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HomeMy WebLinkAboutMinutes_ARTAB_08.20.2008Minutes of the Meeting of the Arts and Culture Board City of Georgetown, Texas Wednesday, August 20, 2008 Members Present Charles Aguillon, Addie Busfield, Jane Paden, Penny Plueckhahn, Ruth Roberts, Mandy Sohn Members Absent: Georgene Richaud Staff Present. Eric Lashley, Library Director Judy Fabry, Library Administrative Assistant Others Present: Tamara Hudgins; Jim Carrillo and Meghan McCarthy, Halff Associates A. Call to order at 2:05 by Chair Ruth Roberts B. Announcements from. the Chair and Board members. Ruth announced that she had spoken with Philip Paden and he is nearly finished with the pedestal for the sculpture. C. Citizens wishing to address the Board Tamara Hudgins addressed the Board about the importance of having a master plan for the arts for Georgetown. She pointed out that a master plan might be either geographic or strategic or a combinationof both. She suggested. that Georgetown has a number of nonprofit arts organizations and most of them are quite unstable. The A&C Board could help these organizations and unaffiliated artists in the area by creating a vision for the arts that would bring everyone together She challenged the Board to set their goals, share them with the community, then start accomplishing things. Once the Board has a track record, it should be easy to rally the citizens and also to get money from other funding sources Tamara was speaking as a citizen but she is also director of the Chisholm Trail Community Foundation. D. Consideration and approvalof mmutes of last meeting Ruth emphasized the importance of the Board learning from its recent art purchasing experience (buymg a sculpture and then needing to have a pedestal custom made). Jane moved to accept the minutes as distributed, Addie seconded the motion, and it passed unanimously. E. Consideration of and possible action on 1. Agenda for Arts Summit - Charles Aguillon, Ruth Roberts. Charles said that upon reflection, he had decided that representatives from the arts organizations should be involved in establishing the agenda for the Arts Summit. He proposed inviting the local arts organizations to send a representative to a meeting with him and Ruth. The Board agreed to his plan. 2. Kenney proposal from July meetmg - Ruth Roberts Ruth asked for opinions about Ken ney's plan now that everyone had had a month to read it carefully andconsider it. The consensus was that the Board should not get involved in this kind of solicitation. Ruth will write to Mr Kenney and encourage him to take his ideas to the public. 3. Presentation by Jim Carrillo, Halff Associates, about master planning — Eric Lashley. Jim prefaced his comments about the master planning process with information about the Parks Master Plan for which he was the consultant, particularly about the planned amphitheater that will replace the old high school stadium, its relationship to the performing space that will exist at Garey Park, and the opportunities for art and cultural events that these spaces offer the Board. When asked to tell about himself and Halff Associates, he reported that the company is 60 years old and offers complete planning and engineering services. He is a certified public planner and a landscape architect. He said a planner's most important role is as a listener, not a designer. A planner is a leader who will help you organize the ideas you already have. He contrasted this role with that of an architect, who usually is commissioned to come up with ideas. Jim's Powerpoint presentation is attached to and made a part of these minutes. 4. Grant criteria, Plano revisited — Penny Plueckhahn. Penny had looked again at the Plano website and found the grant applications had not changed since the Board looked at them a year ago. She believed she now has a better understanding of Plano's bureaucratic structure that supports the arts and identified Jim Wear as the person she needs to talk with, but he is on vacation until after Labor Day. She plans to visit him in person when she goes to Dallas again. She also asked whether she could invite him to come to speak to the Board —at the Board's expense. Ruth moved to invite him to visit, travel expenses paid. Penny seconded the motion, which passed unanimously. 5. Status of Coffee sculpture and review of sculpture proposals — Judy Fabry, Eric Lashley. Eric handed out copies of correspondence that has passed between the County and the Texas Historical Commission and the County and City during the past few weeks. That correspondence is attached and made part of these minutes. The gist of the exchanges was a question about whether the Arts and Culture Board could install the Coffee statue on the southeast corner of the Courthouse Square. The outcome of the investigation was that the area in question is City property and that the statue could be installed as originally planned. 6. Scheduling a workshop with City Council — Eric Lashley. The Board agreed to propose a workshop with Council on November 10 2008. At that time they will present their budget for 2008-09 and will confirm placement of the Coffee sculpture. 7. Artist Registry on visitgeorgetown.org — Tudy Fabry. Judy reported that the Local Artists listing is up and running on visit.georgetown.org and on library.georgetown.org. She will continue to advertise it. 8. Certificate of Appreciation — Tudy Fabry. No nominations were made. The meeting was adjourned at 4:10 p.m. Attachments: Carrillo Powerpoint presentation, City/County correspondence Respectfully submitted, e Pade ecretary Ruth Roberts, Chair REGISTRATION • For persons who wish to address the Arts and Culture Boarti-_ Date of Meeting GAvso1&E (V Name Address Telephone ` , If speaking for an organization. Name of Organization: Speaker's Official Capacity: The Arts and Culture Board Chair will recognize you when it is your turn to address the Board. If you have written notes or printed material that you wish to present to the Mayor or Council members, please furnish an extra copy for the Board Secretary. •Each speaker is limited to three (3) minutes on any one item. A brief and non -repetitive presentation is generally the most effective. Thank you for your cooperation. The Georgetown Arts and Culture Board 0 Public Sculpture For Georgetown - No Expense to the City A Creative Concept For Investment in Art by Business Owners and Professionals 0 Presented By Joe Kenney www.JoeKenneyStudio.com July 16, 2008 • Sculpture Buyer Leases Sculpture to Business • Sculpture Buyer(s) Business Model Business Lends Sculpture to Georgetown Georgetown Displays Sculpture Gives PR Credit 1. Purchases the sculpture and retains ownership as an Art Investment. 2. Leases sculpture to a Georgetown Business or Professional Group. 3. Receives lease payments from entity that leases sculpture. • Business or Professional Group 1. Works with the City of Georgetown Arts and Culture Board to determine an appropriate public setting for sculpture. 2. Selects and proposes a sculpture. 3. Obtains approval for acceptance of a sculpture on loan for display on City of Georgetown property. 4. Arranges for purchase of sculpture by the business itself or leases the sculpture from a Sculpture Buyer(s). 5. Provides insurance coverage in the event of damage or loss of sculpture. ID 6. Provides brochures about the sculpture and/or artistic educational information for the public. The Business or Professional Group lending the sculpture to Georgetown will be identified in the brochure and elsewhere. • City of Georgetown 1. Makes final approval of the sculpture proposed for display on City property. 2. Installs the sculpture to City standards. 3. Provides appropriate recognition of Business or Professional Group lending the sculpture to the City (i.e. display of brochures with sculpture for the public to take, name of lender on a plique near the sculpture, information on the City website, newsletters, and formal dedication accepting the sculpture). • • 0 0 Objectives: • To enhance the cultural and aesthetic quality of life in Georgetown by actively pursuing the placement of public art in public spaces and serving to coordinate, promote and support public access to the arts. • To promote and encourage business owners and professionals to acquire and lend the highest quality sculpture for enjoyment by the public and those who lend sculpture. • To recognize publicly businesses and professionals who lend fine art sculpture for display on public property. Recognition of loaning sculpture will be appropriate and similar to attributions by non-profit organizations, school year books and announcements of donors on public radio and television. - To obtain a substantial number of fine art sculptures so that Georgetown becomes a destination for sculpture tours with the goal to promote commerce in Georgetown and enhance the value of the sculpture on loan to the City. Finding Buyers for Sculpture: • Identify the benefits for potential buyers: 1. Art as an investment. Quality bronze sculpture may appreciate in value with the rapidly escalating cost of bronze (95% copper) caused in part by the demand from China. 2. Sculptures on loan to Georgetown will probably have more exposure to the public than sculpture in most museums, and with recognition there may be an increase in market value. • Promote the sculpture loan program through the Georgetown Chamber of Commerce and local service clubs (i.e. Rotary). Finding Sculpture: • Issue call to artists for proposals. • Georgetown Public Library could maintain a list of resources for potential buyers to identify the best sculptors and where to view images of their work. Brochure about Sculpture on Loan: A tri-fold brochure would be both an artistic educational document and public relations communication for the lender. For example, one brochure could describe the lost wax process of clay to bronze from the Greeks to the present time. Children and adults could learn the basics of how bronze statues are created. A picture of the sculpture could be on the front and on the back the name and address of the lender(s) and website address. Art As Investment Collecting fine art used to be a luxury reserved for the extraordinarily rich and well connected. Today, however, collecting art is an investment strategy that, with a little interest and research, can prove to be both enjoyable and lucrative. Not long ago, an article in Forbes reported that, over a number of different time periods, art outperformed the S&P 500. Even in the months following September I Ith, amid recession and war, art auction houses saw new sales records set for more than thirty artists. A study by New York University, which examined twenty seven recessions and four wars, concluded that art values tend to hold up well during periods of economic difficulty and that art indexes always outperform major stock indexes during times of war. Peter Scott S. Sahlman, head of Sahlman Fine Art Consulting, has advocated that art be recognized for its potential as a balancing or stabilizing asset, in addition to its ability to provide aesthetic pleasures. Sahlman states, "Buying fine art can balance one's securities, real estate, bond, and hedge fund holdings. When fine art is purchased by a shrewd buyer, it can stabilize the volatility of one's entire portfolio and position an art collection for upside appreciation." • Naturally, investors intrigued by these possibilities should also keep the old adage "buyer beware" in mind. Here are two important concerns to keep in mind when buying fine art:0 • Anything that can be said about art as an investment applies only to genuine art and not to fakes or forgeries. Investors should ask their dealer or gallery for certificates of authenticity or to speak with the artist directly, if he or she is alive. • The liquidity of art - or, the ability to convert it directly into cash - is often limited. However, many investors over the years would attest that such risks are manageable. When buying art, there is one truth that above all others serves to make the risks worth taking: If you buy something because you love it or for its beauty or personal appeal, you can never really lose. Source: www.sculptor.org Is 4 •tj City of Gcorg{_]Wx File Edt Neva Hatory eoolvnarla Tads Hdp http:li,ommupity.georgetovm.orgi4st,gsj?page_id=2 ___. __ _ - L �� visitgeorgetorn.org U Cust-Lila ul Free Hobnal J wndwvs Maketpa is , Wkiik s odla a Wkdows • 0 SUBMIT AN ARTIST LISTING ®City News July 4 Celebration at San Gabriel Park Creative Playscape is TOPS in Texas Williamson County Sheriff's Posse Rodeo June 27 and 20 Library Website Named the Best in Texas Texas Society of Sculptors Show at the Library Dane d Star[ ) F edreader 3.06 Al tcl Listing I Fvent Calendar I Fhoto Galleries I Festivals If you are a Georgetown area artist (either within the city limits or the EO), submit your information to the City of Georgetown Arts B, Culture board for inclusion on our online artist listing. The information we need: Artist or business name, Physical address including city and zip code', Phone-, Email, Website (for a link in the registry), Media in which the artist works (we wont show your address or phone number online, but we need it for our records) To be included in the artist registry, please write to br;,rya_•georgeto•.rn-,,_ - P.W. Listings is proudly Dowered by E^.v:es rp_s) and Word 5: City of Geargeto_ of 1 Q a « J Y 3:02PM ;doe Kenney Joe Kenney Studio Bronze Sculpture 512-206-4415 800-716-3487 4700 W. Guadalupe St. Unit 310 joe@joekenneysculpture.com Austin, Texas 78751 www.joeKenneySculpture.com ti 'n Public Sculpture For Georgetown - No Expense to the City A Creative Concept For 0 Investment in Art by Business Owners and Professionals Presented By Joe Kenney www.JoeKenneyStudio.com July 16, 2008 U vl 1 Sculpture Buyer Leases Sculpture to Business • Sculpture Buyer(s) Business Model Business Lends Sculpture to Georgetown Georgetown Displays Sculpture Gives PR Credit 1. Purchases the sculpture and retains ownership as an Art Investment. 2. Leases sculpture to a Georgetown Business or Professional Group. 3. Receives lease payments from entity that leases sculpture. • Business or Professional Group 1. Works with the City of Georgetown Arts and Culture Board to determine an appropriate public setting for sculpture. 2. Selects and proposes a sculpture. 3. Obtains approval for acceptance of a sculpture on loan for display on City of Georgetown property. 4. Arranges for purchase of sculpture by the business itself or leases the sculpture from a Sculpture Buyer(s). 5. Provides insurance coverage in the event of damage or loss of sculpture. 6. Provides brochures about the sculpture and/or artistic educational information for the public. The Business or Professional Group lending the sculpture to Georgetown will be identified in the brochure and elsewhere. • City of Georgetown 1. Makes final approval of the sculpture proposed for display on City property. 2. Installs the sculpture to City standards. 3. Provides appropriate recognition of Business or Professional Group lending the sculpture to the City (i.e. display of brochures with sculpture for the public to take, name of lender on a plaque near the sculpture, information on the City website, newsletters, and formal dedication accepting the sculpture). C] r1 U i • Objectives: • To enhance the cultural and aesthetic quality of life in Georgetown by actively pursuing the placement of public art in public spaces and serving to coordinate, promote and support public access to the arts. • To promote and encourage business owners and professionals to acquire and lend the highest quality sculpture for enjoyment by the public and those who lend sculpture. • To recognize publicly businesses and professionals who lend fine art sculpture for display on public property. Recognition of loaning sculpture will be appropriate and similar to attributions by non-profit organizations, school year books and announcements of donors on public radio and television." • To obtain a substantial number of fine art sculptures so that Georgetown becomes a destination for sculpture tours with the goal to promote commerce in Georgetown and enhance the value of the sculpture on loan to the City. Finding Buyers for Sculpture: • • Identify the benefits for potential buyers: 1. Art as an investment. Quality bronze sculpture may appreciate in value with the rapidly escalating cost of bronze (95% copper) caused in part by the demand from China. 2. Sculptures on loan to Georgetown will probably have more exposure to the public than sculpture in most museums, and with recognition there may be an increase in market value. • Promote the sculpture loan program through the Georgetown Chamber of Commerce and local service clubs (i.e. Rotary). Finding Sculpture: • Issue call to artists for proposals. • Georgetown Public Library could maintain a list of resources for potential buyers to identify the best sculptors and where to view images of their work. Brochure about Sculpture on Loan: A tri-fold brochure would be both an artistic educational document and public relations communication for the lender. For example, one brochure could describe the lost wax process of clay to bronze from the Greeks to the present time. Children and adults could • learn the basics of how bronze statues are created. A picture of the sculpture could be on the front and on the back the name and address of the lender(s) and website address. Art As Investment Collecting fine art used to be a luxury reserved for the extraordinarily rich and well connected. Today, however, collecting art is an investment strategy that, with a little interest and research, can prove to be both enjoyable and lucrative. Not long ago, an article in Forbes reported that, over a number of different time periods, art outperformed the S&P 500. Even in the months following September l lth, amid recession and war, art auction houses saw new sales records set for more than thirty artists. A study by New York University, which examined twenty seven recessions and four wars, concluded that art values tend to hold up well during periods of economic difficulty and that art indexes always outperform major stock indexes during times of war. Peter Scott S. Sahlman, head of Sahlman Fine Art Consulting, has advocated that art be recognized for its potential as a balancing or stabilizing asset, in addition to its ability to provide aesthetic pleasures. Sahlman states, "Buying fine art can balance one's securities, real estate, bond, and hedge fund holdings. When fine art is purchased by a shrewd buyerID it can stabilize the volatility of one's entire portfolio and position an art collection for upside appreciation." • Naturally, investors intrigued by these possibilities should also keep the old adage "buyer • beware" in mind. Here are two important concerns to keep in mind when buying fine art: Anything that can be said about art as an investment applies only to genuine art and not to fakes or forgeries. Investors should ask their dealer or gallery for certificates of authenticity or to speak with the artist directly, if he or she is alive. The liquidity of art - or, the ability to convert it directly into cash - is often limited. However, many investors over the years would attest that such risks are manageable. When buying art, there is one truth that above all others serves to make the risks worth taking: If you buy something because you love it or for its beauty or personal appeal, you can never really lose. Source: www.sculptor.org 1-1 11