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Agenda 05-14-15 Agenda for Art Commission Meeting Thursday, May 14, 2015 6:30 - 8:30 pm at the Fire Station #2 Training Room 2615 West Woolbright Boulevard, Boynton Beach AGENDA: II. CALL TO ORDER III.ROLL CALL OF MEMBERS IV. AGENDA APPROVAL V. APPROVE MEETING MINUTES A. Dec. 23, 2014 minutes B. April 28, 2015 minutes VI. ANNOUNCEMENTS /REPORTS A. Sister Cities Young Artist/Authors Friday, May 8, 6:30pm B. Conrad Pickel Celebration May 23, 8am - 1:30pm VII. PROJECT UPDATES /APPROVALS A. None VIII. AIPP STRATEGIC PLAN/MASTER PLAN A. Strategic Plan outline changes and updates B. Top 10 Program successes detail C. Districts - Town Square Cultural District Visit these weblinks: • http : / /boynton - beach.org /docs/Town Center Presentation 3 17 2015.pdf • hltp:acatchbkovnton.com/images/Town-Square/SKM C454e15021116100.pdf D. Integra d Pu is r IX. EXHIBITS A. None X. NEW BUSINESS A. None XI. UNFINISHED BUSINESS A. None XII. FUTURE BUSINESS A. None NOTICE IF A PERSON DECIDES TO APPEAL ANY DECISION MADE BY THE CITY COMMISSION WITH RESPECT TO ANY MATTER CONSIDERED AT THIS MEETING, HE /SHE WILL NEED A RECORD OF THE PROCEEDINGS AND, FOR SUCH PURPOSE, HE /SHE MAY NEED TO ENSURE THAT A VERBATIM RECORD OF THE PROCEEDING IS MADE, WHICH RECORD INCLUDES THE TESTIMONY AND EVIDENCE UPON WHICH THE APPEAL IS TO BE BASED. (F.S. 286.0105) THE CITY SHALL FURNISH APPROPRIATE AUXILIARY AIDS AND SERVICES WHERE NECESSARY TO AFFORD AN INDIVIDUAL WITH A DISABILITY AN EQUAL OPPORTUNITY TO PARTICIPATE IN AND ENJOY THE BENEFITS OF A SERVICE, PROGRAM, OR ACTIVITY CONDUCTED BY THE CITY. PLEASE CONTACT THE CITY CLERK' OFFICE, (561) 742 -6060 AT LEAST TWENTY -FOUR HOURS PRIOR TO THE PROGRAM OR ACTIVITY IN ORDER FOR THE CITY TO REASONABLY ACCOMMODATE YOUR REQUEST. THE BOARD (COMMITTEE) MAY ONLY CONDUCT PUBLIC BUSINESS AFTER A QUORUM HAS BEEN ESTABLISHED. IF NO QUORUM IS ESTABLISHED WITHIN TWENTY MINUTES OF THE NOTICED START TIME OF THE MEETING THE CITY CLERK OR HER DESIGNEE WILL SO NOTE THE FAILURE TO ESTABLISH A QUORUM AND THE MEETING SHALL BE CONCLUDED. BOARD MEMBERS MAY NOT PARTICIPATE FURTHER EVEN WHEN PURPORTEDLY ACTING IN AN INFORMAL CAPACITY. Collaborative, Creative Placemakin: Good. Public Art Depends on Good Public Spaces This article also appears in the current issue of Public Art Review. "It is difficult to design a space that will not attract people; what is remarkable is how often this has been accomplished." — William H. (Holly) Whyte During the past two or more decades, communities around the country have fallen victim to the relentless machinations of a group of people with an overdeveloped, overspecialized "creative function," who see themselves as experts rather than collaborators or service providers. In the face of these experts and their implicit authority, communities have been intimidated and made to feel impotent. The public has been convinced to leave the creative function solely in the hands of the specially trained — namely architects, artists, and designers —and to abdicate its role in nurturing the creative life of the city. As a result, the communal psyche has atrophied and the public realm has suffered. Projects— whether public art, public parks, or public transportation — designed without the community in mind have provoked fierce criticism by host communities. That criticism is based on, among other things, a lack of trust in the motives of the professionals involved, who often serve something other than the public good and whose priorities are often different from those of the community. r 1 4- 71 4 ., , - : alw ill L 1 7 ' 7,„ — _ ' , X- } wy 1 A e -' �,C s __ ...� 4 411 s 4 .0 amaiik 4* AK it — Favela Painting collaborates with communities to use art for transformation. (Haas &Hahn for favelapainting.com) That's the bad news. At the same time, there is more happening in public art today to engage with the public space in which works are sited. More than ever before, public artworks are stimulating and inviting active dialogue rather than just passive observation, thereby fostering social interaction that can even lead to a sense of social cohesion among the viewers themselves. Maybe this is happening because some planners, artists, and architects are no longer afraid to see themselves as resources, facilitators, and collaborators, rather than as experts. In such cases, the design of art in public spaces moves away from reverence for textbook ideals and toward flexibility, changeability, evolution, and an appreciation for humanity. "...planners, artists, and architects are no longer afraid to see themselves as resources, facilitators, and collaborators..." We salute this new paradigm, one in which designers actually welcome the opportunity to work with communities to open up places for new interpretations, creating more room for public art — especially in parks, transforming them from ersatz cemeteries and static sculpture gardens into great multi -use public destinations. f111rp i, �14V num 4t7 -344114"14 � S 7 l� -Ali The group Civic Center, in New Orleans, has lead many participatory public art projects. (CivicCenter.cc) The success of a work of public art relies heavily upon the design of the public space in which it is located. Many elements come together to improve or make a good public space. If you have a work of public art, but the site is not well maintained, people do not feel safe there. If there are no design amenities or elements like seating or shade, if there's nowhere to eat or nothing to do once you get there, if you can't walk to the site or park your car due to heavy traffic or a poor pedestrian environment or because it's not connected to other places or destinations, people will not take time out to visit the work of art, and the artwork will have failed as a placemaker and a community enhancement. A good public space, on the other hand, is not only inviting, but builds a place for the community around an artwork, or culture venue, by growing and attracting activities that make it a multi -use destination. Alone, no designer, architect, or artist can create a great public space that generates and sustains stronger communities. Instead, such spaces arise from collaboration with the users of the place who articulate what they value about it and assist the artist in understanding its complexity. "Public art projects will be most effective when they are part of a larger, holistic, multidisciplinary approach to enlivening a city or neighborhood." Public art projects that engage the community in aspects of the art - making process can provide communities with the means to improve their environment and the opportunity to develop a sense of pride and ownership over their parks, streets, and public institutions. Ultimately, however, public art projects will be most effective when they are part of a larger, holistic, multidisciplinary approach to enlivening a city or neighborhood. In this way, public art can contribute both to community life and to the service and vitality of public spaces. This is the promise of the emerging "Creative Placemaking" movement. Related PPS articles and resources: • `Bring to Light' Reimagines Public Space With Artistic Spectacle • Design and Review Criteria for Public Art • Funding for Public Art • Using PR to Develop a Public Art Program • How Art Economically Benefits Cities IX. EXHIBITS A. Avenue of the Arts invite CALL FOR ARTISTS Arts Commission 1 City of Boynton Beach Art in Public Places Avenue of the Arts Program 12 site along seven blocks in East Boynton Beach WHO? Artists - professional or emerging. WHAT? Request for finished artwork. Many mediums, sizes and styles will be considered. WHEN? Applications open: Thursday, May 7, 2015 and close: Thursday, June 11, 2015 5:00 P.M. EST WHERE? Artwork(s) for 12 outdoor sites for one year placement. HOW? Invitation document process form at HOW MUCH? Artist stipend $1,000.00 per artwork, plus property insurance, and artwork promotion. More information available at: Please read the program description and requirements document at This calls are for artwork of varying sizes that are ready to install on cement pads. Selection and Installation Schedule: Submission deadline: Thursday, June 11, 2015 Selection date: Thursday, June 18, 2015 Artists notification: Tuesday, June 30, 2015 Artists agreement deadline: Thursday, July 9, 2015 City artwork preparation process: July 9 - August 14, 2015 Artwork installation: September 21 - 25, 2015 (Monday - Friday from 7:00 a.m. to 4:00 p.m.) Artist Reception: Friday, September 25, 2015 (TBD) FOR MORE INFORMATION CONTACT City of Boynton Beach Art in Public Places Program 100 East Boynton Beach Blvd. Boynton Beach, FL 33425 Debby Coles - Dobay, Public Art Manager ColesDobayD @bbfl.us or 561 - 742 -6016 BoyntonBeachArts.org Facebook: Boynton Beach Art in Public Places s Twitter: BoyntonArts B. Kim Weiss, Photograph exhibit in Civic Center ezawismwasaarmarearossaw See separate document. r.�� '�/ h' X. NEW BUSINESS A. Donation of additional Plein Air Kinetic Artwork , i 1 Dear Debby:1 am happy to donate my oil painting, "Random Rhythm" (12 x 16 • inches, value$300), which is framed and hanging in the Plein Air Art exhibit at the Boynton Beach Library as part of the 2015 Kinetic Art Festival. - T - 4 4 Thank you for the opportunity to paint in the neighborhood, and to display our art. Sincerely, t Sandra Harmon c z ,,: urh('u; 1 ( %_'ilnil I )ri, 12153 Monroe St. • Wellington, FL 33414 -6225 % ` 4 . - Dear Debby, ' . I wish to donate my painting of the sculpture done in 2014 to your arts group. ter, Elfrida elfridaschragen(c�shaw.ca , N , %' Debby: ,, 1 It was wonderful being there yesterday, and thanks again for your wonderful work. ' A '4411 I also wanted to confirm that it will be a pleasure for me to donate that painting to - w the city. — _ ___-___ _ Best regards, Louis Mezian Imezian @bellsouth.net PS: Send me some photos when you get a chance please. • pip , Hi Debby, k thank you to you and the city of Boynton Beach to be so welcoming to us artists. It . _ was a lot of fun and very different to capture the kinetic art. I also wanted to thank you for the generous award money.... As a little token of my appreciation I would like to donate my painting "Kinetic Shim- . mer" to the city of Boynton Beach. I hope you'll find a nice spot for its display so it . " can make people happy! 4, Have a great weekend, r, , , `�� A - Manon Sander . b � ■ . dr. 415- 606 -7685 * y' www.ManonSander.com www.facebook.com /ManonSanderArt + ` , twitter ManonSanderArt i ,1117 i, Ruth Weiss "Moving and Groovin" 9" x 12" Oil on board $100 #'� f 77 Dagmar Ebert "Kinetic Art" 16 x 20 Oil on canvas $480.00 ._r . f ob E AIPP STRATEGIC PLAN /MASTER PLAN A. Arts Commission Board 1. Arts Commission duties 2. Boards Pros • Diverse group with individual strengths • Express opinions • Work well together • Love of the arts and community involvement • Contribute to discussions • Accomplish a lot • Effective in decision making 3. Boards Cons • Need more diverse members • Do not influence much • Little acknowledgement at key City level • Some members don;t come prepared • Not all members have the skill set to be effective 4. Increase efficiency and be more effective • Partner with other City departments • Have regular meetings w/ key boards • Discuss how public art projects encourage art in City • Arts Commission keep on track with artists • Every 6 months review strategic pan to stay on track B. Mission and Vision Provided to board as hard copy of 2010 Strategic Plan Update presentation document • The board is the "Ambassadors of Mission and Vision" • What is the AIPP Mission- On 2010 Strategic Plan Update presentation document • What is the AIPP Vision- On 2010 Strategic Plan Update presentation document C. Top 10 AiPP Program successes The Board's list of program successes - March 24, 2015 1. International Kinetic Art Exhibit and Symposium • Signature Art & Cultural event creates sense of place and branding identity for the City • Creates a positive climate for Economic Development by including and promoting businesses, corporations and organizations • Unique one -of -a -kind distinctive art experiences • Combine fine kinetic art exhibits with S.T.E.A.M. learning base programs and projects • Inspires inventions and technological innovations contribute to City's Green Initiatives • 2. Avenue of the Arts • Year long outdoor exhibit attracts visitors to City • Nationwide notoriety • 7th year - 9 artwork sales • Contribute to redevelopment and Cultural District Plan • Awareness of city amenities, businesses and restaurants • Tour groups from western gated communities and Palm Beach County 3. Old Dixie Eco Walk • Example of an Eco Art project and a public /private public art project in development. • Example for City's Green building plan initiatives • Community activated - used for North American Butterfly Association butterfly counts, Professional landscape planners,Native Plant Associations /Organizations reference and county wide citizens to plant butterfly gardens • New green space created for inclusion in City's Greenways /Blueways/Trailways plans. 4. City Rebranding • Arts Commission catalyst to City's rebranding 5. BBAD, Boynton Beach Arts District 6. Rotating Exhibits in City facilities 7. Plein Air Art 8. Community buy -in and support of the AiPP program 9. Development corporation and collaboration 10. Improvement of quality of art installed in the City D. Strategic /Master Plan outline List of items to include in the Strategic /Master Planning 1. Public Art Ordinance update • Published Ordinance & Amendments • Boynton Beach Ordinance success • Input from City Commission, staff, developers. community, artists • Other ordinances, County, Florida, National 2. Developer Process • Integrated Pubic art • Public artist part of development project team beginning stages of planning 3. Districts • Arts Districts (visit to Fat Village & Wynwood) • Town Square Cultural District • Boynton Beach Redevelopment Plan Districts 4. Public Art Forms • Eco Art /Land Art • Kinetic Art • Functional • Gateways • Murals • Mosaics • Glass/Windows • LightingNideo/Technology • Markers 5.Integrated Pubic art vs plop art • Public artist part of development project team beginning stages of planning 6. Programs • Avenue of the Arts • Exhibits in City facilities • International Kinetic Art Exhibit and Symposium • Conrad Pickel Celebration 7. Murals • Update Mural approval process • Targeted murals locations • Murals and mobility Agenda for Art Commission Meeting Tuesday, April 28, 2015 6:30 - 8:30 pm BACK UP MATERIALS VII. PROJECT UPDATES /APPROVALS A. EWT Plant selection panel recommendation for two qualified artists - Review at meeting B. Aspen Glen - Review documents at meeting VIII. AIPP STRATEGIC PLAN /MASTER PLAN A. Strategic Plan outline Working document attached. A hard copy of the 2010 Strategic Plan Update that the Board is revising will be provide at the meeting. B. Top 10 Program successes detail Updates to the document plan include the Board's Top 10 successes. We will work on the measurements of the successes. Some have been provided in the document and others we will add to the items listed. C. Districts At a future meeting we will review the CRA.City district planning. A map will be provide at the meeting that details the Boynton Beach Redevelopment Plan districts. D. April 26, Fat Village Tour and Art Walk recap Tour of FAT Village. It has really grown into a thriving Arts District with a good balance of Art and Technology, Flagler Art and Technology Village as it is know as. The businesses support the tech- nology goal and the artists studios and exhibits were first class. The Art Walk has grown delivering many art experiences for people of all ages and demographics. It was very informative to know the history of the district and how you have worked with the City of Ft Lauderdale to build the area. It is evident from its success that other art and business areas are being connected. The trolley tour provided a great overview of what's beginning to occur and the future plans. You've made a positive impact on this area of Ft Lauderdale and it is growing. Sherryl's tour to the Sistrunck Midtown Art Gallery and explanation of how her project is connect- ing Fat Village and the other art and business areas, is going to be a great project that we will want to watch as it develops, Congratulations. It was wonderful to hear about the success of the Fresh Green Cafe and their reason for bringing their successful business to Sistrunck from Miami. Meeting pubic artist, Valerie Amour and hearing her passion for her project in Sistrunck, was an- other opportunity to learn about the exciting happenings in Ft Lauderdale. Doug McCraw, Founder of FAT Village Peregrine Partners Group, Inc. Fy Lauderdale, FL Sherryl Muriente, MURP, Associate AIA Instructor, School of Urban and Regional Planning Florida Atlantic University Associate Director, AIA Florida & Caribbean Chapter Artist team with Bejeu of Urban Interventions HOW TO FIND Lofthus Lofthus a % r The wreck of Lofthus is located in 15 -20 feet of water, approximately 3 /4 of a mile north �� 1 � ( 1 �J� (� i �\ r of Boynton Inlet and 175 yards off -shore Lantana _ � r i fi , , J F' V Manalapan at latitude 26° 33.776' N and lon- gitude 80° 02.309' W. The site is marked as fj f f 1 f .) 1 1 I) I ( f I ) r u_ r j1.1 ,1 wreck #133 on NOAA Chart 11466. Wreck- „,.., „ 4k, C age rises as much as 6 feet off the sea floor / depending on sand movement. To avoid'- anchor loss or damage to the shipwreck, please anchor in the sand. Remember to display a "divers down” flag when diving or Manalapan / ,. , snorkeling. A laminated underwater guide xyp °mX° is available from local dive shops to orient divers on a self - guided tour of the preserve. I /' /' =' As with all other historical and archaeologi - cal sites on public uplands and submerged xypolnx° Island bottomlands, Lofthus is protected by Florida laws prohibiting unauthorized disturbance, excavation, or removal of artifacts. Please c '''± help keep the site intact for others. For more information call only photos and leave only bubbles." Boynton 850/245-6444 r v www address: , William Trotter .'" �" „r http: / / dhr.dos.state.fl.us / bar/ uap tNt -titi, lip This material is available in v alternate formats upon request - Charlie Crist Kurt S. Browning Lofthus State Underwater Archaeological Preserve 850/245 -6500 Governor of Florida Secretary of State The remains of Lofthus are scattered over an 80 x 15 yard area with the vessel's bow to the northeast. Three main sections of ; ;' " ,. M ' _ FLORIDA DEPARTMENT OF STATE wreckage protrude above the sandy bottom. Sand movement ' - ° . , ,, TT, Division of Historical Resources �W+ m, �'�t. I FLO(UDA PUBLIC around the wrecksite is dramatic, and entire portions periodi - t . ( �j� X.t�MAEOLOY Bureau of Archaeological Research cally cover and uncover due to wave action, currents, and storms, ` ` ` "''� — presenting unique visual experience with dive. Pieces of FLORIDA P g a p every HERITAGE MARINE ARCHAEOLOGICAL RESEARCH q the barque lie at odd angles among sections of inverted decking, _ & CONSERVATION REPORTING evidence of the dynamite used to blast apart the ship to gain access to her valuable cargo of lumber. 41. i Many species of tropical and game fish now inhabit the twisted k wreckage and spiny lobsters hide under deck plates. Anemones FLORIDA DEPARTMENT OF STATE f �` Division of Historical Resources — and sponges can be found inside sections of the iron masts, and Bureau of Archaeological Research HISTORICAL SOCIETY OF sergeant- majors fiercely guard their homes among hull frames. 500 South Bronough Street PALM BEACH COUNTY v , I Beware of scorpionfish that lie hidden on the rusty iron as you Tallahassee, Florida 32399 - 0250 — explore the shipwreck. FRIENDS OF LOFTHUS lId o thus ,„ El °� f = 1/1/I/1/1/I�1 /111 /I/1/1l1��� ©p_ " — - _�� SAND BOTTOM : se e Age of Iron Sailing Ships a a /\ U PLAQUE al materials in place of traditional wooden � . i c onstruction and many new sailing vessels were o ' " ❑ ❑�. BOTTOM �o N SAND built of iron and, later, steel. The advantages of 1 DECK BEAMS 5 MAST SECTIONS LOfTHUS iron construction were touted by engineering firms AVI 0 2 HULL PLANKING 6 HULL that specialized in metalwork and often 3 GEAR BOW SCALE o--- 2 0 FEEr BOYNTON BEACH, FLORIDA t" t" 4 DECK BEAMS vessels without the aid of shipyards. These advan- Marine Archaeological Research & Conservation Reporting tages included: strength combined with lightness, great capacity for cargo, safety, speed, durabil- tors. The United States was focused more on rebuild- wore out (or were wrecked), turning a tidy profit and cat to one family. ity, economy in repair, reduced construction and ing after the Civil War than shipbuilding, further for the owner. Norwegian shipping companies After being stripped of all useable items, the maintenance costs, and the need for fewer crew contributing to Britain's dominance of the industry. focused on tramp shipping rather than passen- wreck was sold along with 800,000 feet of lumber members. By the early 1850s, the cost of a new Additionally, Britain was the leading exporter of coal ger operations and their ships, including Lofthus, stowed in the hold for $1,000. In September 1898, iron vessel was less than the cost of a comparable to fuel steamships, so out -bound sailing vessels could hauled bulk goods across the oceans of the world. the hull, which was not nearly so valuable as the wooden vessel. Nevertheless, the wooden sailing count on a profitable cargo, returning with goods cargo, was dynamited so that the lumber could vessel remained predominant until the develop- from all over the world. Between 1860 and 1890, Vessel History be salvaged. Interestingly, the barque Oh Kim ment of the compound steam engine and its use in the price of new iron sailing vessels in Britain fell by The vessel that wrecked off Manalapan was Soon was wrecked in almost the same location one merchant shipping. one - third, which in turn encouraged new investment built at the T.R. Oswald shipyard in Sunderland, year earlier, causing confusion for many years With the expansion of the global economy in sailing tonnage and allowed British shipping to England, and was launched under the name as to which wreck was which until archival and and improvements in shipping conditions — from compete with the huge Canadian wooden shipbuild- Cashmere on 5 October 1868, in the heyday of metal archaeological investigation identified the wrecks. the installation of lighthouses and navigational ing industry. British shipyards churned out hundreds sailing ships. The vessel's recorded dimensions In 2001, Lofthus was nominated to become aides, to the wide - spread use of telegraphs to an- of iron and steel sailing vessels until the collapse of were 222.8 feet in length, 36.7 feet in beam, a depth Florida's eighth State Underwater Archaeological nounce arrivals and to arrange the next shipment the market in 1897. of hold of 22.7 feet, and 1,277 gross tons with two Preserve by the Marine Archaeological Council of goods — iron vessels began to be more widely In that year, a resurgence of steam - powered ship- decks. The ship's hull was of riveted iron construc- (MAC) of Broward County. In 2002, the Marine used. Advances in ironworking technology and ping took place as a result of the need for transporta- tion and it was rigged as a barque with three masts Archaeological Research & Conservation Report - the increasing availability of cheaply manufactured tion due to the outbreak of the Spanish- American (the foremast and mainmast were square- rigged ing (MARC) team, volunteered to map the ship - iron enabled the development of iron rigging and and Boer Wars. Increasing insurance costs for sailing while the mizzenmast was fore - and -aft rigged). wreck and to perform historical research. Assisted deck machinery, including standing and running vessels and improvements in the compound steam Cashmere was owned by the Liverpool Shipping by personnel from the Maritime Archaeological rigging, masts, yards, pumps, and winches. engine caused the economic viability of sail - powered Company and managed by H. Fernie & Sons. & Historical Society (MAHS), the MARC team In the 1870s, with iron cheap and easily pro- shipping to fall below that of steam shipping and Used in the East Indian trade, the vessel had false recorded the wreck site and prepared a report duced and repair facilities available worldwide, large iron and steel sail - powered vessels ceased to gunports painted along her sides to deter Sumatran of the vessel's history. The Lofthus Preserve was iron ship construction finally surpassed wooden be built in significant numbers. Those that survived and Javanese pirates. In 1897, Cashmere was sold to dedicated, and listed on the National Register of construction. In Britain, particularly, iron ship con- generally were employed in carrying bulk cargoes, a Norwegian named Henschien, renamed Lofthus, Historic Places, in 2003. struction was a major business with few competi- such as timber and lumber, grain, cotton, guano, and and transferred to the American trade. coal. On 4 February 1898, while en route from Pensacola to Buenos Aires with a cargo of lumber, f The Norwegian Connection g Lofthus was wrecked on the east coast of Florida. Norwegian shippers were major buyers and The local sea -going tug Three Friends (which usually ,° y operators of old sailing vessels, both wood and metal. was engaged in running guns to Cuba) attempted y ' rc` Norway lacked the capital, backing, and resources to assist the stranded barque, but she was high on' to build large vessels of its own, but the country did the beach and quickly being pounded to pieces by have an abundance of skilled maritime manpower waves. The crew of sixteen men was saved but the to operate ships. Older vessels near the end of their vessel was a total loss. Lofthus' Captain Fromberg, working life could be purchased for a fraction of their traveling with his family, entertained local residents 7 building cost and then operated until they completely aboard his stranded ship and gave the ship's dog Courtesy Boynton Beach Historical Society 9 , •/,' - '-, -,. 'it Conrad Pickel \ 7 Celebration <�� Boynton Beach City Library May 13, 1075 Olio lip WA. v 411.00,.*' A IP I II■ 8am -130pm _ f. 400 ill ■' i i — 411111 4* 11I■ ■ 0 IS is wiiiiiih r Conrad Pickel Celebration "''; . " ; , ; , l A Celebration about renowned stained glass artist, Schedule of Events: + t y : , i ' I i, : Conrad Pickel, his life and global vision of the arts. 8:00 a.m. - Pickel's Historic Bus Tour 'r' 4 t 4-,.') 'l ) Boynton Beach Memorial Park Mausoleum } „ t ll j� Ascension Lutheran Church I , i s . . oil Kick off the celebration by taking a narrated St. Joseph's Episcopal Church w - I Historic Bus Tour highlighting Conrad Picket's artwork. Former Gallery Fantasia ' \ , .,t `� -' Later, join the experts in a series of lectures to discuss St. Mark's church ” ._ ..; ''‘ i ' Conrad's life, the art of glassmaking, glass art demonstrations and a Conrad Pickel exhibition. 10:30 a.m. - Back to Back Lectures k - -' Conrad Pickel: Celebrating the Stained Glass Artist's Life and Vision Presenter: Janet DeVries, President, Boynton Beach Historical Society WHAT: Conrad Pickel Celebration Conrad Pickel, Elevating the World of Glass Art WHEN: May 23, 2015, 8:30 a.m. - 1:30 p.m. Presenter: Shanon Materio, President, McMow Art Glass WHERE: Boynton Beach City Library, 208 S. Seacrest Blvd. Not Enough Time in the Day - Conrad's Talents and Vision COST: FREE Presenter: Paul Pickel, President, Conrad Pickel Studio Past, Present and Future of Glass Art in Palm Beach County Presenter: Rick Eggert, Creative Director, Benzaiten Center for the Creative Arts To register for the bus tour, call 561 - 742 -6066. Living in a Conrad Pickel Home Presenter: The Jacarusos Hosted by: 12:30 -1:30 p.m. - Glass Demonstrations & Conrad Pickel Exhibition 'Schedule subject to change. corare * + t a r\ � ' tom:. M�MOW t �� ��`� - � ( s � (m l O Att s S .r ,6