a measurement of my success, improve grades and improve attendance.

It occurred to me that our teachers park in that lot every day, every morning, weekday morning, and they get out of their cars looking at that big brick building and walk in.

There is nothing there to inspire them, to encourage them, to make them feel good about walking in.

When I drive around the Syracuse community, I know what happens to my spirit when I see the beautiful artwork that is on our buildings, the murals.

I have begun taking pictures of the artwork to gather the name of the artists and just to have the photos of the art.

It is changing the look of our community.

It just really is.

And because it affects me this way, I can only imagine that it is really affecting a lot of people, particularly those who see it every day.

And so in the discussion with Tina, I was sharing with her, it's it's a vision that I was given.

It's a huge vision.

I went that Sunday when I left Lincoln, I got in my car, and I'm at 10 schools this year, five high schools and five middle schools.

So I started driving to all of our schools.

Some of them don't have that kind of space, but several of them do.

And several, several of them even have space where a quote.

Or inside the schools where I go, they have quotes all over the school inside, uh, but nothing on the outside.

And I'm just I just know I don't, I'm beyond belief at this point, because I know that artwork, beautiful artwork, amazing quotes on the value of education.

Nobody can take that knowledge away from you, kind of thing.

Um could has tremendous potential for changing the state of education in the city of Syracuse.

So as we were talking, I've traveled all around the world a few times, and I see artwork all around the world, and there are artists, international artists who volunteer because they are changing communities in the poorest neighborhoods of Brazil, um, Shanghai, um, just low, low, low-income communities where the artwork is beautifying what used to be slums.

Um, Rio de Janeiro.

Um, I've just I've seen it, um, and I've experienced it, and I know what it does for my spirit.

Like, where does this funding come from?

My truth is I do not know.

But what I do know is that when the Lord gives me a vision, he provides.

And so mine is to just do.

Just do and don't worry about anything else.

What you hear, you do.

I'll take care of the rest.

And that is my story.

When I talk to my kids about the plan and the strategy for their lives, I tell them I stand before you successful in the plan and a strategy for mine, because he told me to come home.

And he told me to open my hands and give and give back generously.

And I my gift is teaching.

And I love teaching.

And I love kids, and so did my husband.

And so I am in 10 schools this year.

I took on another and I didn't have to.

He didn't tell me how many schools.

He just said make it work.

So 10 schools, five middle, five high.

Last year, one of my classes was an art class.

The art teacher would turn teach for the first half an hour, and then I would come in and teach for most of the rest of the day.

And then I would leave time for her to re reaffirm the assignment and all of that.

But I was in an art class at Hanegar High School.

The kids put their hand in paint.

This was their project, hand in paint, put up up on the hall on the hallway walls in the ninth grade hallway, because they were ninth graders.

The paint dried the next week we came back and we wrote educational quotes inside of their handprints.

So they are leaving their legacy on the ninth grade walls at Hanegar High School when they come back year after year until they paint over it, which I hope they won't.

These students see their work.

Or when this happens, um, and we get down to the bottom, it would be wonderful to have our kids at all of the schools that have these projects, one school at a time, I imagine, finish the work.

So there's no ladders, but when it gets down to the bottom, and these babies can come out and they can, and the artist is already driven, you know, drawing it, and then they put their little sled or a paint.

This needs to be paint, green, red, yellow, and the kids finish the work.

That's their investment and their school and their education and the odds of them coming to school more often just to see their work, their furnished work, their creation.

The odds of all of this really changing the nature of education in our schools.

I just see it as an amazing opportunity.

Um, so that's the idea.

That's where I got it.

And I really know beyond belief that it could, would change a lot.

And you know, when you drive down James Street and you look at Lincoln School and you see these big beautiful murals on both sides, not much room in the front.

Um you're inspired.

I don't know how you wouldn't be.

Um there's a lot of schools that could use that.

A lot of them that could use that.

Idea on the table.

Well, thank you so much.

Um we'll be in touch.

Elisa will be in touch.

That your quote thing for inside the building.

If you do want to do that, I have a cricket and I have lots of vinyl that you can make the quotes and put them up on the walls because then they can peel and come off.

That we can easily do.

So I'll give her your context.

But otherwise, yeah, we can work with the district.

Did you say your elementary school?

I'm actually in middle school.

Middle school.

I'm at the expeditionary learning middle school.

Okay, at uh Cleary.

Next door to Clary, Clary, I know.

I I I parked in front of your school as I waited to go and was like, what is this?

Okay.

I don't doubt it.

So thank you again.

Yeah, and so we'll connect to you too, and then Cecily too.

I did just text her your information, so that's another good one to work out.

But thank you so much.

And you're welcome to come back anytime.

Thank you.

Thank you very much.

And thank you for what you're doing to beautify our community.

I see it.

I've been gone a long time and I'm back, and I like what I see.

Thank you.

Thank you.

So I don't know if we want to get into this, but what do you guys?

I guess I want to hear your thoughts on the welcome packet.

What is go ahead?

Okay.

Thank you.

Um, I did read through it.

I didn't have time to really like dig into providing any feedback, but um, I remember when I joined the commission in my first meeting, it was just like, here you go.

And I'm like, what is like how does this function?

What do we do?

And we can also use this for recruiting new members.

Yeah, yeah.

So um there's a lot more to build out.

Yeah.

Obviously, we don't have time tonight to completely get into it and proof and edit, but it might be good to put it through a task force for specialization just to get into the nitty-gritty and not waste the, you know, not waste, but like take up the time of the public meetings and then present it back to the group.

Um maybe the master plan task force would be ideal for this one.

I agree.

I think that's good, but it's great bones.

Like yeah.

And again, I won't be offended if you guys chop it up or whatever.

I just wanted to get something started because I've been again, we've been trying to do this for a year, so I think it's really important that we have it.

Thank you.

At least I'm leaving something.

Yeah.

You're leaving more than just this.

Um I ask a quick question.

Uh I I know of somebody who is interested in joining this commission.

She's also a public artist public school.

Uh she's great.

It's awesome.

I don't know if we need any commissioners right now that we know.

There all will be a vacancy for me on leaving.

So depending on my role, I forget what it is.

You have to look up our terms and our what we're being appointed to.

There's two ways to get appointed by the mayor and by the council.

And I think typically what people do is go send it to the mayor's office and say I want to be in a bio or a bio about themselves.

And the coordinator too would have helped facilitate that, but since we don't, you'd have to probably send it to you.

Send it to me and I'll get it to the mayor.

All right, so I'll have her email you with like a resume, a little about paragraphs.

It's cool.

Yeah, because I was appointed by the mayor, so it has to go through the mayor.

Yeah.

But if there's ever an opening from council, you would just give it to a talk to a council member and say, hey, that can you appoint this person to the commission?

Right, I'll have her email you.

All right.

Anything else?

I motion to adjourn.

All right, yay!