Laserfiche WebLink
Chapter 2 <br /> 2.1 Introduction <br /> . . . emphasis on the bits and pieces is of the essence: this is what a city is, bits and <br /> pieces that supplement each other and support each other". (Jacobs 1961, p. 190) <br /> In a classic of urban planning literature, Jacobs (196 1) espouses that the visual order of <br /> the city and its attractiveness as a place is not defined by any one attribute, but by many "bits and <br /> pieces"that are interwoven together to create the fabric of the community. Public art is a piece <br /> of that fabric for many communities. The critical review of public art extends across the history <br /> of the field. Art projects have been admired and hated, embraced and rejected, serving as either <br /> community unifiers or divisive elements within the community. <br /> For the purpose of understanding public art in a small city, it is important to understand <br /> the ontology of public art, its relationship to urban planning, the process by which it is developed <br /> and the role of the public official in a small community. The concept of public art is entirely <br /> different from that of gallery or studio art, and is characterized by the underlying assumption that <br /> art, in this context, is meant to be shared with the people. Importantly, the literature illustrates <br /> how the definition of the "public"has evolved, the role of the public has changed, and the <br /> understanding of the motivations and outcomes of such work is better understood. <br /> 2.2 What is Public Art? <br /> Public art has several unique characteristics that differentiate it from private art. Hein <br /> (2006) describes public art as ". . . unlike the more sequestered private art, it appears in <br /> 25 <br />