Laserfiche WebLink
art"theorized by artist Suzanne Lacy. The expansion of public art into more participatory <br /> methods of exploring public social issues coincides with more collaborative models across <br /> different sectors in regard to creating and sustaining public art projects. <br /> In general, cross-sector collaborations have proliferated over the past several decades in <br /> the United Sates due to several factors. Government downsizing and privatization coincided <br /> with the trend of businesses to take on a larger role in social responsibility, while non-profit <br /> organizations looked for solutions to numerous complex social issues (Austin, 2000; Gray, 1996; <br /> Hart, 2007; Seitanidi, 2007; Selsky and Parker, 2005). The literature in the field of cross-sector <br /> collaboration includes the study of inter-organizational relationships. The theories in this field <br /> seek to explain the motives for collaboration and their ongoing characteristics, focusing on <br /> efficiency, corporate social performance, legitimization, social exchange, strategic management, <br /> and resource dependence (Austin, 2000). <br /> Bryson, Crosby and Stone (2006, p. 45) concluded from their research that the perceived <br /> need to collaborate falls into one of two categories. First, organizations collaborate when they <br /> cannot get what they want without collaborating (Hudson et al. 1999; Roberts 2001). That is, <br /> they fail into collaboration. Second, an assumption is made that collaborations are always the <br /> way to create the best solutions. In fact, they cite that governments and foundations insist that <br /> funding recipients collaborate, even if they have little evidence that it will work(Barringer and <br /> Harrison 2000; Ostrower 2005). <br /> In the art world, the failure of the process to avoid negative impacts associated with <br /> public art, resulted in standards that mandate public participation and a broader cross-sector <br /> collaboration. The placement and design of the Tilted Arc sculpture in Federal Plaza in New <br /> York City directly pitted the rights of the artist against the practical needs of the community. By <br /> 63 <br />