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decisions. Kwon (2001) describes the role of artists in this setting as adapting to a"functional <br /> ethos" such that the utilitarian value was favored over its aesthetic value, or its aesthetic value <br /> was measured in its utilitarian value. Hall and Robertson (200 1) advocate that the role of public <br /> art is more than just aesthetic but helps develop a sense of place, a sense of community; as well <br /> as addressing community needs,promoting social change, confronting social exclusion and <br /> providing educational value. <br /> Another direction in public art is "narrative" or"representational" art that portrays a real, <br /> if not somewhat idealized, version of the world. Examples of this type of community art are the <br /> bronze statue of the police officer in front of city hall, typically comforting a child and offering <br /> their service and protection. Communities may include an officer or child of color, to depict the <br /> acceptance of diversity and unification of the community as a prominent value. Critics (Doss <br /> 2012) have argued that art projects such as this are a result of marketing efforts by the art <br /> industry to promote their products. For example, the abundance of"public" art in Loveland, <br /> Colorado is a direct result of a non-profit arts group that serves as a wholesaler for the city's <br /> bronze casting foundries. Nonetheless, many viewers embrace these non-controversial, <br /> traditional and sentimental pieces of art; much in the way one might admire a Norman Rockwell <br /> illustration. Rarely, however, does this type of art serve to encourage debate about the <br /> differences of opinion because it serves to buttress the existing political structure and not to <br /> disrupt it. <br /> Private development has also played a key role in the proliferation of public art. <br /> Privately owned"public" spaces in urban downtowns and suburban shopping malls have <br /> increased in importance. However, such art installations are by their nature designed to be non- <br /> controversial and not to engage the messiness of democratic discourse. Doss (2012) describes <br /> 55 <br />