Art in Public Places Board - Regular Meeting

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I love spending time with my partner as part of my routine. Para mí, mis plantas son muy importantes. El momento en el que me meto en la piscina, puedo dejar todo lo que siento ahí en el agua. Vamos al doctor juntos y me da apoyo emocional.

Veo que ella está creciendo.

Eso me da fe para mantenerme en cuidado sobre mi VIH. Todo eso me ayuda a cuidar mi salud mental y tomar mi medicamento. Busca y mantente en cuidado médico.

Y vive bien.

Bye. Thank you.

You have your HIV test results, so what's next? First of all, congrats for taking care of yourself. If you tested negative, now is time to start thinking about the HIV prevention options that work for you. For people at high risk of HIV, there is PrEP, pre-exposure prophylaxis, a once a day pill. PrEP can keep you from getting HIV if you are exposed to the virus. And don't forget condoms as a prevention option. They are the only way to protect against both HIV and other STDs. Don't forget, it's important to get tested again if you think you've been exposed to HIV since your last test. If you tested positive, talk to your healthcare provider about starting treatment right away. HIV treatment can help you live a long, healthy life and also prevent transmission to others. For more info, go to www.cdc.gov slash doing it.

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We are going to repair the holes that are in this street, which are mostly caused by the rainy season that we are going through. The baches are created because the water stagnates in an area and that weakens the asphalt and with the passage of the vehicles, the asphalt is damaged as such. The procedure to do it, we cut around the bache to make a bache as square as possible, to do it in a correct way and to look good. The time we take to do it depends on the size of the bache, on the depth of the bache. We are going to need, on many occasions, if the bache is very deep, we have to fill it with lime rock, share it. The residents have the way to report any problem they have by calling 311. Your help as a community is very important for us to be able to locate the guards, so we exhort you, support them, and so we can help you, because you are the essence of our work.

Safety is a top priority of the Florida Department of Transportation, whether you're driving, walking, or riding a bicycle. It's important to stay alert while on or near the roadway. Drivers failing to look right at the sidewalk is a major cause of bicycle crashes. Drivers often only look where they expect to see cars, not people walking and biking. Florida law requires drivers yield to all bicycle and pedestrian traffic on sidewalks next to a roadway. Next time you're behind the wheel and at a stop, remember, look right, save lives.

20 years is a long time, right? As I mentioned to you, we were always thinking about him almost every day. His room is still there. His clothing is still there. We didn't even touch. And hopefully he returns anytime soon and any day. And that's our hope. We try to do our best so that we both stay working and we get our money.

Sometimes I wake up in the middle of the night, a nightmare. Sometimes I just walk by, you know, do my own thing and suddenly think about him. What I did is that I prayed to the God in my mind, you know, and asked God to help us. Help Daniel, help myself, help Lisa, help my daughter. And that gave me strength to, you know, move on. If we stop moving for him, he doesn't know we are looking for him.

And we also rely on the media, like you guys are helping us. And it's very important for us, right? The media, they send out a positive message to the public and help us to get the message across. And then we let him know we're still looking for him. We always are looking for him. We love him. All we want is to reunite with him.

I'm Thomas, the owner of New York Roma Pizza, established in Coconogro 24 years ago. When I moved from New York, I was already a pizza master. I already knew the technology to make a good pizza and I have my employees for 17 years, some of them, and since that time in Coconogro, Me ha ido muy bien, he trabajado fuerte, pero hacía buena pizza. La pizza de nosotros se vende mucho por slice y también la vendemos por pizzas enteras. Lo más importante es la temperatura del cuarto donde produces la masa y siempre se usa la masa del día anterior. Hay que dejarla reposar. Todos los vegetales que yo uso son frescos. La gente les encanta los garlic rolls. A veces se terminan y hay que volverlos a hacer. Miami has a climate that New York doesn't have. I feel very successful and I recommend people to always move forward with their projects. Consistency is progress. It's not easy, but it's possible.

you Thank you. you you

Good afternoon or good evening. Can we get please the lobbyist note before the roll call?

Good evening, Raymond Breda, Office of the City Attorney. Any person who receives compensation, remuneration, or expenses for conducting lobbying activities is required to register as a lobbyist with the City Clerk prior to engaging in lobbying activities before City staff, boards, committees, or the City Commission. A copy of the applicable ordinance is available at the Office of the City Clerk, Miami City Hall, located at 3500 Pan American Drive, Miami, Florida, 33133. Thank you.

Thank you very much. May we have a roll call, please?

Yes. Board Member Christina Cuevo?

Here.

Board Member Nelson Delgado? Board Member Maria Napolis?

Here.

Board Member Gary Feinberg? Here. Board Member Juan Valadez? Board member, Jacqueline Roach. Board member, Odalis D. Ury. Chair, Francisco Giritas.

Here.

Vice Chair, Olga Granda.

We have Chrome. Can you read in Mr. Feinberg, or he already said? He said here. Perfect. Thank you.

Chair, we do have one request for an absent waiver. And it's Mr. Nelson, board member Delgado.

Another absence waiver from Mr. Delgado. I'll make a motion to accept, but again, Indra, we need to talk to Mr. Delgado and the other board members who aren't attending. But that needs to be definitive. We can't repeat this every single meeting. We're wasting too much time here.

We have spoken to the commissioner, and they're working on appointing a new member for District 1 chair.

Okay.

For the District 1 member chair.

Correct. Excuse me, I'm sorry, board members, we have a motion on the floor.

I'll make a motion to approve the absence waiver for Nelson Delgado, just as a formality, but again, I would appreciate if you would talk to Nelson Delgado or Alice DeJure, Jacqueline Roach. and decide. Ms. Roach was just appointed, and so she's missed the majority of the meetings.

Ms. Roach has requested an absent waiver before we headed out to City Hall. So Florence...

So she's also requesting an absence waiver for today?

When we were calling her, she confirmed that she's unable to make it.

So is there an absence waiver or none?

She did request an absence waiver.

Okay, so I'll make a motion to accept both absence waivers, but I want a definitive conversation with Nelson Delgado, Odalia DeJure, and Jacqueline Roche, because we can't wait for their replacements for them to either show up at the meetings or resign. Okay?

Okay.

Thank you.

Thank you.

I make a motion again, sorry, to accept the absence waivers for Ernesto Delgado and Odalis, sorry, Jacqueline Roche for today.

Who seconds?

I'll second it.

Ms. Cuervo seconds. All those in favor say aye.

Aye. Aye.

So the absence waivers are approved, right? Do we have any minutes to approve?

Yes, Chair. We have November 3rd, 2025. and December 8, 2025. Okay.

As a formality also, I'll make a motion to accept both minutes of November 3, 2025 and December 8, 2025.

Second.

Second by Ms. Napolis. All those in favor, say aye.

Aye.

Thank you.

Please, could we swear in the public? For all those who will be testifying, please raise your right hand. Do you solemnly affirm the testimony you will be given today is the truth, the whole truth, and nothing but the truth? Thank you. When you come up to the podium to speak, you will state your name and your address for the record. Thank you.

Thank you very much, Lawrence. You're welcome. We have a pretty full agenda today. I would suggest... I certainly suggest to reorder this, but items one, two, and three, I would request a deferral. That's the election of the chair, the vice chair, and the approval of the annual report. I was just informed by email about the term limits. for chair, and I'm definitely exceeding that. So we'll need to review this, and maybe we'll discuss at the next meeting. You have some comments on that?

Savan Steiner, Assistant Director. Yes, in regards to item three of your annual report that is due to the city manager no later than January 15th.

I haven't read it, so nobody send it to me, so... So you put it into the agenda packet?

Yes, and it's already, there's also a copy on there. I'm not ready, I haven't read it.

So we'll try to get it by January 15th, and if not, it'll be later.

So you would need to take action on it today in order to be able to sign it by January 15th? I can't take action on it today.

I haven't read it.

We haven't read it.

I'm sorry. I can't decide on an annual report. without having read the first word of the report.

So you're bound by city code to?

I've been here at this position for over seven years now, and so we've done this seven times already. This will be the seventh or eighth, I believe. So I think we can figure it out, even though it might be for the next meeting.

I don't know how I can reprove it if we haven't read it yet. Understood.

Thank you. So as I was saying, I'd like to defer items one, two, and three because I haven't read the annual report yet and we have to, or I have to review the term limits and regarding the position of chair and vice chair. Regarding also item.

I'm sorry, chair, you moved. We need to, we need someone to second.

I'm not moving yet. I'm just, just. asking that we defer those items, and also item 11, which is a resolution to modify the dates. I don't know if there are any modifications, but if they are, we can quickly do that one if you wanted to. Or defer it. And the rest of the items... Depending on however order obviously our public and what whatever order you decide is best You know for the other items that would be good Okay, we are staff is requesting to defer item number seven as well.

Okay. It was a a Petition from district five as this is a project in district five Good.

Is there any other item that we need to defer or?

No, not at this time.

Okay, so I If I may, I'll make a motion to defer AIP PB item number one, number two, number three, and number seven.

I'm sorry, Chair, but someone else besides yourself have to make a motion to move any items on the agenda.

That's okay.

So if anyone else on the board, Chair, thank you.

I'll move to defer one, two, three, and seven.

Please.

Is there... Yeah. One, two, three, and seven, correct? Yeah.

Yes, please.

Thank you. One, two, three, and seven.

Is there a second?

Second.

Second by Mr. Valadez. All those in favor of deferring, say aye.

Aye.

So that motion passes. Now the rest of the items, Ms. Indra, whatever order you decide.

Okay. I am proposing to change around the order of the items a little bit because we do have members of the public here present for these items, and they also came in in December when we had no quorum. Item number eight will be the first one. Item number eight is Bayfront, the Incorporator's Monument at Bayfront Park.

There's another item that's related, right?

Yes, that item has two resolutions.

Okay, so it's item number eight and nine.

Eight and nine.

All righty. So we're going to start with an item. And after that, sorry.

After that, we will hear item number 10, which is the Pelican Harbor item.

One second.

Do we have members of the public for any of the other items?

We have members of the public present for 8, 9, and 10. Eight and nine, which are the same location. All right.

Let's do those and then the other items in the regular order. All right. Item number eight, please.

Item number eight, file ID 18565. A resolution of the Art in Public Places born pursuant to Chapter 62, Article 16, titled Art in Public Places of the Code. of the City of Miami, Florida as amended, approving the expenditure of up to $300,000 from the Art in Public Places Fund to provide design services and engage artists for the creation of public art to be integrated into Bayfront Park, located at 401 Biscayne Boulevard, making findings and containing a severability clause, providing for an effective date.

Good evening. This item requests board approval to extend up to $300,000 in public art funding for a permanent artwork at Bayform Park. The site is highly visible civic gateway and aligns with the city's public art policies and master planning goals. The additional funding allocated by Parks and Recreation straightens the feasibility of delivering a durable, high quality artwork with long-term public value. Board action is required to move this project forward. $100,000 is allocated by the Bayfront Trust. The Parks and Recreation Department has allocated additional $200,000 to this project. This brings the total public art funding to $300,000. We are foreseeing these funds will be transferred to the public art fund. This allows the Art and Public Places Division to administer the project in accordance with the city code. Staff recommends approval to expenditures up to $300,000. This action authorizes funding only. Artist selection and final artwork approval will return to the board through the established back and board review process.

I have a question. So Bayfront Park is under the Bayfront Park Trust or Management Trust? It's kind of like its own separate thing, right? And we've always kept sort of a separation with the Bayfront Park Trust. No problem approving the art and doing all of these, acting, coordinating with the Trust, but how is it going to work moving forward with regard to artwork in Bayfront Park? Are we going to determine all the artwork that's going in Bayfront Park, or...?

With this item, we're only looking at the Founders Memorial. We're very glad that Parks and Recreations can partner and collaborate with Bayfront Trust on this one. The Public Art Division will be curating um, the project. And for now, um, this is the, the artwork that we're, um, asking to approve.

I was asking is more because of the, because of that separation that has historically existed with the trust, like they've done art projects that, you know, we're not really involved and they don't, they don't really, the trust that really doesn't have to come to the, to the, to the, to the board for most of it's, uh, most of the words, right. So in this case, we are, because we're coordinating, I guess, parks and rec funds with Bayfront Park Management Trust, and so the public art board is also involved, or...

This project has originated as initiative from a few respected organizations. Profiles in Black Miami were the ones who were moving it forward, along with the support of former commissioner and many advocates. So this project is really unique in that regards. And it's thanks to that organization that we're able to put the funds together and see the benefit.

Through the chair? Yes. You're correct. So the Bayfront Trust has authority over the Bayfront Park itself, so they may acquire artworks just with the approval of the trust, except in this case where we're making an exception and collaborating with a trust in which they've allocated $100,000 via a Bayfront Trust resolution for this specific project. But they do have the authority...

Right, like in the future, for example, if they're going to replace an artwork or do a temporary installation or do all these things, they really are not required legally to come to this board, right? That's correct. That is in the purview of the trust. Okay, and that continues like that. This is an exception. Okay, that's good.

We are going to maintain this artwork, though. Okay.

Okay.

Okay, got it, yeah, of course.

But to clarify, there's no funding that actually comes from our, they're entirely funding the entire thing? Yes. It's just coming to us to administer?

That's correct. So $100,000 was allocated by the trust, and $200,000 was allocated by the Parks Department. So all of the funds will be transferred into the AAPP funds so that the division can manage. And maintaining it.

Good, good. Okay. Any questions regarding the funding? No? We're going to select the artists. I believe there's a short list in the next item.

Correct.

If there are no further questions, Ms. Granda, do you want to make a motion?

Sure. I make a motion for... RESOLUTION 18565, IT'S A RESOLUTION OF THE ART AND PUBLIC PLACES BOARD PURSUANT TO CHAPTER 62, ARTICLE 16, TITLED ART AND PUBLIC PLACES OF THE CODE OF THE CITY OF MIAMI AS AMENDED, APPROVING THE EXPENDITURE OF UP TO $300,000 FROM THE ART AND PUBLIC PLACES FUND TO PROVIDE DESIGN SERVICES AND ENGAGE ARTISTS FOR THE CREATION OF PUBLIC ART TO BE INTEGRATED INTO BAYFRONT PARK located at 401 Biscayne Boulevard, making findings containing severability clause and providing for an effective date.

Second.

Sorry, before, sorry, Ms. Napoles. Before, can you just add with the comment that 100,000 is coming from the Bayfront Trust, right?

With $100,000 coming from the Bayfront Park Trust and $200,000 coming from City of Miami Parks and Recreation. Correct.

Perfect.

All right. Second.

Second by Ms. Napoles. Can we have a roll call vote, please?

Yes, Chair. Vice Chair Olga Granda? Yes. Board Member Maria Napoles?

Yes.

Board Member Christina Cravo?

Yes.

Board Member Gary Feinberg? Yes. Board Member Juan Valadez? Yes. Chair Francisco.

Yes.

Motion passes five to zero.

Thank you.

Item number nine, file ID 18567, a resolution of the Art in Public Places Board pursuant to Chapter 62, Article 16, titled Art in Public Places of the Code of the City of Miami, Florida, as amended, approving the selection of up to five shortlisted artists in accordance with Section 62-658 of the City Code. for the integration of public art at Bayfront Park, located at 401 Biscayne Boulevard, making findings and providing for an effective date.

This project is the Miami Incorporated's monument at Bayfront Park. This is a new commission initiated through a call to artists. The monument is intended to commemorate the 1896 incorporation of the city of Miami with a specific focus on the collaboration between black and white men who made incorporation possible.

Next slide, please.

An important historical fact underlying this project is that approximately 44% of the votes that enabled Miami's incorporation were cast by black citizens. For many years, advocates such as Profiles in Black Miami, former Commissioner Barbara Jordan, and Dr. Enid Pinckney have pushed for public recognition of this collaborative history. This monument directly responds to that longstanding advocacy. In the early stages of the project, the City Hall roundabout was considered as a potential location for the Founders' Monument. Bayfront Park was ultimately selected due to its high visibility, historical significance, and the presence of other commemorative monuments on site. Bayfront Park is one of Miami's most symbolically important civic spaces. The site selection was made in coordination with the former District 2 Commissioner, Profiles in Black Miami, and the Parks Department. Originally opened in 1925, Bayfront Park has long served as the city's front yard, offering essential waterfront gathering space for residents and visitors. Over time, it has functioned as a wartime memorial site, honoring local service members, and later evolved into a major civic and cultural venue, hosting public ceremonies, performances, festivals, and large-scale community events. Its layered history and prominent downtown location make it one of Miami's most symbolically significant public spaces. In their early 1980s, the park was re-envisioned through a master plan by artist and landscape architect Isamu Noguchi, which introduced a strong actual layout, a pedestrian prominent and integrated art elements that continue to shape the park's identity today.

Next slide please, thank you.

This is a proposed monument site view from the World War II monument. Locating the monument near the Dade County War Memorial reinforces the site's role as a place of reflection and shared civic memory. And next slide will show a site view towards Biscayne Bay. Thank you.

It's right next to the Noguchi Fountain as well, right?

It is. It is. Artists were asked to develop proposals that thoughtfully respond to both the physical conditions of the site and its broader cultural and civic significance. The project objectives prioritize inclusion, reflection, and intergenerational learning, positioning the monument as an accessible and meaningful public experience. Because the site functions as highly trafficked public park, designs must also be appropriate for continuous public use while honoring the black men who played a foundational role in the incorporation of the city of Miami.

Next slide, please.

Given the monument's proximity to Biscayne Bay, artists are required to carefully consider environmental conditions and long-term performance. Exposure to sun, salt, air, wind, and storm activity is a key factor in material selection. Proposed materials must be durable, safe for public interaction, and manageable from a long-term maintenance perspective, ensuring the artwork's longevity within a coastal environment. This image was offered to artists as a conceptual reference and point of inspiration, symbolizing unity, shared purpose and reflection, for proposals to remain rooted in the monument's core themes of partnership and historical significance. A complete list of all Incorporators, along with selected Incorporators' profiles, is available in both digital and printed formats upon request. Three artists have been selected as shortlisted artists during the last PAC meeting on December 16th. This is the first artist, Cesar Hinao. All works by, just to note, all works by shortlisted artists presented here are conceptual and intended to illustrate preliminary ideas, descriptions, and sketches. None of it is final. So this is example of Cesar's recent work, titled Aria Duo. In 2024, it was installed in Via Zone La Romaine. It pays tribute to the union of Emperor Hadrian and Empress Sabina through a structure composed 3,768 stainless steel tubes. It embodies the fusion of Roman heritage and contemporary form memory in motion. The reason, no, thank you, yeah. The reason Caesar provided extensive imagery and description of his previous work is because with two voices, one city, his proposal for this project, he proposes a monumental kinetic and parametric sculpture for Bayfront Park inspired by the city's founding moment in 1894. And the work would seek to honor historic act of civic unity through two sculptural forms. Distinct yet complimentary, symbolizing the foundational voices of the city, it is conceived as a space for reflection, recognition, and shared presence. Next shortlisted artist is George Sanchez Calderon. Sanchez Calderon's proposal calls for recreation of historic Florida vernacular architecture. The proposed house would be cast in bronze and have a rocking chair in the front porch for viewers and tourists to take photographs in. The artist's intention is that the contrast to the background will serve as a reminder of the tremendous growth that has occurred in Miami since it was first incorporated. On the west side, facing east, he proposed to cast the names of the individuals involved in the incorporation of the monument. This element of the sculpture will be more similar in design to the veterans memorial east of the Miami incorporation monument. And finally, the last shortlisted artist is Jorge Rodriguez Gerada. The artist's approach to this monument is grounded in remembrance, cooperation, and civic pride. Conceived as a lasting civic landmark, the proposed artwork intends to translate the legacy of the historic moment into a clear, dignified, and accessible sculptural form. The monument is intended to function both as a symbol of unity visible at a distance and as an intimate site of reflection, inviting close engagement through readable historical text and tactile materials. The artist spoke in detail about the material, so I'm also going to mention that as it seems important in his proposal. The sculptural composition rises from a solid base and culminates in two clasp hands, a direct and legible gesture representing partnership, shared responsibility, and collective identity. A reinforced cement structure would provide strength and durability, engineered to resist humidity, salt air, and temperature fluctuations, while cordoned steel cladding at the base introduces a warm, evolving surface that protects itself through a natural patina. Laser-cut steel panels would present names, dates, and historical references. The artist's pragmatic approach ensures the work's longevity while reinforcing its role as a permanent cultural and civic touchstone designed not only to endure physically for generations, but to remain relevant in meaning and public value over time. Since this artist's practice is highly versatile and with extensive experience working across a wide range of media, we're showing just a couple more of the artwork that he created or envisioned. His practice includes sculptural compositions, cast in bronze, carved stone works, and an extensive body of engraved pieces. Examples of his work include engraving design studies, such as on the previous slide. various murals that are inspired with engraved composition, and then the cast bronze sculpture, the hug, pictured right here that was recently installed. These are our three shortlisted artists selected by PAC members, and we ask for approval.

But the item says five shortlisted artists.

Up to five. Up to five, yes. Per code, the PAC may select up to five. We received about... We received eight proposals. We received, yes, eight interested applicants for this project, so the PAC felt that choosing three, the three stronger artists, would be a better fit for the project and a better way to handle the budget as well.

Probably also worth noting that these three shortlisted artists were selected in collaboration with representatives of black profiles in Miami. And it was a collaborative selection process.

Can I ask how long the call to artists was open? That it was such a small response? A month. A month? Yeah. And that's the standard? Yes. I just want to remind you to please always send it to us when there's a call to artists.

We shared it with multiple channels for this specific project. We were also surprised that we only received four applications.

And this was in December or when was it?

No, this was in, I believe it was October.

That was October.

Closed in October.

More about the artists. So you mentioned... Cesar Henao, Jorge Rodriguez. What was the other artist?

So we have Cesar Henao. We have George Sanchez Calderon and Jorge Rodriguez Gerada. I actually have their full proposals here with me if you'd like to take a look.

Are any of them local artists or are they all from outside?

Could you tell us a little bit about the artists?

Yeah.

And while Irina is looking for that, I wanted to add that at this stage, the board is approving the shortlisted artists, not the proposals. These are very preliminary. We will share with the artists the comments from the PAC and recommendations from the PAC and the community group, as we have quite a few comments and feedback from them.

When you mentioned, we're basically approving the list. We are approving the list. These are the three that are going to present proposals.

Yeah, that can work in more detail on proposing something that is very specific for the site and maybe even more catered to the goals of the project.

Oh, that for sure. Yeah, for sure. Okay.

So, CESAR.

César, okay.

César Hinault is a French Columbian sculptor whose practice explores the intersection of art, science, and collective memory. He says that his work is rooted in search for forms that embody perceptions, sensorial experience, and lived history. He is interested in monumental and kinetic installations to reveal the invisible tensions between past and present, individual and collective narratives. He was trained in Paris, graduated with highest honors under the chairmanship of kinetic sculptor Paul Burry, and have developed over two decades a sculptural and visual language based on light, movement, and material resonance. His studio is located in France and is dedicated to creating public artworks that engage with historical and social environments. That's our first artist. Our second artist, George Sanchez Calderon, he is, as far as I know, a Miami-based artist. His work is deeply rooted in relational aesthetics, emphasizing the interaction between architecture and the public. He often critiques the utopian ideals of modern architecture by highlighting the disparities between architectural intentions and their social realities. Through his installations, he invites audiences to reconsider the built environment and its impact on community and identity. He is a prominent figure in Miami art scene. He's played a pivotal role in shaping the city's cultural landscape. His works continue to challenge perceptions of space and identity, making significant contributions to contemporary art discourse. He was involved with branding the Wynwood Art District in 2003, launching Midtown Miami and being the first artist to exhibit in the city of Ball Harbor here in Florida. And our third artist, Jorge Rodriguez-Guerrera. is very prolific, as I mentioned. He has a very extensive resume. He has created artworks internationally. His murals are featured in Madrid. His monumental land mural, Wish, was exhibited at Belfast International Festival in Queens. As I mentioned, he worked with carved stone. He cast in bronze. He does, it really is worth seeing the land work where his murals are spread across 250,000 square feet in various locations. And you are welcome to take a look at the list of their works, each of them.

Go ahead.

Since the call to artists was really open not that very long, is it possible for us to accept these three, because that's what we have right now, but try to or ask the PAC or instruct the PAC to continue to search for those final two? And maybe search for a local artist. I don't know. Try to cast a wider net. I don't know. Maybe to fill out the five. I don't know if you agree or not, or if you feel that we have enough with these three. I just feel that this is a historic project, and it's very important, and maybe the search for the right artist was too narrow or too short.

The topic was discussed at the PAC meeting. The PAC ended up recommending these three because they felt that these three artists could incorporate all the feedback that they have. And they were also selected in accordance with the profiles in Black Miami group and the community members that attended the PAC meeting.

Are there any Black Miamians in that group of three?

In the three artists? Yes. No.

Okay.

I was going to ask, actually, any of these three artists or anyone is local?

I'm sorry, could you repeat that?

Any of the three artists chosen or chosen, are any of them local artists?

One of them is Miami-based, one of them.

And I believe, actually I believe Jorge. Jorge Rodriguez-Gerardo? Yes. As well?

So two of them are Miami based.

All right.

Do our other guests have anything to comment on this?

Good evening. My name is Keith Moore. I'm from Profiles in Black Miami. My address is 27820 Southwest 128th Place in Homestead. I'm listening to everything and everybody. But one thing we wanted to really stipulate in this monument that is essential is that each name has its race by it. Because on the charter, that is how it is listed. Each man's name has his race by it. That's a stipulation that we think is essential. If people came to see it and to recognize what it was, to see those names and their race by it. If I could say my personal preference, but out of the three artists was the one with the house and the rocking chair because it's close. It simulates the time that these papers were signed by these men in 1896.

Anne Marie Henry, Profiles in Black Miami, 720 NE 162 Street, Miami, Florida. like the second artist as well, Mr. George Sanchez Calderon. But I feel, I agree with you, that maybe we should cast a wider net to see if we can get some more local artists.

I mean, unless there's a problem with asking the PAC to just search for another two, since the original item already had five shortlisted, maybe we can search for another... If we find them, great. If we can't find them, then we already have three good ones, right? Three good selections.

If I could say one more thing.

Yes, please.

The one with the hands, it's a beautiful concept that these black men and white men got together to help create a city. In actuality, there wasn't a togetherness like that at that time. The reason that the black men signed the charter Because in 1896, the state of Florida mandated that you had 300 registered voters in the area of Fort Dallas, as Miami was at the time, all incorporated into the city. There were more than 300 white people here, but some were women, and in 1896, women didn't have the right to vote. This is why these men were incorporated, so it wasn't a hey, brother, join us moment. That says that, but in honesty, it wasn't.

And it was more likely that they were kind of under duress because most of the black men that signed the corporation papers were actually workers of Henry Flagler's organization. So they had to.

And contrary to most belief that these 161 black men that signed the charter were Bahamians, as has been told, our research has shown us there were only two Bahamians. Most of these men were from the southern states of the United States. About four of them were born in slavery. So we even have former enslaved people of the United States that signed a charter to incorporate the city of Miami, which to me is history within itself.

That's amazing.

That's very helpful. Thank you. That's really, really helpful. Thank you.

That's amazing. Thank you for your opinion. Yeah, this is an important project, and it's going in a very relevant and important place of the city. And if it doesn't harm anybody, maybe we can open the call to artists to try to find another couple. And if not, we have a good selection already. The artists should definitely, I'm sure they're definitely listening to you and hearing all of these stories and the history, right? It's amazing.

The matter of a sculpture, In South Florida, it's kind of very difficult because it involves funding and have to be very creative. We don't have, in general, and we have been through this for many years, a lot of artists that are really good sculptors. The financing has been always very tough to find it for them. So I feel that this is a good example already of what represents the sculpture artist in Miami. But if you as a chairman feel that we should have another artist call, I don't think that we're gonna get a lot of response.

I'm optimistic, though, that a few might, that we'll get other proposals. All right.

I also will, I'll always defer to you, Ms. Napolis, regarding art, for sure. I'm just, I don't want to defer this, so I think that we should definitely approve these three, and they should start, you know, with whatever process, because the project needs to move forward. But if we can keep it open, and maybe the PAC, can find us another couple of local artists or people also that can, I don't know.

So basically handpick, PAC members to handpick and invite two more artists to submit proposals.

You know what, that should always be, and may I, if I can make this general comment, that should always be the, I mean, if the PAC can recruit a fabulous artist or a board member to this board, or another PAC member, a fellow PAC member, that's what we want, you know? That's exactly what we want. If it comes through a call to artists, and it comes organically, then fine, that's obviously a great way as well. But if, certainly, if the PAC has, you know, artists that they feel are relevant, that they feel could, you know, could be, they should invite them to these call to artists and say, hey, you should participate. Obviously, no preference or anything like but yeah, they should definitely be recruiting and trying to find these great artists.

Would you agree? Yeah, and to that point, a name just came to me, a gentleman named Cornelius Tullock. So last name is T-U. You're familiar with him, Inge? Yes. Yeah. I think he'd be terrific for this project, so perhaps he's available. And Laura Novoa, who's on the... Pack would know him quite well from her years at bake house where he has a large studio there He was just showing me some recent work, and I think he'd be terrific Hopefully hopefully he's interested in available

So Indra, or I don't know, what's your name, please?

Irina. Irina.

What would the process be if we did want to approve these three, but if we wanted to reopen somehow the call to artists? What are the options?

The board would move to approve the three selected artists and add a condition to re-issue the open call for another cycle, which would be another 30 days.

And we'd review it in the next meeting?

We would review it in March, because the PAC would meet in...

Yes, yes, understood.

Too soon to...

Okay. And could those three artists get started and present their proposals?

They could, but it's almost like if we're giving, you know, if we need additional time for the other artists, we're still, you know, they need to be evaluated all together, so...

Would it slow down the entire project to do that? Likely. Yes. Do we have any time constraints or...

This is an older project, but if it's the board's wish to move with reopening the open call to get a better selection of artists.

We approved the budget item, so there's certain parts of it that already can get started, right? I don't know. I'll defer again. I'll defer always when talking about art to my fellow board members.

I think we should definitely reopen. Yeah? Yeah, I'm glad you proposed that.

Okay. And you wouldn't have an issue with that?

I would like to have a vote on this, but if he feels he knows what he's talking about.

No, no, I know, I know. He knows, and you know as well, and so does Ms. Grande. You're all experts.

If he feels that is.

there are opportunities to get more artists. Just listening to the gentleman, this is just such an important, seems as such an important project and historic significance that, I don't know, one month of a call seems a little bit short. Honestly, if you don't mind, I think that we should keep the call to artists open for an additional month. and move forward with all the budgeting and all the administrative and all of the other issues so that we don't lose too much time on this.

Okay.

Okay?

All right. Is that okay?

I'm okay with that. I just want to please iterate that to please send us, you know, the board an email with the link to the call to artists specifically the moment that it goes out. Okay. Not a week before it's over.

Yeah, that's a good, like, always, just every color it is, as soon as it goes out, one copy goes to the members of the board. That's a good advice.

And Indra, another gentleman, Reginald O'Neill from Overtown, Miami. Is this something where... If I share their emails with you or their cell phones, like you can directly? Yes, we can. It will be helpful. Okay, I'll send myself a note to do that, thank you. That's very useful.

So, I mean, I understand that we may not be gaining too much time, but we can certainly approve these three names today. Okay, so if that's okay, and if you can make a motion, we all agree we can approve these three names with the condition that we open it up for an additional month for two more names.

Okay, so AIPP Resolution 18567, I make a motion for a resolution of Art in Public Places Board pursuant to Chapter 62, Article 16, titled Art in Public Places of the Code of the City of Miami, Florida, as amended, approving the selection of the three shortlisted artists in accordance with Section 62658 of the City Code for the Integration of Public Art at Bayfront Park, located at 401 Biscayne Boulevard, making findings and providing for an effective date, and additionally opening a 30-day call to artists to seek out two additional shortlisted artists and come back before the board And that call to artists be shared with all board members of this board at issuance.

That's wonderful. Second? I'll second. Second by Mr. Valadez. May we have a roll call vote, please?

Vice Chair Olga Granda? Yes. Board Member Juan Valadez?

Yes.

Board Member Christina Cuevo? Yes. Board Member Maria Napolis? Yes. Board Member Gary Feinberg? Chair Francisco-Jarretes.

Yes.

Motion passes five to zero. Thank you.

Thank you.

Next item would be item number 10 on our agenda, file ID 18568, a resolution of the Art in Public Places Board pursuant to chapter 62, Article 16 entitled Art in Public Places of the Code of the City of Miami, Florida, as amended, recommending approval or denial to the planning director for an art installation by artist Ivan Roque as part of a public art condition associated with a warrant for a development located at 399 Northeast 82nd Terrace, Miami, Florida, containing a severability clause and provided for an effective date.

Good evening, commissioners. As you may remember, we reviewed this in our last meeting. But I'm going to go through it. I wasn't able to present, so I'll present around this time. And we have our slides. So this is a mural project for the Pelican Harbor Seabird Station. On November 14, 2022, the applicant submitted a request to the planning department for a community facility warrant to allow for a new development of this seabird station. The planning director, on December 21, 2023, approved that warrant with the condition that the project would have a mural on the exterior of this new development. On November 12th of last year, the applicant submitted an application to the Public Art Division for the installation of an exterior mural artwork on the project site for review and approval by the Art and Public Places Board. The applicant is requesting to install this permanent exterior mural on the New Pelican Harbor Seabird Station Community Facility, which is a world-class wildlife rescue, rehab, release, and education center. The proposed artwork, which you can see on the slide, is entitled Pelican Harbor Mural Project, and it measures approximately 35 feet tall by 93 feet wide, and will be located on the east elevation of the new facility. Due to the geographic location of the site, the artwork will be visible from public right-of-way on Northeast 82nd Street and the adjacent railroad tracks. The artist is Ivan Roque, and he was selected by the Pelican Harbor Seabird Station Board and the executive director for this project through an open call. The proposed artwork, which would be created by Cuban-American artist Ivan Roque, aims to capture the spirit and compassion that defines the Pelican Harbor Seabird Station mission. As stated in his application as a born and raised Floridian, an admirer of the state's diverse ecosystems, the artist is deeply inspired by the work being done at Pelican Harbor Seabird Station. The station's mission resonates with the artist, highlighting that he seeks to bridge nature, community, and storytelling. The artist wants the artwork to not only showcase the beauty of the animals the station treats, from pelicans and ibis, to blue jays, opossums, and squirrels, but also spark curiosity and engagement with the new facility. The goal is for every viewer to feel compelled to learn more about Pelican Harbor through the artwork and ultimately understand the importance of the station to the local ecosystem and to feel a deeper connection to the surrounding natural environment. What you see there, so if you could go one slide back, sorry. Those are examples of the artist's artwork at different locations. So in Venice, Florida, in North Miami, the middle one, and then on the right in Texas. This is a rendering of the proposed mural on the new facility. It will be made, I believe, using aerosol and latex. The mural would feature bright, colorful imagery that reflects Pelican Harbor receiver station mission. It would feature some of the animals the station helps, including pelicans, blue jays, and opossums. and a name, again, to spark curiosity in the new facility and encourage people to learn more about the station's work. The artist, I hope I'm getting this right, hopes the mural will help viewers appreciate the importance of Pelican Harbor and feel more connected to the local natural environment. from the application gathered that the mural should take approximately two weeks to complete and would have it done by around mid-January, with starting aiming towards late December, early January. That was an estimated date when they originally applied on November 12th for our previous meeting. And on the next slide, that's just a little bit bigger image of the rendering. And pursuant to the section on the code that applies to art in public places, the Planning Department Public Art Division recommends approval of the artwork. And if you have any questions for me, I'm happy to.

This is the pass of the yellow train.

The Florida East Coast Railway has a track right on the east side of that.

But not the yellow train.

The bright line? I believe the passenger trains do cross that track.

A lot of working people, people that love art and really people that work in between the tri-countries. They go around there.

Yeah, if you, I can see maybe if you can go, yeah, if you go up one. I believe that is passenger rail, and you would be able to see it sort of very level, so you would get actually very good views. And then you have northeast 82nd Ave, which you're driving, so that's sort of the main arterial road, so you'll see it from there too, but it would be very nice, a nice addition to the views through the train for sure, I think.

If this is Mrs. Keene District, right?

District 5, yes. Yes. It's in the Oakland Grove neighborhood.

Oakland Grove? That's kind of like a little river.

Yeah, what's the river there?

That little piece there.

OK.

This looks good. Yeah, it's nice. It's going to have a lot of visibility. Are you from the project? Oh, yes.

Good evening, Melissa Tapanes. I'm here with Chloe Schell and the artist, Ivan Roque. He is a local artist. We did do a call to artists in collaboration with Chairwoman King's office. We had 40 responses within a month, and as you can tell, it was very successful, 40, 4-0.

How did you get 40 responses? What did you do right that we're doing wrong? What can we do better?

What was important to Pelican Harbor was to make sure we wanted a local artist. We wanted the vibrancy of the local ecosystem to be shown. And we worked hand in hand with Chairwoman King's office. So she was able to blast our call to our artists throughout the community. And Mr. Roque has done work in District 5 as well. So it all worked out. But we did receive much response. So I think it's working with email blasts, social media.

It was very active. You were active online.

It's two dimensions versus three dimensions, too, which opens it up a little bit.

To answer to Mr. Sherman is that that particular commissioner office works very diligently. That makes sometimes a big difference when a commissioner office is really involved with the community. And I would say it's a collaboration.

Pelican Harbor is community, District 5 is community, so working together, that's really what...

It's very proactive with the community, and that makes a difference.

That as well as the community organization. Pelican Harbor Seabird Station provides a service that's really extraordinary. It's enough for a lawyer like myself to be honored to represent them pro bono, right? And assist them with this development because their work is so important to us all. And so I think everyone was mentioning that this is The FEC right-of-way, that is the Brightline. It is tri-rail. It's very exciting to have. If I could connect, which I'm not able to do, but I can show this around. You can see the building as it is today and what it'll look like with the elevation. So it's really spectacular to see the impact of art and how it could really change just people driving on their commute.

Wow, great. Thank you. What was your budget for this?

22,000.

Okay, great.

Yes, I know the area very well, yes. Before, yes.

That's okay.

You mentioned that because it's two dimension and not three dimension sculpture, then it's easier to get a larger response.

Yes.

But I'm still thinking strange to eight. I mean, that's really unusual. That's strange. Yeah. But anyway, it's going to be rectified.

No, no, I'm just, you know.

Please. Please, yeah.

So yes, we did Chloe Chels. I'm an executive director. And we did all the channels Melissa described. But we also were lucky enough, we got an article about it in the Herald and talked about this project and everything. And I think that really pushed things.

that Bayfront Park is so visible and you know such an important site too so maybe it's worth yeah I think that's a great point some PR for this Bayfront Park project as well at the same time it's not the same to create a mural than to create a sculpture we're talking two different ways of producing art so evolve art much more work.

It's two different mediums. Yeah.

Thank you.

Ben, thanks for the work you do. I've brought you all a bunch of birds over the years, like kestrels and screech owls and warblers and all that stuff. I'm always bringing you injured, because people bring it to, I'm a bird watcher, so people bring me, they show up at my door holding a falcon or something. I take it to you all. So thanks. Thanks for everything.

And they've got great programs, including one that if you have a nice garden in your home, they'll bring a box and an owl so that you can... I was able to do that, and it was really made 2025. It was so cool.

Wait, say that again? You bring an owl to somebody's house?

No, a nesting box.

A box for them to nest in. We have an owl program. Sometimes if we have... Babies that are ready to be re-released, you can sponsor an owl box, and we'll come and bring one to your house and install it and put an owl inside. We don't guarantee that it will stay there, and sometimes they do become bee hives. But the intention is that, yeah, it's the place for the owl. It's sort of a soft release, and they go back into the wild.

What a great mission, yeah, for sure.

We were founded in 1980, so 45 years. And this project is nearly complete. We've got furniture coming in a week. We're just dealing with some utilities conveyance delays, but it's all up and running soon. Yeah, so our current building is 950 square feet. The county built it for us in 1992. This is almost 8,000, so it's really a huge project. We'll have an entire room the size of our current facility just devoted to education on the second level, looking out over the little river. We do have a phase two of the project, which is building out all the pens in the pool, so we won't be fully operational for, I hope, within a year. But the building itself is nearly finished, so it's really exciting. We'll probably have a soft opening maybe in April.

That's gonna be awesome. Yeah, congrats. Thank you.

And it's right near the loft as well, right?

It is. So there's a huge, there's South Florida Water Management actually owns a waterfront there, and it's a large, it's an area for a lot of manatees to congregate, especially when the weather cools off. Are you doing anything with that land around it? We have a relationship with them where we'll be able to, people will be able to walk on the land, but we have to let it be theirs just in case there's some sort of emergency and they can get trucks there, but. The waterfront itself will not be fenced, so it's open to the public. And the organization itself, we're open to the public every day of the year, even now, so you can come anytime, basically.

It's a great mission, and the art really brings it together. Can you explain a little bit about your selection and your process?

How's it going, everybody? My name is Ivan Roque, you know, born and raised here in Miami. So, you know, all these animals have pretty much been a part of my life as well growing up. You know, I remember growing up, we would always go out to the Everglades or we'd go out to the islands, you know, and so, you know, that's a beautiful thing, especially in the Old Miami, as I like to say, you know, I think there was much more greenery around than the tall buildings that we've gotten so used to. So, you know, when I applied to the project, you know, Chloe invited any of the artists that wanted to go check out the facility. And it's crazy because, you know, I remember we would go through our boats out there all the time in 79th Street. I didn't know that Pelican Harbor was right across the street. And when they showed me the facilities and the missions and everything, you know, I learned so much. And it was such a, I was so inspired that, you know, I basically wanted to incorporate every single element that what they stood for. You know, so I believe this right here, well, my work in general, like it, Like the vines mainly, they kind of represent... Sorry. Sorry. I'm having a newborn very soon, so it's like my mind's all over the place. But yeah, so basically, it represents a connection between us all, the energy, and that's just kind of what I wanted to capture within my work and the movement. And that's why you see all the animals that they treat. Animals that are local to our environment, also with the native flowers as well, and the mangroves. So I wanted to create something that's just... very engaging and like everybody said, as we're passing by, in the street or to the trainer and everything. It's something that you want to almost freeze time and really take a moment and enjoy it. And especially, a lot of people will go to the manatee cove that's right in front of it. It's a very serene location. From time to time, I'll spend my time there looking at the manatees and them playing. And so I think it's just a great way to incorporate it to the area, this mural in particular.

So yeah, that's basically what I got going.

Oh, yeah. Yeah, it can be. It really can.

Yeah, it's a good idea.

Copyright that stuff, man. Yes, I have a...

I know your work.

Thank you so much. I'm so happy to hear that. Yes, yes. I've been very fortunate to be able to create, be a Miami muralist, you know, and I try to, whenever I go across the nation or across the world, I try to bring our culture to theirs as well. So, you know, it's always a beautiful thing.

Thank you.

You're welcome.

Thank you very much. Thank you. Thank you very much. Beautiful.

Okay, are we good? So I'd like to make a motion to pass AIPPB 18568, a resolution of the Art and Public Places Board pursuant to Chapter 62, Article 16, entitled Art and Public Places of the Code of the City of Miami, Florida, as amended, recommending approval of the planning... to the planning director for an art installation by artist Ivan Roque as part of a public art condition associated with a warrant for development located at 399 Northeast 82nd Terrace, Miami, Florida, containing a severability clause and providing for an effective date.

Second.

Second by Ms. Napoles. May we have a roll call vote, please?

Yes. Vice Chair Olga Granda? Yes. Board Member Maria Napoles?

Yes.

Board Member Christina Cravo?

Yes.

Board member Gary Feinberg. Yes. Board member Juan Valadez. Chair Francisco Giritas.

Yes.

Motion passes five to zero.

Thank you. Looking forward to that. And also looking forward to the other project. I just may, I said it wrong. It's not that we're doing things wrong. But there's a lot that we can learn from the process from, you know, a successful process like from Pelican Harbor. If we can be more active, proactive in reaching out to artists. I know we have a communications department. If our call to artists, why isn't the communication department maybe blasting out a notice, trying to get this on at least social media, but certainly, you know, if we can try to get it on other types of media, maybe, you know, an article here or there could be helpful.

Yes, as part of my updates to the board today, I was going to share changes that we've made now that we have staff and help to share these open calls and do artist outreach. We now have established successfully an artist database. It's being fed through our AIPP website, so artists can opt in into our program and receive notifications when we release those open calls. We currently have 200 artists. We've collected 200 artists in our database. We also have device communications plan, internal and external, so we are working with the Office of Communications and other municipalities so they can help us share those open calls as well.

Is Ivan on your list?

Yes. All the artists that have applied to us in the past are on our list.

So do you think that we can get, specifically for this project in Bayfront Park, do you think that we can get something from the communications department, some sort of communication, you know, rolling out so that people can know that there's a call to artists? It's important. I know that this is a sculpture and it's more difficult, but it also has a pretty big budget attached to it. So there, there should be resources enough for, for, you know, artists to, to, and it's so prominent. It's next to that fountain. It's amazing.

I honestly think one of the things that couldn't happen with this artist called It was so close to Basel. Everybody gets so involved. That also happened, yes, yes. So really out of mind when Basel is coming that I don't think a lot of artists were paying attention at all.

That's true as well, Ms. Napolis, that Basel may have... Do you have the various collectives like Oolite, Bakehouse, Fountainhead? You have all of those?

Yes, we've compiled the list of everything now.

Oolite is even nearby.

They're opening nearby as well. Anyway, any lessons that we can learn from the good process, we'll take. Thank you very much.

Thank you.

Why, budget-wise, what would it be? A million?

Probably. Yeah.

Well, if we don't search for it, if you don't ask, we don't know.

Exactly. All right. So can we then see the next items, please?

So the next item would be item number four, a resolution of the Art in Public Places Board pursuant to the are in public places master plan and program guidelines approving the re-election of Catherine Cathers, Adler Garrier, and Laura Novoa to serve as voting members of the AIPP Board Professional Advisory Committee for an additional two-year terms containing a severability clause and providing for an effective date. Some background, the Professional Advisory Committee, the PAC, supports artist review and selection under the Art in Public Places Master Plan and Program Guidelines. Each PAC is composed of four voting members. Three members are permanent voting members appointed by this board for two-year terms, and one member is project-specific appointed by this district commissioner. Our current members are Catherine Cathers, Adler Guerrier, and Laura Novoa. PAC members are required to have professional background in the arts or related field. Here is a snippet of that section of the master plan. This PAC has been very successful at performing their duties as screening artist submissions, providing clear and professional feedback, and making consistent recommendations to the board, this resolution would approve the reelection to serve for an additional two-year term for these three permanent members of the PAC.

Injury, you've been happy with all three of them, right? Yeah.

Yes, I think it's been very helpful to the program. All three are very good at showing up for PAC meetings. Now that we've standardized the PAC process, it's being run similar to the board, so the agendas are being published. We have a section for public comment, so...

The PAC meetings are improving over a month, so you could you could copy copy the board on all of that on all of the communications Okay, you know I don't think there's sunshine on that Excuse me including the committee Yeah, the PAC. Just to include us on all those PAC communications.

I'd have to review the master plan to see exactly how it speaks to it, and the sunshine laws as well.

I just want to be informed, so if possible, and if it's a violation of sunshine, obviously not.

I'll look into it, Chair. Thank you. Thank you, yeah, for the next one.

I've asked for this several times now for the members of the PAC They don't have to come at the same time. And we're already re-electing them, which I definitely agree with. But when are they invited to come, and when are they going to come to the board?

So it was discussed at an earlier board meeting that the PAC would have a joint meeting. So that joint meeting would have to be advertised. And one of the conditions was that it would be a lighter agenda for that joint meeting. As you can see, today's agenda was pretty long. But we can certainly arrange for that for February or March, most likely March, because of the advertising.

And why the complication with the advertising? They can't come and we can't ask them some questions here?

So both meetings have to be advertised and scheduled for the same.

But why? This isn't a PAC meeting. It's a board meeting. We're inviting them.

But it would be considered a joint meeting.

I don't understand why. I think maybe somebody can explain that to me. It doesn't have to be now, but... Yeah, to attend so we can get to meet them and we can talk about the process, what's working, what's not working. Yeah, in a public capacity, but to talk here in public. I don't know. That's exactly my question. I don't know if that formality... We are... Because they're not going to be determining any issues related to their role as PAC. They're not going to be selecting anything. They're not going to be performing their role. What they're going to be doing here is we're going to meet them for the first time and discuss with the board on what's working, what's not working, what can improve, how we can make a better call to artists or... There's a number of issues.

So I've been advised by RCM that it can actually be done via discussion item.

Perfect, yeah, yeah, yeah. I don't think we're going to resolve anything. That's good, yeah. Okay. I think one of the things that we want, we've talked about today, is that we need to be a little bit more proactive. And that's with Call to Artists. That's with, you know, getting members of the pack here so we can have a, you know, a back and forth and we can, you know, advance on some of these items. It's about getting, for example, Freedom Park. You know, we've asked, I don't know how many times for updates and information and Freedom Park people here.

This has, well, the request has been shared with the applicants as well.

Well, yeah, but I've requested it for the past six months or more. And so... At what point is the applicant just not paying attention to what the city board wants? This is a board of the city of Miami. We have a mission. We have a function here. And as the chair of the board, I'm asking you to invite Freedom Park to attend one of our meetings because we have to ask them questions.

I have.

Yeah, but it hasn't happened in six or seven months. So what are we waiting for? Who do we have to talk to to make it happen? They're a city project. They need our approval. For some reason, this thing is being built and they haven't come to us for our approval yet. So their permits are already going out and they haven't complied with the public art requirement. So I'm asking as the chair of the board, I'd like them to come here and explain to this board why there's an ordinance and there's a law that says that there's a public art requirement and there's a process before permits, etc., And none of that is being followed. So we don't have an update from you, from staff. None at all. Not one single update.

I've provided updates to the board at past meetings. I've also provided updates to the board.

I'm sorry, Indra. Do any of my fellow board members, do any of you have any information about Freedom Park? We don't. All that I hear from staff is that there are no updates.

We've provided updates as discussion items in the past with the permit numbers, the stages of each permit, and after that, the request was to extend an invitation.

I know I missed October, but November, December, and here, this has not been brought up and it has not been in the agenda the past two meetings.

there was no meeting in december but in the in the past and it was deferred but it was not on the agenda if i'm not bringing it up or if mr feinberg isn't bringing it up that he has in the past staff is not bringing it up you're not mentioning it you're not keeping us updated i'm asking you for example right now they already have permits because i see the trucks going in and they're building like they've leveled the place they're building a whole stadium They have everything. So explain to me how that happened and staff still doesn't have a permit.

So we have been in contact with the applicant and working through a formal AIPP submission with them over the past couple of months. We have not yet received a formal submission. We do anticipate We do anticipate at this time receiving a partial payment for AIPP and working through what will be a, will hopefully be a site master plan that then will come before this board for approval and that will be the implementation of the public art and it will not, our hope is that it will not just encompass the stadium and the retail but also look at the city park and the outside of the administration building. And that is so that we can ensure that there is cohesive public art throughout the entire project. Additionally, we are working on a release of a call to artists for the administration building. So these things are moving forward. Most likely you did not receive an update in November and December because we have been in direct communication with the applicant and have been prepared actually in hopes of bringing a PAC item forward in those months and an AIP action item for you guys in the months, in those months, and that has not kind of come to fruition. So every time we're ready, every time you ask, we're like, okay, great, we're gonna have an action item for them and then that kind of slips through. So we understand your concerns.

Why is this project... Sorry to interrupt. Why is this project moving forward and the AIPP ordinance is not being followed?

So the... How are the permits issued without the public art requirement being resolved? So they have to meet the AIPP requirement by the time the master permit is issued, and that has not been done.

So they...

It's a phased permit, and so the master permit has not been released yet.

I'd like to ask the city attorney, please, to provide an explanation for the process and how it's being followed for the Freedom Park, specifically for the Freedom Park, regarding permits and timing and the public art requirement and the application of the public art ordinance for Freedom Park.

We'll look into it, Chair. Thank you. Thank you.

Can you just, you referenced a master plan that would include the city park, the city administration building, and so who is in charge of that? Is it the city? Is it the Freedom Park, the developer? Is it together?

Yes, it would be in conjunction together. There would be a steering committee in place to guide that project.

A steering committee that is composed of both city people and park people.

Yes, like a real steering committee. It would have representatives of the leasee, the commissioner's office, city, local artists, city staff, of course, and the public art board.

So where is that in our ordinance? Where is that process in our ordinance? So we're doing something very special for this project, are we not?

Yes. I think that it is a special project in general because it is a public-private partnership which we've only ever done one before.

But legally, where in the law does it say that we can follow this amended process for this project? I'm asking...

I'm not familiar with the project in its entirety as much as the staff is, but it's something we can look into.

If we have some sort of new committee that's formed between the lessee and the city and they're making all these decisions and we're not being advised. This is obviously something that's being done outside of the public art ordinance.

Nobody has been appointed to any committee or anything.

You're just suggesting that you're going to create a new steering committee. My question is, where does that come from legally? Why are we doing that for this project? Is there some legal reason that we're making an exception? Or does all the projects that have lessees with the city, do all of them have a steering committee where the lessee is participating in the city? I mean, who's

I believe in this case, the steering committee is for a public art master plan on the site. That public art master plan, as proposed by the applicants, would be reviewed and approved by this board. So the board will still review the master plan. It's a master plan identifying areas of opportunity for public art because it's a large site to make all the art possible. cohesive and responsive. It'll also have guidelines to engage local artists as well. But that would be approved.

Do we have a process already in place where we have a professional advisory steering whatever committee that is making the artistic decisions for the city of Miami? Don't we already have that in place? So why are we creating a new steering committee for the lessee? There should be the PAC, This same pact that we're renewing today should be reviewing this with one member from the commissioner's office, right? Because that's how we organize all of these projects.

So it's my understanding the past precedent, my understanding is the past precedent for a public-private partnership like this is that the leasee has been allowed to pick their art and the way that they've done their call for artists and then submit it to the PAC for approval and then AIPP for approval. So using that format, that is what we're going by.

I don't recall any of those.

My understanding is there's only one and it's from like 2019.

Well, let's bring it out and let's see because what I'm seeing is that we're following an entirely ad hoc process for Freedom Park. We're not being informed. and again, if you're already having conversations about creating a new steering committee where they're going to decide and this decides, and I mean, we're obviously not following the process.

Ultimately, the PAC and ultimately the PAC and this board will approve the master plan or ask for changes within that master plan.

But nobody from this board, there will not be a request for a representative from this board to be on the steering committee.

Yes, typically there is.

There will be.

Is the Freedom Park is going to be or is going to have a trust like Bayside Park? No. So whatever they decide on public art, at least that's the way I feel because of many years working on this. One representative of this board should be in all those meetings. I'm I'm not saying that we are all going to be there, but at least one representative of this board should be in those meetings. Is that allowed or not?

I believe, yes. I mean, typically when you appoint a steering committee to a master plan, there is a representative of the board that is appointed to that steering committee.

And you just have no understanding of the timeline, because, you know, I think part of what chair is seeing is that we're seeing the stadium go up, we're seeing the city administration building go up, so, like, we're seeing all these things happen, and it feels like, you know, we're going to get asked at the very end to approve something, and then we're going to have no ability to, you know, like... have any real influence because everything's going to be built already and it's going to be like okay this is the only thing that fits because everything is already done for example that idea of the after the fact is what is frustrating to this board for sure when there's been all this time i think you've asked like how can we participate how can we be a part of this so that it is so that the multi-faceted components you know can come together and we can be part of that in a bigger picture and not just like ask for a final we share your frustration

This is the largest art project in the city of Miami since we started the board seven years ago. What does the commissioner of this district say about the project and the public art fee? What is the commissioner's position about the public art fee, the timing of the payment, the setting up of all this, the PAC, and everything else? What is the commissioner... What is the commissioner thinking about the project as it relates to public arts?

I believe the applicants have reached out to the commissioner's office for these discussions regarding the public art master plan for the site. So the commissioner is involved in these conversations. And I did want to clarify that the city administration building is being handled internally by us. So we will be releasing a public open call to artists for that one, most likely at the end of this month, for the interior of the building. The exterior, the areas of opportunity would have been a sculpture building. So we believe that might as well integrate that into the public art master plan for the site as a whole so that it's cohesive in the integration of public art.

So just to reiterate, this month, you are about to issue at the end of this month, today's January 12th, so within the next two weeks, you're going to release a call to artists for the interior of the city administration building.

That is the plan, yes. And that has been in collaboration with the architect as far as the selection for the areas of opportunity, opportunities for the admin building. So that is also aligned with the building's construction schedule.

I want to reiterate what I've said before. Please, we would like to receive that call to artists the day it goes out. Okay. Thank you.

What is the total of the public art requirement for Freedom Park?

Including the city park and the administration building?

The whole thing. What's the total?

I think we're still waiting on some of the buildings to come in, in terms of the leases, because I don't think that we've received all the tenant spaces. But we'll get you an estimate. And so we do have the, I do want to point out that the administration...

Sorry, you see my question, how basic it is? And we don't have an answer.

Not yet. So I can't tell you the...

So it's a basic question. We don't know what the total public art requirement is. It should be like that. It's more than $25 million, or it should be more than $25 million. That's a lot of money for investment. Yeah, it's... Well, what's 1.5% of whatever the cost of all?

So I do know that for the administration building, you know, those are city funds that we do have. The park funds are sitting with the city as well. And so then we are anticipating a payment for the stadium and the parking garage.

Yeah, well, it's, I don't know, how much is the budget times 1.5%? When Efren was here, we made the calculations and, you know, we discussed it was $27, $28 million. Yeah. So what is it now?

We will get back to you with that exact. I understand.

I just want to make a note for the record. I'm asking what the amount is in January. You guys are going to call the artists in two weeks. You say you've informed us and that we're up to date. Sorry, let me finish. And you don't have a number, not even an approximate number. I want that for the record because again, when Efren was here, Eight months ago, we were already talking about an amount. So after eight months or nine months to come back and say that we still don't know, you're going to get back to me? Okay. Get back to me, please. My point with the 27 or five or whatever number of millions of dollars is it's a tremendous opportunity for the city of Miami. And nobody is talking to the, at least none of this board and none of the PAC, are talking to the developers to see what we can accomplish with that. We're not coordinating with the commissioner's office to see what we can accomplish with that. I'm asking how much it is, not so much to know exact amount, but if it's $28 million, you're telling me they're going to put $28 million in one site? And that's the best use of the public art fund? The biggest amount that we're ever going to get? And we're going to put everything in one site? How does that make sense? So the commissioner's not even taking some of that money and putting it into another park in his district or in another area of the city of Miami? It's all going into one site? I mean, I don't know. That doesn't seem to me like the most effective way to leverage that contribution. I guess you can spend the whole amount in one location, but I don't know if that would be the best way to use it. The thing is, we can't have that discussion with the developer, because they never come, and we're not having that discussion with the commissioner's office either. We're not having, so, you know, it's basically going to end up being whatever the developer wants, and they're going to come, and they're going to say, okay, this is how we're going to do it, and, you know, It may be too late.

Can we have somebody from the commissioner's office here? What was that? Can you repeat that, please?

Can we have a representative from the commissioner's office?

Can you speak into the microphone? I'm sorry.

Next meeting, can we have a representative from the commissioner's office here?

We can request that.

Is this Cabela? Yes. So can we have his deputy?

We will request that from the commissioner's office.

Okay. And put it in the agenda as a discussion item. Okay. So it's included in the agenda, even as a discussion item for the next meeting. But that's a good idea.

I think it was like six months ago that I asked that I went in writing to get on the agenda in advance of when the agenda was being published to get an item that we could discuss. And it was rebuffed and I was told we're not ready. This was over six months ago. So it seems like we've just lost it.

Do you know the budget of the interior of the city administration building that you're about to release?

We are waiting for the final budget from the developer. Sorry, from the architect and the construction crew. But it is about, I want to say around $4 million.

3.7. 3.7 is what? The construction costs? The AIPP fee for the admin building.

Just on the city admin building.

Yeah, no, there's significant amounts.

So there's $4 million for the interior of this building and $300,000 for a monument at Bayfront Park. I mean, that seems like a crazy amount of money for the interior of this building.

It's not an effective way of using the resources of public art. It's just not. You know? Obviously, we can't decide it for them, but it would be good to speak with the commissioner's office because maybe they have a better plan and how they could use it for the rest of their district and the rest of the city.

I mean, I...

One of the problems that we have with the public art requirement, phase one, is that the only way we can get anything into the public art fund is already specifically tied to a property, to a construction. If it's a park that we're putting in a million dollars, then we have $15,000, which is 1.5% for public art. And that public art, because the funds are very limited, they obviously go into that park. Sometimes we even have to complement or public art funds have to come from parks and rec or anything else like, for example, this Bayfront Park. This is the time where we get an excess of $20 million. Just for the city building is $4 million, so let's say in excess of $20 million, and we're not thinking in terms of what is the smartest use of that money, not for the lessee in that project alone, but for the city of Miami. What's the most efficient use? Where can we put art worth $28 million to improve the city of Miami? And what we're doing now is we're allowing the developer, little by little, step by step, to make all of the calls And it seems as though they want to put the entirety of the amount into one building and one site. And that's just not a good... I don't know, use of the funds.

I do have a list of the current building permits for the Miami Freedom Park, and it totals 5.9, roughly 5.9 million. That includes the stadium master, the stadium plaza, garage, the roads, internal roads, trailer plant, building H, and building E, too. As the other building permits come in, those fees will be calculated as well.

So 5.9 is just for what you listed?

That's correct.

For the developer only?

Yes. So this is for the building permits associated with these areas.

For the 3.7 for the city building, is there already a requirement that the entire amount has to be spent on the building?

The entire amount, and I have to double check that entire amount. I will share that with you with the open call. The construction, the contractor will be sharing that final amount with us because they're dividing it into zones of opportunity. But it does not have to be spent within one building or one project. I believe the funds can be spent somewhere within the district where the project is located.

Because to the chair's point, it is a lot of money to spend on the interior of a city administration building when, you know.

It's not very public. It's not public art. Yeah. As Gary pointed out.

But I feel like that number should be discussed prior to an open call. Because if you release an open call that says this is the budget that our artist has. then that's already assuming that that entire money is available to only be spent on the building. That's right. Which is our challenge, is that, like, it's like, you know, you do it, and then we, it's too late, you know.

I don't feel that anybody is brainstorming about how to use this money effectively, you know. Nobody's brainstorming. They're just waiting for the developer to come up with a plan and, you know, but there's no, like, You know, we have it, yeah, we have an opportunity here and, you know.

Your point is well received and that is specifically why I asked for a site specific AIPP master plan that would have community input as well as your input and your final approval. so that if you were not if you thought that the amount of money being spent in the areas of opportunity there you could then limit that as per the master plan and you could make those final decisions so i think your point is well received and part of the reason why this site is special and is different And I do want to remind you that the entire amount of money, the entire 1.5%, is not all fully dedicated to actual art. So part of that money goes to public outreach and education surrounding public art. Part of that goes into our... Yeah, we know the buckets. Okay, so I just... Yeah, we know the buckets. Just as a reminder, only about 60%, 65% actually goes to art.

For next meeting, please, we'd like an accurate budget. $5.9 million is approximately $400 million in construction. I understood it was significantly more than that. But let's get a budget so we can plan and we can say, okay, if it's this much or that much or, you know, the next permits is going to be this much so we can see and we can start brainstorming about this.

We will provide you a budget breakdown and the building permit numbers associated to each one.

For a discussion item next time, please invite the representative from the deputy from the commissioner's office. And if the developer wants to come as well, you know, we can start talking about how we're going to allocate these funds. Okay.

Coming back to the 3.7 on the city administration building, do we have any power to discuss that call to artists prior to it going out?

If the board chooses to review it and provide feedback, yes.

The first feedback is that it can't be $3.7 million spent. So really, to define the scope of the call to artists, we kind of have to walk through all of this, right?

Yeah, so can I make a motion to... put a hold on that call to artists until we have had the opportunity to review what you're saying, you know, these buckets that you say the contractor's going to give and, you know, because I feel that 3.7 million on the interior of a single project for a call to artists is, that's insane. I think this board should review those call to artists before they go out.

Pelican Harbor mural was 22,000. I mean, the interior of that building is probably not going to be as much space as they've allowed it for that mural.

No, no, for sure. And it's just not a good use of the funds. To make a call to artists that way is just... We're not ready. We need to understand the scope of this first. Somebody needs to start thinking about this more with a planning point of view instead of...

So is that enough to have you bring it to the February meeting?

Well, so the request is to bring the call to artists as a resolution item to the board for approval prior to releasing it.

Specifically the budget, yeah.

Okay.

Yeah, the budget and how that, you know, give us opportunity to divide that budget or discuss with the commissioners how, how that could be divided or alternatives. Yeah, not just here's a call to artists approve or deny. How do we have a discussion about it?

I don't think we're even close to a call to artists. We have no idea. No, but that's crazy. No way we're issuing that in two weeks. We have no idea of the scope. Were you going to issue a call to artists for $4 million? Well, obviously, that's not accurate. So we're not ready for a call to artists. Next meeting, we should discuss, bring everybody that you can, the city commissioner's office, the developer, et cetera, so we can start talking about how to do this smart. Nobody has thought about this. Honestly, nobody has given this any brainstorming, any thought.

I was hoping this could be the chance where we could break away from just the idea of identifying opportunities. You know, we have this bathroom door we can cover with art. That's how we operate. As opposed to looking at a much bigger picture, looking at the city and doing some real thought around how we can sort of present Miami in a much, you know, in a different way. as opposed to just always identifying opportunities. I think we just need to shift our thinking and how we approach a project or multiple projects.

I would just like to mention that we are limited to the master plan and the board should think within those bounds, but I understand your concern.

Well, this Freedom Park seemed to be maybe an opportunity where we could sort of branch away a little bit, but it seems like we're being sort of pigeonholed again.

Okay, so is there anything else we need to say to pass? Do you want to make the motion?

I know, but I just want to make sure that we've completely closed this. Okay, so on this item, are we clear that all three members want to continue? Yes. Yes. They have all, okay. Okay, so then a motion to pass AIPP Resolution 18745, Resolution of the Art and Public Places Board Pursuant to the Art and Public Places Master Plan and Program Guidelines, approving the re-election of Catherine Cathers, Adler Garrier, and Laura Novoa to serve as voting members of the AIPPB Professional Advisory Committee for additional two-year terms containing a severability clause and providing for an effective date.

Second.

Second, Mr. Valadez this time, Ms. Napoles. Thank you, Juan. May I have a roll call vote, please? Vice Chair Ogagranda?

No.

Board Member Juan Valadez? Board Member Christina Cuevo?

Yes.

Board Member Gary Feinberg? Board Member Maria Annapolis?

Yes.

Chair Francisco-Jarretes?

Yes.

Motion passes four to one. I'm sorry, five to one, I'm sorry.

Five to one? Five to one, correct. Now I think we can discuss the, if you want the...

Okay, so I guess, Can I ask for direction on how to pass a motion to ask that the call to artists be brought to us regarding the 3.7 city administration building be brought to us prior to being issued? Is that all I need to say or?

You can make a directive to the department, to the public art team to take that into consideration, yes.

Okay, so it doesn't have to be an official motion. That's our directive. Yes. Yes, we ask for this to come before us, before a call to artists is issued.

And we all support that, by the way.

I would make a motion. Make a motion asking that the board is asking for it to be brought here. We all support it. Yeah, I'll support it.

Okay, so I want to file, I want to pass a, you know, request a motion that the city administration art and public places component be brought to this board in advance of any kind of call to artist.

Or the Freedom Park project and the administrative building.

Just for the, specifically for the city administration building.

The city administration.

What is ready to now, what you said is now ready to go out. That needs to come before us before there's a call to artist issue to the public. Okay.

Second. I'll second it. Second by Ms. Cuervo. Sorry. All those in favor, say aye. Aye. None against.

And then I guess the second thing would be... No, no.

That was like an ad hoc resolution, just directing, please, the staff to follow that.

And then the second directive is that we receive a further update on the larger Freedom Park master plan committee and process at the next meeting.

Just to clarify, these directives are for the public art team to provide an update on those two directives that you've mentioned.

Yes, and the budget as well, and also not just for the public art division, but also for the city attorney's office. I'd also like kind of like a summary of the Freedom Park process with regard to its permits and the building permits, the master permit, and the public art requirement. She mentioned that the public art requirement was before the master permit, I'm wondering if, does it say that? Or does it say permit only? Is it referred to building permits and master permit? I mean, I kind of want an explanation for how it works with regard to Freedom Park, what the status is. Yeah, I think it should be any permit, but I do wish to understand how is it so advanced already and it still hasn't come before this board? And so I'm wondering the legal justification for that. And so please, if you could. So do you have any other ad hoc items? No? No, no, no. Those are important. I think that was very good. Vice chair?

If you can please repeat and to make it clear so I can write it verbatim, please, because this is a vote.

The initial motion is to direct the staff of Art in Public Places to bring any call to artists specifically for the city administration building to this board for approval before releasing it to the public.

Call to artists to bring it to this board? Board for approval. Second directive.

And the second directive is an update on the Greater Freedom Park Master Art Plan.

Update on Greater Art.

Master Plan for Freedom Park with budgeting timeline from the legal process for the greater Freedom Park public-private partnership.

Legal process, budgeting. Timeline. And timeline, you said?

The legal process within the art master plan, correct?

Well, the legal process of the construction project. So how it starts, when they, you know, when they submitted their first, you know, permits or whatever, what they actually pulled to start the building that they've already started, you know, where we are in the process, and how was or wasn't the public art ordinance applied, you know, correctly to that project.

And this is all falling under the resolution of number four? No, it's its own resolution. This is actually... This is a discussion that you guys voted on.

This is actually like an ad hoc resolution. Like we're coming up with this right now. It wasn't in the agenda, but it was proposed by one of our directors.

It's actually like a discussion and then it's brought up and it will become a resolution. Oh, okay, okay. So it's a discussion item being created. It'll be in the minutes. Thank you. Thank you.

Thank you.

I have a question. Is this idea of artist's call, bringing to the board first, is that contemplated in our master plan?

I think it's more than about selecting the artist in this case. we're asking to bring the Call to Artists to this board for our review and approval before it's going out to the public because we want to understand the scope of this first, right? We want to say, okay, how much money is going to go to this project? And what's it being looked, what is actually, how are we going to create this Call to Artists, right? This is a little bit more because

Typically, it's just to call the artist and to select the artist.

So that's not the reason.

It's exceptional because of the value, because it's $3.7 million, and it's a city administration building. So while I understand that the commissioner of the district has certain purview, I mean, this is a citywide project, right? This is supposed to be for everyone in the city. And so it's such an exceptionally large budget that I think that it requires far more participation from this board than, you know, the $100,000 to a par or, you know, probably what, $300,000 is probably the largest project that we've approved so far.

Yeah, no, this is... You know, in that range, I mean, this is... This would be the largest.

So I think that it requires more thought and process.

And it's to design that call-down. to say, okay, this is how much money we're going to dedicate to this, this is how it's going to be spent, and this is the type of art, and this is, you know, kind of design what it is that, you know.

But again, the budget of how much an artist can spend in one particular project. It's going to be a lot of large discussions here because I don't think not all of us are really knowledge about how much an artist can spend in one particular sculpture or in one particular piece of art.

Right, that's, yeah. We don't dictate the specificity, but we give the overall budget. All right. Right, so the budget is already set at $3.7 million. We didn't set that. That's the number that they gave us.

Isn't that right? This has always been this way.

Right. And so I think that my personal opinion is that that's a lot of money for one call to artists.

Yeah.

It's to just say, okay, you know, bring proposals for $3.7 million.

It's not about the call to artists, it's about the project itself, right? It's the scope. But talking about the Freedom Park, yes, I do agree it's a huge project. And I think that we should all get together with these people. the developers, because in the commission, because in general, what's happened with these people, with such a huge project like this one, they are looking more like for international artists. This is the point here. And we're supposed to give them some piece of that, of that apple, that pie, to the locals. And in that particular I think I agree on that. But in general, for small projects, it's going to be a long process if we're gonna get involved with the budget.

No, it's just this one.

Okay, okay, now.

It's this one, just so that we can, and we're not even, just to interject, we're not gonna decide what type of art or anything like that in this meeting. This is to discuss the scope. Really, there's 3.7 in the budget. Is it all gonna be used in one city building? Or maybe the city decides to use it in different city buildings. I don't know, but that's what we have to discuss. Before there's a public call to art, it's for $3.7 million going out the door.

My main concern, I think, is what concerns all of us as a board, is that some part of that money should go to the locals. So certain projects should be to the locals. If not, they will try to bring a lot of international artists.

That's a good point, that's a good point. Another item to discuss?

What is the next?