Agenda - Parks and Recreation Commission - 01/09/2025

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tied to their location, while this memorial illustrates a public viewpoint that is seen more in terms of"a network of social relations" (Kwon 2002) that reflect the often divergent relationships found among the individuals that collectively comprise the public body. As seen from this example, symbolic accretion can be a negative as well as a positive force, in that it"is not limited to the appending of commemorative elements that are sympathetically reciprocal. In some instances, the accretion can be antagonistic and insurgent, rubbing against the grain of the common or dominant interpretation of the memorial" (Dwyer 2006, p. 421). Research has shown that it is important for cities to have a good understanding of "the public"that is being served as part of a public art installation(Palmer 2012). She argues that this definition becomes even more important as the public sector turns to the private sector to develop privately-owned `public' art projects. The increasing privatization of public space (Deutsche 1996; Mitchell 2003) means that the implementation and production of public art often goes beyond what is traditionally known as public space. The important questions to ask are who creates the public art and who is it created for? Palmer(2012) in her research identifies that a multi-dimensional view of"the public" is important when defining public art. These dimensions are identified as spatial, temporal, material and human. She argues that, in the realm of public art, making distinctions between public and private is "a very important part of the conversation, particularly in regard to money, sites, and the public art process." (p. 20) It is useful to depict the common understanding and dichotomy of the terms public and private. Michael Warner(2002) created a table that portrays the standard definition often associated with public and private: 35