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

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Figure 2: ,,La Grande Vitiesse G ra�nd Ra p"i ds, IM iciiiii gAni, 1,961 ,A]ex"a nd er Ca I dier lv^'�-AAA7'11 uilVl City O,f Grand Ra�pids In general, the federal art programs of this period had limited public input,but various controversy and political change gradually resulted in more local control and more community- centered projects. The emphasis on prestigious big name public art continues to be a factor in the selection of public art. However, even as cities struggle with creating an image within a global economy, the concern for local identity and needs also continue to be a factor(Grodach and Loukaitou-Sideris 2007). In response to concerns about how public artwork fits within the community, the NEA added a stipulation to its program in 1974, stating that the public art should be appropriate to the site. This provision was intended to increase public engagement by focusing attention on particular social, ecological and historical aspects of the sites (Kwon 2004). The NEA further refined its guidelines in 1980 with the addition of a requirement for community involvement in the selection of public art projects by requiring local representatives on all juries. (Marie Gee 1996). The movement toward public involvement was inevitable as the nation shifted from the hero statue dedicated to commemorating historical figures that represented a version of history that excluded large parts of the population(Raven 1989; Lacy 1995). In addition, the 1980's saw purpose of public art move from primarily aesthetic improvement, to an integrated feature of urban design that sought to address deeper social issues and improve social and psychological well-being (Hall and Robinson 2001). 50