Evaluation strategies for landmark art PROJECTS BASED on a comparison of three european projects:

Irwell Sculpture Trail Britain

Emscher Park Germany

Artscape Norland Norway

by Catherine Newbery 
Irwell Sculpture Trail Britain 

A project for the Fondation 
Marcel Hicter, 

European Diploma in Cultural Project Management 1999-2000

c.newbery@bury.gov.uk

A project for the Fondation Marcel Hicter European Diploma in Cultural ProjectManagement 
1999-2000 by Catherine Newbery

Evaluation strategies for landmark art projectsbased on a comparison of three european projects;the Irwell Sculpture Trail in Britain, Emscher Park in Germany and Artscape Norland in Norway.

Contents									Page2
1.Introduction										
1.1. Comparative Studies									

2. Artscape Norland									
2.2 Context										
2.3 Landmark Art Projects									
2.4 Anecdotes:									6-7 Stella Maris by Steinar Christensen, Untitled by Tony Cragg, After-Images by Ingrid Karlsen
2.5 Communicating the Idea								2.6 Audit											
2.7 Evaluation									8-9

3. Internationale Bauausstellung Emscher Park 					10 3.1 Context									10
3.2 Communicating the Idea							10
3.3 Landmark Art Projects								11
3.4 Traditions									-12
3.5 Anecdotes: 	
Untitled by Ulrich Rückriem, Tetraeder by Christ und Bollinger, Herman Prigann residency
3.6 Audit											12
3.7 Evaluation										13
3.8 Sustainability										14

4. Irwell Sculpture Trail									15
4.1 Context										15
4.2 Traditions										15
4.3 Landmark Art Projects									16
4.4 Communicating the Idea								16
4.5 Anecdotes:								-18
Tilted Vase by Edward Allington, Seek and you will Find by Kerry Morrison, Bury Subwayproposal by Isabella Lockett
4.6 Audit											18
4.7 Evaluation										19
4.8 Sustainability										20

5. Conclusion Comparisons							20
5.1 Museum Model Applicability								20
5.2 Museum Model Difference								20
5.3 Social Benefits									21
5.4 Economic Benefits									22
5.5 Environmental Improvements								22
5.6 Increase In Cultural Activity								22
5.7The Need for Evaluation							22- 24
5.8 Dilemmas in Implementing Evaluation							24
5.9 Recommendations								-26

6. Action Plan for Irwell Sculpture Trail							27
6.1 Questions to ask when deciding on a type of evaluation to use.				27
6.2 Post Script										28

7. Appendix :										29
7.1 Comparative Study Questions								29
7.2 Matarasso's List of Social Benefits						30
7.3 Public Art Forum Benefits of Public Art flyer						31
7.4 Leaflets from all 3 comparative projects: Artscape Norland			-34 
Emscher Park		-38
				Sculpture Trail	-41
7.5 Ulrich Rückriem press cuttings							-48

8. Glossary of Terms						49-50
9. Bibliography									51-52

Evaluation Strategies for Landmark Art Projects basedon a comparison of three European Projects; The Irwell Sculpture Trail in Britain, Emscher Park in Germany and Artscape Norland in Norway.

1. Introduction 
Mary Jane Jacobs in "Culture in Action" (1995 pp 53) makes the following statements about evaluation:

“Public Art accepts and claims an unbounded, infinite audience simply by being in public view. Education or evaluation tools are not regularly employed, so the only gauge of a work’s success or failure in reaching its audience is when debate erupts into protest. Committees of a handful of representatives stand for ‘public.”

“Museums today are experiencing a new age of accountability and responsibility to audiences. They are facing demands from local communities and funding agencies to be audience responsive, increase accessibility, provide didactic materials, and education programmes....”. 

In these quotations, Mary Jane Jacobs compares the evaluation of public art aunfavourably to that of museums today. The perception seems to be that Landmark Art Projects are the external manifestation of museum practise and that therefore the same evaluation and communication strategies will apply.

Whilst the museum model of evaluation can be adapted to public art projects one must question whether the same demands of accountability apply to public art projects as they do in the cultural venue or whether they are more global to embrace the issues of today’s changing society: to heal social ill’s; develop cultural economies; enhance the national educational curriculum; and change the image of an area

Although there may well be an overlap in evaluation methods my own hypothesis is that evaluation strategies of public art projects do not necessarily follow the same principles as cultural venues as the aims and objectives are fundamentally different. 

I would argue that public art is accountable and responsible to audiences as it is more publicly accessible than works of art in galleries but would question that evaluation and communication strategies currently in place are the correct models for measuring the benefits of Landmark Art Projects. 

My motivation to carry out this research stems from an ever increasing demand for evidence of the benefits of public art projects and the difficulty in providing qualitative and quantitative information on projects that bridge multiple agendas. I intend to compare the project I work on, the Irwell Sculpture Trail (IST) in Britain, with two other Landmark Art Projects Emscher Park (IBA) Germany and Artscape Norland (AN) Norway, to discover the effectiveness of their methods and evaluation strategies. 

This paper will concentrate on evaluation strategies and attempt to analyse the real effects Landmark Art Projects have, especially on the local community and what message is being communicated. The focus will be on evaluation strategies and communication as a method used within evaluation rather than focus on public relations and marketing tools. I will however audit what tools the projects have used to provide information to their various audiences.

I believe that we do not have enough evidence to argue for the value of art work and the benefits artists make to our environment. I expect to find that this is a common problem within many public art projects in Europe.

In comparing the Irwell Sculpture Trail with other Landmark Art Projects, I hope to develop a better understanding of the global position of my project and develop our evaluation and communication strategies. Through reading secondary literature I will introduce other evaluation systems and develop arguments for effective strategies. In conclusion, I will compare current practise, the comparative studies and secondary literature to propose a responsive evaluation strategy and action plan for the IST. 
1.1 Comparative Studies
I have selected three Landmark Art Projects for comparative study; all are long term commissioning programmes to create permanent art work over large geographical areas. Each of the projects has commissioned internationally renowned artists to create site specific work either as part of regeneration or of cultural infrastructure programmes.

All the projects work with many local authorities; with the art works belonging to the municipalities once completed and will be maintained by them. The German and Norwegian projects had a ten year implementation programme and were completed in 1998/9 whereas the British project is a six year scheme (1997–2002) which is currently halfway through. Long term projects were chosen to judge changes over a sustained period using the premise that there would be more opportunity to measure outputs and reactions, especially of local people. 

Although none of the projects has the same methodology in its inception they share common threads and illustrate the global similarities of Landmark Art Projects.

The research for the comparative studies was collected through interviews with people who worked on or were closely connected to the Landmark Art Projects and supplementary promotional literature. Most of my research for AN was academic, from texts, conversations and a conference on the project. I have not visited the work and therefore feel my comparison and judgements are perhaps more theoretical and simplistic than for the other projects. IBA have also produced theoretical text but I have visited the scheme and talked to people directly involved and feel I have more detailed knowledge and a more practical experience of this project. As I have been the Project Officer for IST for three years I have intimate, first-hand experience on which to base my comparisons.

2. Artscape Norland, Norway 

2.2 Context
Artscape Norland (AN) is a cultural project that covers an area of 38,237 km2 in the northern most county of Norway, an area known for fjords, mountains, glacier and forests. The population is 240,000 and the main cities are Bodø, Narvik, Mo i Rana, Sortland, Svolvær, Fauske, Mosjøen, Sandnessjøen and Brønnøysund. Norland has a long history of trade and is connected to international markets by a network of air, rail, and ferries. The main employment is fishing, with a little mining and agriculture. The people of Norland enjoy a high standard of living, low unemployment, a beautiful natural environment with extreme weather conditions; 24 hours of the midnight sun in the summer and the reverse in winter. The people are very connected to their landscape with most of the county open to the sea with a low horizon where sky meets sea.

This extract from the Norland County Tourist Brochure 1999 illustrates the political context of Artscape Norland.

"The County of Norland has a co-operative relationship with the 45 municipalities and works to support business and regional development. The County also approves all municipal physical development plans. The County has long standing co-operative programs with other regions in Scandinavia and Russia which focus on infrastructure and economic development, culture, environment, and education."

In the middle 1980’s both the county of Norland and the municipalities began a political debate concerning cultural policyb. Until then cultural activities had been concentrated in cities’ museums and art galleries or in local social projects. The idea for Artscape came from a seminar organised in 1988 on the conditions of artists in Norway where Norwegian artist Anne Katine Dolven came up with a vision to tackle the lack of cultural provision in this region. The idea was to commission art work to show the beautiful rural scenery of Norland at its best to local and international audiences.This would create an international art collection founded on qualities inherent in the landscape.

Aaslaug Vaa, Norland County Head of Cultural Affairs commented that, “Focusing on the conservation of history and tradition can lead to stagnation, in other words that the free movement in society stops. In this light Artscape Norland was seen an important corrective and element in cultural-political activity”. (1994 pp 7-8)

The initial idea was developed further by a group working in contemporary art which included: Per Hovdenakk director of Henie-Onstad Art Centre, Høvikodden; Maaretta Jaukkuri director of the Museum of Contemporary Art Helsinki, later curator of Artscape Norland; Bojana Pejic critic and curator, Belgrade / Berlin and Angelika Stephen critic and curator Berlin.

The wish of the regional government was to provide local people with the opportunity of seeing modern art, and also to utilise art as a way of developing the communities by allowing people to become more conscious of their own local values. The key issue when the regional government introduced the project to the municipalities was local identity. It was also hoped the project would have some commercial effects, such as increasing tourism.

The project was not without its critics, who thought decision making was too central and that the role of communes were limited to saying “yes“noan artists’ proposal without having the chance to formulate the programme or to choose the artist. However once the County Council voted in favour of the project and it was endorsed by the Hall of Parliament, the National Parliament and the municipalities it was hailed as the most democratic art projectStig Olsen Director of Culture Norland.

The originally programme was for 5 years and began with an invitation to the municipalities to be involved. A selection panel made up of the contemporary art group and two Norwegian artists compiled a shortlist of artists who were invited to visit a municipality and present a proposal to the local community at an open meeting. Each project cost £150,000, with most of the financing coming from the county together with the Norwegian State and a contribution from the municipality or sponsors. It was anticipated that the municipalities would be responsible for the technical realisation of the projects. However, some projects were passed to the county when they proved too difficult.

In the choice of artists the curator wanted to create a strong Norwegian and Nordic presence to represent the county’s own culture as well as that of its next-door neighbours, and then to expand this to a global scene: 8 Norwegian artists, 12 Nordic and 13 international artists have created work for Norland. 

2.3 Landmark Art Projects
Settlements in Norland can be large distances apart and 60 % comprise of less than 3,000 people but information spread quickly by word of mouth so communities were aware that these projects were happening. However prior to this project local people had no knowledge of the international art scene and cultural policy focussed on the development of cultural institutions and arenas for creative activity by ordinary people.

“The ambition was to create communication between art and the public, the first sculpture to be unveiled was Kain Tapper’s ‘A New Discussion’, and the project has above all supplied the people who live and work here with a new discussion. A dialogue which has artistic expression as a starting point, a conversation that goes across borders - a communication which has made great demands on both visiting artists and the public, on politicians and journalists, concerning candour, curiosity and tolerance., A (1994 pp 8)

Some of the other works have also prompted discussion that has been researched by sociologist, Oddrun Sæter. The reaction to the works by some of the communities reveals initial responses typical to Landmark Art Projects throughout the world. Her study shows how art is able to throw light on local symbols and cultures, often in an indirect or non-intentional way. 

The municipalities in Norland have implemented this project because its ideas, values and experiences have been a central element in the debate about cultural policy. Since 1987 the county has tripled the budget for cultural activities to 2% of public funding. 

2.4 Anecdotes:
‘Stella MarisSteinar Christensen, a Norwegian artist, is a series of objects placed directly onto the rocks at Skutvik as if they have been washed up. At the public open meeting to approve the design there was silence after he presented his idea until an elder of the village stood up and said home”. This mark of acceptance from a person of authority was all the artist needed to continue with his work without controversy. 

The following commentary is from Oddrun Sæter’s sociological research on AN.

A British artist Tony Cragg’s work on the mole at Bodø did not receive such a sympathetic response. “The mole is a harbour wall designed by a local architect and rebuilt some years ago. Tony Cragg’s aim with the work was to mark the point of contact between the sea and the land. The mole makes landing possible, and as such can be seen as the birthplace of the whole community. 

When the artist launched his idea of placing 12 stones, each with lots of holes in, on the mole, a local debate started. The municipality has recently refused to allow some small fishing huts to be built on the mole, because it would destroy the view of the sea for the inhabitants. Why should an artist be allowed to place some stones without meaning there?Why not design something that symbolised the function of the mole? Why all the holes in the stone? The artist claimed the holes would make sounds when the wind was blowing, and in Bodø it is always blowing! Should and artist bring more noise into the town? Why should a stranger be allowed to make structures on the mole so well constructed by a local architect? The arguments were many and some people did not want art on the mole, considered by many to be the most important place in town, even if the local politicians did welcome the plans. 

The mole got seven stones, the unveiling ceremony was combined with a visit from the Russian, and Norwegian foreign ministers, the latter made the opening speech. Some musicians played and fish was served to 1,000 people on the mole on a windy day. The perceived problem for the local people changed after the unveiling, some complained only their dogs could hear the stones signing and that the stones were too small. A local woman wrote to the paper and asked not use the mole for big cultural events in the future?work of art, even if a lot of inhabitants do not like it or ‘understand’ it, has shown the population that their local artefacts and places have a broader value. The stranger put his mark on it, and therefore the local people are able to discover new meanings and functions with the help of ‘strange artefacts’.”(1996 pp 20)
The Øksnes municipality wanted to celebrate the coast woman, a symbol for a special kind of Norwegian woman who farmed and looked after the children whilst the men were away fishing; the idea was to affiliate the work to Artscape Norland.There are two accounts of this project that I have read one version by Oddrun Sæter and the other by Marianne Skjulhaug project worker.

First account: Ingrid Karlsen, a North Norwegian artist, was selected to create the piece and hoped to enter into a dialogue with the local people, and combine their wishes with her own kind of art, even though there would be a strong feeling of what the coast woman should look like. Her idea was to make a lamppost made of marble with a woman’s face cast into the lamp glass. She wanted to site these in two different places, one in the village which people had been forced to leave because of centralisation of politics, the other in a recently built community which can be found anywhere in Norway.The community rejected her piece as local people believed this was not a suitable memorial. want a woman of flesh and blood! “. Coast woman was carried out by an artist working in a naturalistic manner and Ingrid Karlsen’s piece has been realised by AN and is called‘After-Imagesin two locations Nyksund and Myre. (1996 pp 19)

Second account: The original artists appointed declined to work with the commune as they did not wish to have pre-conditions set on the site. Therefore discussions with the commune decided to select an artist from North Norway, Ingrid Karlsen who made it clear she would not design a traditional monument of the coast woman. The commune decided to reject Ingrid’s design but a group of people within the commune embraced the project and collected the money needed to make the work.”(1994 pp 11-12)

Whichever account is true the commune now have three works, which generated debate and conflict between generations about how their history is represented that may not have been expressed otherwise. The artist says the process has been very important to her.

2.5 Communicating the Idea
The regional press followed the project with considerable engagement and occasional a very critical tone. The curator commented that she knew the tone the press article would take by seeing the name of the journalist. The entire process has created a situation where the importance and role of modern art in the society of Norland is an actual topic of discussion.

AN has also created new opportunities for expressive activity. While carrying out this project, local groups, private companies and numerous individuals have participated on an idealistic basis. Groups and individuals have taken the initiative to continue projects when municipalities have said, "no", such as the coast woman.

When a work is installed a contact between the local people and piece is made. The inauguration of the sculptures are arranged in a manner that is determined by the place and people, opening speeches and local cultural events have been incorporated or unveilings postponed to coincide with the other events. States persons have unveiled the work, which has brought local attention in the press and people have had a chance to met the artist or read about them in the paper (this also happens on the IST). It has been a cause of local pride when foreign visitors come to see the work, perhaps it is only valued when outsiders praise the work! There seems to be a trend that people find it easier to accept work in their own commune. were lucky to have this artist who, made this beautiful work, but those poor people in the neighbouring commune could not be considered equally lucky in this respect.” Perhaps this perception comes from people who are more informed about the work on their door-step! (1994 pp 15)

2.6 Audit
I have tried to discover if any market research has been carried out on the profile of visitors to the project if the website has been established and the quantity of promotional material circulated. Unfortunately I have received no response from AN. Gateshead City Council who organised an exhibition of the project have experienced similar problems in communication with AN.

•	A leaflet has been produced on each work including interpretation on the piece, a map and good imagery of the work.
•	2 large scale wall projections on exterior walls advertised the project in Berlin and Barcelona (1993)
•	Slide presentations in 3 eastern European countries on Nordic cultural days (1997)
•	Plaque by the work with the name of artist, title of work and technical information
•	No web -site but establishing one.
•	Exhibition produced of all the schemes has toured to Scandinavia and Gateshead in the North East of England. 
•	Catalogue £15
•	Postcards
•	Information in English for international audience
•	International Press seminar

2.7 Evaluation
This project differs from the other comparisons as there is no regeneration aspect to the scheme, which is common to Landmark Art Projects of this scale. This project echoes museum practise and is a curated exhibition outside the gallery. Now complete it can be evaluated and education packages developed in the same way that a museum collection would be reinterpreted. The communities are small so impact was maximised and can be evaluated effectively. This is a huge advantage in discovering benefit to individuals as the community is accessible and defined in a way IST and IBA would never experience. AN is a resource like the landscape for local and international audience development and tourism, which will enhance the economic development of the region. This is a secondary benefit not the main purpose of AN. The collection has been established with the vision of one curator using intellectual models to debate the progress of the scheme and evaluation carried out by a sociologist. The idea was very focussed throughout and subscribed to by politicians and village elders with a managed impact on the people who live there. 

AN conforms to Mary Jane Jacobs’s quote about public art in my introduction only gauge of a work’s success of failure in reaching its audience is when debate erupts into protest” (1995 pp 52).This was true of some of the dialogues between audience and artist and some analysis has been carried out to suggest why this happened.

“Norwegians live in urban areas but retreat to the countryside at the weekends and see nature a sacred.Artists who confronted controversy wanted to place symbols of conflict in virgin landscape, the very symbol of peace for the local population.æter, O (1996 pp 19).

This is only the beginning of the debate which will I believe continue as the cultural animators in Norland use the work as an educational resource. This is unlike Landmark Art Projects in Britain where communities are often involved in the debate and process of developing the work but once the work is unveiled the work is left for people to decipher their own meaning. The reverse is true with museum collections where the works are created or procured and education or interpretation packages are devised to help the audience find meaning in the work.I would however criticise the project for not engaging with the communities in a more proactive way whilst the artists were developing their ideas, or before, as this may have produced a more marked social effect. In this sense AN and IBA are top down autocratic administrations.

In 1994, half way through the project, a conference was held to discuss the themes related to establishing such a scheme; this involved 40 international delegates: artists and academics from a variety of backgrounds. The basic idea of the seminar was to consider the status of the spectator, the viewer and experience of the artwork, in relation to contemporary art. This was a think-tank to discuss methodology and an aesthetic evaluation of the overall project not the effects of individual pieces and resulted in publication of the papers.

The most comprehensive evaluation has been the sociological research, into the effects the work has had on the communities involved, by Oddrun Sæter. This is a very interesting approach to analysing the social impact of the art and one that would have useful application for the IST.

AN intends to market the scheme to international audience through the Norwegian tourist board. A web site is being established and an education programme as well as specialist tours.A guide book will be published of commissioned photographs showing the work and landscape, and articles explaining the works and context: one text by an art critic or historians; one by people living in Norland and the third by Norwegian authors with their own interpretations of the works. There is also the possibility that the municipalities that did not take part may commission a work. Above all the county of Norland hopes the work will be a legacy for future generations.

The political party has recently changed in Norland to social democratic and they have announced quality is a must in the field of professional art and culture, which corresponds with the idea of AN.

The Eye in Stone by Anish Kapoor 1998 - LØdingen Commune

3. Internationale Bauausstellung Emscher Park (IBA), Germany

3.1 Context 
The IBA was an ambitious and inspirational project to transform the identity of a region, the art projects are only a small part of the whole programme; they do however form the brandingcfor the scheme. It is not an outdoor gallery like AN (however the works are commissioned by artists from a gallery tradition)nor does it attempt to engage local people in a debate about their environment as IST does.

Emscher Park is in the Ruhrgebiet area of Germany, formerly the most industrial area of Europe so the area could not be more different to that of AN. Ruhrgebiet is a slang name that roughly translates to ‘black pot’ referring to the pollution that the industry created in this area. The population is 2.5 million with high unemployment, social deprivation & ecological problems. Encompassing the cities of Essen, Oberhausen, Duisburg, Dortmund, Bottrop, Gelsenkirchen and Bochum, the IBA chose the worst effected areas bordered by two motorways, 75 kilometres long and 15 kilometres wide, as the base of a ten year (1989–1999) regional development programme. The River Emscher runs through the area and was an open sewer due to the continual subsidence of the land caused by the coal mining.

The vision was to improve the quality of life and the cultural value of the landscape in local people’s eyes. This landscape is man made with black slag heap mountains, soaring chimneys and industrial architecture dominating the sky line. It was and is an ever changing landscape due to the rapid growth and decline of industry and one of rapid population growth; 90% of the population moved to the area in the last 100 years. The land was inaccessible for leisure use and people had no affinity to or perception of the landscape other than as an industrial resource.

The idea to create Emscher Park came from two men, Christoph Zopel, Urban Development Minister of North RhineWestphalia, & Karl Ganser of the International Building Exhibitiond. They wanted to test a new model, after the lack of success of the late eighties model of demolishing former industrial buildings to create brown field sites, with the hope that developments would move into the area. By creating a new kind of cultural landscape, which would involve people, it was envisaged perceptions of the area would change which would hopefully lead to new businesses moving into the area and with them job creation.

5 types of schemes were devised:

1.	Natural conservation i.e. preservation of a redundant 25 hectare steel plant.
2.	Housing & settlement redevelopment (social projects).
3.	Working in the Park (new commercial activities).
4.	Rebuilding of River Emscher. 
5.	Quality Landscape Park.

In total 140 projects have been realised costing 5 billion DM = 3 billion pounds, none of which is new money but a more strategic use of existing urban funding; 14% of these projects were Landscape Art schemes (the term used by IBA for Landmark Art).

3.2 Communicating the Idea
Fundamentally IBA was a vision, which had to be communicated to the administration in the regions, politicians and local people. No master plan was devised apart from the 5 main themes, and planning happened through projects. An initial competition for ideas from the local authorities and agencies was promoted through events and the newspapers; 17 cities responded 50 projects were chosen and the finalists exhibited.

The perception of those spoken to of the IBA programme was that it was delivered from above by Karl Ganser and was without democratic control. IBA is an independent agency separate from the political hierarchy and with a large budget, the municipalities signed up as they wanted the money but it was not a real partnership as subscribed to in the other two comparative schemes. The local authorities contributed £7,000 a year for events and parties. Ultimately it was Karl Ganser’s idea and he had final control over all elements including artistic. 

IBA had 25 staff, 8 of whom were in public relations whose main job was to communicate the idea through the media, newspapers and television to local people and communication to the local authorities and politicians through personal contact.Various levels of communication were adopted to the stakeholders e.g. Politicians could grasp the commercial aspect, whilst administration saw any development as an improvement. Karl Ganser’s opinion apparently was that the local people would not understand so should not be consulted or involved. He also did not see the need for public relations, which contradicts the high percentage of staff working to promote the project.

3.3 Landmark Art Projects
In the initial concept there were no plans to include artists or Landmark Art Projects and this developed half way through the scheme. A cultural agency was set up in the region as a roundtable for ideas and not implementation. The main players were curators of regional museums and the leader of the department of art 'Marion Talber' who first suggested involving artists to brand the area – industrial culture.She became the freelance curator for IBA who initiated the Landmark Art Projects.

The art projects developed organically with no strategic plan. Sites were not selected geographical but where opportunities arose. Seven years into the timescale of IBA a strategy was put in place to make sense of the Landmark Art Projects that had been developed i.e. make physical connections between the projects.

3.4 Traditions
In Germany 1% of the national public expenditure is on culture (compared to 0.5% the County of Norland’s and 0.25% of Britain's expenditure). In all three countries the cultural budgets have increased in the last ten years. Cultural spend is evenly spread across Germany and the quality is good with an emphasis on ‘high’ art forms like opera. Fairly recently social activation programmes have started to be encouraged such as festivals and temporary projects.

Bochum had one of the best theatre companies in the 80’s, although the programme was seen as provisional in taste. Dortmund has an opera company which was threatened with closure in 1986 but local people protested, including some of the 17% unemployed, as they believed such a step would spotlight the citys decline and be counter productive. There is a belief in Germany that culture eis a way of life and should not be cut even in hard times.

This tradition helps illuminate why the community were not involved in the IBA programme, which would be unheard of in Britain, as there was no need for social justification to commission high art as this practise is the norm. The Landmark Art Projects developed organically across the five theme areas as culture is an integral part of environmental and social development, it would be perceived as strange if omitted.

The Ruhrgebiet has a history of projects happening and has many artists living and working here so it is not strange that two of the most significant artists of our time decided to site work here independently of the authorities or IBA. Richard Serra and Ulrich Rückriem initiated their own projects in the Ruhrgebiet and were funded by Prosper , a national company with a strong local presence.

3.5 Anecdotes:
Ulrich Rückriem placed his submission for Kassel, Documenta ’93 in Essen. He then devised a larger work on an old colliery site at Zollverein which was really an act of cultural terrorism as there was no approval from the City who owned the land and intended to use it as a land fill site. The City had to change their mind as the work had a high value and would cost too much to move. Rückriem’s work has initiated further cultural development at the Zollverein site, which now hasa gourmet restaurant, offices of a cultural agency, a dance school and artist workshops.

The second commission was a competition for a viewing platform on a mine spoil heap. The piece was awarded to engineers Christ und Bollinger who did not enter the competition. The selection panel for the art projects was made up of the curator, staff of IBA and Karl Ganser. This group carried out the artistic evaluation of the projects and approved the designs, this is the only form of evaluation that was carried out by the project. The resulting work, ‘Tetraeder’ is 60 metres high, made out of steel, cost 3.77 million DM and looks like a space ship especially at night when the structure is illuminated. The work attracted 7.5 million visitors when it was first completed and is seen as a symbol for the town, which they are now proud of. The vision of the IBA is expressed in this kind of symbolism and is the basis of communication to the local community.

Local people saw the projects initially as nonsense and a waste of money e.g. instead of greening old spoil heaps the black shale was left so people felt they had been fooled. Over time, the feeling has changed as people visit and the pieces have become landmarks. The acceptance of the commissions in this way by visitors, acclaim from experts and then local people made it easier to then commission more ambitious and challenging works like the Serra (see page 25 for illustration). 

The last commission had no approval at all and was a 2 year residency by Herman Prigann on the site of a mine spoil heap funded by a Coal company. This project cost no extra money to the company and in fact generated income by dumping earth on the site to create a 40 metre high cap on one of the shafts, which the artists created an even higher work on top.

IBA is one man’s strong vision for a region to develop the internal and external perception from industrial production to industrial culture and industrial nature. The Landmark Art Projects happened in an adhoc manner and were co-ordinated because of cultural activity that was happening in the region anyway which IBA capitalised on. IBA has made assumptions about the benefits the landmark projects would add to the programme and in a climate where these assumptions are accepted without question maybe there is no case for evaluation. Karl Ganser already had the regional and national politicians signed up to IBA for 10 years with no need to think about sustainability of the idea. It is up to the regional authorities to continue, who may feel the need of proof of benefit before they commit additional funding or attempt to measure long term benefits over the next few decades. 

3.6 Audit
Karl Ganser banned a web site for the project as perhaps he did not want people to steal his ideas, and he did not see the need for any publicity, promotion or information. Despite this the University set up an independent web site, Ruhrgebiet Tourismus GmbH have created an information site and Zeitsprung, a tour company set up by former IBA employees, intend to set up a web site now the project is over. All of these external agencies seem to have developed these initiatives independently for the launch of the project in 1999. 

Although Karl Ganser seems to have been against public relations, a number of InternationalPress seminars were held and politicians such as Helmut Kohl were present at unveilings. Events were also organised to animate the spaces during implementation such as Jazz concerts, contemporary performances, Greek dancing, choirs, poetry reading etc. However, the perception is that the people already interested in culture attended these events. I also noticed many function rooms near the developed sites for corporate hospitality perhaps to entertain the private and public sector investors.

An exhibition took place in 1994 at the Oberhausen Gasometer of the History of the Emscher Park area and to launch the IBA in September 1999. Christo and many other artists created installations and exhibitions in cultural venues throughout the region to explore the different aspects of the project. 

IBA has created a trail to locate the projects called the Industrial Culture route which is very well indicated by brown road signs and a map, although it is difficult to see other than by car. At the sites there are panels, which includes the name of the artist and title of the work in the style of the site but no interpretation of the art works. There is a cycle way that links the routes, which will be promoted next year by Zeitsprung.

In contrast to the lack of information about the art works there are information panels about other projects in the Science Park, Gelsenkirchen, and on site which include: a map, brief description of place, location of projects and perhaps some historical background to industrial culture. There is an extensive range of leaflets, postcards and publications (with excellent images) on the five categories of scheme, a map to find the projects, information by town area and site available. Some leaflets and publications are in English for the international audience. 

All information is now based at the Farmhouse set up by Ruhrgebiet Tourismus GmbH in 1999 with a specially developed exhibition including touch screen information, bicycles to rent and specialist leaflets housed in an ecologically designed building including a public art work. Monitoring of enquiries at the information desk recorded 20,000 visitors to the Farmhouse itselfa year, 60% of which are local (other attractions here). Initially information was available from the IBA information centre in Gelsenkirchen, which closed in December 1999. In fact without the regional tourist board I believe no information would be left behind but I do not know who initiated their involvement.

3.7 Evaluation
No evaluation has been carried out by IBA as it was seen as unnecessary.

The University was willing to carry out some studies but this was not approved by IBA. The public relations department of IBA have calculated visitor numbers from official visits to study the project and the opening events. Ruhrgebiet Tourismus GmbH are recording visitor figures and requests for information. However the IBA have perceived a range of benefits based on assumptions and believe people living in the Ruhrgebiet now enjoy a higher standard of living, recreation and culture. The long term strategy to give an identity to the landscape has changed the image of the area and made lasting changes in people's mentality.
Perceived benefits of projects are:
•	People visiting the sites.
•	Image of the area has changed; the new Ruhr profiled in the press nationally and internationally.
•	Outside interest 3 million people visiting launch events.
•	Physical change of the Ruhrgebiet from black, poisoned areas to a cleaner place, which people are proud to come from e.g. Ruhrgebiet chanted at football matches.
•	Houses have been refurbished.
•	Green areas created.
•	Jobs created.

IBA has received international acclaim by landscape architects, cultural planners and academics. Topos the European landscape magazine published an edition dedicated to the IBA. A smaller amount of interest has come from the art's world for individual projects such as the Serra. National and international press have covered the project and attracted visitors. This is a form of evaluation following in the tradition of art criticism as endorsement and approval by professional bodies. Local people's knowledge of the projects will have come through the local media coverage and word of mouth.

People now use the sites as open spaces to walk their dogs, horseride and cycle. The open space idea allows people the freedom to build fires, make dens etc. on land that before was closed to them. The communities in the Ruhrgebiet have therefore changed their use of the landscape and enjoy it freely. It would have been quite straight forward to research the changes in people's perceptions of the landscape before and after the project, and may still be worthwhile. 

3.8 Sustainability
The 10 year IBA programme stopped in December 1999 and there is no immediate plan to continue apart from uncompleted projects. The overall feeling seems to be that a rest is needed and maybe in five years other projects could develop.

In developing the cultural provision in the area some social projects have been funded through the state if they can prove the scheme will have a legacy, usually 2-5 year project with a business plan e.g. alternative kindergarten, circus winter base, ethnic music centre in old industrial building. 

Zeitsprung has been set up by former workers of IBA to run tours around the area covering the industrial culture, industrial nature and in 2000 a cycle tour. They did this on their own initiative as they felt there was a need to provide more information about the projects and this service was provided to visitors to the IBA at the launch of the project in 1999, paid for by Emscher Park.

The City of Oberhausen now runs the Gasometer and uses curators to programme the space keeping a balance between quality and commerce. Other cultural venues and cultural operators now exist in the area as well as a many artists. 

At present a European funded warden scheme employs 130 people to maintain the projects and train the long term unemployed, the funding will run out in 2002.The IBA has an uncertain future, as the authorities will be left with high revenue costs to maintain the Landmark Art Projects and run the new cultural venues, although the manual skills are available in the area. The local governments have also recently shifted from a traditionally left wing government to right, which could see a reduction of cultural activity. 

4. Irwell Sculpture Trail (IST), Britain

4.1.Context
The Irwell Sculpture Trail is located in the North West region of England and follows the Irwell Valley and river formally an important route of the industrial revolution. The population in the Irwell Valley is 33,000 based on a 3 – 5km distance from the river along the 51km length. Unemployment is generally below the regional average of 5% with pockets of high unemployment in areas of Salford and Bacup. The main industries in the valley were coal mining, stone and slate quarrying, textile manufacture, paper making, shoe manufacture and international trade from the docks at the confluence of the river. Some abandoned mills and heavy industry remain with the characteristic ribbon housing development built from the locally quarried stone. Little remains that refers to the passing of the industrial age as the pit heads and relics of industry have been removed, the pollution cleaned off the buildings and the old railway lines made into trails as part of the regeneration process. The local authorities and environmental agencies haveregenerated the Valley to reuse the land left behind and clean the River Irwell that was until ten years ago was one of the most polluted rivers in Europe. The River Irwell is the main river in the Greater Manchester area which all other rivers and tributaries run into, this results in flash flooding which is being addressed by the construction of defence systems. 

The IST follows an established footpath and runs North to South from the source of the River Irwell in the Moorlands of Lancashire, through idyllic countryside, the mill towns of Bacup, Rawtenstall, Bury and Radcliffe, urban fringe, Manchester city centre and finishes at the former docks Salford Quays. Salford Quays has been transformed into a commercial area and is the site of the region's flagship Millennium project the £127 million Lowry Arts Centre. Thus the IST shares elements of both the comparative projects the industrial landscape of IBA and rural countryside of AN.

The IST is a partnership of four local authorities: Lancashire County Council, Rossendale Borough Council, Bury Metropolitan Borough Council and Salford City Council, which has been established to devise, develop and deliver a high quality public art trail along the Irwell Valley and is a significant Regional Initiative. The aims and objectives of the IST are strategic to fit the local economic, political and cultural strategies of the local authorities which involves cross-departmental working. The project started in 1989 from an idea by Arts Officer Tony Trehy to commission small-scale community projects to attract visitors off the restored East Lancashire Steam Railway into the towns. The art works had small budgets and involved the community, they were well received and led to the idea of a larger scheme along the length of the valley. The local authorities along the Irwell had the experience of working together in developing the footpath, and were used to commissioning artists, there was also substantial funding to regenerate sites along the length of the river. When the Arts Lottery was first launched in 1994 the Irwell Sculpture Trail partnership was formed and won the first major award for public art in the country and one of largest arts awards in the North of the country at that time. The partnership was successful in receiving £2.3 million from the National Lottery through the Arts Council of England (ACE). In total the project’s budget is £4.2 million with environmental works, sponsorship, contributions from the authorities and the regional arts board, North West Arts Board (NWAB).The lottery phase of the IST scheme is six years (1997- 2002) and is currently half way through.

4.2 Traditions
The late 1980’s saw the development of the first public art strategies by local authoritiesprivate and public investment in commissioning programmes. The 1990’s was a decade of urban regeneration which has provided an enormous amount of opportunities for public art, especially large scale capital projects. Community consultation has been central to cultural policy since the 1970’s but has been matched with environmental and economic agendas.

A Conservative government was in power when the Lottery was introduced and the IST submitted its bid. When the IST began its commissioning programme in 1997 a Labour Government was in power and in the process of changing the focus of their cultural policy to small-scale social projects. ACE manages the arts lottery schemes but does not offer guidance, they are monitors to ensure the project fulfils the criteria of the award and does not overspend. The IST is currently undergoing a review due to the change in local and central government’s priorities focusing on social deprivation and small-scale projects and a wish to continue providing innovative projects.

The Labour Government have always held the majority in the Irwell Valley but the political climate is changing with the first Conservative majority expected in one of the authorities in May 2000. At present it is becoming increasingly difficult to implement cultural projects due to funding cuts within the authorities, which will not improve with a change in political party.

IST and IBA are following in the tradition set up by theGarden Festivals in post war West Germany to reconstruct bombed cities, later adopted in Britain to encourage the reclamation of derelict land; secure long lasting redevelopment; provide a focus for regional promotion and celebrate urban renewal. Fundamentally both of these projects have regeneration of former industrial areas as their main concern with the ultimate aim being a change in people’s perception of the area and new economic investment. IST is a much smaller version of IBA with a higher emphasis on the local involvement. IBA contradicts itself by saying they wanted to involve people in the cultural landscape, but carried out no consultation or evaluation of the effects on the inhabitants of the area. The people they refer to must be the politicians. 

4.3 Landmark Art Projects
While each of the Partner Authorities has its own artistic priorities, the artistic policy of the IST is informed by a shared vision related to the aims and objectives which also cover the criteria for lottery funding.
•	support regeneration through environmental art
•	a unique tourist product
•	linking existing and future developments
•	increased visitor numbers to the length ofthe Valley
•	increased countryside access
•	community participation
•	increased local awareness of art and theenvironment

The IST has adopted several project models; these have been differentiated into four types, which are planned to be inter-related and build upon and cross-fertilise each other. The projects have their own individual format which is dependent on; the site; project team; redevelopment plans in the area; approach of the appointed artist and local community.

Project Models
33 Artists in Residency (11 completed, 10 underway)
Artists work with communities and/or developing site specific environmental art works.

6 Community Sculpture Projects (1 completed, 5 underway)
Enables local people to work with professional arts practitioners to create artworks for the trail. The artists in thesecases work as ‘technical advisers’.

8 Commissions (3 completed, 1 underway)
Artists of international status commissioned to create art works that position the Trail within the art world e.g. Edward Allington, Ulrich Rückriem and Rita Mc Bride.

Ist Out Bursary (1 underway)
In 1999/2000/2201 a graduate competition would offer the opportunity for five Contemporariesbe sited on the Trail. This scheme also provides training in public art practice. 

4.4 Communicating the Idea
Three years into the project a diverse range of work is now sited on the IST and interesting collaborations are currently underway. This will result in a valuable resource for the area of permanent art works, which can be used as: an outdoor classroom; a tourist attraction; a recreational route; and a legacy for the region. 

One of the aims of the IST is to engage local people in a debate about the arts and their environment. This is achieved at a number a levels by project officers, artists and the community itself. Residency and community projects enable artist to spend a concentrated time working with local people to explore the area and discover its history, people’s perceptions of it and encourage participation through conversation, workshops, talks and exhibitions.

The sites have been selected with a number of factors in mind and phased over the five years to allow the officers time to develop the initiatives and partnerships with the private and public sector. The major commissions are linked to regeneration schemes with an external curator selecting artists for a panel made up of local representatives, artists and the Arts Council of England. German artist Ulrich Rückriem was selected to create a seven piece work for the former Outwood Colliery which was transformed into a country park with money from English Partnerships, the project was curated by Robert Hopper and was part of Artranspennine 98 an international exhibition. At the same time a local artist worked on a project with specific community groups to create a work for the old brick works. The intention was that the local community engaged in the debate about art and regeneration over a period of time before, during and after the major commission and followed the same process as the international commision. An education package was also developed to coincide with an exhibition of internal works of Ulrich Rückriem at the borough art gallery, in association with the Gœthe Institute, with sessions for families, children and academics. Martell Linsdale delivered the education package as part of her PhD based on cultural projects on brown sites and the change of perception of the local community over a long period of time.

Local representatives are involved in the selection of artists for projects to make the process transparent and bring unique knowledge on the area to the discussion. There is a wide range of projects and artists working along the trail at any one time acting as a catalyst for debate.

I am the only dedicate officer post created by the lottery award with support from the arts officers, planning officers and the public relations department of the authorities. There is a partnership committee made up of Councillors from the authorities who approve the business of the IST and have signed a memorandum of agreement to deliver the project. The Leisure Committees of the authorities signed up to the project idea but there is little political support for the scheme as it is not seen to win votes. Politically the issues of social deprivation, health and personal safety are high on the agenda and although potentially the IST addresses those issues the benefits of projects are seen with scepticism hence the need for evidence of value.

4.5 Anecdotes:
‘Tilted VaseEdward Allington was the first major commission and was part of a European Regional Development Funded project to regenerate the Market Place at Ramsbottom, a small rural town in Bury. The piece is a representational work of a classical vase that is lying on its side with running water flowing out of the neck and refers to the classical architecture in the square and the significance of water to the founding of the town. The work is cast in bronze and is 2 metre sq. and cost £250,000. 
The artist was selected by a panel including, politicians and local representatives and the designs were presented to traders. After the designs were revealed the headline in the local paper “Greek Vase, what’s it got to do with Ramsbottom?a controversial debate in the town.The paper was full of letters of protest, why wasn’t the past being celebrated? Why wasn’t the money being spent on something for the youth who had nothing better to do that hang out in Market Place? What did it have to do with their town? In response letters started to appear in the vase’s defence - Why should everything be to do with heritage, we should look forward and create heritage today? The work by an international artist will bring people to Ramsbottom? Forget the flat cap image? The debate carried on for months and a Conservative politician pledged to have the work removed and melted down for scrap if she was re elected. Because of the controversy the Heritage Society created an exhibition explaining the artist's idea and how the work was made. The Chamber of Trade organised a flower festival to celebrate the unveiling which was attended by hundreds of people which made front page and centre spreads in the local papers. The local newsagent has created a series of merchandise and has an exhibition of postcards sent to him from around the world in his shop window. 'Tilted Vase' is now the focal point of the town by which people have their photograph taken and has been adopted as the town symbol. There are still people who do not like the work but the Conservative politician has been re elected and has not carried out her pledge.

Kerry Morrison created a series of wood chainsaw carvings in Nuttall Park over the period of a year. Initially groups had been selected by the arts officer to be involved in the project but nothing came of it so Kerry set up her workshop in a corner of the park and proceeded to talk to passers by. A woman who has walked her dog for years in the park told the artist that she had passed the same people each day for years without stopping and talking to them but since the artist had been there they now had something to talk about.

Isabella Lockett was residency artist in Bury Grammar school for six months, her project was to create a work in the vicinity of Bury Subway which links the IST to the town centre. The school was chosen because they are the closest to the site and had been involved in a previous IST project. Isabella carried out a series of workshops with specific year groups at the school and made contact with the police, resident associations, planing officers and the town traders. Fairly early on the artist decided she wanted to tackle the problem of the subway itself and the fear of the urban environment neglected spaces like these create.She commissioned a questionnaire to discover peoples perceptions of the subway now, at what time of day people used it and how they thought it could be improved. The results showed people did not use the subway once it was dark and the light is not bright enough, the lighting was investigated and found to be below the regulation level. The project has developed into a feasibility study with a virtual reality impression of what the subway could look like including poetry developed through workshops with a poet and community groups and fibre optics to maximise the light and minimise maintenance.

An exhibition was also held of all the children’s work, in total 300 pieces in various medium. The amount of quality work and investigation from this project has been immense and has provided a comprehensive consultation process of how to develop real desires to improve the environment. Isabella has also carried out evaluation with every group she worked with. For the subway to be realised the highways department need to adopt the design. Once this happens the same questionnaire should be carried out to see if there is any chance in people's perceptions. 

4.6 Audit
The local press overall are very good at covering stories on the IST, some papers are more supportive than others, but this is not specific to the project. The IST has also been successful in achieving national press articles in the art's press and the broadsheets as well as television and radio. It will be easier to market the whole project when it is complete in 2002 as the focus at present seems to be on individual projects rather than the whole.

The IST has a library of quality images, which are increasingly used by the regional tourist board, ACE, NWAB and in local publications to promote the municipalities and attractions. A Web site has been developed and links are being established with other agencies specialising in this type of work with IST projects being used as case studies (over 3,300 hits on the web site over 1 year). 

Leaflets on the clusters of sculptures and walking guides are provided free and distributed through Tourist Information Centres, from telephone enquiries, countryside centres, libraries and art galleries along trail (approx. 10,000 request a year). 

An exhibition in 1998 focused on the work ‘Off the Trailreveal the process artists use to develop their work for IST and for themselves. Exhibitions are organised to display individual project designs before implementation and the projects officer gives presentations regionally and nationally on issues related to Landmark Art Projects. 

Each completed work has an unveiling event, which directly includes the community who has been involved. The mayor and local councillors are invited to these events along with the press, which adds kudos to the event. Other art forms have been included in launch events or the work to interpret aspects of work. Poetry has been commissioned as part of the work or for the unveiling. Each work has a plaque on site with artist’s name, title, and date.

In 1998 a regional conference was held for local authorities to discuss commissioning issues. The main commissioners of Landmark Art Projects in Britain are local authorities however this is carried out by many departments not necessarily those responsible for culture. The intention of the session was to evaluate the projects completed so far and help others develop projects using model of good practice. The IST advises many local authorities on commissioning and organises tours for specialist groups, walkers, artists, local authority employees, art agencies and councillors.

The IST is somewhere in-between the two comparisons and is a mixture of international Landmark Art Projects that do involve the community using museum models of talks and exhibitions, and residencies grounded in local participation. These models need to be evaluated by different criteria, which I will discuss later. There are more expectations for the project to provide social, economic, environmental and regeneration benefits by the local authorities. I believe the project has been successful in engaging with communities in discussing their environment and creating identity and positive images of a degraded landscape however it is too early to say what the long term impacts will be. The IST does not profess to have an infinite audience but targeted groups who benefit from contact with artists. One of the communities is the officers who are involved in the project and their education of the issues involved in developing cultural provision. Unlike the comparative projects the IST is addressing the need for evaluation. So far this has been internal but has seen the importance of involved artists in this process.

4.7 Evaluation
Market Research has been carried out by university students to identify the number and types of visitors to the trail: this included seasonal variations; effect of events; knowledge of the sculpture trail; and reaction to work. The findings revealed that most visitors were local or day trippers who had heard about the IST and had visited before but only knew about the sculpture they were visiting and not others. They had reached the trail by foot or car and events increased the number of visitors by 200%. 

After the projects are completed the artist is asked to fill in a evaluation form and so are the officers who worked on theproject. This is discussed at the officer working group which assess the direction the scheme should develop in and changes that need to be made. External experts are invited to these meetings and artists to discuss their experiences. A record is kept of all the groups artists worked with, the age range, numbers and qualitative feed back from participants. The artist's also have money in their budget to document their projects, which has resulted in videos of the process, CD ROM’s, slides and photographs which are added to the IST archive. A record is also kept of all the local people and contractors employed who were used to judge the effects on the economy.Requests for information on the project are also monitored by number of enquiries, type and destination of information.

4.8 Sustainability
There is a maintenance fund for the upkeep of the works, which is controlled by the local authorities. Any vandalism to the work is recorded and this is a measure of the acceptance of the work in an area or tolerance. So far there has been little vandalism the main problem seems to be graffiti in country parks in the school holidays.

5. Conclusion - European Comparison 

The rationale for commissioning public art is to provide benefit but for whom and how is this measured in different countries? 

5.1 Museum Model Applicability
In my introduction I quote Mary Jane Jacobs as believing public art projects do not carry out the same evaluation and education methods as museum practise. Below is a table presenting the museum model of evaluation and the applicability to the three comparative studies.

Museum Model of Evaluation	AN	IBA	IST	Comment	
Visitor Figures				Used by all but hard to collect	
Education Programme (attendance & questionnaires)	x	x		Could be applied to IBA and AN	
Comparison with similar venues & exhibitions (attendance figures for similar exhibitions)	x	x	x	Direct comparison not possible 	
Customer Comments				 Recorded through venues as Museums 	
Press Coverage					
Art Criticism					
Market Research	x	x			

As you can see all the projects have applied a museum model of evaluation in some form, although some methods are easier to adopt i.e. analysis of press coverage and art criticism. 

5.2 Museum Model Difference
The difficulty and difference between museum practice and public art is the way in which the audience experiences the work. In my introduction I stated that evaluation strategies of public art projects do not follow the same principles as cultural venues as the accountability to the public was fundamentally different.This is because public art/ landmark art is much more integrated into society and concerned with developing quality environments rather than simply placing work in a public place. 

“Conversely not all the public are your audience even if the work is located in the public sphere, the effect is different and brings benefits to particular groups and individuals. Public Art is not for everyone and the final assessment should be in terms of how much people care for it. Controversy & debate should be exploited.,T. 

High audience attendance at a museum equals success, but how can you tell if all the people in the town square are there to see the public art work? A public art project by dealing directly and intensively with specific audiences can greatly affect those individuals participating, however the 30,000 other people who pass the work everyday may have an opinion about the art work based on taste not the experience of those individuals. This is when different evaluation methods need to be found as museum evaluation methods become inadequate when you are not dealing with a confined audience. There are alternative methods of evaluation which are more appropriate to public art projects.

Mary Jane Jacobs also alludes to the need to adopt other methods the process of debate and evaluation, problems of critical language as well as problems of interpretation arose of the need to develop new methods and new language to mirror new ways of making art”. (1995 pp 13)

Aaslaug Vaa also identifies other needs to prove benefit. “In the world in which we live, all ascribe value derives from measurable units. Value can be measured in terms of the attention paid via publicity in various media. Another indicator can be the number of visitors to the artworks, or their value in kroner. But what about the dialogue between the artwork and the individual viewer?We know that such a factor can never be measured. That does not make it irrelevant. In the coming together of the works in AN, I have frequently found that rational, measurable units are transcended. In a new discussion.”(1999 pp 156)

These are the Perceived Benefits for all the Landmark Art Projects:
•	Change of Image of a place
•	New markers/ local distinctiveness
•	Enhance visual quality of the environment
•	Civic pride
•	Investment in the area, financially and culturally
•	Incentive for inhabitants to spend their leisure time locally
•	Promote discussion and therefore develop knowledge of the projects
•	Attracts visitors to the area, especially international as this is evidence you are successful, gives credibility
•	Create jobs (long term)

Can they be tested? I believe it can be measured to some extent by using methodology developed by other professionals and the perceived benefits tested in a more scientific way. 

5.3 Social Measures 
The effects on different social groups either directly or indirectly affected by the project can be researched. I have demonstrated some examples through the anecdotes, which provides the main proof of benefit in the public art profession at the moment. I believe this is a very important type of empirical evidence but needs to be backed up with other research such as carried out by AN who employed a sociologist to talk to different communities. Measuring the social impact is one of the main categories and requirements of proving benefit and can be applied to all the comparisons, only AN and IST have evidence of social evaluation but it could have usefully been employed by IBA. This method is probably not useful for museums other than as a market research tool and/or outreach projects in the community are undertaken. 

Franois Matarasso has carried out research into the social impact of the arts and developed a methodology, which can be applied to projects. However I feel his work still makes many assumption about benefit which should be tested more thoroughly (see appendix for a list of social benefit from Matarasso’s research). As Paola Merli comments on her review ofMatarasso's methodology he confuses and interchanges objective and subjective research both in measurement and evaluation processes, which questions the validity of his findings. You cannot pass anecdotes as scientific research as this does not assist in proofing benefits in the form of hard evidence needed to convince politicians.(1998 pp 20)

5.4 Economic Benefits
The Labour Government elected in May 1998 recognise the economic significance of the cultural sector. From Brit pop to Cool Britannia, culture is our fourth largest export. There is an increasing interest in the economic impacts of public art projects especially to encourage tourism in an area and investment from the private sector. Tony Bovaird has carried out research into the economic benefits of public art and has suggested a number of methods to prove benefit:
•	Is there any inward investment from the private sector?
•	Who gains from the economic benefits of inward investment?
•	How can the gain of each stakeholder be increased? 
•	Has the place acquired a competitive advantage over other places because of the public art work?
•	What is the distance people are prepared to travel to visit the project, would they be willing to pay if there was a charge? The further they travel the more they would pay (obviously the further they would travel the more they would pay). 

Image is everything to the three projects, how the work is perceived locally and internationally especially if they are to attract visitors. Interestingly all the projects believe tourists provide confirmation of quality to encourage local people to take the work seriously. This is subjective but can be equated with Tony Bovaird’sto Pay” theory.

This research would work if carried out on projects that involved regeneration of an area and involved various partners. By developing mechanisms to investigate these questions all three of the comparative studies could begin to show economic investment as a direct or indirect result of the project. I intend to evaluate the amount spent in the Irwell Valley by artists employing local contractors and business to work on projects. This money would not have been spent in the area if the IST had not developed and has helped certain firms to diversify their products and possibly helped keep them in business. Economic benefits would be very hard to measure in museum practise.

5.5 Environmental Improvements
Public art projects are often developed to improve or change peoplestions to their environment. The extent to which this has been effective can be measured by finding out how people feel about the place before the project is carried out and the same research immediately after completion and after a lapse in time. The comparative projects studied have undertaken a variety of investigations and observations but no scientific research into the changes in perception. IST has started to implement this practice with the Bury Subway project where users of the subway were asked by a market research questionnaire what they feel about the space and what would improve it. This type of evaluation can be carried out without reference to the public art to see if people mention the art or if they are using the landmarks as ‘labelsdescribing where to meet. This method is not applicable to museum practise. 

5.6 Increase in Cultural Activity 
In engaging with the cultural policy and development of an area public art should not just be about the objects that are produced but the effects the projects have on the further cultural development of an area. Longitudinal evaluation would provide qualitative evidence of the ongoing effects brought about by animating an area. The IBA and IST have both described how other cultural industries and animation of the schemes have developed in specific areas after the completion of a Landmark Art Project and it would be very interesting to see if AN had the same effect. It may of course be difficult to attribute one project to cultural activity in a region where there are other facilities but it helps the cumulative effect. It is also important when looking at the sustainability of projects. Museums of course can be part of this cumulative effect but it may be harder to prove. 

I do not advocate replacing methods that are used in the arts to evaluate museum and gallery practise but these should only be applied to projects that fit those models and not projects that are part of regeneration packages.

5.7 The Need for Evaluation
The comparative studies have revealed similar practice but springing from different motivation, however the result of all three projects is to create greater access to the landscape through culture. My initial reason for carrying out the comparisons was to discover evaluation methods in other countries which I could adapt to the IST.
“There are two possibilities when evaluating projects: formative and summative evaluation. Formative evaluation is used during the project to inform the process of development. Summative evaluation is used at the end to determine what has been achieved and consider what has been learnt. A combination of the two is advisable., E (1997 pp 89)

It was my hope and initial belief in selecting these comparisons that over the timescale of the projects evidence of benefit would have been collected in formative and summative form however it seems evaluation was left to the end of every project if carried out at all. 

What I have found in all the studies was the same assumptions about benefits and the same debates about public art. 

“The regional discussion that has accompanied AN through out the whole of its existence, provides interesting documentary evidence of the basically parallel questions that are being asked everywhere in the contemporary art world.An awareness of the fact that the problems that the implementation of the sculpture programme in Norland has faced are, for example, no different from those that spring from the public’s attitudes to contemporary art elsewhere makes it possible to see things in this broader context, to which they do in fact belong, and which they in turn reflect., M (1994 pp 5)

The initial criticism by the public is the use of the financial resources for art work which could be used on provision for youth, the elderly, health or housing. This fundamental discussion takes us back to the lowly position the arts have at the negotiation table in Britain, particularly, and Norway to some extent, and the reason we need to prove cultural benefits to prevent marginalisation or starting the debate from scratch every time. As Franco Bianchini discusses in his paper on Cultural Processes and Urban Sustainability (1999 pp 43), there is a denial that culture has as integral part to play in our society as much as health, housing and the environment for our general well being. Culture is increasingly being used as a tool to address problems such as social deprivation and regeneration to provide identity and an image for an area but is not used to re inspire or seen as essential as the air we breathe. In Germany they do accept cultures role to re inspire and IBA does not need to justify its inclusion. However Karl Ganser’s position that local people are stupid and incapable of understanding the concepts perpetuate the myth associated with the status of the arts world. 

principle of art needing no justification outside itself can provoke resentment on the part of the public..”. Selwood, S (1992 pp 11)

Comparison of the institutional framework of the projects also reveals different levels of need to prove benefit. AN and IBA are projects that are funded by Government at the highest level with contributions from the County and Municipalities. Politicians with power have endorsed the projects and once this was achieved the projects had the autonomy and independence to deliver the programme they wanted with little compromise to the original idea. The individuals in charge were nationally significant and have driven the project from inception to realisation. 

IST won a national award from the ACE and is subject to the conditions of that award. The project is managed at local level by an administration and is accountable to local government, the public, councillors and funders. The project is led by a partnership of Officers who can change and who have other projects to deliver as well as the IST which leaves this project vulnerable to changing priorities.

Fundamentally public art is more financially accountable as commissioning in the main is carried out by local authorities who are public bodies, this does mean that the professionals in those institutions must be educated and alerted to the issues surrounding public art commissioning.The IST has project teams whose members range from arts administrators, curators, planners, engineers, landscape architects, community development workers, accountants, the legal section, external agencies, the private sector as well as the artist and community groups. 

“The supreme act of unification with which the new public art is credited, however, is its interdisciplinary co-operation with other professionals shaping the physical environment., R (1998 pp 116)

It is the communication and understanding between the individuals in and talents of these multi-discipline teams that can make a project successful, a failure or mediocre. It is essential that all the people involved in public art projects understanding the role culture has to play in society. The magnitude of this task in a local authority setting of overworked professionals with competing agendas cannot be over emphasised.
In Britain local authorities are undergoing a statutory review framework introduced by the government called Best Value f which is a system to prove the service you deliver is the highest quality possible for the price and has a broader impact on policy g. This review will be carried out over a five year period and involves every council department. Benchmarks h need to be set for service delivery and tested against other comparative councils or the private sector who provide similar services, and users will need to be consulted to find out what they think of the service. Each department also has to challenge whether they should deliver a service at all and if so demonstrate that they are operating the best method of delivery; ultimately the service will have to match the top 25 % in the country. It is the first time the arts in local authorities have gone through this type of auditing. While the individual partners will have to best value their involvement in the scheme, the IST is not subject to this review but is operating in a climate of evaluation and proof of benefit, which I do not believe the other comparative projects were. 

“One of the problems, within large parts of local government, is the continuing perception of the arts being elitist activity with little relevance for tackling problems of deprivation.

Within the performance driven culture of local government another problem is the difficulty of capturing quality of life benefits in the form of hard quantitative performance indicators. Attempts are only now beginning to be made to quantify the achievements in this area and to compare their cost-effectiveness with other forms of intervention., R (1999)

Hopefully Best Value will reveal the many benefits culture brings to the multitude of services local authorities provide and that the perception of the arts will begin to change.

5.8 Dilemmas in Implementing Evaluation
Public Art Forum highlighted the absence of any framework to evaluate public art schemes. 
“Currently no benchmarks are available to developers of the environment to enable them to evaluate the benefits of public art schemes, to clearly understand the role that art may play in future schemes, or to advocate for the inclusion of art.”(1999 pp 1)

Public Art Forum is a professional membership organisation which works to support and develop professional practice in public art. They are currently undertaking a number of projects which will develop the discussion on the benefits of public art and attempt to establish benchmarks for commissioners to measure projects against.A conference was held on 29 March 2000 to discuss the issues related to benefit, theory, policy and practice and begin a year long research programme. PAF have undertaken research, funded by the lottery, into a national resource centre that would be an archive for projects showing examples of best practice. This would help to address the lack of evidence of good projects and be a way of circulating information on evaluation methods. 

It is not only the developers of the environment who are unclear about proving benefit but also the funders who have produced no guidelines for projects to follow.The IST will be the guinea pig for ACE to discover what impact a Lottery funded Landmark Art Project has had on local authorities, the communities involved and on the regional. I have just discovered there is a department at ACE called the Post Completion Unit whose job is to evaluate completed lottery projects. As yet they have not released any guidelines but a report on the "Evaluation of Public Art projects funded by the Lottery" has just been completed. This is a very disappointing document that does not try to evaluate benefit but makes statements based on assumptions e.g. "the work has humanised the architecture". This research has been complied through questionnaires with the commissioning organisations but unfortunately the questionnaire was not included so I cannot judge what the researcher was trying to achieve apart from quantitative evidence of lottery projects including public art and the type of work that was commissioned. I intend to discuss the evaluation process of the IST with the Post Completion Unit as this may help to clarify thinking and develop a prototype model for future evaluation. 

There is still "an underlying assumption that art criticism will reveal benefit" PAF (1999 pp1) but the critical language to discuss public art is only just developing. The art's press shy away from reviewing public art projects and, if they do, find it difficult to discuss the context the work has been created for (see Appendix Artrannspennine98). Reviews and articles are a form of evaluation but are often relied on as the only evidence of benefit.

Public art has been heralded as the panacea of all ills. “In 1990 the Public Art Consultancy Team described Public Art as a cultural investment, vital to the economic recovery of many cities: It attracts companies and investment; is a feature of cultural tourism; adds to land values; creates employment; increases the use of open space; reduces wear and tear on buildings; and levels of vandalism; humanises environments; brings about safer areas; encourages greater care of areas by residents whose pride in their locality has increased., S (1992 pp 1)

5.9 Recommendations
The inclusion of public art in a scheme does not automatically bring all the benefits listed above and setting up your project to provide evidence of all those outcomes is unachievable. Public art projects often have an unusual mixture of partners and expectations can become blurred. It is important that from the outset decisions are made as to what methods are going to be used to evaluate the projects and why it is important to do so. I would not recommend that projects are evaluated on all potential benefits but on certain aspects, as this would take longer to carry out than the project and be more expensive and ultimately counterproductive. Certain projects should be used to test particular benefits and used to measure future projects against. A percentage of the project budget should also be set aside to carry out thorough evaluation. 

For example an urban regeneration project provides funding for environmental improvements so public art as part of this schemes should be evaluated in those terms. Measure the improvement to the environment through the perceptions of the area before and after the regeneration, ask if attitudes changed and why, if the image of the area improved, if there were social affects or an increase in jobs or visitor figures. How can these be tested?

It is very important that a mechanism is established before you start the evaluation process for using your evidence of proof of benefit as this will influence the methods used to gathered the information, otherwise it could be a time consuming useless exercise. 

To prove the outcomes of a project they need to be tested and not assumed over the short and long term yet the task is far from simple. How do you predetermine the difference in people feelings to their environment in the long term? The Eiffel Tower in Paris was a failure with the intelligencia at the time but loved by the common people, it was also intended to be a temporary structure and now it is the world-wide symbol of Paris.

As Aaslaug Vaa has said there are some aspects of art projects that are not measurable but we must evaluate as far as we can with the most appropriate tools. 

Who is evaluating public arts projects? Usually the arts professionals who are commissioning the work. If we are serious about proving benefit then we need to employ professionals who have expertise in the areas we hope to effect. 

Peter Latz said best thing is to do nothing”by saying this he meant that the concept for Duisburg Nord a 25 hectares site of a former foundry should be left as a industrial cultural landmark and nature allowed to take over the site. Perhaps this philosophy can also be applied to evaluation if professionals in the field of evaluation are not employed to measure the benefits of projects then the projects should be left to communicate its own meaning and effect. 

Why should arts professionals have to evaluate the work they facilitate when its effects are social, economic and environmental? Sociologist, economists, environmentalists, market researchers and public relation professionals should be employed to join the multi-disciplinary team that implement art and regeneration projects. Evaluation processes have been used by other sectors for years and should be applied to the arts. Why should we perhaps reinvent the wheel?

Professionals from outside of the arts world would produce more credible results as they are more objective and can relate the work to the wider world and they do not have the internal pressure to complete other tasks which can result in short cuts being taken. They will also produce evidence in a language politicians can understand which is vital if we are to elevate the status of culture in our society at a local and national level. As with AN outside evaluation can enhance the value of the project in the eyes of the local population and perhaps the local authority partners in the case of the IST.

While making every effort to measure what can be measured there must always be enough flexibility to allow for creativity and unexpected but fortuitous dividends.

another problem is that the outcome of an initiative cannot be foreseen with the reliable detail of a capital investment. The creative arena is an unpredictable one, where risks need to be taken to make things happen...dismantle the barriers and assert the case for the potential benefits being far greater than the necessary risks., R (1999)

So the use of evaluation methods must not preclude risk taking, experimentation and integration with other initiatives but must also be responsive and dynamic enough to recognise and champion innovation practice, which may offer alternative models of working.

6.	
Richard Serra 1998 - RuhrgebietPhotograph: Werner J. Hannappel

Action Plan for the Irwell Sculpture Trail

So what can the IST learn and implement from this research? I intend to implement evaluation in formative and summative form on IST projects over the next year. I will select two schemes to evaluate thoroughly, one will be a residency project and the other a regeneration project and adopt different models for each scheme.I will not make assumptions about benefit and will not second-guess the results but will match different research methods that have been carried out to help develop the evaluation process. It will be important to be focussed and select appropriate evaluation models. 

I anticipate it will be difficult at first to implement this evaluation as people will not see the need and perceive it as another layer of bureaucracy and needless expense. However if we are to change the perception of the project in the eyes of the politicians and funders we need evidence of the benefits. The climate is right with Best Value, Public Art Forums research, and the work of the Post Completion Unit at ACE for my findings to be fed into these separate studies as project examples. Another possible outcome is that the projects reveal no benefit or little return for the investment, this is something the project will have to be prepared for but if formative evaluation has been carried out the direction of the project can be changed to address this problem.

The residency project will be a social study and I intend to work with a sociologist as the experience of AN have influenced me. On the regeneration project I will employ market research to look at visitor figures and 'Willingness to Pay' and other professionals where appropriate to help me work out the measures to test against. A small working group will be established for each project with myself, local arts and planning officers from the municipality, a community representative for the social project and relevant professionals I will employ to assist in the study. I have devised some questions as the basis for a discussion with the working group to start the evaluation process. Members of the group may have their own research methods which will help inform the evaluation process. Thus the process will be a interactive one tailored to the type of project and sensitive to the particularities of each scheme.

6.1 Questions to ask when deciding on a type of evaluation to use.

•	Formative, Summative or no evaluation 
•	Prove tangible and unambiguous benefits or is there room for experimentation or unexpected results
•	Should the process be continued after the initial results? 
•	What are the assumptions / known outcomes? 
•	How do you judge aesthetic merit?
•	How are the results of evaluation going to be used?
•	Are other professional benchmarks being adapted to the public art project?
•	Are other professionals to be used?
•	Are artists involved in this process?
•	Who are these projects for? Art-world visitor, art critics, local people.
•	What particular benefits are being sought?
•	What specific objectives are being perused?

Social Evaluation
•	How can a community voice and an artistic view coexist sympathetically?
•	What were the effects on the people who lived with the works, whose lives are formed by the histories with which the artists were concerned? 
•	Like the art of Joseph Beuys. “Concerned with crossing barriers, building bridges, breaking down walls dialogues that get people normally cut off from one another to sit down together and listen.” How has this been achieved? 
Jacobs, J (1995 pp 31)
•	Have the different constituenciestowards the work shifted? If so, in what ways? What has informed them?
•	What symbolic values does the public art work hold for different constituencies?

Economic
•	How do you judge success? Large audienceand visitor figures / political support/ newspaper articles 
•	Have the funding bodies evaluated the work? If so how?
Bovaird,T
•	How much is the public art used in guide books, other publicity, how many postcards have been printed & sold?
•	Was there any inward investment from the private sector?
•	Who gains from any economic benefit from investment?
•	Can the "Willingness to Pay" ratio be applied?
•	Has the place acquired a competitive advantage over other places because of the public art work?

Environmental
•	How has the work, or the circumstances of its location impacted on the public contributing to their sense of place?
•	What value and meanings do people attach to the landscape, nature and places?
•	Which people are using the public art as <<labels>> for a place when describing where to meet?
•	Have focus groups described the space and their use of it and did they mention the public art without being prompted?

Institution
•	Has the project practised quality management? 
•	What was the commissionersto carry out the project compared to the result? Will this inform future work?
•	Was the process integrated? What other departments, agencies have been involved and what did they gain from the experience?

6.2 Postscript
I have discussed the issue of evaluation with many colleagues, from a variety of professions, through out the course of this project. The general opinion is there is a growing pressure from government to prove benefits but an acknowledgement that individuals have been working for many years already on evaluation methods. At the end of the day it will come down to an individuals personal motivation to develop effective evaluation rather than a universal blueprint of evaluation methods, devised for and sensitive to the individual scheme. This is where evidence of the real benefits of public art projects will be proved, not out of political need but from a personal belief. This research gathers together some arguments and ideas to help people achieve useful evaluation and it is hoped that the subsequent results will provide evidence to support the truth about our joint assumptions on benefit.

I hope that other professions and academics will continue to study the benefits of culture in our society and include Landmark Art Projects. Also that the PhD currently being conducting on the Landmark Art Project by Ulrick Rückriem at Outwood Colliery will provide evidence of the effect regeneration of brown field sites through cultural production has on the community in the long term.

7.Appendix

7.1 Comparative Study Questions
The following questions were asked to people listed below who were involved in the comparative projects studied:

IBA 13-19 December 1999: 
Dr Dettmar Landscape Architect IBA
Hubertus Ahlers, Zeitsprung tour company and former arts project worker for IBA. 

AN 18 October 1999:
Stig Olsen, Director of Culture Norland
Steinar Christensen, artist AN

•	What is the vision of the project? 
•	Whose vision?
•	What methods have been used to turn this vision into a reality?
•	(What were the main objectives?)
•	How was the vision communicated to the different stakeholders and communities?
•	Was any market research or cultural mapping carried out prior to the project commencing?

•	How important to the projects success is the local community feeling involved?
•	How did the project develop over the years and was this evaluated?
•	If so how, artistic, management, audience, qualitative &/or quantitative? 
•	What criteria or tools were used?
•	What kind of marketing strategy was used during the project and after completion?
•	How is the success of the project measured?

•	What are the principle aspects of the project? Commissioning model, funding, project management, participation etc.
•	How were the sites and artists chosen?
•	What issues were raised in this selection? 
•	Conversations about heritage, conservation, land use, access etc?
•	Do the artists involved bring their own vision to the scheme?
•	Was the vision achieved? 
•	How were outcomes measured to original aims?
•	What interpretation is there of the project and area?
•	Now the project is completed are there plans to sustain the vision or further develop?
•	Has the project brought long term benefits to the area? 

I would like to thank the people interviewed for their time and also Katja Assmann from IBA for arranging my visit, Oddrun Sæter for her texts and useful contacts and Franco Bianchini for his recommendations and extensive reading lists.

Following pages

7.3 Public Art Forum Benefits of Public Art flyer						
7.4 Leaflets from all 3 comparative projects: Artscape Norland			Emscher Park		
				Sculpture Trail	
7.5 Ulrich Rückriem press cuttings							

8. Glossary of Terms

ACE - Arts Council of England one of four national agencies responsible for the arts.

h Benchmarking - defined as the process of identifying, or underlying and adapting practices whether from within the same, or other, organisations in order to improve performance. It helps organisations to focus on the external environmental and it improves process efficiency. Benchmarking is a particularly useful tool for Best Value, with the latter's emphasis upon customer consultation (customers should have a real voice in determining the quality and type of service they receive), comparison (comparing your own organisation with the best service available both within and external to the public sector), challenge (should we provide any individual service at all, i.e. can we justify what we do) and competition (are we the best? Do we continually strive for improvement? Can we let others carry out some of the things we do less successfully, and work in partnership instead?) Local Government Guidance notes.

c Branding -making a mark, to show ownership, quality or identity i.e. trade name. To label something so it has a clearer identity. 

e Culture: 3 General categories in the definition of culture. Raymond Williams The Long Revolution 1961

The Ideal - is a state or process of human perfection, in terms of certain absolute or universal values”

The Documentary - “Culture is the body of intellectual and imaginative work, in which, in a detailed way, human thought and experience are variously recorded.”

The Social - “ Culture is a description of a particular way of life, which expresses certain meanings and values not only to art and learning, but also in institutions and ordinary behaviour”

“Culture indicates social activity that‘….creates, communicates, or sustains social value. However, we refer here only to those activities which predominantly create and sustain social meaning. We include in this all forms of public communication.
Cultural Policy”‘Culture and Democracy Manifesto.

d International Building Exhibition 
Model designated to areas in Germany by the Government to promote innovative forms of urban policy and design, most notably Berlin and Emscher Park. 

National Lotterywas launched to provide addition funding for five good causes in the lead up to the Millennium, with the majority of projects being capital investment to realise large scale landmark projects to mark the year 2000. The arts were one of the good causes, however it was never the intention of the Lottery to be a substitute for government support of the arts but an opportunity for ambitious ideas to be realised. Many capital lottery awards were made to projects, which with hindsight, had not thought about the sustainability of their projects after the lottery money. 

NWAB- North West Arts Board the regional development agency for the arts and cultural industries. 

Politics 
The word refers both to an activity, and to the study of that activity.
As an activity, politics is the process in a social system necessarily confined to the level of national state – by which the goals of that system are selected, ordered in terms of priority both temporally and concerning resource allocation, and implemented. It thus involves both co-operation and the resolution of conflict, by means of the exercise of political authority and, if necessary, coercion. Politics usually involves the activities of groups of various kinds, including sometimes groups of a specifically political type, such as political parties. It is distinguished from other social processes by its concern with the ‘publicof society; whereas economics may be concerned with public or private allocation of resources, and social processes of a non-political nature with non-public activities.
Government (B): Study area; Political analysis; Political philosophy; Political science.

b Policy
…an overall plan or course of action adopted, as by a government, political party, or business organisation, designed to influence and determine immediate and long-term decisions or actions: foreign policy; company personnel policy.

...a course of action, guiding principle, or procedure considered to be expedient, prudent or advantageous: honesty is the best policy

aPublic Art
"is a principle. A principle of improving the changing environment through the arts. Public art is not an art form; it utilises the arts to assist those involved in creasing quality in the environment."
Public Art Forum opening statement to the national Heritage select committee, 18 January 1996

i Strategy
Strategy as opposed to tactics, involves longer-term, and farther-reaching preparations and planning. Primarily strategy and tactics are military terms, though they can be and are applied in any conflict situation. Thus it is possible to contrast politicians who are concerned only with electoral tactics (how best to win the imminent general election), with those who have political strategy (for example, how to restructure the economy). Strategy has increasingly taken on an alternative meaning with no direct reference to conflict, as in industrial strategy or the idea of 
strategic planning, to mean very little more than long-term and broadly-cast plans and analysis.In contemporary defence terminology it is probably best to think of strategy as inherently political, and tactics as the purely technical decisions of the military about how best to achieve strategic goals set by their political superiors. Thus vital questions on the nature of NATO’s overall policy for the use of nuclear weapons, or whether Britain should retain a military capacity to intervene in conflicts outside Europe, are strategic questions. What exact forces to deploy, armed with what, and with which precise orders, are tactics. 

9. Bibliography

Adams, Eileen(1997) Public Art People, Projects, Process.Southern Band Arts Boards. Knight & Wilson Ltd

Arudagh, John(1987) pp 257-319 Germany and the Germans. London, Penguin.

Bianchini, Franco ( 1993) Cultural Policy and Urban Regeneration Issues and Prospects for the 1990’schapterBianchini, Franco & Parkinson, Michael (eds) Cultural Policy and Urban Regeneration; The Western European Experience. Manchester, Manchester University Press 

Bianchini, Franco(1999) pp 34-51 City and Culture. Cultural Processes for Urban Sustainability. Nyström, Louise (ed) in co-operation with Colin Fudge ISBN 91-7147-529X

Borgstrom-Falth, Cecilia(1998) Places In Gothenburg 98 , room, interval of space or time”International Sculpture Exhibition May 16 6. Sweden, City of Gothenburg 

Bovaird, TonyPublic Art in Urban Regeneration: An Economic Assessment. Ashton University, Public Sector Management Research Centre

Bramham, Peter. Henry, Ian. Mounmass, Henry & Van der Poel, Hugo(eds) (1993) Leisure Policies in Europe.UK, Cab International

Carter, Erica Donald, James & Squires, Judith(1993) Space and Place Theories of Identity & Locations. Lawrence Wishart Ltd, London

Chelliah, Ramani(1999) Arts & Regeneration Local Government. UK,Information Unit

Council of Europe(1997) In from the Margins. A Contribution to the Debate on Culture and Development in Europe, Strasbourg

Deutsche Rosalyn(1998) pp 3-52Uneven Development: In New York City‘October47 

Glasmeier, Michael(1994) On Porridge. Peripheral Thoughts for Peripherists

Glasmeier, Michael(1994) The Risk of the Vague

Gray, Clive (1995) pp213-222 Company Cultural Policy: A Reformulation. The European Journal of Cultural Policy Vol 2, No 2 

Greenhalgh, Liz(May 1998) Culture and Policy from Arts Policy to Creative EconomyNo.87 

Hayward, Philip(1990) Culture Technology & Creativity In the Late 20thCentury. London, John Libbey & Company Ltd

Ismayr, Wolfgang(1987) Cunnings, M and Katz, R (eds) The Patron State. Oxford UK, Oxford University Press

Jackson, A (1999) Evaluation of Public Art Projects Funded by the Lottery.London, Arts Council of England

Jacobs, Mary Jane(1991) Places With a Past. New Site Specific Art at Charlestown Sporeto Festival. New York, Rizzole

Jacobs, Mary Jane. Essays by Brenson, Michael & Olson, Eva.M. (1995) Culture In Action. A Public Art Program Sculpture. Seattle, Bay Press 

Jaukkuri, Maaretta. (1999)Time in Place. International Sculpture in the Norwegian Landscape

Jaukkuri, Maaretta(1999) Artscape Norland. Norland, Forlaget Geelmuyden. Kiese

Kawashima, Nobuko(1995) pp 289-307Comparing Cultural Policy: Towards the Development of Comparative Study. The European Journal ofCultural Policy Vol 1, No2 

Lindeburgh, Lisbeth. The Sense of Belonging as a Regional Assest.

Matarasso, François & Halls Steven(eds) (1996) The Art of Regeneration, Nottingham Conference Papers. Comedia

Matarasso, François(1997) pp 3-1.Use or Ornament? The Social Impact of Participation in the Arts.UK, Comedia 

Matarasso, François(1998) Social Auditing in the Arts. An Issues paper based on the Belgrade Theatre pilot study. London, Arts Council of England

Merli, Paola(1998) The Social Impact of the Arts, a Critical Review Ma European Cultural PolicyDe Montford University

Moody, Eric(1996) Public Art: Issues Raised by the Lottery. London, City University

Mosley, Pete Evaluation(1999) A Guide Devised to Support the Arts Council Of England Artists in Sites for Learning Scheme. London, Arts Council of England

Myrvoll, Siri(1991) Planning Cultural Tourism in Europe.A Presentation of Theories and Cases(ed) Dodd, Diana & Van Hemel , Annemoon. Amsterdam, Boekman Foundation 

Paxman, Jeremy(1999) The English. London, Penguin.

Plagens, Peter(1988) The Mc Sacred & the ProfaneUSA, Art Criticism Journal Suny at Story Book 

Primett, Carolyn(1999) A Critique of Art, Space & the CityArt & Urban Futures by Malcolm Miles. Ma European Cultural Policy De Montford University

Rees, Helen(June 1999) Artranspennine98 Summary Evaluation Report 

Sæter, Oddrun(1996) Nordic Journal of Architectural Research. Theme: Building Bridges Særtrykk. When “The Art of the StrangersLight on Place and Local Identity 

Selwood, Sara(June 1992) The Benefits of Public Art Discussion Document. UK, Policy Studies Institute 

Smith MP, The Rt Hon Chris(1998) Creative Britain –The Secretary of State for Culture, Media and Sport. London, Faber and Faber ISBN 0-571-19665-9

Verwey, Peter(1993) Effective Use of Market Research & Interpretation of Results& Research Manager, London, Arts Council of Great Britain 

Watson, Alan(1992) The Germans. Methueum.

Wood, Phil(1998) Regional Innovation Policy: How Regions Create, Innovate & Learn & Why this is important in a Global Economy.Ma European Cultural Planning De Montford University.

Williams, R H(1984) pp 8-25 Planning in Europe: Urban and Regional Planning in the EEC. Allen, George and Unwin, London ISBN: 0-04-711012-0

Other :
Policy Update(Sept 1999) London, Arts Council of England by the Policy, Research and Planning Department

Mid-night SunstrokeI(1995)mage Corporate Magazine No 2 Hafslund Nycomed 

Various authors (June, 1-4 1994) Artscape Report from Seminarium in Bodø and Henningsvær

Various authors (March 26 1999). Internationale Bauausstellung Emscher Park IBA renewal concept for a region. Topos European Landscape Magazine. München, Callwey