HomeMy WebLinkAbout040226 Arts Commission
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It was just for me. Yeah, you never know. Yeah, I got everything. There's
that too, right? Right? Yeah, but all of a sudden it needs to be a woman.
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Those are cast. Yeah. I think I did it.
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All right, welcome everybody to the April meeting of the City of Portland
Arts Commission is 3:04 Pm. And we are calling our meeting to order with
a quorum of wonderful arts commissioners. Let's start with roll call. I'm
Alexa Vito, Chair of Arts Commission.
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Katie Goodman shop liaison with Tina Garai, C. Poet Laureate. Christine
Walsh Rogers, Arts Commission.
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Joshua Saunders, Commissioner. Dan Grossman, Commissioner and Vice Chair.
Dr. Caskey.
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Thank you, Lonnie. I got you.
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And Libby, Libby Wenstrom, I'm joining on Zoom.
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I'm glad you're here, Lucy. Is there anyone else online? All right,
beautiful. We can move into approval of the agenda.
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Any amendments good to everybody. I want to make a motion.
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I'll make a motion. Thank you, Dr. Second. All in favor of approving the
agenda?
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Wait a minute, it's beautiful. Let's look at the minutes from March 5th.
That was a exciting, exhilarating funding meeting, as you'll all recall.
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do it from, like, maybe share. We're talking about the, um, just the… it
was the big first funding meeting. Oh, I was here for that. Oh, you're
right. Sorry. No, the only thing that was all the, like, state parks.
Yeah, yeah, yeah, I'm sorry. Yeah, that was the blur. Committee meetings
rather than commission.
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Yeah, exactly.
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I'll second, yeah. Okay. I keep seeing that we're doing resistant radio
instead of resilient radio when we're talking about our grid.
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Can I correct myself? I'm like, what was this?
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Unanimous. Disability has arrived.
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Sorry, forgot to send you stuff. You missed the vote on the minutes. I
take detailed notes for you, Lonnie. All right, uh, we can move into
public comment.
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Please raise your hand and, like, laptop. Nope. Anyone in person who'd
like to make public comment? Yes, I would love to. Do you want a poem
that has done some work in the community, or do you just want the report?
We never don't want it. I'll tell you a story about this poem, too.
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Okay, so this poem, it has a lot. I sent Lonnie the picture. There's like
a poster of a heart with Atrias and ventricles, um, identified on it. You
might have seen it, maybe.
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Kathy, you should be able to share.
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But I put that. Thanks. Oh, okay. We're doing some stuff. Okay. And this
poem was read at sound check at the the event called the heart of the
matter, and we we read it in an experimental format where it was call and
response.
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For a good part of it, which is kind of fun for someone doing that kind
of thing. Um, and the epigraph is this. It is our duty to fight for our
freedom. It is our duty to win. We must love and support one another. We
have nothing to lose but our chains. And this was written by.
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or spoken by Asada Shakur. And this poem is in memoriam to fellow poet
Renee Nicole Good and all the poethearted and colorful people we've lost.
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Yeah, so it's called If Atrias Were Arias Chamber one, and you can repeat
after me if you'd like to. It is a revolution to listen.
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It is a revolution to love. It is love to listen.
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us to live. To feel through another's eyes and heart. It is heartening to
revolt. It is heartening to revolt.
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A precious choice for more than you.
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against love's absence. We have nothing to lose but our chains. We have
nothing to lose. You can repeat this first line. It is a revolution to be
used.
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It is a revolution to be you. Now carry it now. Divine grace, twisted
tangle of a Gordian knot.
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add solutions for loves confusion, that my ashes are not the same as
yours.
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Adam's chasm original sin was only that he was born into separation,
dominion over the earth must have been a mistranslation.
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Are you sure it wasn't be a safeguard? Guard grace for all. This wasn't
the breath of life only ever a gift.
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safeguard your love, beloved light. The chasm cannot keep you.
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It is a revolution to remember time and truth. Heart shattered glass
goblet of hope. Believe that it can't be what we see. Speak of light
through etched crystal vein. The effect of time on the truth of what
began only.
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As a small chip for a lip to avoid lest it bleed. That it can't be here,
can't happen here. Our sea is so bright. Our sky so serene. Sorry, you
have to worry about that.
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A kind truth of separation's isolation, of where in battle that Adam's
chasm is closer than heaven's pain, mind's night silence. We are skimming
the treacherous riptide.
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Making meaning light. Unaware that hidden currents are the next
revolution, we are already in chamfered caverns, canaries in the coal
mine, questioning the look of a shimmer ripple, not noticing.
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The undertow. Number four, it is a revolution to keep faith in each other
with each revelation of loss. Doves cry, Minneapolis. Your heart is a
muscle with memory tied to this moment.
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swirling circulation of shock, locked in blood-rushed walls through
valves. Grief, rage, disbelief, disquiet in the silence, hidden currents,
violent tides, quiet tectonics ripping us back.
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To see what matters most to your unchained heart.
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If atrias were Aryans, I would sing you a revolution.
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And I have like sort of a showing, which maybe you've already seen, so
maybe I don't need to run through it, but all of the things I've done
since… Yeah, so I won't go through that, but I just want to say it's been
an honor to do both the things that the city has asked.
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But also the poetry adjacent work. Um, so I get all these invitations to
different things, and I'll be speaking at the… doing the poem for the
opening of the farmer's market. Um, and so that's at 8.45 on Saturday,
open to the public completely. And.
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I think they're gonna make a scavenger hunt of all the different things
that I've mentioned in the public, so it'll be really fun. Um, and then
April 9th, there is a poetry reading, a poetry salon called Poems of the
Moment, um, and that will… Poetry of the Moment, and, um, that'll be at.
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6 p.m. On April 9 on the second floor of the library. Anybody have any
questions about any of the things?
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Okay. Thank you. Yeah, you're welcome. Thanks for all the things, um, and
I know it's possible that in the future it would maybe be nice to have a
little bit more infrastructure for the poet laureate to kind of.
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Do some, like… isolated page for people to find it whenever they want to
play poems, but I think it's too hard for public records, so, you know,
it's just a thought. I know Dan had, like, a possibility, but maybe it's
too complicated. Like a web page? Like a web page. Yeah, I mean, I think
that it sounds like there's some, um, like, I requested right now our.
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Like, on the arts question homepage, there's a couple of commissioners
not listed, and when I inquired about anything that my… what I heard back
is that the city is undergoing a web refresh right now. It seems very
reasonable, and I hope that this body will continue to.
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push for a standalone page for the laureate. So there are 2 currently.
There are like I there are places. There's like a web page on the city,
and I also, I think I sent it to you right? I I put a.
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web page on the Creative District page, too, because it's easier to
update, and right now it just has, sort of, some of the more… It has the
events, and it has a link to your Instagram, so it has the thing that's
coming up on the 9th. Okay. And then it hasNexus as well. So I can point
people there, basically, for the time being. For the time being. And
then, like, depending on what…
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The city webpage, I believe, is supposed to get updated next week, and
then we could discuss, like, where things should be, and if we just want
to point directly to one page, there's not two things going on, that'd be
great, you know, but… so those are the two places. Yeah, and I guess I'll
point on Instagram that I have to the Creative District is probably the
right way to do it right now.
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Okay, that'd be awesome. Thank you. I think over the years, there have
been questions about anyone being able to upload stuff without existing
site, not going through the city. I think that you may be saying, like,
hey, I'd love to be able to post those things.
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website, they don't want just random people, not random. Yeah, yeah, I
feel random. Yeah, so I don't know, we might want to address, because
that could be… there could be an exception for our code over those
things, or… I mean, they're not going to give access to the actual city
page. Okay, I get that.
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But, like, so for the time being, I think if I think putting things on
Instagram, which is now like you can get to from both places, is probably
the easiest way to kind of have a ongoing, like, communication. Yeah, I
just have to figure out how to do that stuff. I'm just not as tech savvy
as probably some other people, so I get all the links pointing in the
right direction. I really want to thank you for everything. We gave you a
shout out on the KPTZ.
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radio show today. Yeah, and I know you were on with Buzzy also, and I
will mention that if you ever want to read something on the air, just be
in touch with me, and if it's not my show, we can find someone whose show
would love to have you.
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Oh, you're always welcome. It doesn't have to be a fun drive. Oh, okay.
It's really nice, too. Oh, thank you. It was beautiful, I heard it. Oh,
you heard it. And then you heard the phone again. All right, thanks,
Jerry. Thanks for everything you're doing, it's awesome. Thank you for
everything.
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I'd like to reflect from the book Commissioner. Um, cool! Alright, then
we can get started with committee business, if there's no other public
comment, which I don't believe.
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in the generative workshop.
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Okay. Chair update. Gosh, I don't have much of an update. It's April.
Wow. It's special poetry month. So I'm very glad that everything that
came to us.
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My partner, the main exciting thing that happened to me this past week
and this last month was seeing what you do about nothing, which features
our own Fred Caske and a brilliant cast of performers and, um… and
technical people putting together that performance stuff at Fort Warden.
I really strongly encourage everyone to see that production, or see any,
you know, support the events that we have fund.
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These rounds, and then in the past, too, because Salt Fire has been a
beneficiary of our grants in the past, and it's really exciting to be
able to see what that impact is. Yeah, I'll go ahead again.
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Cool. Great. I don't think there's anything else. So I'm going to pass it
to Melanie for a little treasures update. I have been very I'm a little
behind. This is a group of things going on, but I so I I didn't. I meant
to.
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Email you, Melanie, with updates, but the budget. There's not very much
to report except that the billing for the art of wars is slowly coming
in, so that those, you know, funds continue. I think there's still.
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They're still an invoice that everything that's come in has been
invoiced, I've taken as the invoices have come in, so it's, like, the
check hasn't necessarily gone yet, but they're, like, in process. Like, I
haven't… we're, uh, still working on an invoice with, uh, Tyler for the
photography and video. That's… we haven't seen that yet.
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And, um, on some TPA for the tech stuff that haven't come yet. So those 2
numbers are outstanding still, so we can expect that 5,000.
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561595 number to continue to be reduced a bit. But to remind everyone,
that's also the number for like relaunching the 27 awards and like making
the, you know, it's great to get those awards made in 26 and stuff like
that. So we should be thinking about that. I think that would be more of
a second six months of the year kind of thing, but… And uh… I think
that's pretty much it. Everything else is the same as, you know, before.
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Yeah. Thank you. In prior years. Sometimes when I last grad the pie, I
think lots of little spices, and sometimes we run the risk of.
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Have you heard that with anybody who's got classified last meeting.
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Um, the only person… so I… the people that I've heard from in the last
brand meetings about, like, with questions about their funding and things
about that were the community dance. David was concerned about the, like,
since it was an individual grant to him about like the sort of financial
like.
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ramifications. And so when we work through that together, and I think we
have it figured out. They often questioned about insurance, but we worked
with the range, because that we have, you know, so they're gonna, you
know, insurance for that project.
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Anywhere from the woodworking tool also reached out to me concerning
insurance and wondering about those levels because the level of that is
required by our by the city's professional service contract is quite
high. So we discussed that our figured it like are working on that as
well.
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And then Jen Cohen from the art studio tour artist studio tour was
concerned that acquiring the insurance at the level that it was requested
would be more than the amount of school. She had a $500 grant for that
project.
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People maybe are just reading their contracts carefully. I'm not. And I
am also simultaneously positive that there were no changes.
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Knowing that this was an issue. Knowing that this has been an issue, I
have started discussions with Austin Watkins, the new city attorney, who
is newly on staff, which is great about looking at whether the PTAC grant
contracts can be streamlined and some of these requirements for things
that really don't quite maybe aren't quite well aligned can be changed.
And so we're looking for some other examples. Some kind of blanket
insurance for.
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or anything we grant or something like that. Or just maybe the idea that
it's more of a sponsorship relationship. Yeah. Services contract, which
is kind of a different relationship. Lonnie, did you want to weigh in on
this? Is it more Lonnie's department, obviously.
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Oh, for Libby.
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Yeah, I had a question, which is, if this is a single day event rather
than a many-day event, it's often relatively inexpensive to get single-
day event insurance through, like, event provider stuff, so that might be
an option for some of these.
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programs that we're funding, not maybe not everything.
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I think that's an interesting thing to explore. We haven't, like, again,
this is a new thing that has come up this grand round that I personally
haven't seen really come up before. I've only done a couple great apps
with y'all, but, um, so looking into some of those. Oh, sorry, Libby, I
see you have your hand up, but… Looking at this one of those resources
that we can maybe point people to if they have these questions would be
great, but as it is so far, you know, Lonnie is a great resource, and um…
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I've been able to help most people.
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And we normally go through… we kind of have to go through the insurance
provider we have, kind of insurance provider we have, kind of send them
the application, say, hey, this is what's happening, do we really need
that much insurance before we can say yea or nay?
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Uh, so, I think that's gonna be something Austin's gonna do, too, because
I don't think you need $2 million to have a one-night dance, but that'll
be something that the insurance company will get back to us when Austin
gets back on it.
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Yeah, so it's sort of an ongoing conversation, but I have high hopes that
we can… figure out, like, a baseline that makes a little bit more sense
for these kind of stuff. So as far as, you know, all the projects from
last meeting are going… So far, as far as I know, we haven't gotten any,
um, we haven't…
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I don't… I think we've gotten, like, 2 signed contracts back so far,
which is pretty typical. One of the projects is on tonight. So right
after this meeting across the street is the student art exhibition is
opening at 5.
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Yeah, I was gonna skip that as part. My staff report, but I would so
people should go over and check it out. The cotton building. Yeah.
Someone doesn't use it on you, just… I'm sorry today. No, no, I was just
saying I will go. It just rolls into, like, the next round.
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Yeah, if we know by then, yeah, it can roll back into whatever round you
know what I mean? Because if people wait till the end.
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Yes. Correct. Yeah. Christine. Yeah. Maybe we will like we are having a
discussion and workshop around the grant process today. So just because.
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There seems to be, uh, you know, a flurry of questions around insurance
this time doesn't mean there haven't been in the past, or that it's not,
you know, that's kind of something to keep in mind when we get to that
piece of the discussion. Yeah.
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Um, okay, now we can do your staff. So first of all, the student art
exhibition, partially funded by TTAC is opening this evening to help
install yesterday afternoon. It's gonna be really great. I think it's
gonna be a lot of fun. If you can't make it today after this meeting,
it'll also be an open during our walk from 5 to 8, and then.
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They'll be afternoon to sort of gallery hours, where it's open as well,
but tonight on our walk night are the big kind of moments. Anyway, I
think that's… I'm really excited about that. The other big news, um,
which we'll get to later more in depth, is that the skate park New York
Hall for Artists.
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went live yesterday, so if you know people who might be interested in
submitting applications for that project, um, it's out in the world. An
email went out about it today. Hopefully, most, if not all of you. What
exactly did someone find it?
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On the… I just Google. Oh, I don't know. Optimized or whatever. So the
creative district page under user events. Okay, is where you'll find it.
I was going to put it. I'm going to put it on the front page as well. I
just haven't had a chance.
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And let's see. Olivia.
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I'm trying to think if there's anything else specific of my staff update.
Those are the 2 projects that have taken up my time in the last few
weeks. I think they're both pretty exciting. So yeah, that's all all I
really have to share.
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We can get, you know, we might. That's it. I'm back. These are all
brochures. Oh, yeah, I'm going to bring these across the street. Okay.
Beautiful. Yeah, then we can move on to work group updates.
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Um, and a poetry. What do you got? Boys. Looks so great in Adam Street
Park. It looks really great. On a sunny day, I was over… I should have
sent in my photo that I took the other day. Yeah, it looks really good.
It looks like it's always been there. Yeah.
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I won't take any more of your thunder. Go ahead. Well, we're trying to
get some dumpsters to put in front of you. Just surround them. That's
actually exactly what I thought. I was like, it's so great, but, like,
really? Like, sculpture, like, bronze. Right. That's cool. We did that.
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You want to give a report on the? Well, we've the call for artists went
live, which is what our, you know, mainly been working on in the public
art commission right committee right now is.
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Realizing we met to finalize what we would then present to the more, um,
broader public committee, and that committee also met, um, adopted the
changes we made with some minor additional changes, and, as you know,
went out live.
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Yesterday, so, uh… I think… I'm excited about it. I mean, it's open to
really any artist that wants to apply from Washington, and they'll get
consideration with, you know, higher preference, of course.
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Going to the city and county. I mean, sorry. But that's actually what the
panel decided. The panel specifically limited it to Jefferson County. We
did. Okay, sorry. Yes, let's update. Super high priority. Yes, no, that
is a very high priority to have correct on the public record, the most
highest, because we did.
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kind of go back and forth. So I apologize for not catching that final.
Just wanted to make sure it was. Yes, no, that's how I don't know how
somehow I was the final call. Jefferson County. Yeah, we we met and got a
good group. We've got a couple younger members that are skaters, so that
population.
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well represented. Um, they had expressed an interest in even giving a
call for that demographic like the parent of a skater. That sentiment is
out there. And then it's probably worth mentioning. They did initially
report that in pulling their.
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It's a good crowd that they were kind of not meeting.
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you're all the more infrastructure, yes. The parents were this specific
thing. So they were kind of like so we got frustrated about that. There
was assignment express, and even upgrading the lighting, so that, you
know, future projects, but a lot about themural this round, and the work
fell out, and…
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schedule ahead of the week to the review time, so that Katie had time to
put everything together for us.
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I got their calendar clear, ready to review. We're going to do the cotton
building exhibit 3 finalists will each get $500.
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Do you put their pitch together for the masses.
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It's very exciting. I'll also mention that there's going to be like an
info session for interested artists and community members on next Friday,
the 10th, 3:30 and 5 here. And I asked Lana here so it could be recorded.
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Yeah. posted on the city website so that people could refer to it
afterwards because I thought that that would be a useful thing for
considering applying the project or for the public who had questions
about it. And I do want to mention that Katie did an excellent job with
fielding sort of those.
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They're almost legal questions that you had to kind of… deal with their…
or the structure of the grant versus what maybe some people wanted to do
post-grant. So, you know, maybe that will activate other.
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Um, requests to other parts of the city for future projects. I think that
was great. Yeah, and I think that that's, you know, awesome to sort of
leverage projects like this to continue to build things that people need,
and it's definitely has turned into a little bit of even a bigger
conversation about that parking lot and how it's being used, and.
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Well, like, because it is being used as sort of a permanent home for
people, and, like, is that appropriate? Because there's a lot of things
that, like, you know, when you start one of these projects, there's not a
lot of stuff. It's just always hard to straddle, sort of, that public
expectation versus, you know, legal expectations around it, and I think
you did a spectacular job with that.
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I would mention really quick. I would just mention briefly also that
there's some confusion, I think, at least it feels a little confusing to
me, over the rec center park and recreation funding crisis and the skate
park.
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And the skate park is a city park, it is not county funded, and that,
like, all, you know, the city and the county are obviously in
conversations to continue to work together to figure out a way to… if
there's a partnership way to keep these resources. It's really important
community resources available, but this project and the state park are
not part of that broader like defunding.
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Conversation. So there the skate park and quilt scene that people that is
part of that conversation that has come up. It's a little bit confusing.
So just to be if if that comes up, select just so you guys have that
clarification. Yeah, just your question. It's probably too late for this
process.
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Uh, I mean, you know, I understand the skater's needs for infrastructure.
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Is it possible to entertain proposals that incorporate? infrastructure.
If a bureau has lighting built into it.
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Probably too late. It's not appropriate, but… I can see if people… when
people turn in, you know what I mean? There's, like, people can propose
anything they want, right? So.
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Within the sort of parameters of like, this is the space we have, and so
I don't… I don't know. I think that with the amount of funding actually
available doing anything besides paint on walls is going to be tricky.
Like, you know, I mean, I think… I think if someone comes up with, like,
a really brilliant, innovative way to, like.
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Or, like, obviously, like, the panel can consider that. Yeah. Just
looking back at our history. It's it's been.
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I think valuable to the Commission to get. Keep a finger on the pulse of
the, um… of an argument of town. So, if in the coming weeks there's
chatter out there, social media chatter, or whatever, like.
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Why is the city spending money on this instead of puddles? You know, not…
not see the whole picture, but it's a grant. Yeah, just that kind of
either positive comments or in particular that they said, so probably
valuable.
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Bring it to the group screenshot or something. I'd be really interested
in hearing what the, yeah, I'd encourage if you guys are in those spaces,
like, and want to send something out to me so I can share it out. I'm
happy to do that. I don't go on social media ever, so I'm not a good
source for that information.
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I would be happy to disseminate it if other people see it. It just went
out yesterday, now some people eat. Yeah, so I don't know if it's been
posted to the city Facebook page yet, or anything, I just know I, you
know, I send it out through the Creative District newsletter, which is
when I was asked about it, I sign up for this newsletter, because that's
where… but I am going to send something out to us, like, some of the… and
stuff like that have talked to me. I haven't had a chance yet, so that
you know there's there's some people who haven't specifically like keep
me updated. I'm going to try to make sure that I do that for sure. And
then to your question came and gave us a really nice visit like.
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2 years ago at this point where he said that one of his policies or
priorities when pursuing grant funds for big infrastructure projects
would be early days. There would be conversations, creative conversations
like that's the moment when like.
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Uh, so it won't initiate probably from the Arts and Culture department
when they're seeking those kinds of grant opportunities, but when they're
like.
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Going out for million dollar grants to redo some wastewater treatment
facility that, like, we should, like, catch them as they are drafting
those grants to build in public art as part of those applications. So I
don't know what, like the behind the scenes like workflow is part of some
of that, but it seems a lot more encouraging now that there is a creative
services department, so that ideally, like Melody and Steve are having.
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those higher level conflict, she's capturing it at that room, like at the
incubation stage. No idea what's coming down the pike. Another reason why
it's so important to get them artists to find out the newspaper we
organize whoever is on that newsletter so that.
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They can't have early input into the process rather than after the fact
going, oh, it wouldn't this affect?
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I have a good feeling about this one. I think you have a perfect slam
dunk project to get us back in the game and looking really good. Yeah. I
feel hopeful about it, too. I think.
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There's always going to be that kind of question about, like, is this
where this money should be? You know, I think. But at the end of the…
But, you know, that's what this funding is for. So yeah.
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The other major thing that was kind of off that's on our agenda from when
we built our plan for 2026 today was this this conversation about, like,
murals more generally and mural policies and trying to move those
projects forward, which obviously this skate park.
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project is part of, which is kind of exciting. It's kind of has its own,
you know, parameters, but it's also for this bigger conversation about
URLs.
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And I think, you know, that was on our agenda before this received and
all this kind of stuff. So now we're in this interesting space where the
public art committee is overseeing a specific public art call, which it
hasn't done in, you know, 12 years or whatever, which is really awesome.
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But then also has the chance to start diving into some of these bigger
policies that have been, um… Neural specifically, I mean, so I'll pack up
really quickly. One of the things is also the AP4, right? The Arts and
policies, public places policies and procedures. The Public Art Committee
started reviewing that.
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And then pivoted into our grants and I will be able to pivot back to that
now that the call is out, I believe. And that's a really interesting
conversation, spending some time with that document and seeing the places
where it clearly needs to be updated, since it's almost 20 years old.
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Like, it says, like, specifically, like, approved by, like, approved by
council, like all of the applications are supposed to include like a
self-addressed gift as well. That's for slides. Yeah, slides, you know,
things like some streamlining, some modernization, and stuff like that,
so continuing to work through that, and… but then it also had some
bigger.
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But, like, what is public art? What counts as public art? What doesn't
count as public art? So we're starting to work through that, and
hopefully you can bring something to Council before the end of the year
with an update. That's, like, some of the big project.
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And then there's also this mural policy that the city hasn't updated
since 1993. That is related to can we actually get murals outside of a
place like the skate park that has its own kind of like, you know, it has
like so protected.
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Yeah. Procedural question about the AB4 document, because, you know, um.
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I have some thoughts about the definition of the current, especially
wondering if it can be broadened to include things beyond just visual
art. Or you could make… you could write an email, or… I'm trying to think
of, like, a procedural way without creating the core.
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I mean, I think, yeah, I think that we have family meetings. Yeah, it's
true. And yeah, I think it's also worth thinking about the fact that
every I think that like the.
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I think it's worth thinking about that like everything the arts
commission does, though, doesn't have to be.
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Under the art and public and in some ways it actually makes sense to
narrow that so that it can be used specifically to make a certain kind of
public art, while still knowing that many other projects like the Poet
Laureate program, for example, or other priorities of the Commission.
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Don't need to be governed by that document, because that's partly what's
weird about the document, is that it's the art in public places policies
and procedure, and essentially it is the guiding document for all of the
Arts Commission, when really it should be the art of public place.
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That's a good point. Clarification. Yeah, and part of your definitions, I
guess, could be as a performing artist, if you have unique insight into
the ways in which performing arts can and potentially should.
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slot in under or in public places, policies and procedures, then that
would be like advisable to discuss. I don't, and I don't know what they
are, but that doesn't mean that they don't exist, you know? I mean?
Because I think the nature of public art is that there's something.
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tangible engineering in a way that performance art is not, you know,
necessarily. You're right. It is geared towards just either 2D, like
murals or 3D. Even the 1% for the arts could 1% funding go to a
performance work? Yes.
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If not, that's not defined. That's not under the AP4. The AP4 is
specifically a document that tells us that's for how the Public Art
Committee commissions work. So if we're only… it's not about every art
degree. Right, it's just… it's just a call for guidelines for how.
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A work is commissioned. That's what it's for. Yeah. Clarification. What
was the impetus for the mural grant in the first place? Like, why for the
skate park, right? So.
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Why that? Why? Why that being the first project in 12 years? Well… The
interesting thing about that project is it's sort of a collaboration
between the creative district and the arts commission. So the creative
district has a special pool of funding that only it can apply for, and.
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because it seems like we like the city. It didn't make sense to let that
opportunity go by. Use it or lose it. Yeah, the creative district under
the city, you know.
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Apply for the funds, was given the funds, and because it's going to be an
artwork in a city in the city by the city. It's now going under the the
public art guidelines and purview. I mean, that helps me, like, if
somebody were to come to me why this and not that? I feel like I could.
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essentially give them a valid reason as a commissioner. And that was just
that little bit of background that I think I was lacking on that project.
And so, like, moving forward.
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I'll definitely be more grant opportunities, and there'll be other ways
to bring in funding, but the general mechanism for these projects is the
1% for the art. Yeah. Ordinance. And so, as that funding comes in, the
parameters would be much broader right? And I feel like.
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pool where the decisions of what that tool should do would be under the
public art committee's purview. Right. I feel like you just explained so
much that maybe takes what Doug was talking about and puts it in context.
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It's about commissioning art rather than supporting, allowing, you know.
Yeah.
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Receiving gifts and things. Yeah. Just to jump in, I would say I can
think of some interesting examples of things that are sort of outside the
2D, which are like, um, you know, cities across Europe, or, um… Hiring,
like, lighting displays on municipal buildings like.
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Where does that? Like, that feels like it's sort of outside something
tangible and enduring, like a 2D piece, or I could think of, like, the
grand opening of Field Hall, where they hired, um, like, not muralist,
but like, what were they? They were the dancers hilarious to, like, dance
on the side of a building, so… Like, if the city, you know, like, we
shouldn't limit ourselves to just whatever has happened, but, like, a
world of possibility around all these otherthings. So I think that
that's a fair…
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This discussion raises public questions for me is, you know, hey, what's
the difference? Would you say this came from the the creative district?
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but not this committee. Yeah, we're just the creative district. That's
another discussion. But then I guess more more directly, is there a
verbal document for the 1%?
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to the 4. So there's the 3.50 ordinance, which is what we rewrote, and
all it says is that, like.
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This… the funds from… projects that qualify, go to the municipal Arts
Fund and can be used to promote the arts. And so that the ultimate idea
that becomes the main funding mechanism for our commission like including
public art.
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And just like grant funding comes out of the Arts Commission budget, that
1% funding can support both sort of traditional, I guess, public art that
falls under the AD 4. It can also support grants.
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It can support the Poet Laureate, and it can support other programs that
PTAC would like to prioritize or consider evolving over time that don't
have to fall under that 4 document.
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So, like, if, like, for example, the commission was like, we'd like to
start a fund to support theater and music, you know, or like performing
arts. And like that could be designed in many different ways, and it
could exist, you know, it could exist in its own.
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Just like the Poet Laureate program exists in its own way. So there's
there's various, you know, or there could be some we could, you know, a
very comprehensive document that covers all P tax work, but also be.
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Huh. But right now, the AP4 really defines the public art committee's
role only, not the Commission's role completely.
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Does that make sense? I remember. different kind of funding because it
wasn't always government. And then we talked about how having them,
having the 2 entities collaborate, create a district.
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that the creative district could seek funds in ways we couldn't. Could
you elaborate on that? Like, how was the creative district able to apply
for this grant where the Arts Commission.
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wouldn't have any opportunities, because it's a great job. It's a grant
that's specifically for granted. So whether the credit district be
vested? Say we had a big summer arts festival, it really didn't like, you
know, they have the Arts and Crafts, or… You know, the national artists
coming in and all the hotels were full and everything. The credit
district would best steward that, probably. I mean, that's a good
question. I think some of those, like, how that all works together is
something we're still working out to get right together.
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I mean, I think that… The difference, right, is that the commission is an
advisory body, the Council, right? And it gives. It recommends things to
Council by either ordinances, you know, adoptions of new policy, specific
projects. It takes that the city should prioritize like the poet laureate
program. I'm going to keep pointing that because that's the most recent
example of sort of a new initiative that the.
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The commission pushed through the council, and the council was like,
yeah, if you want to support this, and now it's, you know, part of this
artistic and civic life of Cortana, which is very cool.
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And the thing that, like, the city has never had before is any art staff
right now. There is an arts department, currently a department of one,
but hopefully it grows into a larger department of more than one. There's
an arts department in the city. So there's more that function, right?
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And the stat function is to not necessarily things that are going to go
helpful or about like major policy, but are like supporting, you know,
initiatives that.
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are either, like, ongoing, or that, like, the creative district was,
like, maybe doing before that transition, and that, like, the city sort
of took on responsibility for right like, for example, this grant has
been applied for and gotten by the creative district report was under the
city.
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It was kind of like a legacy of things that have been happening that the
arts department and and the staff.
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Will, like, is going to manage separately from the things that are kind
of, like, looking upwards towards, like, what's the big picture of the
arts that, like, the council… that the Commission wants to make sure the
council is, like, really paying attention to. Does that make sense? I
mean, it's still confusing. It doesn't make all the sense of the world,
but that's kind of the.
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place we're at now, and it could continue to evolve and get more clear
over time. But that's, like, we're figuring. Kind of understood. Can I
ask for the sake of refreshing the relationship concept for everybody.
Yeah. Yeah.
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We always talk about that, huh, it's an arts commission, I wish we could
apply for grants. We're just not able to. Yeah. So was the park grant,
was that is it a grant from the city? That's what I thought. Yeah, it's a
grant from the… State Arts Commission. Okay.
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It's kind of a heavy lift for, like, a city to, like, set up a creative
district. Yeah, it's a medium. It's kind of… it is, like, it's a… it's a
relatively involved, um.
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Like, application process they make you go through, and uh… There's… you
entered in, like, a sort of, like, a body of work that shows the
creative.
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stuff that goes on in your community, and kind of justify why it makes
sense for you to have a creative district. And then every five years you
have to give a report on like what you've been doing for the last 5 years
to… that shows that you're still kind of, like, pushing the arts and
pushing the creative economy within your community.
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and uh… There's… I don't know how many places that apply like do or do
not get designated. I do know that there's been places that have applied,
and they've been like, this isn't a strong enough application. Let us
help you.
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You know what I mean? Like, get to where you are to get this designation
and that kind of thing. I don't… I don't… but I don't know if there's
people who can straight up, like, kind of reject it, you know? That'd be
tough. Yeah. So the state pays for… Did I fund the creative district? The
State does not give like ongoing funding to creative districts. It gives
you this designation which is kind of like.
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you know, kind of like a good housekeeping seal of approval kind of
thing, right? You're supposed to end.
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The idea is that… Hey, um… kind of bolster your reputation as, like, an
arts community by, like, dropping our to our website, and they… they do
offer, like, resources. I meet bi-monthly with all the other rural
creative districts online, and they… we give presentations from, like,
different people who are doing stuff across the state, like the public,
the guys, the head of the public art programming at Arts came and like
presented to us.
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I think the person who's, like, the head of, like, the statewide Make
Music Day came to the last one to talk about that initiative, and so they
just kind of bring in different resources, and it's really nice to share,
right? Like, a lot of, like, the… things that we, like, that I've brought
to the Commission are things that I've asked other creative districts
about, like, oh, how do you deal with murals? Like, how do you deal with,
like, this kind of stuff? And just having that kind of, like, brain trust
is really nice. And then it has some funding opportunities, but you have
to apply for them. There's not, like, an ongoing.
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Like, a chunk of money they just give you annually. You have to… there's
these half of grants, which is the skate, which is what we applied for
for the skate park grant, and then you get a recertification grant. So
every 5 years when you reapply. If you get recertified, they give you
sort of a.
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a little bit of money for that work, the recertification work that you
did, like, because they know it takes that to put together those reports.
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Yeah, I think one other important thing to point out is that the creative
district, you can set an economic development sort of is a leans toward
all right. What's going to be good economically for the city, the
creative core. Yeah. And that's what I appreciate about it. It has access
to grant funding, but then… In collaboration with us, we can, you know,
our mission doesn't mention economic advantage just as artistic bring the
best quality art programming to the East Jefferson County community says.
And I know this has come up in discussions before, like, oh, should we.
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Um, give apartments to a project. If it brings in a lot of people from
out of town, heads and beds is the catchphrase, and I frequently reminded
everybody that, you know, although that's great, we really are tasked
with.
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So it's nice that we have sort of a tenable streams, I should say. Yeah,
I think that's a really good point. Yeah. Thank you. Thank you.
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Yeah. It actually, what you just said, puts into context, sort of Doug's
earlier statement about, like, what if we had, like, or maybe you said
it, Dan, that what if we had it, like, an arts fair where artists came
in? That's something where you could combine this idea of the heads and
beds bringing in some.
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Your talent, combining it with the amazing talent in town, and letting
that be highlighted and showcased, right? Right, and those are really
good for our little town. Yeah, yeah. I mean, I see with the film
festival does, right? Yeah. It's kind of the concept of sound check,
right, with something like that but like.
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For context, you know, something like the film festival is the year they
work on it year round with a staff of 6, and probably half a million
dollars right if you don't mean so like those like, I mean, maybe, you
know, if at some point at some point the city had enough capacity to do
something like that. That'd be very.
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Very cool. But, you know, just to be, like, where we're at now. No, I'm
not saying that to get too into that topic during wooden boat, it's the
arts field has the small craft out here, and that would be sort of the
logical segue as to maybe work with those guys, but have it be.
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Nationally advertised, so those are a lot of regional artists, some
outside the region. They could easily just expand all the way down the
street. It could be a really big one. All the hotels are full for that.
All right, lovely ideas, guys. Love the innovation.
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So, I guess my question for this… mission right now is, you know, like I
said, sort of this idea of updating the neural code was a priority that
went on the work plan last year. You know, I took an initial draft to the
Historic Preservation.
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Commission, which Joshua and Dan had some input into. It's in the packet
right now. It's sort of that's all. That's where we're at, you know. I
think there's, like, the like there's a couple things we could do. We
could talk about it a little bit more in depth right now, and see if
people want to kind of.
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Like, you know, brainstorm. I've minded it a little bit more. We could
sort of table it until.
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Like, now that the… call for art for the skate park is out like the
public arts committee could spend a little more time on this particular
issue, which I know is a priority for the Commission, and is a Council
like.
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You know, this is something I'd have to go. This is, like, the exact kind
of thing that, like, the Commission has the power to kind of push as a
priority for the arts in the community. It's gonna… but, like, right now,
it's kind of in this in-between place, so there's not something in
particular.
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or the commission doesn't really, like, vote on today or anything like
that, or per se like we could just kind of discuss where it's at and what
the background is, or we could get it a little bit, like, tighter to a
better place where it might end up being a better use of time. This AP4
mural. Yeah.
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Yeah, basically, there's a code from Ellensburg that we took and sort of
like did some.
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line item editing, too, and was brought to HPC, and we're like, check out
this mural code, what do you think? And they were like.
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Well, I actually don't think we got to the point of discussing it,
because we ended up talking about street painting for a long time,
because I brought both street painting and murals to them. So we didn't
actually really get into it, but I kind of think that might be for the
best, because I think that it might make more sense.
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For the public art committee and PTAC to get to a place like really
strong feel like this is what we want to see happen instead of it being,
like, what you guys want to see happen, right? It'd be a better position
to be like, this has been vetted, this has been researched, we really
think this is the way to move forward with artistic murals in this town,
which have not.
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You know, haven't had an update since there's no policy problem. Right.
Sure. And it has the public art committee. Have you spent time with the
mural? This revised mural policy?
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Okay, so you… this is a formal recommendation then from public art
committee. Yeah. Oh, okay, yeah. Well, I would say that the public, our
committee has now grown since the original like like Christine were part
of the initial discussion.
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And so I'm wondering if maybe it should go back to public art committee
and get tightened up to something that feels more. It was kind of like,
look at this. It's kind of weird. Does this work? So we can send it back
to public committee. They can tighten it up and bring, um, it would be
really awesome. I think that might be actually sitting in the meeting.
Our committee members.
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I was about to give you, I was gonna throw you up. It'd be really awesome
if it did go back to public art committee, and the next time it's brought
back to this body, one of public art committee members are sort of
presenting.
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And helping all of us understand what is outlined here.
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I wonder who that will be, Dan. Could be, could be. Okay, so does
Boulevard Committee accept that charge?
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Yeah, I think it might. I think one more meeting would be great. And
then, yeah, and then if they can present it to the I think that's
reasonable. Let's plan for that meeting just to be about this. Yeah,
because it was not about the AP4, not about other things like that's fair
one thing okay um which historical preservation.
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Meeting. November of last year. They are. Yeah. Oh, alright, I wanted to
make sure, though, that we leave enough time for a big discussion. We're
shop. Yeah, in the meantime, the materials that are in here for public
art committee about all this stuff and about the skate park and all that
kind of stuff, like, you know, encourage everyone to spend time with it.
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I know these packets are big, but they are full of interesting
information. Big year for me. Yeah.
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You're also important, too, honestly. I think the mural thing is, like,
super important. Yeah. Especially in a town that has so many ghost girls,
and it's an interesting time. Yeah. In Panama, we're doing the mural
project right before we changed our mural. Yeah, it kind of makes it
easier also. Well, it's a… and the mural code is sort of specific to the
historic. Yeah.
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Yeah, that's the thing is, look, there's… it's not… it's kind of about
making murals, it's kind of about making the old ones, yeah. Like, the
new code defines mural, it could even be some up to, like, 2 centimeter
thick. It could be mosaic or something like that. What if we get… Um, and
I could do… is the word paint used in the… in the grant? No, we talk
about that at that meeting. So it kind of feels like the skate park is
the, like, test ground in a way, and it feels like, in some ways, it's,
like, kind of like a safe space for murals, where, like, I'm sure, like,
a lot of people in town are gonna be, like, way less, like.
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Triggered by the skate from getting, like, painted. I mean, other than
that, it's like, why aren't we making the money for something else? Well,
and sometimes murals can become public art in, like, third-party ways
that doesn't require the city to.
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pay for them, but to just sort of facilitate their existence. So I
noticed where my mother-in-law lives in Sparks, Nevada. There's an up-
and-coming neighborhood, and that's like something that they're
encouraging for the building.
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murals on the side, and they get some…
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zoning preference or tax break, or something along the way. And so the
city's not creating the art. They're just facilitating and encouraging.
Yeah. And it's pretty. They've created something that looks like a marina
where there's no… That's not our vibe. Well, even though I.
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historical. What is the name of that organization? Historical
Preservation Preservation like and they're like yeah not necessarily
saying you put them on the old building. The conversation up a little bit
honestly, and just be like what would we do if.
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Yeah, that's exactly what was exactly what, you know, made people excited
and stuff like that, and then worked backwards into that being the code,
as opposed to these things that are, like, it doesn't seem like it has to
be as crazy as it is to be, like, complicated, like a lot of these
things, I feel like we're deep.
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And then we circle back and try to figure out if we can put that
together. Like, there's… if… And then, you know, maybe there is an area
of town that's, like, trying to make it really easy in that area. And
then there's this area town, which does need to have a pathway, because
it is… it's the Creator District, and it's, like, the core commercial
district, but, like, there's.
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Maybe there's ways to not to, like… Maybe there's some different ways to
approach this that give people, like, a really easy way, and then maybe a
slightly more complicated way, but like.
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That's okay, we can figure it out, I don't know, you know what I mean? We
had an interesting conversation when we were discussing the struggle of
preservation with what their feedback would be on the skate park. I don't
know how historical or skate park, but I'm like throughout the century.
When I scanned through that mural document.
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Yeah. And it was like, there was nothing about paper. It was all about
building. Right. It was kind of, like, outside of the building, I feel
like that this is, in a way, why the mural project at the skate park
makes so much sense. Yeah. It's, like, one of the only places where there
is not, like, a lot of tape around. Right, yeah, and so it's like, what
can we do, or maybe, like.
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Because, you know, when you travel to different cities, I enjoy going and
looking at the different, like, murals that are like, yeah.
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Yeah. See, I'm still gonna… I'm gonna still be advocate. Dude, like, you
just… you gotta be really careful with murals, though, because you're
gonna get, like, selfie wings on every building in town, because, like,
everybody's like, whoa, you know, I paid so-and-so a thousand bucks to do
this instead of waiting. Portrait of a gangster with like a neck pad on
your building and it's like.
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The whole city looks like that all of a sudden they're like, oh, it's not
really that beautiful. Allens break code of the week.
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Kind of crossed out as the bidding on any murals that were on walls
directly perpendicular to that main road, so they wouldn't be driving
down and seeing all the mirrors. They actually changed that. They did.
Yeah, they changed that. But that was their original code. Yeah, she
wrote me and was like… there was two things they changed. They changed
the fact that it could be, like, on, like, a main… the main facade of the
building. And one other thing I can't remember. Well, they have beautiful
like we do. Yeah. I mean, there's certain things that are easy to be like
no you know what I mean? Like, that's fine. But like a lot of, oh, geez,
the other thing is they they made it possible to paint over on their
mural.
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Yeah, they made it possible like with urban. Yeah, not just like that's
what you're gonna do. Alright, it's after our workshop. Okay, we're gonna
talk about PTAC grants, and Katie's going to lead us through a workshop,
because.
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Um… So you guys can all participate equally. Yeah. Yeah.
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And I will not get an introduction. So basically after the last grant,
you know, there were so many amazing applications. There was a lot. It
was a really difficult deliberation, I think, the last grant round. And
one of the things that I feel like has.
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proven to help a lot in these decision-making things, is to sort of have
a rubric and everyone kind of be on the same page as to what the
priorities are. That isn't to say that every commission member isn't
obviously going to have their own take on things and things that are,
like, more important to their heart than others.
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But having a little bit of… stronger framework, exactly. Feels like it
might help moving forward, both for commission members and for those
deliberations and those discussions that happen within the Commission,
and also for grantees who are applying to know what they're getting into,
and to give them a better sense, so they don't feel disappointed, or they
don't feel misled, or anything like that.
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So with that in mind, the Grants Committee, which is Doug and Simon are
the grants work group and myself met a couple of weeks ago and talked a
little bit about the best way to move forward, specifically, you know,
with like what what would be a good way to improve.
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different processes, maybe, you know, nothing… like, throwing the baby
out with bathwater necessarily, right? Like it makes sense to kind of
gradually make some changes. But with.
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But, you know, what would make sense right now to kind of shape maybe so
that for the next grant round, maybe the deliberations look a little
different. Maybe they're a little more streamlined. Maybe, you know, we
have like a cool rubric like we've had for a lot of some of the other
decision making stuff that we've done.
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Uh, in this commission, since, yeah. Yeah, that, um, so that… so that we
can just kind of move forward in a way that feels good. And the other, I
think, really great benefit to that is for new commissioners coming in.
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There's more, you know, there's more of a foundation for consistency over
time, and I think that's important. Also, procedurally, I just like to
say… This is one of my questions immediately was gonna be like, uh, is it
weird to introduce a rubric, like, midway through the year? Let's just…
let's just have the conversation, because it could be an ongoing
conversation, actually developing or shaping the rubric could take us
through the end of the year, so that we're executing fresh in 2027, but
like.
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This is a note to myself that I'm verbalizing for everyone, like, let's
try not to get too, like, stuck in the weeds, um, and but I mean, like,
appropriately. Yeah, yeah, yeah. Great point, Alexis. Thank you.
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So to start with, just for sort of a little context, the next few slides
are about.
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prior grant making and some of the things that are in place now, and then
we'll move into more of a discussion about, like, current priorities and
other ways to kind of, like, shape decision making moving forward. So on
a high level, obviously, if you're spending time with the grant
guidelines, which are in all of your orientation packets, and I'll be
online and stuff like that. They're quite detailed, and there's a lot of.
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There's a lot of information, but these are sort of, like, the high-
level.
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things are called out as the criteria for judging projects, right? Like,
demonstrate artistic merit, demonstrate public benefit, which is defined
in like can be defined in various ways. One of those things can be
defined in various ways, right? There's a lot of subjectivity in a lot of
these things.
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should show like how the funds would actually make the project better or
make it happen, or for local audiences or attract business Townsend or
the area and are accessible and inclusive.
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And specifically, to be fair, that's like a legal definition that it's
like that it doesn't exclude anyone based on a protected class. So like,
which is, you know, legally like gender, race, color. Yeah. It's like a
legal definition of.
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and accessibility. And also in there is the idea of not making it.
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That also shouldn't be… you shouldn't have… you should have access
regardless of ability to pay. I don't believe that's not a legally
protected thing at the pediat discipline.
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You know what I mean? So… This is just a quick kind of chart of how
grants have been distributed by dollars for last year and for the first.
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Throughout of this year. Any questions or comments about the last slide
before I go on actually we're going to have a chance to go over those?
This is just how we've done it versus how we're going to do it. Okay.
This is how we've done it in the past. Exactly. I have ideas on how to do
that. That's what we're talking about. 100,000 requests. That's the
budget we always say we need.
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So yeah, last year's grants, I mean, I think we've discussed this before,
so we don't have to go into too much depth, right? We looked at these
numbers, and that's why we kind of, like.
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We waited the grant rounds of knowing that like the 1st round is usually
the one that gets the most applications. It's the one that, you know, had
the most amount requested, and it was the one that, um.
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Yeah, so it got the least like people who came the first round got the
least amount of requested funding, because it was spread over the
largest.
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Right. Number of projects, and biggest budget request. This year, I guess
it's worth noting that there was actually, you know, 3 more applications
submitted than last year. The amount requested is a little funky because
like, um.
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Lori from Childhood didn't quite understand, and she requested like
$9,000. Yeah, so, like, there's, you know, there's always going to be
little things like that that, like, don't make these numbers perfect, but
they're still a great, um, I think, thing to look back at.
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Just some… just some good information. This one, I think, is probably the
one that's a little bit more interesting to talk about, right? So this is
grants from last year and this year distributed by category.
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the categories are… Sort of just me looking at the things, and what I
thought that made sense. So these aren't categories that, like, PTAC has,
like, officially designated as things, but like they are… discussion
points that have come up a lot, right? Like youth related.
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underrepresented related LGBTQIA-related, like, a lot of things that,
like, the Commission has talked about being important to them, as well as
just various genres of art that seem to come up over and over again,
right?
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You can hit both of these, right? Like, I can be youth theater. Correct.
At most projects. Multiple have multiple categories. So youth theater, is
that under theater and youth? Yes, correct. You still have one point
under each. Yeah, correct. Yeah.
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Mm-hmm. So, it just kind of gives a sense of even, like, what has been
previously, I think, the things that, like, have spoken to the Commission
in terms of things that have gotten.
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Um… Funding, and it might be somewhat of a touchstone, right? You're
thinking about moving forward, or it might be like, oh, wow, I didn't
realize, like, so many of our things were events. We, like, would like to
see those dollars spread out in other ways that benefit the community.
There's a lot of events in Fort Townsend, and there are other things
that, like, need attention right away.
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So this is just sort of something to, like, look at. I think, you know,
it's interesting to me. Again, the biggest categories right are music,
youth, and events, which I feel like even if I hadn't looked at this
chart, I couldn't right. How are we defining event in this context? I
defined event basically by anything that like had a happening on a
specific.
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Like, one day? Day versus, like… like, so, like, a theater production,
for example, yeah, not an event, because it's, like, multiple… Let me
think about this for a bit. How did I? How did I define event? Um… I
think it was, like…
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Anything that had, like, a specific, like, sort of time and date that it
would happen. You know, I didn't put exhibitions under events, because
they're, like, sort of an ongoing thing to them, you know what I mean? Or
all the educational programs were events, because they were more like
something that was, like.
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or a group of people that do something, and this is like a place that
wasn't necessarily right like as negative by time or place. Yes, right?
So yeah, these are awards.
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Or applications. This is awards. Yeah. Yeah. What about ongoing things
like summer band or something, where they do, like, you know, an
application, but it's from and performance.
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I don't think was in here, but that's a good question. I probably would
have just put it under music. Yeah. Just one point. Yeah, I mean, yeah, I
mean, all that points.
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Right. It's not going to be exactly perfect, but, like, I feel pretty…
Which we could do for those people. And that could be data collection.
Yep. Yeah, great. So, people can report it. Going back to a rubricia.
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Okay, so that's a little background, food for thought to kind of, like,
you know, give a little bit of an overview of where the money's gone and
what that looks like. And then for, you know, the next 45 minutes, I
think the goals for having this discussion so that we can move forward
are just to clarify the priorities and process for both the Commission
and third grantees.
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Included in that really is respecting the applicants and the Commission's
time, because, like.
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I just think, like, you know, unless things change drastically, these
awards aren't enormous, right? It's, like, fair to make sure that no one
is being unduly burdened through time or resources. And to lay the
foundation for future success. So, like I mentioned earlier, like, new
commissioners, if they come in.
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Giving them a better understanding of this process from the beginning,
because it'll have more of a structure. And again, same for grantees.
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So… And looking back at what's been done before, looking at some of the
things that we've… that the Commission has prioritized for questions that
have come up over and over again. I just called out a few things that I
felt like we're kind of putting in y'all's minds, as you think think
about how to.
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to shape this process moving forward. Like, these are just some things to
think about, like, does new projects want to be weighted heavily more
heavily than projects that have been funded over time, you know, time and
again. Youth serving has come up many, many times as something that
feels.
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specifically important to the Commission. Staying with underrepresented
groups.
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Is people serve the same as public benefit? Like, how does public benefit
get defined for the commission? And are there different ways to think
about that that aren't just about numbers, but are about different kinds
of benefits to the public that are important?
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individual. So Ptac is like basically the only source of funding for
individual artists in the county public public funding source in the
county. Lpac only funds nonprofits. Most of the other is one of the few
in the.
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It's like an anomaly that you don't have to have, like, a non-profit in
order to make it this kind of application. Yeah, Houston does it too, and
it's rare. Like, Houston, like, counts it a lot, like, this is something
that not everyone does. We're an organization, they could get X.
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So just being, like, individual artists or art, or a group that's not
sort of under this, not part of the nonprofit industrial complex. Like,
there's an economy, you know, is that something to be weighted more
heavily, right? Is that just because it's something.
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Do we want it? Does the Commission want to think about like if a
project's already gotten LTCH funding in a certain year like, does it
make sense to like weigh that with or against PTAC funding as well,
because there's only so much city funding to go around and spread it out.
Or do you want to like.
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you know, make it more concentrated for certain things to make something
pop off right? And then finally, is it like makes sense to say like we're
going to give full funding to a few projects. So we know that they're
going to be successful. Or, you know.
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sort of do smaller amounts of funding for many projects so that everyone
has a chance to do something.
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We're a commitment to a minimum funding amount, right? Yeah. Different
ways to look at this, but these are just some of the things that I
questions that I feel like have come up repeatedly. Is there anything
missing from this list that people really feel like there? Yeah, I think
it's a great list. I kind of feel like it's, like.
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It's… I'm just thinking about, like, the idea of, like, developing a
rubric or something. It's kind of like… questions that you're posing here
are, like, what… what an individual would be, like, voting from their
position, right? Which was what supposedly would make the Commission
itself like an interesting democratic body, right? So, like, I'm thinking
about, like, the way we develop a rubric, it's like.
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Do we try and leave space for, like, this being a democratic experiment
based on people that have applied through the city and being a diverse
city, etc, whatever. Or do we? Yeah, like, I think that the… I'm just…
I'm, like, sitting here.
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This may be gone. I'm just, I'm like, well, I hope that we don't develop
a rubric that, like, is too tightened that we take the air out of this
room, right? You know, yeah, exactly. I think that's the goal of a
healthy room, right? Totally. And, like, I'll just… in case you have not
had a chance to… I don't know if Keith, a screenshot of it in here, but,
like.
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Like, the lodging tax rubric, for example, it's like a plus one point if
you are serving, you know, if you're new to if this is your first time
ever applying. So those are like accounting for parity and helping with
equity versus, like, heavily weighting something. Yeah. Um, so there's
like.
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It was kind of delicate ways to make it like help help, because that's
the goal of a rubric, is it doesn't eliminate all discussion, this is not
putting applications through some, like, AI algorithm. It's, like,
helping to shape the conversation and make sure that, um.
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priorities and equity factors are like adjusted for, so that we see what
we need to see out of those applications, and in the second from my
experience judging why a classic 20 point scale. Yeah.
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usually includes 2 points for judges' discretion. Because that's what you
mean. This appeals to me, this makes more sense. That sort of thing. So,
I mean, I think one of the comments and excitement I made is, going back
to the.
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The criteria that are in the policy. Those are some foundations. Can we
measure that? And then what's important? Yeah, yeah. And I think there
are things that like there could be. I think it would be interesting to
think about. Are there.
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boundaries… I do feel like healthy, or whatever that are, you know, like…
I don't have a strong opinion about this, but like there. I think that
there could be something to be said for like, you know. We really want to
fund a few things completely, because we want those projects to like meet
their goals. And if we give everybody.
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you know, $500, and that might actually… but make it the harder, you
know, in some ways, in some level, we're maybe not surveying people the
best or serving artists the best way possible, you know. So, like, which
isn't to say that's the way it should. I'm not. I'm not advocating one
thing or another, but like, I do think there's like option to say like,
we are going to make some kind of hard decisions to stick with them. I'll
still having room to like make decisions within those.
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those parameters. Well, and historically, my experience, that's what a
rubric allows for, and it allows also for that healthy, sort of.
300
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Hmm.
301
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discussion, because nothing has a singular value, it has a range of
value, and so you can kind of put that importance in there, and you use
it in a number of ways to say, hey, our top three get fully funded, or we
have a special category, and we rank those separately on what we would
like to, you know, vote on.
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fully funded by a ranking value as well. So, um, I do think, you know,
experientially, that rubrics do, like, kind of open that. Yeah. If you
have the right group, a very healthy discussion. Yeah, I mean, I'm pro
rubric, very pro rub. Oh, yeah.
303
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No, I didn't think you weren't. I think you were… I thought what you were
saying is that you were concerned that it could become, um… influenced in
a certain direction. Yeah, that's just… that was kind of more the thing,
it's like, could not build a rubric that, like, has an inbuilt leaning
already, you know, outside of, like, things that are not crazy. Yeah,
sure. Yeah.
304
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It's also possible to build one that is leaning, and that's based on the
priorities, and that those priorities could change. Like, we've talked
about this, too. Like, it could be a year where it's, like, or there's
three rubrics, and the first one for the first round is youth-focused, so
it is truly tailored to looking for those that, you know, but we don't
have… or, like, if we've been ahead of it, we could be doing America 250
right now.
305
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So this takes me back to that, or I spoke earlier, our mission, which is
to provide artistic content to the masses. And in a way, that's what we
did in our last meeting.
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Because impartially funding, we are now having as a result all these
programs. If you look at it closely, we may be hurting a lot of those
artists because with partial funding they're going through with their
event at a loss per se. Yeah. So we may want toincorporate into our
mission.
307
01:21:02.000 --> 01:21:18.000
We are way to address the artist, because as it's written, it's just how
much hurting the artist is not, um, I feel like, though, a lot of them
were asking for a lot of money, and so, yeah, it might automatically,
like, boot them out, right?
308
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Because they're asking for too much, and that might be another good thing
to think about, is like, should we, like, let people know like how Grant
is going to be X amount of money. So, like, don't, you know, if that
doesn't work for you, don't apply. We got so much space. And maybe we,
like, reevaluate, like, the more money we get, hopefully, in the future.
The ones that did were like.
309
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Yeah, specifically the one that's like, I want 10Gs or whatever. It's
like you're gonna have an unfavorable view of your application to start
with because you're asking for, like, 5x what everybody else is, and
that's just, like, hard, you know what I mean? It just kind of does… It's
not really… that's not really anyone's fault, because it's in her career.
Yeah, or their fault or whatever. Yeah. It's probably worth just
mentioning. So Libby can hear because.
310
01:22:06.000 --> 01:22:22.000
Because, you know, Van was with us for quite a while, and so we've had
this discussion with Ben, but… and I love to quote Max Grover's quote
that a municipality, a town or a city, a city that invests in the art.
311
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Yeah. And we've always made the argument that we really should have
$100,000 budget, and to be able to fund all the projects that come our
way. So even something close to that, $60, $70,000, $80,000, I mean, it
really just stays in town, everybody benefits, so…
312
01:22:38.000 --> 01:23:02.000
I do hear that. I also hear it in the context of all of the various
competing general fund things that it's like, if we put, you know, if we
significantly raise the P tech budget, what are we cutting? So you know
that that is the always the the the seesaw.
313
01:23:02.000 --> 01:23:03.000
Yeah.
314
01:23:03.000 --> 01:23:16.000
And that's that's also why, like, you know, rewriting that one for the
capital budgets for this year. I shared with Alexa. And you know, none of
the many of those projects won't actually happen in this year, but
there's like quite a bit of of money coming down the pipeline for that
fund, which is.
315
01:23:16.000 --> 01:23:26.000
you know, could be a real game changer. It could be really amazing, and
would make it so it's not… You know, the arts don't have to rely on the
general fund, which is an issue for the city, I think, ultimately.
316
01:23:26.000 --> 01:23:27.000
Yeah. So. But yeah, I I I absolutely do hear that. And you know.
317
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And if we're having.
318
01:23:33.000 --> 01:23:36.000
trying to balance all of those needs.
319
01:23:36.000 --> 01:23:48.000
Okay. It's important that we have a collective message. Yeah, 100%. Yeah.
Represent us. I think one of the things Simon and I wanted to.
320
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In my mind, plus. For instance, a public benefit versus the the benefit
to an individual artist.
321
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It's a project that has 500 people viewing something.
322
01:24:04.000 --> 01:24:11.000
More important than something that really benefits one artist.
323
01:24:11.000 --> 01:24:31.000
And how do we judge that? That is one of the questions we had, because
both of them are potentially valid. But you know, is there a consensus?
And that can get super granular, too, like, who are the 500 people you're
benefiting 500 youth or 500 retirees, right? And what is the value of
each of those?
324
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I'm not saying there's anything wrong with either demographic, just
seeing, like, you know, you have to start asking yourself where you… and
then each of those have different value benefits that trickle down into
them as well. Um, you know, as you were talking about this rubric and
sort of how you distribute.
325
01:24:50.000 --> 01:25:07.000
This and is there a way to simplify it? I mean, I just took the value 475
which kind of takes what we did in our last round rounding up. You know,
you could do 20 awards where you're like, we have five five hundred five
1000, 5, 3000 and 55,000 awards.
326
01:25:07.000 --> 01:25:25.000
And that way people are asking you for something within those, and that
kind of also maybe takes the $5,000 one is they need insurance. The other
one does it or something. And these are things also that we can build
into the policy that goes behind it.
327
01:25:25.000 --> 01:25:55.000
So, um, I have a little exercise for people to do, if it's okay to move
on? For the next half hour and everything. But, um, the, um… So I had
those 3 things right like clarify priorities, whatever they were. We'll
start with. So basically, like, you know, every side of this has like 2,
every piece of this had 2 sides. Right? There's sort of like prior the
priorities which are the Commission's job, and there's a process which is
the staff job, right? This like.
328
01:25:56.000 --> 01:26:13.000
taking the applications in, making sure the information gets out, all
that kind of stuff. Like, whatever y'all say, like, these are the
priorities of what will happen. It's, like, my job as the liaison to make
sure that they are, like, done properly and swiftly and clearly, right?
And so, um, to start just with this question.
329
01:26:13.000 --> 01:26:32.000
For these questions for y'all, and then we can get into, like, more
detailed, like, sort of ideas like you're talking about, Christine, is
like, you know, what is the most important criteria? What's the most
important to you? What feels like it would have the most impact? And what
can Ptac uniquely offer to me? These are the things that would, like.
330
01:26:32.000 --> 01:26:53.000
When you're thinking about priorities, I think these are, like, good ways
to, you know, contextualize them. We're going to do a little exercise
called 1, 2, 4, all have anybody done this before? Alexis has. Yeah. So
how this works is everyone's going to spend one min just thinking about
these questions on their own and writing down.
331
01:26:53.000 --> 01:27:09.000
And so I was like, how we can answer these questions? Then you're going
to talk for two minutes in cares about that, and then I don't know if
we'll do floors, honestly, because it's like a little bit redundant many
people here, so we'll probably skip to skip four. So basically, you'll
write down your own thoughts.
332
01:27:09.000 --> 01:27:34.000
You'll talk for 2 min with a partner about your answers to these
questions, and then each of the 3 groups in the room will… and we'll keep
taking notes up here with the, and then that hopefully will give us a
little bit of an idea if people are on the same page with priorities.
People have really different ideas with priorities, or, um, and or at
least we'll have that be able to collect some of that information as,
like, the first step towards thinking about this kind of stuff.
333
01:27:34.000 --> 01:27:50.000
And the priority being the most important criteria that currently exist
or could exist. What do you think should be the most part? What? What do
you believe should be the most important criteria? That's the question
for grants like what what for you is the most important like when a
grantee comes out in front of you.
334
01:27:50.000 --> 01:28:20.000
That's the one minute question. Yeah. There's 3 questions that are
interrelated questions are up here, the yellow ones. Those are sort of
like the prompts to think about. I'm going to set a 1 min.
335
01:29:08.000 --> 01:29:20.000
Far more seconds.
336
01:29:20.000 --> 01:29:22.000
Great.
337
01:29:22.000 --> 01:29:47.000
One minute, so now just turn to the person next to you. I'll get out of
the old way. Where I like kind of stand um so what's.
338
01:29:47.000 --> 01:30:03.000
Okay, I think that kind of leads into what I have in the second one. I
said art or program or movement.
339
01:30:03.000 --> 01:30:28.000
Yeah, my second one is in line with that. I feel like conceptually.
340
01:30:28.000 --> 01:30:53.000
And that kind of is my answer to the unique, what we uniquely offer is,
like, support for artists in reaching the public more easily.
341
01:30:53.000 --> 01:31:23.000
I feel like for them. Yeah, no, um, that's kind of the… when I was
looking back at this, the people served public benefit that was all right
they use the retiree account. You guys ready?
342
01:31:33.000 --> 01:31:58.000
The most exercise I've had all the way so if does somebody want to share
what they talked about where it felt like it really.
343
01:31:58.000 --> 01:32:25.000
And I'm not sure we came up with solutions. But, you know, um… Artistic
merit versus public benefit. Yeah, you know, Dan's example is great. You
know, 5-year-olds making potato cuts sniffing.
344
01:32:25.000 --> 01:32:39.000
Posters may not have high artistic merit. Yeah. Right. Versus, you know,
the having a renowned artist.
345
01:32:39.000 --> 01:32:50.000
I think a beautiful public mural that everybody's going to appreciate.
And how do we balance that?
346
01:32:50.000 --> 01:33:02.000
So that process, I think, is… Yeah. That was one of the things, but then
we quickly went into underserved populations.
347
01:33:02.000 --> 01:33:06.000
You mentioned that, like, I've kind of used a mental rubric.
348
01:33:06.000 --> 01:33:22.000
In the past, now it's a little more explicit, but I've got lean heavier…
heavier youth and LGBTQ plus marginalized, traditionally marginalized
population, so people of color and indigenous. Yeah. Yeah.
349
01:33:22.000 --> 01:33:47.000
It's a short… it's a short exercise. Josh and Joshua and Christine with
you guys later on? Yeah, I think we kind of are along a similar line of,
you know, the things that we have the most impact are, you know, are the
most important, are those that have the biggest, broadest effect in the
community.
350
01:33:47.000 --> 01:33:59.000
you know, hit the biggest population, they… yeah, there's always
underserved specific populations you really want to see. Maybe you have
that access more youth.
351
01:33:59.000 --> 01:34:19.000
It was one of them for us. Um… things that are maybe public or hands-on,
you know, you get to touch and actually create or experience it. And, you
know, what do we have? Money. But really, you know, it's like, how do we
use that to.
352
01:34:19.000 --> 01:34:29.000
provide the best support to get, you know, the right artists in public
spaces through the right activities, right? So that's where we can
uniquely.
353
01:34:29.000 --> 01:34:44.000
Kind of figure out how to… how to take that money and use it most
effectively. Which may be like words that could be used is, like, need.
Yeah. You know what I mean? Like, where… where… I guess, like, money in
the hands that need the money.
354
01:34:44.000 --> 01:35:01.000
Or the art doesn't get made, you know what I'm saying? Right. And I think
that's a great example. And I want to go back to sort of the reference to
retirees that I made earlier. I have one, by the way. Just like living
where I do, you know, you could do something that.
355
01:35:01.000 --> 01:35:29.000
It's a bunch of retirees that could also easily pay $50 for a ticket, and
it's not saying that reaching them is a bad thing, but if you have to
kind of look between the two, but then at the same time, if you could do
that event that gets $50 a ticket and $45 of it goes to some youth
program, then, you know, they're all inter… Into lock together anyway, so
kind of looking at that broader picture.
356
01:35:29.000 --> 01:35:41.000
That's right. Nice.
357
01:35:41.000 --> 01:35:49.000
I didn't… I didn't partner with anybody, because that seemed like it was
going to be hard, but I did put some notes in the chat if you want me to
share them, I can.
358
01:35:49.000 --> 01:36:11.000
Sure. Um, I said for the criteria, um, that the benefit to a range of
residents or connect to a range of artists or art forms and to represent
a variety of voices. And for impact, I said benefit for wider cross
section of community intersectionality, connecting different segments or
voices and exposure to different arts or ideas and opportunities for
exploration or discovery.
359
01:36:11.000 --> 01:36:15.000
So it was sort of both the growth and the sort of wide net.
360
01:36:15.000 --> 01:36:30.000
And for the what PTAC was uniquely offering is direct grants, which we
touched on earlier, that that's something that's kind of unusual about
these, that there's benefits to artists and to small organizations, and
specifically to new organizations or new events.
361
01:36:30.000 --> 01:36:41.000
Um, that it can become an incubator and a place for new ideas or events
to grow and develop, and supporting arts that are less able to access
other funding sources. So those were my notes.
362
01:36:41.000 --> 01:36:49.000
I was like that smaller individual. Okay. What about you guys?
363
01:36:49.000 --> 01:36:55.000
Do we have for the important criteria, like… building community.
364
01:36:55.000 --> 01:37:18.000
Okay. New project? I think you… organizations that haven't been funded
before. I apologize a lot for my writing. Okay, okay, as long as you can
read it. I'll go back more or less. Okay. And then the most impact again
was community.
365
01:37:18.000 --> 01:37:23.000
Yes.
366
01:37:23.000 --> 01:37:31.000
And then the unique, or PTAC unique was individuals who may not be
funded.
367
01:37:31.000 --> 01:37:38.000
small organization. Right. Yeah. Cool!
368
01:37:38.000 --> 01:38:03.000
So I feel like there's a lot of overlap here, and synergy. The one thing
that's interesting that came up with these guys that no one else was sort
of the artistic merit part of it, which is interesting. I mean, I don't
and I just wonder if people have any other, like if that… is sort of just
a community-based creative element, like, enough? Or is there some… is
that something that is more.
369
01:38:03.000 --> 01:38:21.000
attention. You know what I mean? Like, I don't. Again, I don't have like
a dog. I don't I don't have an opinion about that. It's just interesting
to me that it didn't come up otherwise, but it is part of the the work
done in our mission. But they are in the public art.
370
01:38:21.000 --> 01:38:32.000
The AP4 is different than brands. So maybe, like, you know, maybe
artistic merit belongs in.
371
01:38:32.000 --> 01:38:47.000
admission public art, but maybe this is a different thing. I feel like I
was told when I was being oriented to this body was that artistic
narrative didn't really enter into the conversation when it comes to
grants, partly because.
372
01:38:47.000 --> 01:39:16.000
Yeah, so subjective. Also, it's their reimbursable grants, so we don't
even know what the project will be like necessarily. I mean, like,
they're showing a forecast, or, like, what they plan to do, but… You
know, like, if it's a musical performance and you got laryngitis, like,
I'm gonna, like, got rise to the top of your abilities or range, but…
Maybe it's appropriate to look back at the resolution.
373
01:39:16.000 --> 01:39:43.000
Created. The purpose of the Arts Commission to improve is declared to be
to promote and encourage public programs to further the development and
public awareness of and interest in the arts. Yeah. No merit. Okay. I was
supposed to say, yeah. It can sometimes keep people from engaging.
374
01:39:43.000 --> 01:39:59.000
In our… because they don't feel like they are qualified or able. Oh,
that's what we just did. Yeah. Okay. So I had a single question. I've
seen that in workshops.
375
01:39:59.000 --> 01:40:14.000
The proposals are kind of everybody on the streets. Two more times from
slightly different angles, just because now we're gonna, like, get all
our information. So this is the first part, which I feel like, okay,
like.
376
01:40:14.000 --> 01:40:29.000
Well, priorities are great. These feel actually really align, and I feel
like you can do something with that. The question was, what are the top
priorities? So, second, second shot, second thing we're going to talk
about is respecting people's time.
377
01:40:29.000 --> 01:40:48.000
Like, this is more of a process question, it sounds like it's a really
big… I'll have time for a minute. This is a really big one for me,
because we do, um, the nature of how we conduct these grants procedurally
has seemed to me that we're asking quite a bit of these folks to come
spend two hours with us.
378
01:40:48.000 --> 01:41:07.000
It's not required of them to spend the two hours with us, but if you
spent any time on the Commission, which I hope Dan might agree with this,
there is a strong skewing. If you attend in person, you seem much more
likely, and my data backs that, so you are more likely to receive
funding. And so if we're asking people to come spend two hours with us.
379
01:41:07.000 --> 01:41:14.000
It just… that's a lot in the middle of a workday, 3 to 5. We all make
this commission, like, you know, the commitment to do this.
380
01:41:14.000 --> 01:41:31.000
They do not. So that's part of the impetus. So the question, will you
scroll down, Alexis? Yes, I had a question. Apparently, I don't remember.
Okay, so with that in mind, the question for one minute of brainstorming
or thinking right is what do you think would be the best way for PTAC to
collect the information it needs to select?
381
01:41:31.000 --> 01:41:40.000
awardees. Right, we have processes now that you guys are all familiar
with, so I'll have to go over them. Are those the best ways? Are there
better ways?
382
01:41:40.000 --> 01:41:46.000
Let's think about that. Okay.
383
01:41:46.000 --> 01:42:16.000
One minute. We don't have that much time, so yeah.
384
01:42:16.000 --> 01:42:45.000
Questions, though. Question.
385
01:42:45.000 --> 01:42:55.000
Alright, 10 seconds.
386
01:42:55.000 --> 01:43:17.000
All right. So, um… One minute. Do y'all want to stay in the same groups
or switch it up for your discussions right now? It's kind of nice to
switch it up, but it also seems a little challenging. Sounds good.
387
01:43:17.000 --> 01:43:42.000
Like I said, I think we couldn't reflect in the current way. I mean I've
only done it once.
388
01:43:42.000 --> 01:44:07.000
It's not very clear to me. So my preference would be that the application
was at least give you a thorough application. And so we have remaining
questions of a certain number of attachments.
389
01:44:07.000 --> 01:44:32.000
Because that would be so much easier I know.
390
01:44:32.000 --> 01:44:57.000
When I say refine. Yeah. Because that would be easier for me.
391
01:44:57.000 --> 01:45:18.000
All right, guys. One more second. Yeah.
392
01:45:18.000 --> 01:45:36.000
All right, let's go reverse order this time. Let's see how it goes. Yep.
I think… that it would be great to define the purpose of.
393
01:45:36.000 --> 01:45:54.000
potentially attending the meeting as an application… Why are you here?
Like, are you here to present? Are you here to answer questions? Like, or
are you… are you just being invited to spectate as a, you know, provide
public comment, perhaps?
394
01:45:54.000 --> 01:46:14.000
Um, and it sounds like, uh, we agreed that the best way to collect the
information is the online application. That just needs to be completed as
thoroughly as possible, and… Maybe we're not asking questions of the
applicant. Sometimes we don't have questions, and then it's awkward.
Right?
395
01:46:14.000 --> 01:46:31.000
and 3 min is not enough time to do anything. Yeah, it's true. Or if we
wanted more time, maybe have like an after hours presentation where
people, but that'd be a lot of we're setting clear expectations.
396
01:46:31.000 --> 01:46:44.000
Like, ahead of time, like, through… for the application, like, saying,
um, like, please provide, you know, whatever, whatever thing seems to
catch us if there is anything, really, but yeah.
397
01:46:44.000 --> 01:46:59.000
Okay, cool. Alright guys, I think that's a little bit in line of, you
know, I've only gone through the process once, and I was seeing some of
it was so helpful, and it was a bit overwhelming, and so that
streamlining, that ability to look and see who's already applied.
398
01:46:59.000 --> 01:47:08.000
Um, and so maybe even to add supportive comments or things like that, and
those are things that just can shorten the time that you have.
399
01:47:08.000 --> 01:47:27.000
Here, you know, maybe limiting the number of exhibit pieces so that you
don't have 17 exhibits in an application, you know, those kinds of things
that would put both their time and energy of what they need to invest.
400
01:47:27.000 --> 01:47:38.000
you know, minimize it, and also minimize a little bit of how we process.
So you don't get to, like, the end, and suddenly you're trying to rush
through the last few. Yeah, yeah.
401
01:47:38.000 --> 01:47:53.000
Yeah. Yeah, I think… I mean, I do kind of feel like our current
application could be slightly refined based on our last experience, like,
just with… like, I liked some of the conversation about, like, um, the
ideas of putting, like, a, like.
402
01:47:53.000 --> 01:48:18.000
You know, ask for these levels of grants or something, just to sort of,
like, you know what I mean? Just to sort of, like, weed out some of the
things that came in that were, like, clearly, like, out of place with the
others, where we're like, wait, you know what I mean? Um, so I just feel
like we probably could, like, tighten the knobs on our application
process a bit.
403
01:48:18.000 --> 01:48:48.000
We. Well, I. Somebody in one of the Ds. I got you. We like the idea of,
um… Well, there were lots of ideas to discuss. A longer meeting would be
nice, but we realize it can go after 5. Starting a half hour earlier, but
then that segued into, do we even really need the presentations? Like,
some of the applications are so good, like, Judith Kate, she puts
everything in the application, and then she repeats everything.
404
01:48:50.000 --> 01:49:10.000
She goes 4 minutes instead of 3 minutes, like… but it's all time that we
don't need to invest, and it does sort of give a op-sided advantage, I
think. Alexa said to people who can't make it, because they have a day
job or something. So we could maybe do away with presentations
altogether. Then again, being on the Arts Commission.
405
01:49:10.000 --> 01:49:37.000
That is kind of part of the appeal, is you get to see what's going on in
your community, and you hear it from the mouths of the people putting it
together, and that's one of the benefits, so… but… Either extend it 3
times a year, an extra half hour, and meet at 2.30, maybe bring snacks,
have a break, or it's weird to ask people to come present. Yeah. So why
can it go past five.
406
01:49:37.000 --> 01:49:59.000
But, like, why are they here for? And so, like, I think that Alexis is
right to point that out, like, let's get rid of that, but let's make it
feel reasonable. Right. Yeah. And there's a possible alternative to
presentations, you know, if the commission could have an extra week.
407
01:49:59.000 --> 01:50:04.000
Over the next few days to review the applications and submit questions.
408
01:50:04.000 --> 01:50:29.000
We could do that beforehand. I mean, it's a lot. But it would be better
use sometimes. What are the questions? Why are they not answering the…
why are they not completing applications early? That's me, that's just me
being… No, I think also in the interest of time finding clarifying the
application.
409
01:50:29.000 --> 01:50:38.000
I would be a little bit harsher about it. I'm gonna say, if you didn't
know. Is there, um… Libby put her hands up. I'm sorry, go ahead. Sorry,
Lonnie.
410
01:50:38.000 --> 01:50:55.000
Um, I can do this quick. One of the things that was helpful to me, and I
kind of did it on the fly during the last meeting, was essentially a
summary where it was like the name of the org, what the ask was, what the
dates were, like a few sort of basic info bits, and I don't know if it's…
there's an easy way to sort of.
411
01:50:55.000 --> 01:51:07.000
create that summary from the applications as they're submitted, or
whether that's something to ask staff to do, or whatever. But it was very
useful to have kind of a one-pager where you're looking at them all
together.
412
01:51:07.000 --> 01:51:23.000
Yeah, yeah, I always do that so I can see what the dollar amount is
relative to how many hours of programming, and then I put in how many
artists are served? How many? Really quick before we decide we need to go
on or just.
413
01:51:23.000 --> 01:51:38.000
Oh, so this was a different question, and we can talk about it. Yeah, I
just want to know what… the end date in which we receive application.
Yeah, we could probably.
414
01:51:38.000 --> 01:51:46.000
Bring that back? Yeah, we could change it. I'm gonna be changing this
year, but we can change it. Get that end date.
415
01:51:46.000 --> 01:51:54.000
Send them out to you? We don't also happen in separate meetings outside
of PTAC.
416
01:51:54.000 --> 01:52:18.000
I just want to put that on here. Yep, I would love that. Yeah. There
could be a grants committee that manages grant outside of these meetings
that it's 3 times a year on a Wednesday, and it's a 4 h meeting, and
that's all that happens during that meeting is just grants. It doesn't
take way more time. It's an option. This one feels a little bit more
chaotic like people lost their ideas, which makes sense to me.
417
01:52:18.000 --> 01:52:34.000
But this is, like, there definitely are some. I'll spend some time
thinking about these, because I feel like there's like an underlying
thesis here about it. But it's as clear to me.
418
01:52:34.000 --> 01:52:52.000
The grant committee will take this information from, you know, from this
meeting and go back and come with like a proposal, I think, you know, and
that again, that might take time. We're not. We don't have to do this in
26 necessarily, but this is just the beginning. And then our next meeting
in May is supposed to be a workshop for.
419
01:52:52.000 --> 01:53:07.000
2027 priorities. And so that's what this last question was about just
really quick before we end. And so we won't necessarily do the 1, 2, 4,
all for it. Make sure I could go back up for a second, if you would. The
question or the idea right was that.
420
01:53:07.000 --> 01:53:28.000
Another goal of this was to talk about the Foundation for future success.
So like research and innovation. There's also there's places all over the
country doing this, the looking into how they're doing it. If that's like
a pro, you know, that's a good way to figure out. And also like there
could be these grants, and if there's more funding, there could be a
whole other kind of grant, or there could be a whole nother kind of
funding or support program that looks totally different.
421
01:53:28.000 --> 01:53:38.000
And this has not changed, there could still be regular sort of PSAP
grants, but there's other ways that artists could be supported through
PTAC. Something to think about.
422
01:53:38.000 --> 01:53:53.000
And then same, yeah, so this question is mostly about like planning if
like those ideas and thinking about those ideas and starting to plan for
them and figuring out if there's something that like PTAC would love to
see like Simon mentioned the idea of sort of like an artist guild.
423
01:53:53.000 --> 01:54:11.000
Then you get to join, and then you have, like, access to emergency
funding, which would be separate than this. But, like, you know, there's
things, like, there's ideas like that out in the world that exist that
are kind of cool. Or a question I've had before, which is, if we have a
local artist who has an opportunity to, like, exhibit in New Mexico, for
example.
424
01:54:11.000 --> 01:54:16.000
Is… are we interested in helping to support, fund that? Right.
425
01:54:16.000 --> 01:54:32.000
artistic journey for that resident artist, who would then be, you know,
broadcasting, like, the talent of this region in a different geographic
area. Like, that's not providing the public benefit necessarily. Like, I
just… there's some questions about… and that has an idea sort of, like,
having.
426
01:54:32.000 --> 01:54:56.000
like subsidizing space for exhibitions and performances and stuff like
that. Or I think what Rafita mentioned earlier, like, I love the idea of
of sort of a website where you know you could do a poetry exchange, not
just the poet laureate site, but one where, you know, the poets here can
just constantly be exchanging, and you have. There's a lot of awesome
cool ideas out there.
427
01:54:56.000 --> 01:55:26.000
Um, next meeting, which is great, next meeting, except I guess we added
the mural to that. The mural policy to that, but the next meeting is,
like, all about workshopping those and thinking about if there's
something that wants to go on the 2027 work plan. And so my, um… ask you
as commission, you know, Commission members is please send that to me
before the meeting. If you have an idea you want discussed as part of,
like, send me a little summary or send Artscom even better, like a little
summary and any research or anything you want looked at.
428
01:55:30.000 --> 01:55:52.000
So that we can compile that before the meeting and have that ready to go.
So, like, it can prompt it if you have different new ideas for ways to
support artists or right. So, like, yes, on all of them, then. Yeah. Show
me the money. Well, yeah, but like, yeah, so we have to prioritize,
again, and, like, maybe there's an exercise to prioritize, like, what do
people feel passionate about? Or maybe it's, like.
429
01:55:52.000 --> 01:56:08.000
No, let's wait on these, but we'll keep them in the back pocket, because
we know things… So we could have them staged for when the funding's
available. Yeah, right, you know what I mean? And just be ready. Or
there's things that people feel really passionate about, like, oh, we
love that idea, let's figure out how to make it happen, then we figure
out how to make it happen.
430
01:56:08.000 --> 01:56:24.000
Right? So, um, that's the homework for next month is to think about those
things. If there's something that you've been like dreaming of forever,
um, and just send a little blurb, a little a little bit of information,
anything you've collected.
431
01:56:24.000 --> 01:56:41.000
So that Lonnie and I can put it in a nice package for people to review
beforehand, and then, you know, not surprised. And that time was five
o'clock. Perfect. But wait, did you have to wait two more? I've been here
for three years. Every year we've been talking about going into school.
432
01:56:41.000 --> 01:56:43.000
Hmm.
433
01:56:43.000 --> 01:57:07.000
Yeah, every year we mention it. I don't think we've ever really create
workshops or just, you know, I don't I can't even combine all the stuff
we've talked about today. That's what we're doing right now. Yeah, the
city is.
434
01:57:07.000 --> 01:57:17.000
supporting a student. Literally right now, for all students, and every
single student, at least at Salish Coast, and I believe a blue heron is
represented across the street. Every single student. I don't know high
school, I don't think, but I believe every middle school student and
every elementary school student has work up in that. So that's like
pretty cool.
435
01:57:17.000 --> 01:57:37.000
get