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

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governments,private business, and non-profit organizations that comprise the cross-sector collaboration that allow the successful creation of public art projects in small communities. The role of government's influence on public art policy echoes the relationship of the public to other sectors found in classic public policy discussions. Lindblom (195 9) developed theories that included discussion of the differences in centrally planned societies and"mutually adjusted" societies. This concept postulates that governing bodies largely decide public policy by a series of decisions referred to by Lindblom as mutual adjustment. He argued that all societies are a mixture of both government and markets sectors, only separated by a matter of degree. That is, government will take over market responsibilities and the market will take over government responsibilities only to a certain extent. He contends that it is largely the role of government to curb the power and unbridled enthusiasm of market forces. On the other hand, he points out that our democracy creates large policy-making systems that are complex and hard to understand, making it difficult for the average person to participate. Recent public art initiatives have sought to incorporate the voice of the average person through collaborative and participatory art creation. Kwon (2004, p.60) states that three distinct paradigms can be identified in the history of the modern public art movement in the United States. First, is the art in public places model exemplified by Calder's La Grande Vitesse in Grand Rapids Michigan (1964), the first sculpture to be completed through the Art-in-Public-Places Program of the National Endowment for the Arts (NEA). Second, the art-as-public-spaces focused on design-oriented urban sculpture with functional elements such as street furniture, bicycle racks, landscape features, or structural architectural elements. Finally, the art-in-the-public-interest model, the label of which Kwon (2004, p. 60) credits to art critic Arlene Raven, and related to the concept of"new genre public 62