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HomeMy WebLinkAboutCRA-R-11-0060 11-28-11 BackupMICHELLE SPENCE-JONES Pieter A. Bockweg Board Chair Executive Director VIA U.S. MAIL November 1, 2011 Sharon Rolle Director Purvis Young Art Museum 255 N.W. 23rd Street Miami, FL 33127 RE: Request for Proposal (RFP 11-007) Ms. Rolle: The Southeast Overtown/Park West Community Redevelopment Agency has concluded its review of the proposals submitted in response to solicitation RFP 11-007 and has rendered a funding determination. The proposal submitted by your firm has been deemed non -responsive and has been rejected from consideration. We appreciate you taking the time to respond and your interest in the community redevelopment area. We hope you will consider the redevelopment area for your future projects. Please regularly visit our website at www.miamicra.com for new opportunities. Sincerely, Clarence E. Woods, III Assistant Director Cc Carmen Cabarga, Esq., Staff Counsel SOUTHEAST OVERTOWN/PARK WEST COMMUNITY REDEVELOPMENT AGENCY 49 N.W. 5T" Street, Ste. 100 / Miami, FL 33128 / Telephone: (305) 679-6800 / Facsimile (305) 679-6835 Email: cra(a..miamiciov.com. / Website: www.miamicra.com MICHELLE SPENCE-JONES Pieter A. Bockweg Board Chair Executive Director VIA U.S. MAIL November 1, 2011 Martha Wells Moselle's Boutique 1033 NW 3rd Avenue Miami, FL 33136 RE: Request for Proposal (RFP 11-007) Ms. Wells: The Southeast Overtown/Park West Community Redevelopment Agency has concluded its review of the proposals submitted in response to solicitation RFP 11-007 and has rendered a funding determination. The proposal submitted by your firm has been deemed non -responsive and has been rejected from consideration. We appreciate you taking the time to respond and your interest in the community redevelopment area. We hope you will consider the redevelopment area for your future projects. Please regularly visit our website at www.miamicra.com for new opportunities. Sincerely, MC Clarence E. Woods, III Assistant Director Cc Carmen Cabarga, Esq., Staff Counsel SOUTHEAST OVERTOWN/PARK WEST COMMUNITY REDEVELOPMENT AGENCY 49 N.W. 5T" Street, Ste. 100 / Miami, FL 33128 / Telephone: (305) 679-6800 / Facsimile (305) 679-6835 Email: craCa�miamic ov.com. / Website: www.miamicra.com art [A11115111011 MOUJCF15I for the Southeast Overtown / Park West Community Redevelopment Agency RFP#11-007 October 26, 2011 Submitted by: TheUrbin(oilethve 11 The Urban(o1Iedve LETTER OF INTENT 3246 North Miami Aven'.e. Miami, FL 33150 p! 785.251.0741 • e: rinei:ileil: -y::hoo.com Letter of Intent October 22, 2011 Mr. Clarence E. Woods Southeast Overtown/Park West CRA 49 NW 5th Street, Suite 100 Miami, FL 33128 Re: RFP# 11-007 Notice to provide Complete Production & Management Services for a Group Art Exhibition Dear Mr. Woods and Members of the Selection Committee: The Urban Collective (TUC) is an urban gallery featuring fine authentic artisan artwork from Africa and the Diaspora. We place emphasis on using our retail gallery to promote emerging local African, African - American and Caribbean artists from the South Florida community. Founded in 2004 by Neil Hall, AIA over the course of seven years we have sponsored and hosted numerous events, salons and shows in support of the local art scene. In doing so, The Urban Collective has fashioned itself as a cultural and artistic reference point within the local Black arts community and the ever -evolving Wynwood Arts District. As the sole proprietor and purveyor of African artinthe district, we have emerged as the source and champion of local artists of African descent. We are dedicated to running an ethically and socially conscious business that supports the fair trade of third world artisans through the establishment of guilds and collectives throughout Africa and the developing world. On a local level, we partner with worthy non-profit organizations to produce creative events in support of institutions that sustain communities with their charitable work. The Urban Collective is comprised of a group of seasoned professionals who possess the artistic, administrative, creative and event planning and management skills necessary to plan and execute a project from conception through completion. Enclosed please find the requested proposal information for the referenced RFP. As you may determine in review of this submittal, TUC is qualified in every aspect to perform the desired services and execute an inspired, successful art fair for the community's enjoyment and enrichment. Sincerely, THE URBAN COLLECTIVE, INC. NEIL HALL, AIA President/CEO Enclosures 32''6 ``:c'th .v.iami Ave-lue, I':%i.c.11i, FL 32150 p: 7E5.2E-1.0741 = ?: r.r.e;tnah yahoo.cc:n TheUrban(oHec"° Exhibition Concept It is our intention to produce the first annual ART AFRICA Miami Fair as part of the Overtown Holiday Festival during Art Basel Miami 2011. We want to pay homage to the centrality of Africa's artistic contribution to the modern world and to brand art from the Miami Black art community as a significant attraction during Art Basel Miami 2011 and beyond. The Urban Collective will house a number of galleries - perhaps ten to fifteen initially - under one umbrella, creating a large central pavilion and building an entire theme around the art of the African Diaspora. Each year Art Basel Miami attracts a multitude of art buyers, collectors, curators and gallery owners to our fair city. It draws over a half million visitors, offers more than 5000 gallery venues and creates over $250 million in sales revenue over the seven day event. The number of museums, galleries, and studios that proffer this wealth of visual art continue to increase exponentially each year and in response, the visitors and the revenues they bring to the community at large also continue to increase. In short, Art Basel is the world's pre-eminent contemporary art fair whose cultural significance and revenue generating ability cannot be under estimated. However, as South Florida temporarily transforms into the international Mecca for art during Art Basel, the local Black art community has failed to establish a significant presence in the expo. Nine years after the launch of the first Art Basel Miami, there exists only a small number of galleries that exhibit art from the African Diaspora, and these venues tend to be found here and there, scattered in various smaller artspaces throughout the city. The paucity of venues in Basel week that support and/or promote African art do a disservice to the fair itself and the city which hosts it. That such a situation exists ignores the fact that African art, though ancient, is a fundamental tenet in the development of cubism, modern sculpture, woodcutting and blocking and other contemporary media. It was African art which inspired and made significant impressions on renowned Spanish and French contemporary artists such as Picasso, Henri Matisse and Andre Breton among a great many others, yet African art remains underrepresented. By advancing both local and global African, African -American and Afro -Caribbean artists, ART AFRICA Miami can bring a vital and essential cultural service to the Overtown community, the City of Miami in general and Art Basel internationally. We seek to transform, educate and enlighten the masses to the depth and breadth of art emanating from the focal Black community, lending Overtown's Holiday Festival, a true international flair. It is expected that ART AFRICA Miami will attract more than ten thousand visitors to the Overtown Holiday Festival in its first year. By virtue of ARTAFRICA's association with Art Basel Miami, the Overtown Holiday Festival will benefit from increased visibility, enhanced status within the local and international art world, create a wider audience and broaden the scope of opportunities available to the artists and galleries that participate in the fair. Additionally this combined activity will serve to direct needed revenues into the Overtown community. ARTS & CULTURE The Urban Collective; placing African Aesthetics into the American Market D. Neil Hall The Urban Collective presents African Aesthetics in a uniquely urban fashion'. Architect D. Neil Hall founded the Miami boutique, in 2004 to honor the idea of handmade goods from African and Asian art production. As a lifestyle boutique, the store exposes the American market to artisan from developing nation's work in art, jewelry, home accents, etc. "I have always been pushing the agenda for the African Aesthetic. My job as an architect is to expose worldly designs in a client - attentive fashion," states Hall. With attention to detail, pricing, and client satisfaction, The Urban Collective's goal is to display art that observes the uniqueness in the lifestyle of the African societies from their dress and mannerisms, to how they put together colors in their art work. The mission is to brand the store as a one of a kind place to get handicrafts from Asian and African markets. Hall and his colleagues believe there is much to learn from their traditional practices. "Industrial societies have just begun looking at recycled materials while Africa's been working with them for centuries." Aside from a simple design life, the store was established to recognize that excellence always trumps race and poverty. It is a goal of the store to change the world's outlook of Africa from countries riddled with politics to creative, talented; artistic havens. Prior to pouring his By Ashley Hewlett ideals into the store, Hall found it hard to convey his vision to clients. "The purpose of being an architect is to expand your own vision "I have always been pushing the agenda for the African Aesthetic. My job as an architect is to expose worldly designs in a client - attentive fashion" through design; which I unable to until opening The Urban Collective to showcase traditional creativity. Yearly trips to Africa yield inspiration and art pieces brought back for sale in the store. Of the many countries, South Africa and Senegal have inspired the store's collection the most. The 10th Design in Indaba convention is attracting designers from around the globe to South Africa, raising the awareness for African design aesthetic. Hall wishes to initiate a design conference named "Design Africa" to display the African Diaspora so that those featured at the conference have access to the American market. 22 Ans URBAN COLLECTIVE SOCIALLY CONSCI SUS ART AND DESIGN by: Shelly -Ann Parkinson The idea of a socially conscious business floats about quite loosely these days. It almost seems to be an oxymoron to expect any form of enterprise to be non -exploitive. This of course goes back to the Marxist ide- ology of the capitalist's ability to make profits only through the exploitation of workers. Since its inception in 2004, The Urban Collective has been successfully balancing being a viable business entity with the ethical and social consciousness of fair trade with third world artisans around the globe. Currently located in Midtown, Miami, The Urban Collective inhabits 2 prominent spaces at the end of a quaint cobblestone street in this trendy neighborhood adjacent to the Design District. The equal sized spaces grace this quiet street with elements of serenity and balance as each space sits opposite and frames the walkway from the convenient parking structure behind them. Once inside, both spaces offer treasures for the senses from near and far away. The space on the right houses The Urban Collective Store, an urban lifestyle boutique featuring fine authen- tic artisan pieces from Africa and Asia along with modern design elements. Perusing this small store is not only delightful due to its elegant layout of handcrafted items including jewelry, clothing and home accents but by the richness of the experience. One almost feels captured by the stories of each item and in some moments the imagination need not stretch very far to be taken to open air markets and small rural villages in faraway lands. The space on the left houses, The Urban Collective Gallery, where works of prominent artists are displayed. The Urban Collective Gallery currently features the work of Bayunga Nsimba Kialeuka, a Miami -raised im- migrant from the Democratic Republic of the Congo. His emotionally charged paintings reflect themes of humeri frailty and dependence on each other as well as people and situations in various rural and urban environments often within the context of rural migration's impact on modern society. Securing and protecting the artists' work and maintaining the social responsibility of fair trade practices lies in the hands of owner and famed architect D. Neil Hall and partners Taj Hunter, Waite and Weber Gouin. They make sure that each and every item sold in the store or displayed in the gallery is traceable and there is proper accountability directly from makers' hands. Their message to their consumer is: "every object tells a story, find one that speaks to you." \'Voinen of Ike f\f oicail A k CAROL CC C' ,I'M sd AUGCLA FISHER 12 TheUrbn(o1Leive PROJECT PARTICULARS TheUrban(olledive Project Particulars The ART AFRICA Miami Fair will be located in a 5,000 square foot, fully enclosed tent located in historic Overtown section of downtown Miami. This inaugural event will be held during the week of the international Art Basel Fair, the most prestigious art show in the Americas. The city of Miami is expected to have over 46,000 international visitors, including 1400 members of the media and over 130 museum groups. During the seven (7) day fair, galleries, collectors and artists will be promoting and selling their art, while local, public, national and international visitors meet and acquire products, services and talent of the highest quality. Everyone will enjoy the works developed by top named artists and celebrities while experiencing the customs of the many countries being represented. The fair tent will be partitioned into ten to fifteen (12'x16') gallery stalls situated in the center of the tent, where individual artists will showcase painting, sculpture, textiles, and photography and design objects. There will be a large reception area at the main entrance and additional free space surrounding the perimeter of the tent interior. Flooring may be either plywood or carpet over plywood. The Urban Collective will provide all of the line items that are expressly stipulated in the RFP as the responsibility of the Proposer. In addition, The Urban Collective will provide: O Logistics o Construction labor o Outdoor lighting • Catering G Entertainment Event Hours of Operation Wednesday November 30th Thursday December 15t Friday December 2nd Saturday December 3`d Sunday December 4th 3:00pm 10:00am 10:00am 10:00am 10:00am 7:00pm (SET-UP) - 7:00pm (OPENING NIGHT) - 7:00pm - 7:00pm - 1:00pm (CLOSING) Admission Two Day general admission passes will be available at the substantially reduced cost of $20.00 per person which will help defray the auxiliary costs of hosting the fair and create an opportunity to donate proceeds to a local charitable organization. 1,0 3 Z T 0 C KC 1. , It 0 N 4, .1,7211e TheUrban(o11eive PROJECT BUDGET (EXHIBIT A) TheUrban (o11eive Project Budget Vendor Costs & Service Quotes In keeping with our commitment to preserve quality and maintain a high level of professionalism, while containing costs, The Urban Collective regularly seeks multiple price quotes from potential service vendors. As we have many years of experience in the area of event management, we have developed relationships with a network of qualified vendors and service providers who deliver necessary services at reasonable rates. The subsequent pages contain three quotes for each the following expenses: A. Marketing B. Installation / Set -Up C. Event Operational Costs PROJECT BUDGET (EXHIBIT A) A. MARKETING QUOTE #1 QUOTE #2 QUOTE #3 1. Creation and printing of marketing brochures 2,000.00 3,000.00 3,500.00 2. Event signage for onsite display 3,000.00 3,000.00 3,000.00 3. Event flyers and posters 800.00 1,000.00 1,000.00 4. Design fee for artwork for marketing materials 1,500.00 3,000.00 1,500.00 Production expenses associated with filming of the 5. event for future marketing of the Community 3,000.00 2,500.00 3,500.00 B. INSTALLATION / SET-UP QUOTE #1 QUOTE #2 QUOTE #3 1. display of artwork (i.e., lighting, plywood, brackets, wall hooks, wiring, etc.) 4,500.00 5,000.00 4,000.00 2. seating accomodations, easels for artwork display, projector for visual display of artwork, etc) 3,800.00 2,000.00 1,800.00 C. EVENT OPERATIONAL COSTS QUOTE #1 QUOTE #2 QUOTE #3 1. 2. 3. Insurance premium for the event during the Event Period. Costs for generator used during the Event Period. Security D. MISCELLANEOUS ITEMS THAT MAY BE REQUIRED 1. Portable Toilets 2. Reception Catering 3. Music / Entertainment (Opening Night) 4. Outdoor Lighting / Spotlights 5. Planters 6. Paint 7. Curator 8. Producer(s) 9. Auctioneer 1,500.00 3,000.00 4,000.00 1,500.00 3,000.00 4,000.00 1,500.00 3,000.00 4,000.00 QUOTE #1 QUOTE #2 QUOTE #3 3,000.00 3,000.00 4,000.00 2,800.00 4,000.00 4,200.00 2,500.00 4,200.00 3,800.00 TheUrban(oHedtve PARTICIPATING ARTISTS Thellrha�(olle�iue Featured Artists/Galleries ASSER SAINT-VAL Biography Asser Saint -Val was born in Haiti in 1974 and resides in Miami, Florida. He has been very much involved in the local art scene. In 2004, his work Cosmic Dilemma was selected as the signature piece for the Miami International Film Festival. Also, in 2004, Saint -Val received his BFA from New World School of the Arts/University of Florida in Miami. In 2006 and 2011, he was chosen as one of the winners of the prestigious South Florida Cultural Consortium Fellowship Grant for Visual Artists, granted solely on the basis of creative excellence to artists living in South Florida. He has completed Artist in Residencies at Diaspora Vibe Gallery, Miami Children's Museum, Edna Manley College of the Visual & Performing Arts in Kingston, Jamaica, and FOSAJ Art School in Jacmel, Haiti. He has exhibited throughout New York City, Fort Lauderdale, St. Petersburg, Palm Beach, and Miami. He has also shown internationally in Aruba, Grenada, Jamaica, Bahamas, Haiti, and Puerto Rico Works Title: King. R. D., 1980. " Pineal gland, Melanin and Calcium: A Review of 1, 1622 case." Scientific Essay. Durham. NC. Medium: Mixed media on masonite, coffee, shoe polish, acrylic, color pencils Size: 50" X 100" Year: 2010 TheUrban(olledive Title: Nobles, W., 1986 " African Science and Black Research, The consciousness of Self, in L. King V. Dixon, and W. Nobles, eds., African Philosophy: Assumptions and Paradigms for research and Black People. Los Angels: Fanon Research and Development Medium: Mixed media on masonite, coffee, coco powder, chalk pastel, oil pastel, shoe polish, flour, acrylic Size: 50" x 50" Year: 2011 Title: Bonner, M., and Cohen, A. M., 1979. " Migratory Patterns of Cloned Neural Crest Melanocytes Injection into Host Chicken Embryos," Proc. Natl. Acad Sci. USA., 76, 1843-1847 Medium: Mixed media on masonite, coffee, coco powder, chalk pastel, oil pastel, shoe polish, flour, acrylic Size: 50" x 50" Year: 2009 ROBERT MCKNIGHT i.41%. Biography Robert McKnight was born in Kingstree, SC in 1951 and moved to Miami with his family in 1953. From early childhood he has excelled in art. Mr. McKnight studied Painting at Syracuse University and sculpture in London. He has worked as an exhibit designer at several major attractions in Florida. He has always been active in the fine arts, exhibiting extensively throughout South Florida, the southeastern states and the Caribbean. Mr. McKnight has realized number of major public artworks in Miami: Says McKnight, "My mission as an artist is to create works that are individual in style and content reflecting my heart and soul, stretching the poetic and artistic license in both material and content." He has paid inspired and consistent tribute to his cultural heritage in his efforts on behalf of other artists, and he has added to that heritage through the power and originality of his art. Artist Statement My art is spontaneous; it is about the rhythms and patterns that are all around us. It is a silent music. It is meant to delight the eye then trigger the audience to react one way or the other. I look to the symmetry in nature as a springboard to launch shapes and forms into desperate dances of inspiration. There was, is this poet who dwells within me and cries to be heard...I tried to keep him silent with images. He found his voice and poured out of them disregarding my cries that he remained silent for the sake of normality. I took his voice; welded it into my vision and together we speak of tales near and dear; of thoughts new and gold in valleys at the bottom of mountains that soar well beyond the moons. My work is a song of fantasy. TheUrban(olledive Title: In the Winds of Spirits Medium: Sculpture Year: 2010 Title: Copy Medium: Sculpture Year: 2008 TheUrban(oll&tive Title: Mockingbird Medium: Wrought iron, mosaic tile Year: 2008 TheUrban(olledive R. JACKSON Artist Biography R. Jackson, a visual artist and designer, is known among his colleagues as someone with a strong work ethic not afraid to push boundaries. Jackson says "I am constantly surveying my surroundings for ideas that can be expanded or improved. I am also trying to find the empty spaces where new ones can exist." Jackson knew that he would be and artist by the third grade but admits he really didn't get serious about his art until he got to high school. "Things changed when I was accepted to the New World School of the Arts. I started sneaking into the visual art studio before school and stayed as late as i could after school." His work habits positively impacted the culture of the art department and earned him a level one in the YoungArts competition. He was nominated as a presidential scholar and earned the only full merit scholarship to the Maryland Institute College of Art later that year. Louise Romeo former Dean of Visual Arts at New World School of the Arts described his work by saying, "Whatever he touches turns to gold." Jackson considered going directly to graduate school after college but took the advice of Leslie King - Hammond MICA's Graduate Dean Emerita deciding to instead "Make a mark in the world first." Since then R. Jackson has made his mark both as a designer and a visual artist. As designer Jackson has given breath to the visual identities of numerous companies, organizations, and personalities by developing their brands. He is co-founder and Art Director of Back\slash, the first independent college lifestyle magazine to be distributed nationally. Jackson is helping a generation of college students define and express their unique identity. He has given the ground breaking publication access to his catalogue of illustrations and fine art which they have featured throughout the magazine since it's inception in 2007. He has also extended his talents to companies and organizations through pro bono work. Jackson turned his wife Yolande's vision of a magazine program at her middle -school into a reality. He helped her develop Conchita Magazine, the only full color middle school magazine in Florida, and implemented the graphic design protocol to help sustain it. They started that program in the summer of 2002 and the alumni of this program have gone on to attract successful positions at national magazines and television news stations. ThI irhn(n11& Jackson's visual art is in the permanent collections of the Miami -Dade Public Library System and the Adrienne Arsht Center. In 2010 he designed and built a robot entitled The Guardian of vinylthat is created out of recycled vinyl records and album covers for the exhibit Turn, Turn, Turn; The Synthesis of Vinyl Into Art. The 17 foot structure won best in show and was selected to be featured in the same exhibit at the Fort Myers International Airport. Later that year Jackson curated a two man show called DonuPop; Objects of Desire which was the first show that reflected imagery from the art movement he named called Donu. In 2011 he expand the Donu concept with his solo show DonuPop 2: Rockets Robots Donuts. For the opening Jackson fabricated a 13 foot pink inflatable donut that was erected in the front of the gallery space. R. Jackson has been represented by the Diaspora Vibe Gallery since 1998. He is activated by its mission to expand the definition of the "Caribbean artist" within a contemporary context. Being the son of Jamaican immigrants, Jackson feels he is obligated to the culture he credits with instilling his strong work ethic. Through Diaspora Vibe's International Cultural Exchange program, Jackson is able to interact with his audience and his contemporaries on an international scale touring different Caribbean nations annually. "ICE allows me to participate in the work that I think is sparking the "Harlem Renaissance" of the Caribbean." During this time Jackson has produced a variety of work with specific criteria. He describes his process by saying, "As a visual artist, I am interested in what we consume as individuals as well as a society and how we use the products we consume to identify ourselves." Jackson's most recent project explores spirituality. A book entitled How to Reach Your God Zone; An Instruction Manualbased on his 2008 installation of the same name. This illustrated workbook uses a unique universal approach to encourage readers of any or no faith to have a personal spiritual experience. Jackson currently teaches at the Ocean Reef Art League and lives in Homestead with his wife two children. Works Artist: R. Jackson ThUrban(o1Iedve Title: Donu Robot Media: Mixed Media Size: 11'x4' Year: 2010 Title: Media: Year: Untitled Mixed Media 2010 Title: Untitled Media: Mixed Media Year: 2010 ADONNIS PARKER Biography Addonis Parker has been established 15 year as a professional artist. He has participated in scores of group and solo exhibitions since 1997. His work is in numerous public and private collections Addonis was born in Avon Park Florida in 1972. He has been an artist since the age of 6. During his early twenties he began creating murals and to date has several notable murals in the South Florida area, where he currently resides. A major exhibition of Addonis' work opened in July 2007 at The Old Dillard Museum in Fort Lauderdale, Florida. Artist Statement Art to me is a form of extreme communion with God. Respectfully and with pride, I am a student of creativity and expression. My life is simply an open book to the inner world of our urban fabrics but the ThI Jrhan(nIJ(yp key to the underworld of self -truth, through the eyes of Addonis. I am a master of expressing the depths of emotion and the plight of a people, shunned, feared and disdained. I am a captain of the community of man through a visual port of my surroundings. Being self-taught —I will violate the art code to convey any message necessary to meet such an objective to save lives or strengthen a community. I am a witness to the hardship as well as the high levels of success of the men and women who dared to chase this venture alone; even before me, if none should come after. My work is the eternal flame of voices which society chooses to ignore. I use symbolic rendering and spiritual undertones to convey my message as I have received it. Color, composition and structure are important instruments to strike emotional cords to one's visual journey with the face of my spirit. With the presence of nature and elements of historical events; I feel that I must be a gatekeeper of my current time and experience. I am an advocate for the freedom of expression. I find it necessary to include small forms of nature in my work. Nature holds the key to serenity and extreme craftsmanship from a higher source— God. Another fact, being self-taught eliminates the fear of freestanding risk taking in my opinion. My work, to me is in fact intense, prophetic, thought provoking, spiritual, emotional, and maybe controversial. I have accepted this crown of distinction and all the disciplines it may provide. I choose not to classify my work nor will I receive a commercial stamp to categorize my ability and thought process. I am an American artist who just paints. l paint for the love of creation and the respect and honor of my past forerunners who had neither the opportunities nor the civil rights to become what I am today. It is my eternal pleasure to carry a brush use it limitlessly. I will continue to be me in my work and in my community as well. Art to me is therapeutic but the essential foundation of every community around the world. The absence of the opportunity of art - is the absence of civilization. Works Title: CEO Media: Mixed Media Year: 2010 TheUrbin(oflethve Title: CEO Media: Mixed Media Year: 2010 TODD ELLIOT MANSA Biography T. Eliott Mansa (b. 1977) was born and raised in Miami, FL He is an alumni of the New World School of the Arts High School and was a recipient of the Thalheimer Scholarship from the Maryland Institute College of Art, receiving his BFA from the University of Florida in 2000. His paintings have been exhibited at the African American Museum of the Arts, Deland FL, the David Castillo Gallery in Miami, and the Miami International Airport. He came of age in the era of Reaganomics, crack cocaine, and the sounds of Black nationalist hip -hop. Through his artwork, Mansa has found ways to explore the juxtapositions found in his environment. His Tb 1 trhn(nJIdivP work endows historical content with personal sentiment, deconstructing the subjects of his portraits according to family, and socio-political histories. Works E_ EEPORK 64`r iICKEN.BE Title: Sojourn of the Day Twin Media: Mixed Media Year: 2010 TheUrbin(olledive Title: Media: Year: Concrete Proof Seed Pencil on Paper 2011 Title: Olukuns Servant Media: Pencil on Paper TheUrbn(o1Iective Bayunga Kialeuka (BKS) Biography Born in the Democratic Republic of the Congo and raised in Miami, Bayunga Nsimba Kialeuk's artistic Tens reflects the polarity that stems from his ability to be of Africa, exuding all that that represents while residing firmly in South Florida's urban milieu. His work often reflects the fundamental human condition, told in story -like fashion, narrating tales of both struggle and transcendence. Here the complexity in his work is evident by his use of short, many -colored brush strokes in the muted and primary palette of the Impressionists, while also employing chiaroscuro, the interplay between shadow and light on his subjects. The interplay speaks to the double consciousness that infuses his worldview. Kialeuka's influences come from his immediate environment, inspired by the people in his life: friends, family, fellow artists, and his larger social network. He frequently utilizes themes which capture both rural life in the South, as well as urban locations which are rooted in his personal perception of class, common access to social resources, community infrastructure, education, consumerism and identiy. Artist: Bayunga Kialeuka/BKS Title: Untitled Media: Oil on Canvasia Size: 30x48 Year: 2010 TheUrban(olledive Artist: Bayunga Kialeuka/BKS Title: Danny Roy Baker Media: Oil on Canvas Size: 45x40 Year: 2009 Artist: Title: Media: Size: Year: Bayunga Kialeuka/BKS Juice Oil on Wood 40x42 2010 Arts & Culture 11 Bayunga Nsimba Kialeuka: Creating and Accomplishing "The Art of the Possible" The artist explains his work as Shamion Romain of MIA magazine looks on attentively Born in the Democratic Republic of The Congo and raised in South Florida, painter Bayunga Nsimba Kialeuka likes to illustrate stories that come back to the basic human issues of plight and overcoming. He summarizes his work in a phrase derived from Egyptian politics that finds a place in his world of creating and accomplishing: "the art of the possible." "My paintings are based in reality and la -la land at the same time," says the artist. "I want to paint the harsh realities and the possibilities." A self -described social -realist, Kialeuka explains that as a painter, he illustrates the possibilities of all realities. Sitting in the Urban Collective Gallery in the Midtown neighborhood of Miami for this interview where his paintings are now on display, Kialeuka eloquently explains his process of creating art. All the while he tries to remain modest as elements of a true intellectual manages to seep through. "I read a lot of political mumbo- jumbo, I pay attention to history and I'm very attracted to Russian history but haven't read much about it" Kialeuka said. As the interview continued, what emerged was a complex individual with a deep understanding of varying views of creating possibilities. Best known for his murals in Overtown and around New York City which have appeared in music videos and can be seen in schools and in parks, Kialeuka notes, "My murals are meant to be seen from afar to understand them." While he states that his work is influenced by impressionists, his work may actually be more expressionist because of the palette of muted colors mixed with bright and opaque colors. He stresses that his work is reality - based, not fantasy -driven. "I would rather create an image you can walk into than something you could only imagine in a movie," Kialeuka said. But his compositions are based on movies and films he has seen. He has always been a fan of panoramic compositions. He is always trying to interpret space in a flat and fragmented way like the Egyptians did using the hierarchy of size. His work has evolved by using atmosphere to illustrate space By Sambucha through the use of darkness and light. The strong use of light from the Renaissance Era and from early films are strongly depicted in his paintings. Kialeuka sees himself as an artist with a cinematographer's eye- using lighting, vantage point and tone of the color scheme to suggest mood and atmosphere. Looking forward Kialeuka said he'd like to grow as an artist. Ultimately he wants to be an industry leader with his own private collection. He wishes to cultivate a tremendous art scene in The Congo where artists are the leaders. As the interview drew to a close, the artiststated emphatically: "I have big eyes, I pay attention to everything," he said. "The possibilities I see are far beyond. The goal is to be among the who's who. How soon can that be realized? I don't know. But it will take place." Jamila Powell of Social Esquire ponders "The Art of The Possible" The artist, Bayunga, with The Urban Col- lective Gallery owner, D. Neil Hall and Taj Hunter -Waite 37 1heUrba�(ollediue Kristo Nicolas Christian Nicolas grew up in a home where reverence for photography, literature, and the arts were evident. Molded by two parents professionally involved in photography, Christian was drawn behind the lens. Under the guidance of his parents and Uncles, Christian tested, learned, and entered the world of picture taking. By the age of twelve, he was already experimenting with special effects using the darkroom of his parents' lab to create abstract work. Christian's high regards for his father inclined him to benefit from the commitment he displayed teaching and writing. These particular surroundings shaped his personal interests and deepened his appreciation for the arts in general. Influenced by French poets, Verlaine, Ronsard, Beaudelaire and others, Christian at fourteen began writing poetry. He moved to the United States at nineteen to carry on his academic studies. His fondness for the family's passion enticed hm to veer off studying and earning 2 degree in Art Photography instead. He worked in the field diligently for five years. With great enthusiasm, he devoted most of his free time to writing, drawing, and the study of mysticism. Until meeting Haitian master Jean Claude Garoute-also known as Tiga, these activities were his passion. With a natural flair for illustration, a keen eye for the esthetic, a dormant talent awakened as Christian began to paint with Tiga's guidance. Producing not only ut;lizing acrylics, Christian found new possibilities in the appliance of the "Soleil Brule-" technique created, documented and taught by Tiga. KRISTO was born. Totally immersing self in the new approach allowing spontaneity full authority, the artist emerges prompting this reveal: "This completes the circle, the missing link that 1 have been searching for so long; Painting takes me to another world, where freedom is not a vain word, but a liberating reality. In February 2009, Kristo coauthored the book "Here...There and Beyond", a collection of the work of 16 Haitian artists of Florida, and was the curator of the first exhibit of the 16 artists from the book at the Miami Dade College. In 2010 Kristo also authored the book "Beyond Words - Beyond Colors", a mini compilation of his writing, painting and photography. TheUrbn(o11eive Artist: Kristo Nicolas Title: Head in the Sky— Feet on the Ground Media: Sand and acrylic on Canvas Size: 40x40 Year: 2010 Artist: Kristo Nicolas Title: Feraj Nago Warrior Media: Sand and acrylic on Canvas Size: 40x40 Year: 2010 TheUrbn(oI1edive Artist: Title: Media: Size: Year: Kristo Nicolas Right of Passage Acrylic on Canvas 36x36 2009 Artist: Kristo Nicolas Title: The Invoked Media: Acrylic on Canvas Size: 30x30 Year: 2009 TheUrban(olledive Darren Watson Has been painting for the last ten years and currently works with youth projects. The more he works with youth, he see's that he must use his talent so he paints. He paints to prove that if you work for something you can often get it. He resides in Miami FL, and does about two shows a year but would like to do more. Artist: Darren Watson Title: eye Media: Acrylic on Wood Size: 30x60 Year: 2011 The Urbn (olle ctive CRAIG DENIS For the first time in the history of our world a species has evolved and become so sophisticated and technologically advanced that is has become a detriment to itself, and the planet it lives on. Completely alone at the top of the food chain, the only threat to our existence as a whole is ourselves. And we have spread like wild fire. Human population took over 10 thousand years to reach 1 billion people, and in the last 100 years it has gone from 1 billion to 6.5 billion. This exponential growth is bleeding the earth dry of its resources and is wholly unsustainable. Too many of us are consuming without thought of the consequences. The rise in global temperature is heating up our great seas, which is leading to stronger more catastrophic hurricanes, and global climate shifts. This is just the beginning and we are witnessing that right now. Within our lifetimes, the melting of the polar ice caps and glaciers, in conjunction with the heating and subsequent expansion of our oceans will render our valuable coastal lands submerged. As we keep chopping down our trees and forests, nature's air filters, we are replacing oxygen with carbon dioxide, which is heating the temperature of the earth even more. Each day we turn our noses away from this fact is bringing us closer to the brink of disaster. As we approach the point of no return the options are extremely limited in any attempt to reverse this damage. It seems as though too many of us go about our daily lives in blatant disregard of our actions. I have seen it with my own eyes, and I see it every day. I have traveled throughout many cities and I see the same thing everywhere. Traffic...unbounded traffic...countless vehicles, relentless tail pipes emitting exhaust and toxins into the atmosphere. As the suburbs of South Florida keep stretching and encroaching into the Everglades, and chunks of land are being sold off to developers, entire ecosystems are being destroyed, and with them the natural balance of the earth. The scary thing is this is not just happening in Florida, it is happening all over the world. Living in Miami and observing the environment around me has been an eye opening experience. To see this frightening Miami skyline of endless giant cranes and hollow skeletons of soon to be skyscrapers is mind blowing. The way that I depict these images, of construction through the medium of photography ironically resembles an eerie likeness to those of ruins. This idea of foreshadowing exemplifies the conception that we are not as invincible as we think we are, and we can take a great fall just as other civilizations have in the past. Except this time we have the potential to take everything on the planet with us. Thellrban(olledive We are a culture based on greed, money and consumption. If we continue this paradigm of living in the moment and do not think about the consequences of our actions, and continue to neglect the contemplation of the future of our planet, then ruins are just what we will become. If we do not change our ways then we are destined for failure. We have not yet hit that precipice of no return. There are steps that need to be taken and they need to be done immediately. We need to cut off our dependence on this monopoly of oil and seek another more reliable, environmentally friendly source of energy that does not destroy our atmosphere and the very air we breathe. The technology is here to do so, we have the means and the know how, and we have to utilize it. At this point every car on the market should come standard with a hybrid engine; every new building needs to utilize the green technologies of solar and wind energy. As we keep expanding our cities to accommodate for the proliferation of our population increase, we need to seriously utilize the very forces of energy that nature provides us with, as well as renewable and recycled resources; something that I have found to be extremely rare in the city of Miami and all of Florida in general. With our nations focus on a frivolous war we have been blindsided once by the devastating power of what we have turned Mother Nature into. We need to rise up as one and open our eyes, not just as one nation, but as one world. Before it is too late.. Artist: Craig Denis Title: Encroachment Media: Photography Size: 24x16 Year: 2010 TheUrban(ollectiTe Artist: Title: Media: Size: Year: Craig Denis The Grey & the Green Photography 24x16 2010 Artist: Craig Denis Title: Midtown Media: Photography Size: 16x20 Year: 2010 TheUrban(olledive Submitted by: shebo(olicdivc [Type text] ACORD, CERTIFICATE OF LIABILITY INSURANCE DATE 08-04-2010 PRODUCER INSOURCE INC/PHS 226159 P:(866)467-8730 F:(877)538-8526 PO BOX 29611 CHARLOTTE NC 28229 THIS CERTIFICATE IS ISSUED AS A MATTER OF INFORMATION ONLY AND CONFERS NO RIGHTS UPON THE CERTIFICATE HOLDER. THIS CERTIFICATE DOES NOT AMEND, EXTEND OR ALTER THE COVERAGE AFFORDED BY THE POLICIES BELOW. INSURERS AFFORDING COVERAGE INSURED THE HALL GROUP LLC 445 NW 88TH TER MIAMI FL 33150 INSURER A: Hartford Ins Co of the Southeast INSURER B: INSURER C: INSURER D: INSURER E. COVERAGES THE POLICIES OF INSURANCE LISTED BELOW HAVE BEEN ISSUED TO THE INSURED NAMED ABOVE FOR THE POLICY PERIOD INDICATED. NOTWITHSTANDING ANY REQUIREMENT, TERM OR CONDITION OF ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO WHICH THIS CERTIFICATE MAY BE ISSUED OR MAY PERTAIN. THE INSURANCE AFFORDED 8Y THE POLICIES DESCRIBED HEREIN IS SUBJECT TO ALL THE TERMS, EXCLUSIONS AND CONDITIONS OF SUCH POLICIES. AGGREGATE LIMITS SHOWN MAY HAVE BEEN REDUCED BY PAID CLAIMS. INSR 1 TYPE OF INSURANCE LTR POLICY NUMBER POUCY EFFECTIVE POUCY EXPIRATION DATE IMM/DD/YY) DATE (MM/DOfYY) , UMITS GENERAL LIABILITY ( EACH OCCURRENCE 91 r 0 0 0, 0 0 0 A COMMERCIAL GENERAL LIABILITY 21 SBA NQ9415 10/04/10 10/04/11 FIRE DAMAGE (Any one fire) 93 0 0 , 0 0 0. j CLAIMS MADE 1 X I OCCUR LMED EXP Any one person) j 91 0, 0 0 0 X General Liab [ PERSONAL & ADV INJURY 191, 0 0 0 t 0 0 0 GENERAL AGGREGATE 92 , 0 0 0, 0 0 0 GEN'L AGGREGATE LIMIT APPLIES PER: LPROOUCTS - COMP/OP AGG 92 , 0 0 0 r 0 0 0 POLICY' I jECT I X j LOC A AUTOMOBILE LIABILITY ANY AUTO 21 SBA NQ9415 10/04/10 10/04/11 COMBINED SINGLE LIMIT 1,,,, cidenrl 91 t 0 0 0, 0 0 0 _ ALL OWNED AUTOS SCHEDULED AUTOS BODILY INJURY Per person) 9 X HIRED AUTOS NON -OWNED AUTOS BODILY INJURY (Per accident) 9 PROPERTY DAMAGE (Per accident) 9 GARAGE LIABILITY AUTO ONLY - EA ACCIDENT 9 ANY AUTO OTHER THAN EA ACC I $ AUTO ONLY: AGG 1 9 EXCESS LIABILITY EACH OCCURRENCE 9 _ OCCUR l I CUUMS MADE • AGGREGATE I $ IS DEDUCTIBLE $ RETENTION 9 1 S WORKERS COMPENSATION AND EMPLOYERS' LUIHILTIY ' TORY 'RS TLIMITATU-S j I OERTh- E.L. EACH ACCIDENT 9 E.L. DISEASE - EA EMPLOYEE $ E.L. DISEASE - POLICY LIMIT $ OTHER DESCRIPTION OF OPERATIONS/LOCATIONS/VEHICLES/EXCLUSIONS ADDED BY ENDORSEMENT(SPECIAL PROVISIONS Those usual to the Insured's Operations. Certificate holder is named as an Additional Insured per the Business Liability Coverage Form SS0008. Coverage is Primary and non-contributory per the Business Liability Coverage Form SS0008. Waiver of Subrogation applies per Business Liability Coverage Forrn CERTIFICATE HOLDER r X j ADDITIONAL INSURED: INSURER LETTER: A CANCELLATION Miami Dade Aviation Department MDAD Parsons Odebrecht Joint Venture POJV PO BOX 997030 MIAMI, FL 33299 SHOULD ANY OF THE ABOVE DESCRIBED POLICIES BE CANCELLED BEFORE THE EXPIRATION DATE THEREOF, THE ISSUING INSURER WILL ENDEAVOR TO MAIL 30 DAYS WRITTEN NOTICE (10 DAYS FOR NON-PAYMENT) TO THE CERTIFICATE HOLDER NAMED TO THE LEFT, RUT FAILURE TO DO SO SHALL IMPOSE NO OBLIGATION OR LIABILITY OF ANY KIND UPON THE INSURER, ITS AGENTS OR REPRESENTATIVES. AUTHORIZe.k ACORD 25-S (7/97) b ACORD CORPORATION 1988 AL___,-''''' CERTIFICATE OF LIABILITY INSURANCE DATE(h9N1ODrcYYY) 12/21 /2010 THIS CERTIFICATE IS ISSUED AS A MATTER OF INFORAAATION ONLY AND CONFERS NO RIGHTS UPON THE CERTIFICATE HOLDER THIS CERTIFICATE DOES NOT AFFIRMATIVELY OR NEGATIVELY AMEND, EXTEND OR ALTER THE COVERAGE AFFORDED BY THE POUCIES BELOW. 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PRODUCER PAYCHEX INSURANCE AGENCY INC 150 SAWGRASS DRIVE ROCHESTER, NY 14620 (877) 362 6785 SV996 70A CONTACT _NAME: HO (oJG No, Ext): (877) 3e2-8785 (AIL, No (877) s77-0447 E- AJL ADDRESS. payche:Ay trarelerscom S.15S4�ID al 8479Y1134 INSURERS) AFFORDING COVERAGE NAIC 4 INSURED HALL GROUP LLC 445 N W 88 TERR MIAMI, FL 33150 INSURER A:THE TRAVELERS INDEMNITY COMPANY OF AMERICA INSURER B: INSURER C: INSURER D: INSURER E INSURER F: COVERAGES CERTIFICATE NUMBER: 867696436231553 REVISION NUMBER: THIS IS TO CERTIFY THAT THE POLICIES OF INSURANCE INDICATED. NOTWITHSTANDING ANY REQUIREMENT, CERTIFICATE MAY BE ISSUED OR MAY PERTAIN, THE AND CONDITIONS OF SUCH POLICIES LIMITS SHOWN BEEN ISSUED TO THE INSURED NAMED ABOVE FOR THE POLICY PERIOD OF ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO WHICH THIS THE POLICIES DESCRIBED HEREIN IS SUBJECT TO ALL THE TERMS, EXCLUSIONS I BY PAID CLAIMS. LISTED BELOW HAVE TERM OR CONDITION INSURANCE AFFORDED BY MAY HAVE BEEN REDU( -I 'NSR OR TYPE OF INSURANCE ADDL INSR SUER yyyEl POLICY NUMBER POLICY EFF (MMIDOIYYYY) POLICY EXP (MM!ODIYYYY) UMMTS GENERAL LWBIITY COMMERCIAL GENERAL LIABILITY ( .1R EACH OCCURRENCE $ DAMAGE TO RENTED PREMISES (Ea occurrence) $ CLALMS-MADE MED EXP (Any one person) $ PERSONAL 8 ADV INJURY $ GENERAL AGGREGATE $ GENLAGGREGATE UMfTAPPLIES PER: POLICY n JECTPRO 1LOC PRODUCTS - COMPIOP AGG $ $ AUTOMOBILE JANY UABIL TTY AUTO COMBINED SINGLE LIMIT (Ea accident) $ BODILY INJURY (Per person) $ BODILY INJURY (Per accident) $ (Per acdde� DAMAGE $ $ $ — UMBRELLA UAB EXCESS UAB ~ OCCUR CLAIMS -MADE EACH OCCURRENCE $ AGGREGATE $ D DEDUCTIBLE RETENTION $ �$ $ A WORKERS COMPENSATION AND EMPLOYERS UABILI Y YfN ANY PROPRIETOR/PARTNER/E r.ECUTPtE OFFICER/MEMBER EXCLUDE)?LI (Mandatory In NH) If yes, descrme under SPECIAL PROVISIONS below NIA U B -6340M Ra5- 1 0 08/18/2010 08/18/2011 X I TORY STUMiATLLfS EIOTHR- EL EACH ACCIDENT $ 1 OO,OOO EL DISEASE - EA EMPLOYEE $ 100,000 EL. DISEASE- POLICY LIMIT $ 500,000 DESCRIPTION OF OPERATIONS! LOCATIONS 1 VEHICLES (Attach ACORD 101, Additional Remarks Schedule, If more space Is required) CERTIFICATE HOLDER CANCELLATION MIAMI DADE AVIATION DEPT (MDAD) PARSONS ODEBRECHT JOINT VENTURES (POJV) PO BOX 997030 MIAMI, FL 33299 SHOULD ANY OF THE ABOVE DESCRIBED POLICIES BE CANCELLED BEFORE T HE EXPIRATION DATE THEREOF, NOTICE WILL BE DELIVERED IN ACCORDANCE WITH THE POLICY PROVISIONS. AUTHORILtU REPRESENTATIVE . /' "-s.-, © 1988-2009 ACORD CORPORATION. Ali rights reserved. ACORD 25 (2009/09) The ACORD name and logo are registered marks of ACORD AR CERTIFICATE CERTIFICATE OF LIABILITY INSURANCE OP ID GT THEHA-1 DATE (MMIDD/YYYY( 04/18/11 PRODUCER Combined Underwriters of Miami 8240 N.W. 52 Terr, Suite 408 Miami FL 33166 Phone:305-477-0444 Fax:305-599-2343 INSURED THE HALL GROUP LLC 445 NW 88TH TERRACE MIAMI FL 33150 THIS CERTIFICATE IS ISSUED AS A MATTER OF INFORMATION ONLY AND CONFERS NO RIGHTS UPON THE CERTIFICATE HOLDER. THIS CERTIFICATE DOES NOT AMEND, EXTEND OR ALTER THE COVERAGE AFFORDED BY THE POLICIES BELOW. INSURERS AFFORDING COVERAGE NAIC # INSURERA IRONSHORE SPECIALITY INSURER B INSURER C INSURER D INSURER E COVERAGES THE POLICIES OF INSURANCE LISTED BELOW HAVE BEEN ISSUED TO THE INSURED NAMED ABOVE FOR THE POLICY PERIOD INDICATED NOTWITHSTANDING ANY REQUIREMENT. TERM OR CONDITION OF ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO WHICH THIS CERTIFICATE MAY BE ISSUED OR MAY PERTAIN, THE INSURANCE AFFORDED BY THE POLICIES DESCRIBED HEREIN IS SUBJECT TO ALL THE TERMS. EXCLUSIONS AND CONDITIONS OF SUCH POLICIES. AGGREGATE LIMITS SHOWN MAY HAVE BEEN REDUCED BY PAID CLAIMS 1NSH LTR NSRD TYPE OF INSURANCE POLICY NUMBER DATMYL E (MY IA EDDMYYYY)_ POLICY ATE (MM/DD/Y/YVWL LIMITS GENERAL LIABILITY COMMERCIAL GENERAL LIABILITY EACH OCCURRENCE $ — uAMAGt IUHtNItU PREMISES (Ea occ re ce) $ CLAIMS MADE OCCUR MED EXP (My one person) $ PERSONAL & ADV INJURY $ GENERAL AGGREGATE $ GEML AGGREGATE LIMIT APPLIES PER. PRODUCTS - COMP/OP AGG $ -7 POLICY n JECR O T n LOC AUTOMOBILE LIABILITY ANY AUTO ALL OWNED AUTOS SCHEDULED AUTOS HIRED AUTOS NON -OWNED AUTOS COMBINED SINGLE LIMIT (Ea accident) $ BODILY INJURY (Per person) $ BODILY INJURY (Per accident) $ PROPERTY DAMAGE (Per accident) $ GARAGE LIABILITY ANY AUTO AUTO ONLY - EA ACCIDENT $ OTHER THAN EA ACC $ AUTO ONLY AGG $ EXCESS / UMBRELLA LIABILITY EACH OCCURRENCE $ —I OCCUR CLAIMS^JADE AGGREGATE $ DEDUCTIBLE RETENTION $ $ $ $ WORKERS AND EMPLOYERS' ANY PROPRIETOR/PARTNER/EXECUTIV� OFFICER/MEMBER (Mandatory If yes, describe SPECIAL PROVISIONS COMPENSATION LIABILITY Y / N EXCLUDED? ` I WC SLAW- OTH- TORY LIMITS ER E L EACH ACCIDENT $ E.L. DISEASE - EA EMPLOYEE $ in NH) under below E.L DISEASE - POLICY LIMIT $ A OTHER PROF.LIABILITY 000248900 RETENTION 5,000 04/19/11 04/19/12 LIMIT 1,000,000 1,000,000 DESCRIPTION OF OPERATIONS / LOCATIONS / VEHICLES !EXCLUSIONS ADDED BY ENDORSEMENT 1 SPECIAL PROVISIONS ARCHITECT/INTERIOR DESIGN CERTIFICATE HOLDER CANCELLATION EVIDENCE OF INSURANCE SHOULD ANY OF THE ABOVE DESCRIBED POLICIES BE CANCELLED BEFORE THE EXPIRATION DATE THEREOF, THE ISSUING INSURER WILL ENDEAVOR TO MAIL 10 DAYS WRITTEN NOTICE TO THE CERTIFICATE HOLDER NAMED TO THE LEFT, BUT FAILURE TO DO SO SHALL IMPOSE NO OBLIGATION OR LIABILITY OF ANY KIND UPON THE INSURER. ITS AGENTS OR REPRESENTATIVES. AUTHORIZED REPRESENTATI ACORD 25 (2009/01) ✓ ©1988-2009 ACORD CORPORATION. Afi'rights reserved. The ACORD name and logo are registered marks of ACORD BUSINESS NAME / LOCATION HALL DANIEL C 445 NW.88 TERR 33150 EL PORTAL OWNER HALL DANIEL C Sec. Type of Business -HIS IS 21y2A PJOFESSIONAL wrsL BUBINESS TAY RECEIPT- R DOES NOT PERMIT THE HOLDEP TO VIOLATE ANY EXISTING REGULATORY OR TONING LAWS OF THE COUNTY OR CMES. NOR DOES FT EXEMPT TIM HOLDER FROLN ANY OTHER PEEkUT OR LICENSE REQUIRED BY LAW. THIS is NOT n CERTIFICATION OF THE HOLDERS QUALIFICA- TIONS. PAYMENT RECEIVED MTA541-DAOE COUNTYTAX COLLECTOR. 01/19/2011 02210031001 000075.00 SEE OTHER SIDE MIAMI-DADE COUNTY TAX COLLECTOR 140 W. FLAGLER ST. lst FLOOR MIAMI, FL 33130 2010 LOCAL BUSINESS TAX RECEJPT 2011 • MU MWDADE COUNTY -STATE OF FLORIDA - - EXPIRES SEPT. 30, 2011 MUST BE DISPLAYED AT RACE OF BUSINESS PURSUANT TO COUNTY CODE CHAPTER 8A -ART. 9 & 10 THISISNOTABILL—DONOTPAY 629508-3 - RENEWAL RECEIPT NO. 656098-2 STATED AR0013563 FIRST-CLASS U.S. POSTAGE , PAID iiIAMI, FL PERMIT NO. 231 DO NOT FORWARD HALL DANIEL C THE HALL GROUP LLC 445 NW 88 TERR EL PORTAL FL 33150 hiliin fl . n lilijAl::,trilhjrllll)IIII:il,jiil 201 MIAMI-DARE COUNTY TAX COLLECTOR 140 W. FLAGLER ST. 1st FLOOR MIAMI, FL 33130 2010 LOCAL BUSINESS TAX RECEIPT 2011 MIAMI-DADE COUNTY - STATE OF FLORIDA EXPIRES SEPT. 30, 2011 MUST BE DISPLAYED AT PLACE OF BUSINESS PURSUANT TO COUNTY CODE CHAPTER 8A - ART. 9 & 10 FIRST-CLASS U.S. POSTAGE PAID MIAMI, FL PERMIT NO. 231 629505-9 THIS IS NOTA BILL— DO NOT PAY RENEWAL BUSINESS NAME / LOCATION RECEIPT NO. 656095-8 HALL GROUP LLC THE 445 NW 88 TERR 33150 EL PORTAL OWNER HALL GROUP LLC THE Sec. rype of Business EMPLOYEE/S 212 P.A./CORP/PARTNERSHIP/FIRM 1 ss is ONLY A LOCAL USINES& TAX THE RECEIPT.IT DES NOT PERMIT T DLDER TO VIOLATE ANY LISTING REGULATORY OR RANG LAWS OF THE RUNTY OR CITIES NOR DES IT EXEMPT THE RIDER FROM ANY OTHER :RMIT OR LICENSE Emma BY LAW THIS 15 71- A C6Ti1FICATIOW OF iiE HOLDER'S OUM CA- irs .VCIENT RECEIVED 2JNiY nix12/06/2010 02230027001 000054.00 DO NOT FORWARD HALL GROUP LLC THE DANIEL C HALL PRES 445 NW 88 TERR EL PORTAL FL 33150 52 int DATE BATCH NU O__ICENSE-rNBR 01/25/- •811 1.00:313r7 85:_ 11: The ARCHITECT :CORPORAT -Named `=below -IS- C2KRTIFIE`:. -Under the provisions o 'L'ha''-'' Expiration date: FEB 2a,. 20 3 !_--- TIE WILL: G.ROII., 445 NW:long =TERR. MIAM AC#: STA_Tg' J F-4 QRI ;r 151 OF BUSS _T ARD OF A4tC1iITEC LICENSE- NBR - 25'2011= -O83.13188. I Soi io,66;0 The INTERIOR DESIGN COEORA4fiCiN Named - below :IS- CERTIFIED -_ ` Under - the provisions of Chapter 411 F_S Expiration date: FEB 28, 2013 THE IALF dROIIF-, LLC 445 . NW : 88,11=TERR. =_ MIAMi '34I50 L11012501153 • r M 1 at({ i City of Miami... r C.:shiering Area 00E, 1-: ' L.396-1 066/ 17 / 2011 57 r , Jun 17, 2011 11:37 AM :„ •eipt Ref Mbr: R1116896-1!GO57 n' ..AR f - ORACLE AR PAYMENT Ref t4b; : 11116896-1/0069 e: URBAN COL .ECTIVE 1NC, idc G: st # 43755 ., rr,r i ce# 979684 11c,ket Mi ;ber ARCV B i I # tlmrult : 1 $768.75 Item Subtotal: $768.75 . tLrn Total: ITEM(S) TOTL: $768. _.a (Auth# 173371) $768.75 Received: $768.75 P"-,ase 'i'.>i# us a. .':''jniamigov,co �RE® CERTIFICATE OF LIABILITY INSURANCE OP ID GT URBAN-3 DATE (MM/DD/YYYY) 11/17/10 PRODUCER Combined Underwriters of Miami 8240 N.W. 52 Terr, Suite 408 Miami FL 33166 Phone:305-477-0444 Fax:305-599-2343 INSURED THIS CERTIFICATE IS ISSUED AS A MATTER OF INFORMATION ONLY AND CONFERS NO RIGHTS UPON THE CERTIFICATE HOLDER. THIS CERTIFICATE DOES NOT AMEND, EXTEND OR ALTER THE COVERAGE AFFORDED BY THE POLICIES BELOW. INSURERS AFFORDING COVERAGE NAIC # THE URBAN COLLECTIVES STE 120 AND 132 3401 N MIAMI AVE N. MIAMI FL 33127 INSURER A MT VERNON FIRE INS - CO INSURER 8' HARTFORD UNDERWRITERS INS. CO. INSURER C: CITIZENS PROPERTY INS. CORP. INSURER D: INSURER E: COVERAGES THE POLICIES OF INSURANCE LISTED BELOW HAVE BEEN ISSUED TO THE INSURED NAMED ABOVE FOR THE POLICY PERIOD INDICATED NOTWITHSTANDING ANY REQUIREMENT, TERM OR CONDITION OF ANY CONTRACT OR OTHER DOCUMENT WITH RESPECT TO WHICH THIS CERTIFICATE MAY BE ISSUED OR MAY PERTAIN, THE INSURANCE AFFORDED BY THE POLICIES DESCRIBED HEREIN IS SUBJECT TO ALL THE TERMS, EXCLUSIONS AND CONDITIONS OF SUCH POLICIES. AGGREGATE LIMITS SHOWN MAY HAVE BEEN REDUCED BY PAID CLAIMS. INSR"7CQDT LTR NSRC TYPE OF INSURANCE POLICY NUMBER POLICY El-FECTIVE DATE LMM/DD/YYYYL POLICY EXPIRATroN DATEAMM/DD/YYYY) LIMITS GENERAL LIABILITY EACH OCCURRENCE $ 1000000 B X COMMERCIAL GENERAL LIABILITY 12SBMC00296DW 11/04/10 11/04/11 UAMAGL I U KEN I hU PREMISES (Ea occurence) $ 100000 — CLAIMS MADE X OCCUR MED EXP (Any one person) $ 5000 PERSONAL & ADV INJURY $ 10 0 00 00 GENERAL AGGREGATE $ 2000000 GEN'L AGGREGATE LIMIT APPLIES PER: PRODUCTS - COMP/OP AGG $ 1000 0 0 0 POLICY PRO- JECT LOC AUTOMOBILE LIABILITY ANY AUTO COMBINED SINGLE LIMIT (Ea accident) $ ALL OWNED AUTOS SCHEDULED AUTOS _ BODILY INJURY (Per person) $ HIRED AUTOS NON -OWNED AUTOS BODILY INJURY (Per accident) $ PROPERTY DAMAGE (Per accident) $ GARAGE LIABILITY AUTO ONLY - EA ACCIDENT $ ANY AUTO OTHER THAN EA ACC $ AUTO ONLY: AGG $ EXCESS / UMBRELLA LIABILITY EACH OCCURRENCE S OCCUR i CLAIMS MADE AGGREGATE $ $ DEDUCTIBLE $ RETENTION $ $ WORKERS COMPENSATION LJ AND EMPLOYERS' ABILITY WeSIATU- TORY LIMITS 01H- ER y/ N ANY PROPRtETOR/PARTNER/EXECUTIVFI r E.L EACH ACCIDENT $ OFFICER/MEMBER EXCLUDED? (Mandatory in NH) E L. DISEASE - EA EMPLOYEE $ If yes. descnbe under SPECIAL PROVISIONS below F I. DISEASE - POLICY LIMIT $ A C OTHER PROPERTY WIND CF2550601A 1482971 11/04/10 11/04/10 11/04/11 11/04/11 CONTENTS 50,000 CONTENTS 50,000 DESCRIPTION OF OPERATIONS/LOCATIONS / VEHICLES / EXCLUSIONS ADDED BY ENDORSEMENT 1 SPECIAL PROVISIONS DESIGN STORE —ONE OF A KIND HOME ACCESSORIES — ALSO PROVIDES INTERIOR DESIGN CONSULTATION BY A LICENSED ARCHITECTDESIGN STORE — SPECIAL-80% CO—INS—RC-1,000 AOP DEDUCTIBLE-3% WINDSTORM & HAIL DEDUCTIBLE CERTIFICATE HOLDER CANCELLATION EVIDENCE OF INSURANCE ACORD 25 (2009/01) SHOULD ANY OF THE ABOVE DESCRIBED POLICIES BE CANCELLED BEFORE THE EXPIRATION DATE THEREOF, THE ISSUING INSURER WILL ENDEAVOR TO MAIL 10 DAYS WRITTEN NOTICE TO THE CERTIFICATE HOLDER NAMED TO THE LEFT, BUT FAILURE TO DO SO SHALL IMPOSE NO OBLIGATION OR LIABILITY OF ANY KIND UPON THE INSURER, ITS AGENTS OR REPRESENTATIVES. AUTHORIZED REPRESENTATI © 1988-2009 ACORD CORPORATION. Arights reserved. The ACORD name and logo are registered marks of ACORD Exhibit A Eligible Expenses: Expenses items contemplated and not listed below must be pre -approved by the CRA. A. Marketing For reimbursement, marketing materials and cost estimates Hurst be pre -approved by the CRA. Eligible expenses include: I. Creation and printing of marketing brochures 2. Event signage for onsite display 3. Event flyers and posters 4. Design fee for artwork for marketing materials 5. Production expenses associated with filming of the event for future marketing of the Community Redevelopment Areas B. Installation/Set Up For reimbursement, costs must be associated with the installation of the artwork, be accompanied by detailed documentation and must be pre -approved by the CRA. Eligible expenses include: 1, Equipment and materials purchased to aid with the display of artwork (i.e., lighting, plywood, brackets, wall hooks, wiring, etc) 2. Equipment and furniture rental (i.e., rental of standard seating accommodations, easels for artwork display, projector for visual display of artwork, etc) ±'Alll.'iht'' awl i, ill lint Ili' 1i111tlt.l Illt'ltlllt'. tltlt at% not tlnlllt'a fro, ! bitriiiturc rentals. i•lf. C. Event Operational Costs For reimbursement, the operational costs must be associated with the Exhibition and the venue and for services incurred during the Event Period ("December 2-3, 2011"), and must be pre -approved by the CRA. Eligible expenses include: l . Insurance premium for the event during the Event Period. 2. Costs for generator used during the Event Period. .. .lsr„.•N til .i ,, 'i i.,r' i) ;0 . , r.rllrrl;. hi a. II innit. rI Tu. ,I', I'.ril, .6. _ , I ' ,,..;, 6 of 12 2011 Art Exhibition - RFP 11-007 Representations of Applicant: Initial where indicated. I wiil comply with ail federal, state and local rules and regulations with respect to the use of the grart funds. 2. I will cooperate fully with the CRA in implementing the terms and conditions of any subsequent agreement, if awarded. 3. po,1 will prop de the CRA witli periodic status reports, as may be required from time to time. �. I w::i promptly accommodate any CRA request for information with respect to the grant. 5. 1ik I have reviewed the conflict of interest laws of t:ie City of Miami (Code of the City of Miami, Chapter 2, Article V) and of Miami -Dade County (Coco of Miami -Dade County, Florida, Section 2-11.1) and: a. , Agree to full': comply in all respects with `;tie terms of said laws and any future amendments. b. I declare that ro person e- ertity under my employ, presently exe:cising functions or responsibilities in cornection with th;s grant, including the grant application, has personal financial interests, direct or indirect, with the City of Miami or the Community Rede elopment Agencies. c. -01 I declare that, in the performance cf this grant, incir.ding this application, no person or eiltit;' having such conflicting interest was or will be utilized in respect to this grant. Any conflict of interest(s) on my part, my employees or associated parties with respect to this grant application will be disclosed in writing to the CRA. 6. I understand that the representations herein are a material inducement for the CRA's issuance of a recommendation for funding or a grant award. 7. 9' I am duly authorized to submit this application and any amendments thereto. 8.' Urder penalties of perjury, I declare that I hale read the foregoing application, and its attachments, and that the facts stated in it are true. By signing, I certify that the information contained herein is true, complete and accurate to the best of my knowledge. Should any of the representations made herein change, I hereby ack IT. obligation to immediately otify the CRA and update those representations. MNII$. cwiNS O'NOII 1'9 L1. 111=11r+ 10 .$4.II Authorized Corporate Representative/Applicant (Signature) Date (Print Name) 5 of 12 2011 Art Exhibition - RFP 11-007 Exhibit 8 LNSURANCE REQUIREMENTS -SPECIAL EVENTS LNSURANCE Commercial General Liability A. Limits of Liability Bodily injury and Property Damage Liability Each Occurrence $1,000,000 General Aggregate Limit $2,000,000 Personal and Adv. Injury $1,000,000 Products/Completed Operations $1,000,000 B. Endorsements Required City of Miami included as an additional insured Southeast Overtown/Park West Community Redevelopment Agency listed as an additional insured Contingent and Contractual liability Premises and Operations Liability I I. Business Automobile Liability (IF APPLICABLE) A. Limits of Liability Bodily injury and Property Damage Liability Combined Single Limit Any Auto Including Hired, Borrowed or Non -Owned Autos Any One Accident $ 300,000 B. Endorsements Required City of Miami included as an Additional Insured Southeast Overtown/Park West Community Redevelopment Agency listed as an additional insured III. Worker's Compensation (IF APPLICABLE) Limits of Liability Statutory -State of Florida Employer's Liability C. L mits of Lability $100,000 for bodily injury caused by an accident, each accident $100,000 for bodily injury caused by disease, each employee $500,000 for bodily injury caused by disease, policy limit 7 of 9 2011 Art Exhibition - RFP 11-007 IV. Host liquor/Liquor Liability (IF APPLICABLE) II Limits of Liability Each occurrence $1,000,000 Aggregate $1,000,000 The above policies shall provide the City of Miami with written notice of cancellation or material change from the insurer in accordance with policy provisions. Companies authorized to do business in the State of Florida, with the following qualifications, shall issue all insurance policies required above: The company must be rated no less than' A-' as to management, and no less than `Class V" as to Financial Strength, by the latest edition of Best's Insurance Guide, published by A.M. Best Company, Oldwick, New Jersey, or its equivalent. All policies and /or certificates of insurance are subject to review and verification by Risk Management prior to insurance approval 8 of 9 2011 Art Exhibition - RFP 11-007 Form VIA®9 (Rev. January2011) Department of the Treasury Internal Revenue Service Request for Taxpayer identification Number and Certification Give Form to the requester. Do not send to the IRS. Print or type See Specific Instructions on page 2. Name (as she n on our income tax return) (*Sig 1. OMISTOPIteR HALL Business nameidisreaarded entity name, if d'fere:-; fr,:m abc:e INC !SALE (11.0VP b1•4 Check . apropriate cicssification t.equired). Limited liabiry box for federal tax Exempt pa_ ee Ind ,dualsole proprietor 111 C Corporation 0 S Corporation • Partn -shir • Trurtiastate cor par.:. Enter the tax cl.-ssificatir n 'C=C corporation. S=S a rporation. P=partner .hir, ► ► Other (see irs'ructions) Addre 3 fn. i^tbei. street. and act. or suite no.) 446 H. w• it TCitRACQ Rt luester's name ..,rid address (optional) City, state. and ZIP code MIAM' fi. 3s%ti0 List account number(s) here'optionai) LiMi Taxpayer Identification Number (TIN) Enter your TIN in the ap..:opriate bo . The TIN prov'ded must match the name given on the "'tame" .ne to avoid backup withhoi,iing. For individuals, this is your social secur:ry number (SSN). Ho•vever, for a resident Mien, sole proprietor. or disregarded entity, see the Part I inst, uctions o1 page 3. For other entities. it is your emp! Oyer identification number (EIN). If you do not h-ae a number, Hoy; to get a TIN on page 3. Note. If the account is in more than one name, see the chart on page 4 for guidelines on whose number to enter. OM Certification Under penalties o; per,ury, I certif. that: 1. The nuir,aer shown on th's form i ; m ' c..'rec, ta<pa; er ider i ication number (or I am v.ri' tg a number to be 'ssue.: to me), and 2. I am not subject to backup withholdinn because: (a) I am exemnt from backup withholding, or (b) i have not been notified by the Internal Rerenue Service (IRS) that I am rabject to backup withholding as a result of a failure to report 31: interest or dividends. or (c) the IRS has notified me that I am no longer subject to backup withholding. and 3. I am a U.S. citizen or other U.S. person, defined belo.v). Certification instructions. You must cross out item 2 above if you ha e been r.oried by the IRS that ;e ! are currentl' subje' t to backup withholding because you have failed to report all interest and dividends on : our tax return. For rest estc'e transact ors, item 2 does not apply. For rtortgaoe interest paid, acquisition or abandonment of :.ecured property, cancellation of debt, contrbutions to an :ndn;dual retirement arrangement (IRA', and generally, payments other than interest and dividend:, you are nct required to sign the cert'cation. but you must provide •, our correct TIN. See the instructions on page 4. Social security number ti 6 1 7 Employer identification number 3 3 3 23,E 24 Sign Here Signature of U.S. person o-IMMMEIMA Date 0- 1 0 • 14 . 1, General instructions Section references are to ;he internal Re venue Code unless other.vire noted. Purpose of Form A person who is required to file an informat'.on return .vith the IRS mint obtain your correct taxpayer identification nurnbe. (Ti : .o report. for example, income paid to you, real estate transactions, r ortgage interest you paid, acquisition or a'oandonment of sect.red property. cancettation of debt. or contributor 3 you nade to an IRA. Use Form N/-9 on:y if you are - U.S- person (including a resident alien), to prsvide yob r correct TIN 'o the person requestirg .: (the requester) and. ":hen eopli^a:,le. to: 1. Certify that the TIN you are giving is correct (or you are .',aiting for a number to be issued), 2. Certif' • that you are not subject to baokup withholding, or 3. Claim exemption from backup withhoicing if you ate a U.S. e:etnpt pa, ee. If nppacable, you are also certifying that as _ U.S. person, your allocable share of any partnership income from a U.S. trade or business is not subject to tie withholding Lx on foreign partners' share of effect iel; connectE d income. Note. It a requester g; ies you a form other than Form W-9 to request your Tli:, yob must use the requester's form if it is substantial'] similar to tt• : Form VI-9. Definition of a U.S. person. For federa; tax purposes, you are considered a U.S. person if you are: • An individual who is a U.S. citizen or U.S. resident alien. • A partnership, corporation, colnpanj, or association created or o:oanized in the United States c. t ider tie IE .•re of the U,tited States, • An estate ',other than a fore 1n estate), or • A domestic 'rust (as defined `..I Regulation: secton 301.7701-7). Special rules for partnerships. Partnerships that conduct a trade or business in the United States are generally required to pay a withholding tax on any foreign partners' share of income from such business. Further, n certain cases where a Form'. , -9 has not been received, partnership is re ;uirE d to prest .ne that a partner is a foreign person, and pay the t,':hhoding tax. Thereore. if you are a U.S. person that is a partner in a partnership conducting s „&de or business in the United States, p•o..de Form W-9 to the partnership to establish your U.S. status ar.d atio'd "ithho'ding ri your share of partnership income. Cat. 1r231X Form W-9 (Rev. 1-2011) 9 of 12 Form W-9 (Rev. 1-2311) Paget The person who gives Form W-9 to the partnership for purposes of establishing its U.S. status and avoiding withholding on its allocable share of net income from the partnership conducting a trade or business in the United States is in the following cases: • The U.S. owner of a disregarded entity and not the entity, • The U.S. grantor or other cener of a grantor trust and not the trust, and • The U.S. trust (other than a grantor trust) and not the beneficiaries of the trust. Foreign person. If you are a foreign person, de not use Form 44'-9. Instead, use the appropriate Form W-8 (see Publication 515, Withholding of Tax on Nonresident Aliens and Foreign Entities). Nonresident alien who becomes a resident alien. Generally, only a nonresident alien individual may use the terms of a tax treaty to reduce or eliminate U.S. tax cn certain types of income. Het:re: te, most tax treaties contain a provision known as a "saving clause" Exceptions specified in the saving clause may permit an exemption from tax to continue for certain types of income even after the payee has otherwise become a U.S. resident alien for tex purposes. If you are a U.S. resident alien who is relying on an exception contained in the saving clause of a tax treaty to claim an exemption from U.S. tax on certain types of income, you must attach a statement to Form V.'-9 that specifies the following five items: 1. The treaty country. Genera -illy, this must be the same treaty under whi.h you claimed exemption from tax es a nonresident alien. 2. The treaty article addressing the income. 3. The ar'.icle number (or location) in the tax treaty that ccraains the saving clause and its exceptions. 4. The type and amount of income that qua::fies for the exer:rtan from tax. 5. Sufficient facts to justify the exemption from fax under the terms c f the treaty article. Example. Article 20 of the U.S.-Chira income tax treaty a'!ows an exemption from tax for scholarship income received by a Chinese student temporarily present in the United States. Under U.S. lay., this student will become a resident alien for tax purposes if his or her stay in the Urited States exceeds 5 calendar .ear. HoJ'ever, paragraph 2 of the first Protocol to the U.S.-China treaty ',dated April 30, 12.84) allows the provisions of Article 20 to continue to apply even after the Chinese student becomes a resident of en of the United States. A Chinese student who qualifies for this exception (under paragraph 2 of the first protocol) and is relying on this e..ception to claim an exemption from tax on his or her scholarship c' fellowship income would attach to Form 1^/-9 a statement that includes the information described aloe;e :o support that exemption. If you are a nonresident alien or a foreign entity not subject to backup t:'ithholding, give the requester the appropriate completed Form W-8. What is backup withholding? Persons making certain payments to you must under certain conditions withhold and pay to the lltS a percentage of such payments. This is called "backup withholding." Paymer:'s that may be subject to backup withholding include interest, tax-exempt interest, dividends, broker and barter exchange transactions, rents, royalties, nonemployee pay, and certain payments from fishing boa: operators. Real estate transactions are not subject to backup withholding. You will not be subject to backup v.;thho'di:our on payments you receive if you giye the requester your correct T V, maize the proper certifications, and report all your taxable interest ar,d d , den as Let eer tax return. Payments you receive will be subject to backup withholding if: 1. You do net fumish your TIN to the requester, 2. You do not certify your TIN :.hen regt `rid (see the Part II instructions on page 3 for details), 3. The IRS tells the requester that :ou furnished an incorrect TIN, 4. The IRS tel +, eu that you are se t:eject b backup tt 'th olding because , ou did not reprrt a1+ your interest and dividends on y our the return (for repoaal..'e interest and dividends onl,), or 5. You do not cerf it to the refit: ter drat you are no: subject to backup withholding under 4 abov e (for reportable interest and dividend accounts opened after 1983 oriy). Certain payees and payments are exempt from backup withholding. See the instructions below and the separate instructions for the Requester of Form W-9. Also see Special rules for partnerships on page 1. Updating Your Enformation You mue.t provide updated information to any person to 'whom you claimed to be an exempt payee if you are no longer an exempt payee and anticipate receiving reportable payments in the future from this person. For example, you may need to provide updated information if you are a C corporation that elects to be an S cc;porat'.en, or if you no longer are tax exempt. In addition. you must fumish a nee Form W-9 if the name or TIN changes for the account. for example, if the grantor of a grantor trust dies. Penalties Failure to furnish TIN. If you fail to furnish your correct TIN to a requester, you are subject to o penalty of $50 for each such failure unless your failure is due to reasonable cause and not to willful neglect. Civil penalty for false information with respect to withholding. If you make a false statement with no reasonable basis that results in no backup v. ithhciding, you are subject to a $500 penalty. Criminal penalty for falsifying information. Willfully falsifying certifications or affirmations may subject you to criminal penalties including fines and/or imprisonment. Misuse of TINs. If the requester discloses or uses TINS in violation of federal law, the requester ma, be subject to ci.il and criminal penalties. Specific Instructions Name If you are an indt.:dLa'. yc.: m.:st r enerally enter the name shown on your income tax return. Howe ter, :f you have changed your last name, for instance, due to marriage without informing the Social Security Administration of the name charge, enter your first name, the last name shown on .,our social ,emrity card, and your nee, last name. if the account is in ;aint names, list first, and then circle, the name of the person or entity whose number you entered in Part I of the form. Sole proprietor. Enter your individual name as shown on your income tax return on the "Name" line. You may enter your business. trade, or "doing business as (DBA) name on the "Business name/disregarded entity name" line. Partnership, C Corporation, or S Corporation. Enter the entity's name on the "Name" lure and any business, trade, or "doing business as (DBA) name on the "Business name 'disregarded entity name" line. Disregarded entity. Enter the owner's name on the "Name" line. The name of the entity entered on the "Name" line should never be a disregarded entity. The name on the '`Name" line must be the name shore❑ on the income tax return on ehich the income will be reported. For example, it a foreign LLC that is treated as a disregarded entity for U.S. federal tax purposes has a domestic owner, the domestic owner's name is req' tired to be provided on the "Name" line. if the direct owner of the entitl 's also a disregarded entity, enter the frst owner that is not disregarded for feder ! taw purposes. Enter the. disregarded entity's name on the "Business name 'disregarded entity name" line. If the owner cf the disregarded entity is a foreign person, yc u must complete an appropriate Farm Wt'-8. Note. Check the appropriate box fc: the federal tax classification of the person •e'mose name is entered on the "Name tine (Ind;•.•idual/so'e proprietor, Partnerd ip, C Corporation, S Corporation. Trust estate). Limited Liability Company (LLC). If the person identified cn the "iName" line is an LLC, chicle the "Limited liabii t3 company" box only and enter the appropriate code for the tax classification in the space provided. If you are an LLC that is treated as a partnership for federal tax purposes, enter "P" for partnership. If you are an LLC that has lived a Form 8832 or e Form 2553 to be taxed as a corporation, enter "C" for C corporat:on or "S" for S corporation. If you are an LLC that is disregarded as an entity separate from its owner under Regulation section 301.7701-3 (except fcr enplo;'ment and excise tax), do not check the LLC box unless the (eerier of the. LLC (required to be identified ce the "Name" line) is a•iother LLC that is not disregarded for federal tax peeprses. If the LLC is disregarded as an entity separate from its ovmer, enter the appropriate tax classification of the owner identified c-r the "Name" line. 10 of 12 Form fJ-9 (Re• . 1-2011) Page 3 Other entities. Enter your business name as sho.in on required federal tax documents on the ":Jame" line. This name should match the name shown on the charter or other legal document creating the entity. You ma., enter any business, trade. or DBA name on the "Business name/ disregarded entity name" line. Exempt Payee If you are exempt from baci up withholding, enter your name as described above and check the appropriate box for your status, then check the "Exempt payee" box in the line '3Ilowing the "Business name/ disregarded entity name," sign and date the form. Generally, individuals (including sole proprietors) are not exempt from backup withholding. Corporations are exempt from backup v. thhotdir.3 for certain payments, such as interest and dividends. Note. If you are exempt from backup withholding, you should complete this form to avoid possible erroneous backup withholding. The foliceving payees are exempt from backup withholding: 1. An organization exempt from tax under sect 1,1 501(a), any IRA, or a custodial account under section 403(b)(7) if the account satisfies the requirements of section 401(1)(2). 2. The United States or any of its agencies or instrumentalities, 3. A state, the District of Columbia, a possession of the United States, or any of their pol:ticai subd eisions or instnamerta!;ties. 4. A foreign government or an_ of is pot:tical subdivisions, agencies. or instrumentalities, or 5. An international organization or any of its aoereies or instrumentalities. Other payees that may be exempt from backup withhc' ::rig inclu'e: 6. A corporation, 7. A foreign central bank of iseue, 8. A dealer in securities or comrnoait.as re4uired to register i,,- the United States, the District of Colurnbia, or a possession of the Unites States, 9. A futures commise.'en merchant registered ith the Commodity Future: Trading Cornrr ssion, 10. A real estate investment trust. 11. An entity registered at all tines during the tax year under the Investment Company Act of 1940. 12. A common trust fund operated by a ban': under secton 584a), 13. A financ'el institution, 14. A middleman knot•:n in the investment communit as a rep- tee or custodian, or 15. A trust exempt from tax under section 66- or described in section 4947. The foilovr ing chart shows t, pes of pa,enents that may be e.tempt from backup withholding. The chart applies to the exempt f ayees Feted above, 1 through 15. IF the payment is for ... THEN the payment is exempt for.,. Interest and dividend pc yments All exempt payees e;:cept for 9 Broker transactions Exempt payees 1 through 5 and 7 through 13. Also, C corporatars. Barter exchange transactions and patronage dividends Exempt pa; ees 1 through 5 Payments over $600 required to be reported and direr. sales over $5,000 ' Generally, exempt payees 1 th; ough 7 ' Sea Form 10C9-N„SG. Miscellacsous Inccme, an -I its inr`-uctions. ' Hoh ever, the fol',..,ng payments made t^ a co -pc e'.on and reportable_ ca Fc n 1099-RISC are not exempt om : et wp ithhot g: -net' and health care payments, a'tor.ieys' fees, gross proceeds paid' ) a . attorney. and pa ments for service: paid by a federal executive :gency. Part I. Taxpayer Identification Number FIN) Enter your TiN in the appropriate box. If you are a resident alien and you do not have and are not eligible to get an SSN. your TIN is your IRS individual taxpayer identification number (ITIN). Enter it in the social security number box. If you do not have an :TIN, see Hoie to get a TIN below. If you are a sole proprietor and you have an EiN, you may enter either your SSN or FIN. However. the IRS prefers that you use your SSN. If you are a .Ingle -member LLC that is disregarded as an entity separate from its owner ;see Limited Liability Company (LLC) on page 2), enter the owner's SSN (or EIN, if the owner has one). Do not enter the disregarded entity's EIN. If the LLC is classified as a corporation or partnership, enter entity's EIN. Note. See the chart on pone 4 for further clariiication of name and TIN comb'eatiors. How to get a TIN. If you do not ha e a TIP', apply for one immediately. To apply for an SSW, get Form SS-5. Application for a Socia' Security Card, from your local Social Security Administration office or get this form online a' www.ssa.gov. You me also get this form by calling 1-800-772-1213. Use Form W-7, Application for IRS Individual Taxpa er Identification Number. to apply for an ITIN, or Form SS-4, Application for Empio;er Identification Number. to apply for an EIN. You can _apply for an EIN online by cccessieg the IRS website E t w:.' .irs.gov'tasnesses and click .-g on Employer ldertifice `ior. Nt.:nber (EtN) under Starting a B iciness. You can get Forms'.;'-7 and ES-4 from the IRS by visiting IRS.gov or b; calling 1-800-TAX-FORM (1-800-829-3676). If • •c J are asked to come ;ete Form V.--9 bet do not have a TIN, Write "Applied Fo, in the -pale for the TIN. sign and date the form, and gave it to t,ie requester. For irterest and dividend payments, and certain payments made with respect to readily tradatle instruments, generally you will have 60 d =; s to get a TIN and give it tr the requester :,efore you are subject to bac':up withholding on p.1.'ments. The 60-day rule does r of app'.y to outer types of payments. You e 'a; be subject to backup withholding on ail such payme:ts until you provide your TIN to the re auester. Note. Entering "Appii',d Fcr" mean: tiat you have already applied for a TN or that you Intend to apply for one soon. Caution: A disregarded do nestle entry that has a foreign owner must use the appropriate Form W-8. Part Ii. Certification To establish to the withhotd'r'; agent that you are a U.S. person, or resident alien. sign Form W-9. You may be requested to sign by the "•ithhoiding agent even if item 1, belo e, and items 4 and 5 on page 4 iriicate otherwise. For a joint account. only the person v hose TiN is shown in Part I should sign (when required). In the case of a die-e ;arded entity, the person identiied on the "Name' line must sign. Exempt payees, see Exe: npt Payee on page 3. Signature requirements. Complete the certification as indicated in items 1 through 3. below, and items 4 and 5 on page 4. 1. Interest, dividend, and barter exchange accounts opened before 1984 and broker accounts considered active during 1983. You must qi; e your correct Titi. but: ou do not have to sign the certificctt.:n. 2. interest, dividend, broker, and barter exchange accounts opened after 1983 and broker accounts considered inactive during 1983. You must sign the certi':cation or backup withholding will apply. If y: I are subject to backup withholding and yc _ are me, ely providing our correct TI'J to the requester, you must cross out item 2 in the cert'.''cerion hefore si^ning the form. 3. Real estate transactions. You must sign t'-.e certification. You may cress out item 2 of the certification. 11 of 12 Form W-3 (Rev. 1-2011) Page 4 4. Other payments. You must give your correct TIN, but you do not have to sign the certfcation unless you have been notified that :au have pre' •iousty given an incorrect Tito. "3ttret pe',•-r• tints' include payments made in the course of the requester's trade or business for rents. royaties, goods (other than bills for merchandise), medical and health care services (including payments to corporations), payments to a nonemployee for services, payments to certain fishing boat crew members and fishermen, and gross proceeds paid to attomeys (including payments to corporations). 5. Mortgage interest paid by you, acquisition or abandonment of secured property, cancellation of debt, qualified tuition program payments (under section 529), )RA, Coverdetl ESA, Archer MS! or HSA contributions or distributions, and pension distributions. You must give your correct TIN. but you do not have to s gn the certification. What Name and Number To Give the Requester For this type of account Give name and SSN of: 1. Individual 2. TWO or more individu :Is (joint account) 3. Custod'= n account of a minor (Uni`,:•m Gift t': Minors Act) 4. --- The usual revocable sa:'ngs trust (grantor r, also trustee) b. So-called trust accour,t that is not a legal cr valid trust under state la • 5. Sole prof -ietorship cr disregard:•'f entity o,�ned E/ an individual 6. Grantor trust filing under Optional Form 10.9 Filing Method 1 (=fie Regulation se :tion 1..71-4(b)(2)(ij(A.) The individual The acts.' o. •r er of the a count or, if combined funds. the f•. st idividual o:1 the account . The minor' The grantor -trustee ' The ar`ual of -Tier ' The r. Tier' The grantor For this type of account Give name and EIN of: 7. Disrenarded entity not o•.vned ..; an individual 8. A valid trust. estate, or p' nsion t: ust 7. Corporation or LLC elecfng r ,rporate status on Fc . m 8832 or Form 2t 33 10. Association, club, religiot a, charitable, educations.. or other tax-exempt organization 11. Partnership or multi -member LLC 12. A broker or registered nominee 13. A :punt with the Department of Agriculture in the name of a rutic entit, (surh as a state or loca: gove: nment, school d;strict, or prison) that rece;.es agricultural program po!ments 14. Grantor tru .t filing under the Form 1041 Filing Method or the Optional Form 1099 Filing Method 2 (see Regulation section 1.671-4(1)y2)0)011 The c...se: Legal F thy ' The corps atir1 It c r -niz Pon The r artners''p The broker or nominee The pubic entity Thy :st List first and circle t1 s name of ti-- pe"..o i • hose number "no.. f.rrr si If or' . ne s :c:r r_ i a Joint account has an SCN. that per. on : number must be furnished. Grcle the minor's n.-:,ne and furs.:=-i the minor's SSN. Yr. I must show your in ih ctjat non i and you ma: al. , enter,....' bus:.less or DBA- na ne on the `Business narr -'drsreaarded enti," name line.. ou me • use either ,ur St . or ElN au hats one), but the IRS enco: -a e.s you to I.: r-ur'SN. ' List lust and circle the name of the trust. estate. c• pension trust. 7o not fair^,h the TIN ..f the personal representat,re or trustee unless the legal entity 1' "If is rr_t designated 1 the account title' Also see 8,..ecisi ryes for par e.1..;scn page 1. 'Note. Grantor also must pro rc'e a Farm .7- to try tee of m t Note. If no name is circled :•:hen more than one name is listed, the nu:nber N ! be cone•dered to be that of the first name iistel. Secure Your Tax Records from Identity Theft Identity theft occurs when someone uses your personal information such as your namF. sccial sec.trity number (SSN), or other identifying information, without your permission, to commit fraud or other crimes. An identity thief may use your SSN to get a job or may file a tax return using your SSN to receive a refund. To reduce your risk: • Protect } Dur SSN, • Ensure you. employer is protecttr.g your SSN. and • Be careful when choosing a tax preparer. If your tax records are affected b;• identity theft and you receive a notice from the IRS, respond right away to the name and phone number printed on the IRS notice or letter. If your tax records are not current'y affected by identity theft but } ou think you are at risk due to a lost or stoles. purse or wallet, questionat!e cre-' t card actit 'ty e credit repc:t. cor'.act the IRS Identity Theft Hotline at 1-800-908-4490 or submit Form 14039. For more information. see Pubt ation 4535, Ide,ltity Theft Prevention and \'ttim Assistance. Vctin ; of identi. theft .r are experiencing economic harm or a system problem. or are seeking help in resot'!irg tax problems th:.1 have rat been resolved through normal r..1annels. may be elig .ile for Taxpayer Advocate Serice (TAS) ass stance. You can reach TAS by calling the TAS t - I -free case intake line at 1-C77-777-4778 or TTY/TDD 1-80D-829-4059. Protect yourself from suspicious emails or phishing schemes. Phishirig is the creation ar•i use of email ar,'i websites designed to mir.hic'egitirrnte business emu's c nd websites. The most common act is sending ran email to h user faise,y claiming to :ae an established gitimate enterprise in an attempt to scam the user into surrende-:ng private 'iforrnation that -id be uses: for identity theft. Trs IRS does not initiate cantacts v.,th taxpayers v'a emails. Also. If IRS does not rcques' personal detailed information through email or iak taxpayer for the P!N numbers, passwords. or similar secret access information for their credit card, bank. or other financial accounts. If you receive an unsoi..;ited email claiming to be from the IRS. ton. . t this mes-age to phishing ,:rs.gov. You ma} also report misuse of the IRS name. los ), or other IRS property to the Treasury Inspector General ror Tax Administration at 1-800-366-4484. You can forward susp cious emails to the Federal Trade Ccmmission at: spam@uce.gov or contact "hem at we -r'.ftc.go./idtheii or 1-877-IDTHEFT (1-877-- 38-4338). IRS.gov ham more about identity theft and how to reduce } our risk. Privacy Act Notice Section 6109 cf the internal Revenue Code requires : ;.0 to p-ovide your correct TN to per ;ons (including federal a- ricies) ..to are required to fie information returns •ith the IRS to report interest, c rde,;c_ or certain other income paid to you; no:tga 'e interest ; au paid; the acquisition or abcndonment of secured property; the cancel:.stion r.` debt; or contributions ou made to an IRA. Archer : 1SA or HE '.. The person collecting tt,s fc •m uses the information on the form to file informs:Yor, returns'vith the IRS. reporting the above information. Routine uses of this ' rformati.m include giving t' to the Department of Ju-tice for c . and criminal litigation and to cities, states, the District of Co; rmbia, and U.S. possessions for use in administering their Ia. s. The infon 1a an alsa may be d.;c'ased to other countries under a treaty, to federal and state agencies to enforce c :;l and criminal ;'. s, or to'eferal lay er,' 'cement and inter:3ence agencies to combat te-rori.n. Yo•r must r -ovide your TIN .hether or not you are required to file a tax return. Under sect:ln 3406, payers must generali, ithiold a percenta,e of taxable interest, d, idend. and ce-tt n other payme:i`s'3 a payee 'ho c;oes not gi e a TIN to the payer. Certain penalties ma ' also appl' for pro ;ding false or fraudulent ir'ormatic 1. 12 of 12