When Public
Art and Farmers Markets Meet, Everyone Benefits
Attracting customers, creating a tourism destination…public
art and farmers markets can be a natural fit.
The pig’s name is Rachel. Yes, children love
to get their pictures taken next to her, on top of her, kissing
her. Yes, she lives at the entrance of Seattle’s Pike
Place Market. No, she’s not a real pig.
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| Rachel the Pig at Seattle's Pike Place Market.
Credit: Project for Public Spaces. |
Rachel is a farmers market dynamo. A life-size bronze piggy bank,
Rachel has collected $6,000-$9,000 in “pennies, quarters, and
checks, as well as pesos, lira, yen and riyals.” All proceeds
go towards Pike Place Market’s social service programs for low-income
people in Seattle. In the summer of 2001, Rachel spawned fundraising
replicas. “Pigs
on Parade” brought 200 fiberglass replications of Rachel
to the streets of Seattle. Sponsors could purchase a pig and work
with a local artist to decorate it. Or, they could decorate the
pig themselves. Afterwards, the pigs were auctioned off with proceeds
again going toward the Market’s social service programs.
Quite a few accomplishments for a bronze pig. Above everything
else, Rachel is an example of how effective public art at farmers
markets has myriad benefits for markets and communities.
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| CADE’s farmers market mural. Credit:
Cindy Dunne |
The Center
for Agricultural Development and Entrepreneurship (CADE), located
in Oneonta, New York, discovered that a mural at the market can
attract additional customers.
“We did a survey that demonstrated that people shopping at
farmers markets also shop downtown,” says Kevin Hodne, Executive
Director of CADE. “Markets really take people from the malls
to the main streets.”
Since the CADE-sponsored market could bring new people downtown,
CADE determined that it needed to “market the market”
by painting a mural on the side of an old building. Working with
the local Arts Council, the city
of Oneonta, and the New
York State Department of Agriculture and Markets, CADE raised
money to paint over a dilapidated Coca-Cola
mural.
After a collaborative process, the group commissioned a mural that
would reflect the historic nature of Oneonta. Designer Cindy
Dunne created a mural resembling a turn-of-the-century food
crate label and an early 20th century-style typography. Since Oneonta
is known as the “city of hills,” Dunne added images
of animals and produce to visually display the sense of bounty that
accompanies the markets. Local artist, Cynthia
Marsh, labored in 100 degree heat to paint the mural.
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| A farmers market was created around public
art on Chicago's Daly Plaza. Credit: Project for Public
Spaces. |
“A successful work of public art means a place is working,”
says Cynthia Nikitin, a Vice President at
Project for Public Spaces. “Art is the last thing you
really need at a market. But art shows that the market is working.
Public art can be a transformative element in revitalizing a public
space, but there has to be a commitment to improving the community
first.”
Project for Public Spaces (PPS) is a nonprofit organization dedicated
to creating and sustaining public spaces that build communities.
Their 2006 public markets grant program, created with collaborative
funding from the W.K.
Kellogg and Ford
Foundations, aims to help markets, especially in low and moderate
income communities, become more economically sustainable and community-centered.
Art, in itself, cannot singlehandedly make a market economically
sustainable or community-centered. When a market is successful,
however, art can infuse another layer of experience, creating another
reason to shop there. Additionally, public art is collaborative,
involving the community and market planners in designing a truly
unique public space that will attract economic activity and tourism.
What is public art, though? According to PPS, public art is commissioned
in a very public process and funded with public money. Also, public
art is generally “one-of-a-kind,” often associated specifically
with its place.
“I would say that a work of art is public not just because
it’s in a venue,” says Nikitin. “It’s public
because of the process that creates it.”
Specifically, the process needs to involve the community. If community
members plan to visit the market every week, they will be living
with that market and its art indefinitely. If the community helps
create the vision, identify appropriate sites, find additional partners,
the market and its art will belong to the community, ultimately
creating a place embraced by the community.
Like Rachel the Pig is beloved by Pike Place Market visitors. And
how CADE’s mural immediately identifies its market. And how
Nuestras
Raíces, in a splendid use of community interaction, created
a mural that speaks to the community’s Puerto Rican and agricultural
roots. To learn more about Nuestras Raíces’ mural,
see “By and For
the Community.”
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