Rebuilding Place in the Urban Space

"A community’s physical form, rather than its land uses, is its most intrinsic and enduring characteristic." [Katz, EPA] This blog focuses on place and placemaking and all that makes it work--historic preservation, urban design, transportation, asset-based community development, arts & cultural development, commercial district revitalization, tourism & destination development, and quality of life advocacy--along with doses of civic engagement and good governance watchdogging.

Sunday, May 10, 2026

Underpasses don't always have to be grim, forgotten interstitial spaces

Freeway underpasses, spaces, and abutments tend to be grim and dingy interstitial spaces.

Some places have parking.  Others homeless encampments.

A homeless encampment on West Crowther Avenue and the 57 freeway in Placentia, CA will be cleaned out tomorrow. Workers cleaned out an area near there on Wednesday, April 1, 2020. (Photo by Mindy Schauer, Orange County Register)

Toronto has the Bentway under the Gardiner Expressway ("How Toronto transformed a highway underpass into a vibrant public space," Fast Company). (Still air quality issues.)  

I think the Bentway was first conceptualized as a winter feature.  But maybe the intent all along was year round use.  Photo: Bernard Weil, Toronto Star.

Miami's Underline predates The Bentway.  It was first a service road and then bike and walking path underneath the Miami Metrorail.  Metrorail is elevated because of the water table, and the line follows old railroad right of way.  It will be 10 miles long when finished.

There are a bunch of murals in places, on abutments, etc.

This is in Salt Lake.

This roadway underpass in the Central Ninth neighborhood abutting Mead Avenue has painted abutments, a ground treatment and a futsal court.


Public art adorns a freeway overpass and abutments on I-15 in Las Vegas Nevada.  Las Vegas Review Journal photo.

Freeway underpass abutments in Utah constructed of red rock and red tinted concrete, referencing geological history and regionally significant building materials.

Sometimes rocks, to discourage homeless camping.  Also Salt Lake: the underpass over the railroad tracks on 400 South.

Public art incorporated into an overpass, Loop 202 Freeway, Phoenix.  

Rendering, "Perked-up underpasses to link Detroit neighborhoods," Detroit News.

And Tampa, "Overpass art may be coming to St. Petersburg," Tampa Bay Times.

Sacramento, before and after.  The CalTrans Transportation Art webpage is a great resource.

Painted abutments complemented by plantings. 
 'Second Summer Reflections' is a public artwork created by local artist Andrew Frazer on the underside of the Mega-Bridge in Picton as part of the Wilman Wadandi Highway. The design was painted on the columns supporting the 382-metre-long bridge over a two-month period in late 2024.  

Mural painted freeway abutments, Great Rivers Greenway, St. Louis.  Report: Economic and social impacts of developing the Brickline Greenway

This is what I was looking for originally, painted abutments.  But Flickr's photo search function has stopped working, at least for me, on photos uploaded a long time ago.  I know I have painted abutment examples from Detroit, Toronto, and Salt Lake, but they aren't coming up in searches.  Very very frustrating because I pay for the account.


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Wednesday, March 04, 2026

Good/bad government -- murals in Seattle

The Seattle Times calls our attention to a set of murals in the law library of the William Kenzo Nakamura U.S. Courthouse in Downtown Seattle ("These Seattle murals speak to the Trump era. They're hiding in plain sight").

“The Effects of Good and Bad Government,” two 9-foot-tall panels featuring well over 200 figures, dramatize in intricate, elaborate, painstaking detail the tangible impacts government has on people’s lives.


In the “Good Government” painting, people are thriving. Under “Bad Government,” they’re dead-eyed, smoking and drinking. (Ellen M. Banner / The Seattle Times

Is our federal government making America “bigger, better, richer and stronger than ever before,” as Trump claimed in his State of the Union? Or has Trump “endangered the long and storied history of the United States of America being a force for good,” as Virginia Gov. Abigail Spanberger said in the Democratic response? Either way, you’ll find a rich allegory in the paintings.

They are not always accessible, within the sporadically used Sixth Avenue downtown courthouse. But this week the four-decade-old paintings will be on display for all to see, showcasing the work of an artist who was thinking deeply about timeless themes of good and evil, justice and tyranny and how our American experiment in self-governance plays out every day in ways big and small.

The article introduces us to the artist, Caleb Ives Bach, once a very successful CIA agent, who left the profession somewhat disillusioned, and he became a teacher and artist.

The murals are open to the public monthly, but only when the Court is in session, which is about once per month, as the Court moves to a different part of the state other weeks. 

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Saturday, February 15, 2025

Disturbing event cancellation at Pike Place Market in Seattle | versus public art in PortlandA

 According to the Seattle Times, "Pike Place Market backs out of event on incarceration of Japanese Americans."  The internment of Japanese-Americans during WWII mostly affected people on the West Coast.  Plenty of people at the time were favorable to the deportation.  From the article:

An event commemorating the incarceration of Japanese Americans during World War II and calling attention to President Donald Trump’s immigration policies was canceled by Pike Place Market less than two weeks before the scheduled event.

The Pike Place Market Foundation determined the event’s “resistance” messaging did not align with its purpose as a social service organization, philanthropy director Patricia Gray said in a statement Monday.

-- Tsuru for Solidarity

For me, as a past board member of a public market in DC this is disturbing, because a public market is a public space and a legitimate place to hold protests and have discourse on public issues of all types.

Which is why I've always been amazed by the Tri-Met transit agency in Portland, which hasn't avoided controversy in its public art program.  I was there for a historic preservation conference in 2005, and one of the tours I registered for was of the light rail.  There were a bunch of issues related to getting it approved, funded, and built, and ancillary issues like public art.

At the Exposition Station, when the Expo Center was used as a staging center for Japanese internment and the public art on the transit station site reflected that, presenting a with "dog tags" like those issued to the internees ("Speak Now – Vocabulary of Memory," Ultra Portland).  

Expo Gates, Valerie Otani, Expo Center, Portland, Oregon.

Valerie Otani addresses the theme of Japanese relocation during World War II at the site of the 1942 Portland Assembly Center. Traditional Japanese timber gates strung with metal "internee ID tags" mark station entrances. Vintage news articles are etched in steel and wrapped around the gate legs.  (The artist spoke to us on our tour.  And the headlines of the newspapers included in the work were vicious and racist. )

The other amazing thing about the installation is that there were metal copies of Portland newspaper front pages from that time, and they were amazing racist and virulent wrt the Japanese-Americans.

It certainly puts the decision of Pike Place Market in perspective.  From the article:

Tsuru for Solidarity, a social justice and immigrant rights organization led by Japanese Americans, planned to hold a “Day of Remembrance and Resistance” event at the market on Feb. 19. The foundation notified the group of the cancellation Feb. 7. The Day of Remembrance commemorates President Franklin D. Roosevelt’s signing of Executive Order 9066 on Feb. 19, 1942, which authorized the forced removal and incarceration of more than 110,000 people of Japanese descent from the West Coast.

Pike Place Market had seemed like a poignant location for the event, said Stanley Shikuma, a member of Tsuru for Solidarity’s leadership council.

Despite discriminatory practices in daily stall assignments, Japanese American vendors were the primary driver of the market’s success in the decades after it opened in 1907. Before World War II, Japanese American farmers occupied more than 75% of the produce stalls at the market.

Later the Market apologized for the cancellation but it's not clear if the event will still go forward-TV) ("Pike Place Market apologizes for withdrawing from nonprofit's Day of Remembrance event," KING5).  They said the event isn't congruent with their values.  

I can understand self-censorship.  I think public spaces like markets, excepting Nazi demonstrations, need to be hands off in terms of content.  Either approve almost everything, or don't approve anything.  Although I don't see how the Trump Administration would attack the Market.  Especially in a highly Democratic city like Seattle.

In any case, Portland's Tri-Met is a definite outlier.  Cf when DC cancelled an art installation proposed for the Anacostia River, installing a gas station pump canopy in the River, challenging fossil fuels and their effect on the environment, and for a time aimed to squelch dissent in art ("Public art, environment, history, and the locals all collide in the Anacostia River" Grist, ""After outcry, D.C. commission backs down on censoring art," Washington Post).

Antediluvian by Mia Feuer

Art and dissent has a long tradition, longer than that of the collision of public art, dissent and public funding.  Art in places of contestation is equally problematic ("Monuments as public art, historiography, and change," 2020).

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Saturday, April 06, 2024

Gaps in Parks Master Planning, Part Six | Art(s) in the Park(s) as a comprehensive program

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Republished due to misdating

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Gaps in park master planning frameworks


But while I have written a bunch about parks and transportational access, I didn't think to include that as another topic in the series.  The challenge is to ensure that as many parks as possible are accessible by transit.  This, and other forms of accessibility, should be covered in a parks master plan.

Art of parks and natural spaces.  Art has shaped our perception of landscapes, parks, and other public spaces for 200+ years in the United States alone, and longer in Europe ("‘Nature’s Nation’: How American art shaped our environmental perspectives," Princeton University Art Museum).  

There is a nice National Park Service brochure for the Hudson River Valley National Heritage Area on 19th Century Painters: The Hudson River School about their focus on painting landscapes and nature and how this influenced painting practice.  

We recently saw an exhibit on Maynard Dixon at the BYU Museum of Art and were blown away.

Maynard Dixon (1875-1946), 'Mesas in Shadow,' 1926, oil on canvas, 30 1/4 x 40 inches. 
Brigham Young University Museum of Art, 1937

Impressionist painter (Frederick) Childe Hassam (1859-1935) painted 
a number of works of Central Park.  This dates to 1892.

But rather than the "high art" paintings of yesterday, the range of arts programming in parks is much wider than it was then.   

Gene Harris Bandshell (amphitheater), Julia Davis Park, Boise, Idaho.

Art in parks today.  Despite papers like "How cities use parks for arts and cultural programs" (APA) and "Using art to define our parks" (NRPA), I was surprised to find that there isn't much written about how to structure and offer systematic "arts in the park" programs. 

Some parks might have an amphitheater for music and theater presentations.  Lunch time concerts are typical at Downtown parks and squares.  Some parks or recreation centers might have arts production facilities like a kiln for ceramics and arts education programs.

Many parks have museums or other cultural facilities within their parks.  The Chicago lakefront is renowned for its lakeshore being a continuous park, with 10 museums and cultural facilities including the Art Institute of Chicago, Museum of Science and Industry and the Shedd Aquarium.  In Salt Lake's Liberty Park, the mansion of the park's donor remains, and is used to display regionally-relevant cultural artifacts and presents temporary exhibits.

Programming offered is a wide range, can be music, theater, dance, children's activities, etc.  Mostly, parks might do one or two art related initiatives.  

Silverwood Park, north of Minneapolis, displays the work of regional artists and poets on trails and in the park's gallery. The Arts in California Parks program has Native American recognition, health and diversity objectives as part of their program.  Art in the Park in Northeast Los Angeles offers a wide range, including sponsoring a community band.  The Multnomah Arts Center is an initiative of the Portland Parks Department and offers programs for youth and adults.

Most typical is a focus on public art.  That's the case with NYC's "Art in the Parks" program.  Its webpage focuses on public art, even though there are many other arts-related programs in the city's parks, they have the Arsenal Gallery in Central Park, etc.
Arsenal Gallery, Central Park, New York City

Lack of budget.  A big problem is that park departments have budgets that are inadequate to meet the demand for services, so programming tends to be an after thought, maybe funded by special grants, or offered in association with other agencies to share the cost, but mostly doesn't exist.  

Programming tends to be provided in parks and public spaces that are managed by conservancies or business improvements districts--organizations that have separate funding sources, and with the luxury of only managing a few spaces, not many dozens.

Types of programs.  Music and cinema are probably the most common.  So arts as consumption or presentation. But there are myriad opportunities.

Dance.  The Queensboro Dance Festival presents across the borough of Queens in New York City.  

Members of Montana Shakespeare in the Parks perform 12th Night Wednesday evening at the Libby Elementary School Amphitheater. Montana Shakespeare in the Parks, which is celebrating its 50th anniversary, is an outreach program of Montana State University serving 61 rural communities in over 10 weeks across five states. (Scott Shindledecker/The Western News)

Theater.  Montana Shakespeare in the Parks travels around that state and pops into abutting states too (we saw a play they put on in Pocatello, Iowa).  

There are also play festivals held outdoors for a summer, like the Stratford Festival in Ontario or the Utah Shakespeare Festival in Cedar City.  Those are destination events, not events in a local park.

Artist in residence programs
 such as at the National Parks or the Bureau of Land Management or at the Madrona Marsh Preserve sponsored by the Torrance Art Museum in Southern California, offer opportunities to develop site-related projects and share more contemporary arts activities.  

-- Program by Katie Wendt at Madrona, "Warp and Weft," 2023

The Southern Utah National Parks also have a "Community Artist in the Parks" program where an area artist is selected to make and present art within the parks.

Music
.  Celebrate Brooklyn is an annual free concert series at the Lena Horne Bandshell in Prospect Park.  

Many downtown promotion organizations sponsor daytime music.  (Parks will also do ticketed events or rent out their space to big music festivals like Lollapalooza in Grant Park in Chicago.)

A number of symphony orchestras do summer residencies in parks.  The Los Angeles Symphony plays in the Hollywood Bowl.  These too tend to be destination events.

Music in the American Wild (webpage, Eastman School of Music) was a program where new music compositions were commissioned to play in 12 National Parks, in honor of the park system's 100th anniversary.

Temporary and permanent public art.  As mentioned in the previous entry in this series ("Gaps in Parks Master Planning: Part Five | Planning for Public Art as an element of park facilities"), annual sculpture presentations like the Sioux Falls Sculpture Walk in their Downtown, the annual billboard for the High Line Park in New York City, the Georgetown Glow lit sculptures in Washington, DC, are examples of temporary public art exhibits.

And there are plenty of examples of permanent public art, from statues to murals. 

And in public spaces, such as bus shelters ("Watching for the Bus Stop Gallery," New York Times).

Felipe Baeza, "Unruly Forms," bus shelter art in the US and Mexico

Traditional paintings presented in parks.  This has been done in many places.  In Maine, Maryland and others.

A reproduction of "Dark Harbor Fishermen" by N.C. Wyeth is posted along a trail in Wolfe's Neck Woods State Park in Freeport. The Portland Museum of Art has partnered with L.L. Bean and the state parks bureau to install reproductions of works of art from at five outdoor sites this summer. (Staff photo by Ben McCanna, "See Famous Paintings," Portland Press-Herald.)

Artist Kathy Wipfler gives a demonstration in Grand Teton National Park.

Plein Air events
.  
Painting in public.  Maybe as part of a competition.  Many programs.  For example, the Hockaday Museum of Art in Kalispell, Montana sponsors an event in Glacier National Park.  Plein Air for the Park is a fundraiser for Grand Teton National Park, where professional artists paint a park scene, and the paintings are sold ("Plein Air in Grand Teton National Park," Homestead Magazine).

There are plenty of local plein air events in parks    There is even a magazine, Plein Air, devoted to the subject and it lists events.

Galleries.  
As mentioned.  There is one at the Manhattan Project National Historical Park, the Dyer Building.

Movies in the park.  Happens all over.

Special lighting events.  Exhibits.  Site installations.  Educational programs.

Arts and crafts fairs/Festivals.  The one sponsored by the Boise Museum of Art, Art in the Park, held in the adjacent Julia Dawson Park, is pretty cool (artist guidelines).  They are all over  And some can be pretty  bad.  

For artists, the best ones are where people actually buy, so they attract better quality artists ("Guide to the Top Art Fairs Across the U.S.," Artwork Archive).  After the last one I went to, I joked "we don't need to do one in Sugar House Park.

The event features more than 250 artists offering varied fare, from glass and metalwork, to pottery and textiles, jewelry and toys! Shoppers will find a wide selection of arts and crafts for all tastes. Enjoy a variety of food and beverages from more than 30 food vendors, relax while listening to local musicians at the Gene Harris Bandshell and grab a drink in the Sculpture Garden Pub. Children are encouraged to get creative with an arts and crafts project in the Children’s Art Tent.

Artscape in Baltimore is one of my favorite festivals, not just with arts and crafts vendors, but the participation of programs at the Maryland Institute of Contemporary Art, students presenting their work and projects, nonprofits, and arts organizations, along with music stages.

Book festivals are another variant.

Etc.

Destination events and problems.  

Photo of Lollapalooza 2022.  Brian Cassella, Chicago Tribune.

There are two types of cultural destination events that are parks related.  The first is spaces organized around the discipline such as park like spaces for theater or music, but the facility isn't open as a park otherwise.

The other is having ticketed or private events in regular public parks like Grant Park in Chicago, home to the Lollapalooza music festival.

There is a tension in holding ticketed/exclusive events in regular parks between the revenue they generate for the park system versus damage and other costs ("Lollapalooza producers to pay $410,000 to clean up Grant Park after this year’s music festival," Chicago Tribune, "The Tough Mudder run ripped up our London park, and residents are paying the price," Guardian), "One-third of Central Park's Great Lawn 'fully destroyed' after damage from Global Citizen Festival, rains," Fox News) and access restrictions ("A New Home for New York Fashion Week," New York Times).

WRT music festivals, the Philadelphia Inquirer offers an observation that multi-day music festivals do better when they aren't generic, have a distinctive identity and a focus on community building ("How has the Roots Picnic continued to thrive while Made in America has been canceled again?").

Art and controversy in public spaces.  Note that given that it's a public facility, a park setting isn't likely to always support the presentation of "cutting edge" works, e.g., challenging political works may be controversial ("A Story of Arab Loss Comes to Life at a Kibbutz in Israel," New York Times), or fire as part of performance art.  Those would be hard for an average administrator to approve.  

Note that in retrospect I should have published this piece before the public art piece, "Gaps in Parks Master Planning: Part Five | Planning for Public Art as an element of park facilities," because that blog entry does not address controversy.

That being said, there are some public art programs, like Portland's Tri-Met transit agency, that have presented on a permanent basis some incredibly challenging works, such as a nearby site of a Japanese-American internment camp and the anti-Asian racism of local newspapers at the time.

There is the related issue of presenting art in spaces of controversy ("Harsh is truth," National Parks Magazine).  Tri-Met did that, acknowledging two stations Exposition (Japanese internment) and Vanport (where the Kaiser flood killed dozens of people) serve areas where controversy occurred.  

Nina Berman, Homeland Security Advisory Billboard, Country Club Hills, IL, 2008, from the Homeland series.

The National Parks article discusses presentation of potentially controversial contemporary art in parks (also see "Home Land Security" art certain to spark dialogue in uncertain times," Golden Gate Conservancy).  From the article:
“Home Land Security” opened a few months after the Brexit vote and ran through the U.S. presidential election. In the chilling installation, “2487,” the artist, Luz Maria Sanchez, reads the names of the 2,487 people known to have lost their lives crossing the U.S.-Mexico border between 1993 and 2006. Other works included “Some/One,” a larger-than-life suit of armor that Do Ho Suh crafted out of thousands of military identification tags representing individual soldiers; “Encirclement,” Michele Pred’s sculpture made of objects confiscated by the Transportation Security Administration such as scissors, pocket knives and lighters; and “34,000 Pillows,” which two artists collectively known as Diaz Lewis created in response to the congressional mandate that every day, Immigration and Customs Enforcement fill 34,000 beds in their facilities with immigrant detainees. More than 200 visitors participated in pillow-making.
Antediluvian, an abandoned gas station, sculpture, by Canadian artist Mia Feuer, a resident of DC.

This work proposed for the Anacostia River in Washington, DC didn't get installed, because people said it implied the residents mistreated the river.  

It was rejected on environmental grounds ("D.C. Sinks an Artist's Plan to Build a Sunken Gas Station in the Anacostia River," Bloomberg).  

In response, the DC Commission on the Arts and Humanities attempted to suppress certain forms of expression ("After outcry, D.C. commission backs down on censoring art," Washington Post).

Anti-Semitic vandalism on Anish Kapoor’s Dirty Corner, Versailles, France, 2015.

Sometimes people aren't upset by political ramifications of the work, but don't understand it, think it's dumb, poorly designed ("Martin Luther King Jr. statue in Boston gets mixed reception," NPR) or complain about the expense.


The Black Lives Matter mural on 16th Street NW in DC was partly an "in your face" act vis a vis President Trump during the George Floyd demonstrations.

Developing policies for response in advance of such controversies is advised.

Monuments that are controversial.  This has been a big issue for a number of years, monuments that memorialize the Civil War Lost Cause, slavery, etc. ("Controversies over Confederate monuments and memorials are part of an overdue racial reckoning for America, says Stanford historian," Stanford University, "White contractors wouldn’t remove Confederate statues. So a Black man did," Washington Post).  

Parks have been caught in the middle between interests that want to keep the monuments up and those that don't.  This is less of an issue as parks are removing statues, military bases, and university buildings, schools, streets, etc. are being renamed, although there is still opposition to the change.

And there were alternatives.  E.g., I thought it would be cool to reinterpret the Robert E. Lee statue with a revisionist exhibit placed around it ("Monuments, historiography, and change," 2020).

Robert E. Lee statue, covered in graffiti, on Monument Avenue, Richmond, before removal.


Security and public art.  There is also the issue of security and art works placed in parks.  As mentioned above, this is an issue at times with controversial public art.  But it's also an issue with vandalism in general.  Plus, metal works may get stolen for the value of the metal ("Art removed from International Peace Gardens after attempted theft," Fox 13 Salt Lake).  Advance security planning is advised.

Creating a typology.  Like the "wheel" of event types created for the Salt Lake City Reimagine Nature plan, or the planning for seasonality approach created by Balmori and Associates, there needs to be a typology for arts in the parks programming.

While researching for this article, I did come across one that could function that way, in "Why is landscape design the greatest art form" by the firm LandARCH Concepts.  While below I offer a more comprehensive listing of the artistic disciplines, the format of this chart, which doesn't just list the disciplines, but also the senses that are engaged by each, is quite interesting.


Outlining the potential for a comprehensive approach.  The point of outlining a more complete framework of the disciplines and ways of presenting is to set the stage for a more comprehensive approach to arts in the parks program.  

Doing all of it is beyond the capacity of the average park or park system.  But it's helpful to have a such a framework to be able to make structured decisions and choices for what to do, how to do it, how to position it, etc.  

Note also that not every potential discipline is likely to apply/work in park settings.

Organizing Principles

Comprehensive approach: This framework outlines a comprehensive approach to arts in the park programs and programming.  

Park system versus a particular park.  Some park systems may organize events across their system such as Orange County, California ("OC Parks’ free Sunset Cinema announces 2024 summer series lineup" and "OC Parks announces lineup for its free 2024 Summer Concert Series," Orange County Register) while heavy schedules at one park happens usually in Downtown spaces (Calendar, Madison Square Conservancy) and large parks with conservancies (Central Park Conservancy, Spring GuideCalendar).

Equity: access and participation shouldn't be limited by income.  Parks should develop programs to assist people of lesser means in enabling their participation.  Montgomery County Maryland Recreation has a program that does this.  The national Museums for All program provides free access to more than 1,200 museums, for people on food assistance.

Support Producing Artists: in arts programming much of the focus ends up being on the consumer, what I call the difference between arts as production and arts presentation.  Support of artists should be a forefront of planning for arts programs in parks ("Seattle launches New Deal-inspired income program for artists," Crosscut).

Disciplines
Note that this "complete" list doesn't mean that parks should do all of these.  Just that this is a good list of the possibilities.  

Visual Arts: including painting, sculpture, drawing, photography, architecture, multimedia, installation, video art and projection, lighting, new genres, craft (ceramics, metalwork, glass, textiles, woodworking, etc.), and socially engaged, and/or sustainable visual art-based practices, and in a park setting, manipulation of park equipment and facilities

Performing Arts: including dance, theater (new theatrical work, playwriting), music (popular, jazz, opera, classical, etc.) performance and composition, performance art, puppetry, acrobatics and circus arts, and socially engaged and/or sustainable performing arts-based practices 

The artist JR's "Giant Picnic" across the US-Mexican border.

Film/Moving Image: including experimental film, short film, animation, documentary film, narrative film, and socially engaged and/or sustainable film/moving image-based practices, and presentation.

Movie night in Laird Park, a neighborhood park in Salt Lake City.

Technology: including augmented reality/virtual reality, bio art, data visualization, hardware, software, digital media, internet art, and socially engaged and/or sustainable technology-based practices 

Literature/Words/Language: including poetry, fiction, nonfiction, graphic novels, spoken word, translation, book arts, and socially engaged and/or sustainable literature-based practices.

StoryWalk isn't high art, but does present opportunities to promote reading within parks

Design: graphic design, illustration, murals/street art, and socially engaged and/or sustainable design-based practices

Landscape Architecture and Horticulture: manipulation of the landscape, environmental art, creative display and manipulation of plants and plantings, programs, and socially engaged based practices. ("A word for landscape architecture," Harvard Design Magazine, "Why is landscape design the greatest art form" LandARCH Concepts, "Environmental Art: Changing Our Habits Or Just Illustrating What We Already Know?," Artland, "Michael Singer, Sculptor Who Used Nature as His Medium, Dies at 78," New York Times).

Agnes Denes, Wheatfield – A Confrontation, 1982, Battery Park Landfill, Downtown Manhattan, 
photo: John McGrall

Besides the fact that public gardens including botanical gardens are a form of park, in Europe on a large scale, with revitalization objects, there is the Garden Festival, often termed "International" such as in Germany, with a wide variety of installations ("European Garden Festivals as a model urban planning initiative for Detroit and other US cities," and "DC has a big "Garden Festival" opportunity in the Anacostia River," blog, "International Garden Festivals to Visit," Gardens Illustrated).

Wall art, Dig the City.

Flower shows like Chelsea Flower Show, and Chelsea Fringe guerilla exhibition as a response to traditional flower shows ("Top 10 Chelsea Fringe events," Daily Telegraph, "Chelsea Fringe Festival and the rise of guerrilla gardening," Financial Times), there are many examples.

From the FT:
“New gardening” has leapt over the garden fence to beautify streets, parks and roundabouts of towns and cities worldwide. There is a generation of gardeners out there who do not look upon horticulture solely as a “back-garden” activity. They achieve beautification in various ways: by creating a community garden; planting flowers in the “tree pits” that surround street trees; or even engaging in “guerrilla gardening”, the practice whereby squads of horticulturists take to the streets at night to plant shrubs and flowers in places that may have been neglected by the local authorities. 

In this vision, gardening becomes a benign form of environmental activism and a way of creating “social cohesion” — which in practice means making friends through gardening; it is certainly true that the activity recognises no social boundaries.
Another great model that seems to be on hiatus was the Dig The City Garden Festival in Manchester ("Dig the city? Then you’ll LOVE these ultra urban garden ideas for ManchesterManchester Evening News).  It ran for a week in the city's center, with demonstrations and presentations and had many thousands of patrons.


The Bilbao Garden, Balmori & Associates, 2011, International Garden Competition (article).

Exhibit: The Landscape Architecture Legacy of Dan Kiley.  Cultural Landscape Foundation

International Garden Show, Hamburg, 2013

Landscapes and Gardens in the Hudson River Valley, National Park Service brochure, page 1

Food: food as art ("Food in Art") and as craft, programs, presentations, and socially engaged and/or sustainable food-based practices ("Food as an art form," "The Relationship between Art and Food: Food as the Ultimate Comprehensive Art," Medium, "Connecting Cultural Foodways within my Artistic Practice," "The interconnections of art and food," Cincinnati Art Museum).


Wasatch Community Gardens sponsors "Sabores de me Patria" which has arts elements in the way it presents Latin American foodways.

Organized community meals with specific objectives for outcomes can be a form of performance art (or community building).

This installation in Tel Aviv is not set up as a meal, but could easily do so.



Programs

Art centers:  Typically multidisciplinary arts centers are not part of park systems.  But there may be art-related centers/buildings located within parks.  

Arts as part of other events:  e.g. art cars at a festival, music in a parade

Artist in residence: The intent is that artists create site-specific artwork on the property based generally on the artist proposal and the artist’s previous works.  Artists then deliver an experience at the property through which the local community can engage with the artist and the residency such as a workshop, talk, open studio, exhibition or tour. 

Arts production: having equipment for the production of art and craft such as ceramics kilns, furnaces for glass, etc.

Children's experiences:  Often as part of events, there will be art participation tables set up for children as a way for them to participate in the event.  A lot of face painting and balloon animal making.  The events might set up children's areas with bounce castles, etc.


Destination events:  This article focuses on arts programs in city, county, state, and theoretically federal parks.  It doesn't focus on destination events like theater festivals in park like spaces, ticketed music festivals in parks, and Fashion Week at Lincoln Center, etc.  

Educational programsK-12 ("How cities use parks to help children learn," APA, NYC Arts in Education Roundtable, "National Parks as Learning Spaces – Ideas for Park-Focused Art and Literature Projects," Teacher Camp).  Seattle's Art Corps travels to various parks in the summer providing arts workshops ("Arts Corps Breaks Down Barriers in Arts Education," NEA).  Weber State University does something similar in Ogden, Utah, in association with summer feeding programs.  Offender support programs ("Woodworking providing mentorship through craftsmanship," Boston Globe).

Adults and the community ("Arts in the Parks: An East Greenbush community experience," Empire State University, Art in the park community cultural programs grant program, California Arts Council

Exhibits, Curation and Presentation

Exhibit:  Forest of Dreams: Contemporary Tree Sculpture (Autumn, 2023 Seasons). 
Fredrik Meijer Gardens and Sculpture Park, Grand Rapids Michigan

Festivals: arts and craft fairs, community festivals, etc.  Note that arts walks tend to be productions of business districts, not involving parks much unless public spaces are used for music presentation.

Galleries:  Presentation of art in park buildings.

Museums and cultural facilities in parks.

Public Art: Discussed in the previous entry in this series at great length, "Gaps in Parks Master Planning: Part Five | Planning for Public Art as an element of facilities."

Studios and rehearsal spaces: spaces for visual and performing artists to work, allocated on a short or long term basis, or as part of artist in residence programs.

Studio tour programs.  Not usually park specific.  But areas, such as neighborhoods, will organize tour events, like an art walk, featuring access to studios by working artists in the community.  New England Conservancy Open Studios.

Conclusion.  I offer this entry as an introductory attempt to provide a comprehensive programming framework for presenting arts in the parks programs in park systems and individual parks, squares, plazas, etc.

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