Présences du littéraire dans l’espace public canadien - Leisure, sport and entertainment

FUNhouse

Marie-Claude Langevin — Thu, 29 Apr 2010 16:56:12 +0000

Artwork identification

Artwork creator(s):

Metz, Jacqueline; Chew, Nancy

Artwork creator(s):

Metz, Jacqueline

Chew, Nancy

Text author(s):

Metz, Jacqueline; Chew, Nancy

Text author(s):

Metz, Jacqueline

Chew, Nancy

Installation year:

2010

Artwork description

Source: Photo provided by Jacqueline Metz & Nancy Chew

Description:

Three permanent installations refer to the activities of the center. The first component to be installed is FUNhouse: cast aluminum soccerballs, volleyballs and basketballs are imbedded into a concrete wall. Their mirror-like finish evokes the reflective surfaces found in a funhouse. The balls form the braille word for ’fun’.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

FUN

Text theme:

Celebration

Artwork theme:

Activities of the sports center. The pleasure of sport.

Dimensions

Other information

Artist's biography:

Muse Atelier

Owner(s):

Trico Centre

A Million Summers

Marie-Claude Langevin — Thu, 16 Jul 2009 21:18:18 +0000

Artwork identification

Artwork creator(s):

Williams, Blake

Artwork creator(s):

Williams, Blake

Text author(s):

Williams, Blake

Text author(s):

Williams, Blake

Collaborator(s):

Children from the nearby William Watson Elementary School (drawings of images reproduced on ceramic tiles)

Installation year:

1999

Remarks on location:

Fleetwood neighbourhood. 2 panels of tiles located on the wall near the entrance doors, spans the lobby; 4 panels at the end of the pool; 12 glass viewing frames laminated along windows overlooking the garden; 128 tiles, produced by elementary school students, located in the washrooms/change rooms

Artwork description

Source: Photo provided by Blake Williams

Description:

An extensive set of murals and two-dimensional artworks evoke movement and flight, human accomplishment and cultural diversity. Installed at one end of the pool are four large tile murals of diving figures.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

a million summers

forgotten secrets

whispered on ripples

against sand

boulder to boulder

gravity gone

garibaldi looming

volcanic heart

receding

down

through forests

of peoples ancient

scent of salt

as cedars open

granite faces

stacked above

hand holds set

Qelesilhp

water goes right by

Ta’telew

little creek

Xwthexth’exem

always nettle place

Setl’amaqemen

tides high we can go

Text theme:

Water

Artwork theme:

Sports, health, ambition and achievement, major religions of Surrey’s culturally diverse communities, nature, history.

Dimensions

Other information

Note(s):

Budget: design, fabrication & installation $112,500

Language: English and Sto:lo

Artist's biography:

Blake Williams

Owner(s):

City of Surrey Public and Community Art Collection

Document(s):

Public Art Program. Public & Community Art Projects & Locations

Public Art : A Million Summers

Portfolio. Public Art

Frozen Dreams

Marie-Claude Langevin — Wed, 15 Jul 2009 14:38:41 +0000

Artwork identification

Artwork creator(s):

Williams, Blake

Artwork creator(s):

Williams, Blake

Text author(s):

Williams, Blake

Text author(s):

Williams, Blake

Installation year:

2000

Remarks on location:

Spans the entire entrance corridor of the facility (Southeast Calgary)

Artwork description

Source: Photo provided by Blake Williams

Description:

The mural spans the entire entry corridor of the facility and acts as a welcoming icon .

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

walking down to the pond

all the memories

came crashing back

first goal

the mountains, the sky and ice would turn red

my dad...well...he’d build boards

out of old sheets of plywood

then at night

he’d flood the backyard

we’d wake up to our own rink

where the mountains meet the plains

we’d

drive to the rink

in the dark

she’d always

make me

hot chocolate

long free days with a stick and skates

pond hockey

new skates

Text theme:

Childhood memories

Artwork theme:

Hockey, winter, families

Dimensions

Height:

9.14m

Width:

12.8m

Other information

Note(s):

Commissioned by the City of Calgary’s Public Art Program for the Max Bell Centre

Artist's biography:

Blake Williams

Author's biography:

Artist : Blake Williams

Owner(s):

City of Calgary

Document(s):

Public Art : Frozen Dreams

From Frozen Ponds

Marie-Claude Langevin — Wed, 15 Jul 2009 14:10:57 +0000

Artwork identification

Artwork creator(s):

Williams, Blake

Artwork creator(s):

Williams, Blake

Text author(s):

Williams, Blake

Text author(s):

Williams, Blake

Installation year:

1999

Artwork description

Source: Photo provided by Blake Williams

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

From Frozen Ponds

On Frozen Ponds

To Spring Thaw

Lord Stanley

Oochamkanutk

Artwork theme:

Development of hockey in Canada; women’s hockey; history and love of hockey

Dimensions

Height:

7.31m

Width:

7.31m

Other information

Note(s):

From Frozen Ponds is a collage-like mural filling an entire wall [alongside a staircase].

The mural’s cool greys, blues and purples suggest the colours created by natural light refracting through cold ice. The "historical images" chosen by Williams for the project evoke professional competition, and, in the artist’s words, the “spirit, history and exhilaration of the game.” Images culled from the B.C. Archives and the City of Vancouver Archives.

Images of women playing hockey emphasize the long, rich tradition of a sport often overshadowed by the male-dominated NHL; in fact, the game is now the fastest growing female sport in the country.

Artist's biography:

Blake Williams

Author's biography:

Artist : Blake Williams

Owner(s):

City of Surrey Public and Community Art Collection

Document(s):

Public Art Program. Public & Community Art Projects & Locations

Public Art : From Frozen Ponds

The River

Marie-Claude Langevin — Tue, 14 Jul 2009 18:47:08 +0000

Artwork identification

Artwork creator(s):

Williams, Blake

Artwork creator(s):

Williams, Blake

Text author(s):

Williams, Blake

Text author(s):

Williams, Blake

Installation year:

2005

Remarks on location:

Located just outside the entryway

Artwork description

Source: Photo provided by Blake Williams

Description:

The River is bench, it's a place to meet and it tells stories of the life-stream of Richmond. Through a sprinkling of text and photographs it paints a picture of the geographical origins of the Fraser and it tells tales of early pioneers, development of the city, ethnic changes and the struggle for sustainability. It is located just outside the entryway to the Thompson Community Centre.

A concrete form clad in ceramic tile and glass mosaic with acid etched or polished coloured concrete surfaces. The form represents the middle arm of the Fraser River plus the Fraser River as a whole, its winding route through the province that culminates with its path through Richmond. This form sits on a base of exposed aggregate. Some of the existing large rocks and boulders were retained and in these areas plants that reference the original design were planted.

Mention(s) légale(s) des illustrations:

Photo credits:

Text theme:

History, traditional Native use and geographical origins of the Fraser river; tales of early pioneers, development of the city, ethnic changes; industry and sustainable development; myth; recreation; pollution; fishing and sustainability.

Artwork theme:

History of the Fraser river

History

History:

The community artwork was sponsored by the Thompson Community Association and the City of Richmond.

Dimensions

Height:

0.45m

Width:

0.18m

Depth:

0.45 m

Other information

Artist's biography:

Blake Williams

Document(s):

Public Art : The River

Public Art Locations. Thompson Community Centre

Rick Hansen

Marie-Claude Langevin — Fri, 03 Jul 2009 19:39:58 +0000

Artwork identification

Alternate title:

Rick Hansen – Man in Motion Tour

Artwork creator(s):

Williams, Blake; Koochin, Bill

Artwork creator(s):

Williams, Blake

Koochin, Bill

Text author(s):

Hansen, Rick; Reid, Amanda; Tait, Cam

Text author(s):

Hansen, Rick

Reid, Amanda

Tait, Cam

Collaborator(s):

Koochin, Bill (sculpture)

Installation year:

1997

Remarks on location:

Downtown, South corner of arena on Pacific Blvd; at base of stairs

Artwork description

Source: Photo provided by Blake Williams

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Rick Hansen

If I had the chance right now to erase all of it,

to start over again hitchhiking home

from a fishing trip with Don in the back

of that pick-up truck and not have the

accident happen. If I could just pick up

my life at that point as opposed to living

the life I’ve lived since. I wouldn’t take it.

For the next months I lay in a

Stryker frame bolted tightly between

two hard narrow bed pads which rotated

in the middle of a large, metal framework

I was unable to move. For the first time

in my life I was alone and absolutely

helpless...One night I lay sweating...

my head pounding...my back on fire with

pain. I wanted everything to be over. At

that moment my life seemed worthless.

two more skids...tipping

bouncing...I’m gone...

black...awake...I’m alive

somethings wrong

no...can’t ...pain....I can’t move

my legs

At the age of 15 I was athlete of the year

at my High School. It was June 27 1973.

My friend and I were hitchhiking back

from fishing when we caught a ride with

a guy in a pick-up.

a man came alongside me in a red

convertible. “I hear you were a good

athlete. Why not get back in a little

competition?” He had his own wheelchair

in the back seat....Stan Stronge, a

pioneer in wheelchair sports, recipient of

the Order of Canada, a friend who changed

my life by being there for me, he helped

me realize the value of helping others.

Then in 1980 Terry Fox came striding along

on a prosthetic leg with his Marathon of

Hope. I watched how people responded

to him and later after his death, how they

continued to honor his spirit. They

acknowledged how much good can come

from one young man and a dream. In a world

in which people with disabilities felt

invisible Terry Fox made people see the

invisible. I decided Terry’s theme to

raise awareness would be the focus of

my wheelchair journey around the world.

When I come back and it’s all over

I want to be able to wake up ...see

a picture of me in the wheelchair,

sitting on the Great Wall of China.

Amanda is the reason I am

on the road, she has taken

the challenge.

tremendous reception everywhere

between Split and Dubrovnik, the

best in any country to date....

climbing a steep hill I was followed

until dark by about a hundred

young children.

People don’t understand what the tour

is about yet, even most of us who were

on it. Rick was off in right field with his

reality which was the pursuit and the

the preservation of his dream. We were in left

field with our own reality, the day to day grind

working in the outside world to make it as

easy as possible for him to do that and

somehow we all had to get together in the

centre.

Amanda Reid

to see the little kids in their

chairs with the fire in their

eyes ... it touched all of us

incredible things were starting to happen

the tour was opening doors

it was my job to get through

them and have the issues

heard

against advice the decision is made

to wheel through the Canadian Winter

beyond expectations...10,000 people

...100,000 ...I’m thinking of Terry...

donations build...media attention

...are we increasing awareness?

back in the US ...nothing much

had changed...fundraising dismal

...I had to find my own personal

victories in order to carry on. So I

looked for a smile from a passerby

searched for a wheeling stroke that

felt good

eastern US...devastating failure

perhaps low point of the tour

we’d crossed one of the biggest, most powerful and

wealthy countries in the world and put only $6,000 in the

Legacy Fund. BUT WE’D MADE IT THIS FAR!

the wind in my face...thick snow...near white out...12 hours ...50 miles

stories of a big reception, brass band

thousands of people...fifteen people

national anthem on a cassette.

We started the tour before we were ready, things weren’t

happening and we were paying for it. I was sniping at everyone

I also knew that I had to uncover the source of my feelings.

If I didn’t my anger was going to drive everyone

away. I came to recognize that the driving force behind my

reactions was fear, frustration and the overwhelming

sense of responsibility.

Don’t look down at the road...just

wheel one session at a time, three

hours and 23 miles every session,

three sessions every day. Don’t think

about 24,901.55 miles...think about

push...push...focus

Siskyou Summit, Oregon

push...push...focus

push...two miles...push

push...push...tow more

miles...push...heat...burn

push...push...push

focus...pain...SUMMIT

second day, completely overwhelmed

by doubt and uncertainty, had developed

tendonitis in my wrists, elbows and shoulders

the result of 70 miles of wheeling into 60

mile per hour headwinds with the temperature

resting around freezing.

when your dream and reality

actually meet...thousands cheering, leaning out of

windows...smell of the dream...horns

and sirens blasting, sensory overload...

the final turn...cut the ribbon...home

until one is committed there is uncertainty

for the crew, long, tiring days

with little relief

power words

I view this tour like trying to push a boulder

up a steep hill. Lately a lot of people have

tried to take me from behind that boulder

and set me on top of it, make something

special out of me. please put me

back behind the boulder, and let me try to

push it a little bit further.

Halfway...12,450.775 miles...no

longer going away from home...we’re

going home...one year on the road.

.....1,086 postcards...63 flat tires

47 pairs worn out gloves...300 rolls

of tape...4 robberies...1 worn out

wheelchair...59 official receptions

...7,180,800 wheelchair strokes

we reached all levels

of society...we were treated

with respect and dignity

Heroes welcome

China promised a glimpse of

the dream coming true

The wind is relentless, fine

eye burning dust

Listen, I've had parents come and

snatch their children away from in front of me

because my voice is strange and

my arms wave around a lot. I’ve had

other children laugh at me. That’s not an

easy thing to accept. Rick has changed that

in Newfoundland. I saw parents running

down the highway with their children, trying

to get a handshake or autograph.

And the kids? They love him. You think

that isn’t going to make a difference.

Cam Tait

Text theme:

Overcoming a physical disability

Artwork theme:

Hansen's wheelchair journey across Canada; struggles and hardships that one can overcome through perseverence and faith in oneself.

History

History:

This mural was commissioned by Orca Bay Sports. It commemorates the tenth anniversary of Rick Hansen’s ‘Man in Motion’ tour undertaken to raise awareness and funds for spinal cord injury and research.

Dimensions

Height:

3.65m

Width:

12.19m

Other information

Artist's biography:

Blake Williams

Document(s):

Public Art : Rick Hansen

Body, Mind, Spirit

Marie-Claude Langevin — Tue, 30 Jun 2009 15:55:27 +0000

Artwork identification

Artwork creator(s):

Williams, Blake

Artwork creator(s):

Williams, Blake

Text author(s):

Williams, Blake

Text author(s):

Williams, Blake

Installation year:

2009

Remarks on location:

In the main hall

Artwork description

Source: Photo provided by Blake Williams

Description:

The artist installed a series of text- and photo-based ceramic tiles in the main hall of Southland Leisure Centre. The intent of the public art piece is to capture the spirit of the Centre by reflecting the activities that take place there, and its postion as a wellness and gathering place for the communities it serves.

The layering of imagery and glazes, with the incorporation of a multitude of small details and textures, creates a sense of movement and rhythm, reflecting the spirit of the facility's users. The images are representative of wellness, accessibility, participation and recreation, and celebrate the cultural diversity of the surrounding communities.

The red strip of fused glass that runs through the piece as a metaphorical river, together with the 30+ translations of the word 'welcome' and the symbolic use of hands, reflect the universal concepts of interconnectivity, respect and acceptance.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Detail

Text of the artwork:

mind

body

spirit

elan

ethos

balance

Mercurius

all things

separate

yet

intertwined

[«welcome» in various languages]

welcome, chao mung, khosh aamadd, laskavo prosymo, huan yin, bienvenido, selamat datang, aloha, vitajte, foon ying, merhaba, velkomen, dobrodoshli, witamy, hamnida, welkom, tervetuloa, mabuhay, swaagatam, willkommen, bienvenue, dobro polalovat, karibu

Text theme:

Greetings

Artwork theme:

Spirit of the Southland Leisure Centre; community

Dimensions

Other information

Note(s):

Commissioned by the City of Calgary’s Public Art Program. The artist was selected through an open call process with a submission deadline of November 9, 2007. The artistic budget was $65,000. The project was a collaborative initiative from the Public Art Program and the Department of Recreation. The capital project which provided the funding was Renovation and Facility Enhancement. Body Mind Spirit was completed in April 2009.

Artist's biography:

Blake Williams

Owner(s):

City of Calgary

Building Bridges

Marie-Claude Langevin — Thu, 16 Apr 2009 00:50:35 +0000

Artwork identification

Artwork creator(s):

Hoffman, Vallalee

Artwork creator(s):

Hoffman, Vallalee

Text author(s):

Public

Text author(s):

Public

Collaborator(s):

• Building Bridges" Project Proposal Collaborative (of which Hoffman if a member): Claire Cilliers (collaborating artist - drawing & painting), Rhonda Hanley -BCA (project coordinator), Louise Robertson - SEEC (environmental education advisor) •Bridgeview Elementary Students (grades 4 to 7): Ceramic Tile fabrication (made in Workshops)• Bridgeview Community Participants : Mosaic Construction (made in Workshops) • Howard Hoffman Construction : building of the concrete walkway

Installation year:

2004

Remarks on location:

Mosaic walkway and mural located at the entrance to the Hall; mural on the exterior walls of adjacent field washroom

Artwork description

Source: City of Surrey (2009). Public Art Program. (http://www.surrey.ca/Living+in+Surrey/Arts/Public+and+Community+Art/default)

Source: Vallalee Hoffman (2009). Bridgeview Project. (http://www.vallalee-hoffman.com/public_art_page.html)

Description:

A large, detailed mosaic walkway includes images from nature, pillar-like seats named for each of the five nearby bridges, and a painted mural reflecting the community.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

(Incomplete)

[benches mosaic Road 1/5]

SkyTrain

[benches Road mosaic 2/5]

Alex Fraser

[Wall. Side 1/4]

Come together

Share our dreams

thankful hands

[Wall. Side 2/4]

Building

Bridges

nature

neighbors

[Wall. Side 3/4]

create mosaic

(Possibly on the same wall)

history

hearts and hands

Text theme:

Local history and environnent; community and community values (sharing, common goals, etc.)

Artwork theme:

Links between residents and their neighbours; neighbourhood environment and history; mosaics : 5 major bridges in or around Surrey, reflecting industry; natural life indigenous to the area (birds, fishes, animals, flowers, trees, insects and the river)

History

History:

The City of Surrey's Community Art Matching-funds Program (CAMP) and the Bridgeview Community Association partnered with artists Vallalee Hoffman and Claire Cilliers along with the Surrey Environmental Education Centre. Staff and volunteers from BCA and Surrey Environmental Education Centre were present, assisting the artists and participants during the creation of the tiles. BCA and SEEC provided information and presentations to participants. The concept for the mosaic walkway with pillar seating was proposed by Vallalee Hoffman. The original design ideas were fine tuned by the members of the "Building Bridges" Project Proposal Collaborative. Hoffman fabricated the pillar seats and hand-made clay tiles. She was employed from 2003-2004. The project took 1 year from planning to installation. This project provided a focus for the Bridgeview Community Association's 60th Anniversary Celebration in July 2004. Vallale Hoffman (2008). Public Art Commissions. Bridgeview Project. <http://www.vallalee-hoffman.com/public_art_page.html>

Dimensions

Other information

Artist's biography:

Vallalee Hoffman

Owner(s):

City of Surrey Public and Community Art Collection

Document(s):

Public & Community Art. A Self-Guided Tour of Public & Community Art in the City of Surrey

Public Art Program. Public & Community Art Projects & Locations

Public Art Commissions. Bridgeview Project

Moving

Marie-Claude Langevin — Wed, 01 Apr 2009 15:21:59 +0000

Artwork identification

Artwork creator(s):

Leigh Butler, Margot

Artwork creator(s):

Leigh Butler, Margot

Text author(s):

Leigh Butler, Margot

Text author(s):

Leigh Butler, Margot

Installation year:

1992

Remarks on location:

Installed in brochure racks on the British Columbia Ferries, at the Vancouver Tourist Information Centre and at various other locations (post offices, community and daycare centres).

Artwork description

Source: Larson, Jacqueline; Monika Kin Gagnon (1993), Out of Place, Vancouver: Association for Noncommercial Culture

Description:

Flyers placed in various displays

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Detail. Inside the brochure.

Text of the artwork:

Eliza approached the gangplank,
the last in the queue of women, some with child
some without. Parcels and bundles were carried
from a blue ship by new immigrants from England
to Canada just after World War I. Right from the
beginning Eliza sent parcels back home. But as the
Depression reduced her prairie town, the large
parcels became smaller. She developed the skill of
concise packaging: Compressing volume, increasing the
‘necessities’, and fabricating space by innovative,
even artful doublings-up. Only after sending dozens
of these small parcels did she make the connexion:
While cinching the string, tying the same handles
that circle their shoulders, she realized that the
cardboard box was the same size and shape as the
boxes which held gas masks carried daily by her
mother, her sisters, aunts, uncles, cousins, friends,
the same folks who were receiving her parcels.

She sent clothing and
linens and saucepans to
replace Saucepans for Victory
and she sent food to offset the
ration which lasted from 1940
to 1953. Some of these items were
easy, such as nuts and candied fruit
for Christmas cake. Others, the more
fragile, the more volatile, required some
tricky packing. She filled empty baking
powder tins with melted lard. Holding
fresh eggs gently between thumb and
fingertips, she released them into the
warm fat where they nestled against
the side of the tin, making a single
point of contact with the lonesome
shells of their neighbours. Later,
the congealed fat would conceal
and protect the passengers.
Only the most discerning
eye could detect the
slightest bulge
in the sides
of the card-
board tin.

She knew the sequence.
How long it took to prepare
and wrap. To write the linen
address label India ink and sew on
the burlap with the long and crooked
needle given her by her mother. The after-
noon journey to the post office, winding the
ring which circles her finger with rosy gold.
She wonders – will the parcel ever arrive?
The question hung inside her. The men
behind the wickets, anticipating her
monthly visits, didn’t seem to care
what was in the parcel. Instead,
they looked to see what she
had painted onto
the burlap.

Eliza’s trunk
had been wrapped in
loose sackcloth during her
long sea voyage. For the first
years she had wrapped the parcels
home with pieces of this coarse sacking
which had little blue Liner insignia stamped
across the surface. Forced to acknowledge the
inevitable end of her resources, she imagined
painting little blue ships onto the burlap
parcels, then painted bigger blue ships,
then turbulent imaginary coastlines.
She painted after the final wrapping,
using the crossing string as lines of
latitude and longitude, so that
readers turned the parcel
round several times
in order to try
and situate
themselves.

Text theme:

Caring for relatives

Artwork theme:

Realities and stereotypes of domestic and maternal labour; trivialized women’s labour; emotional realities of child rearing; questionning myths on motherhood

History

History:

Exhibition Out of Place, organized by the Association for Noncommercial Culture

July 1, 1992-June 30, 1993

Event date(s):

1993

Dimensions

Height:

0.21m

Width:

0.27m

Other information

Artist's biography:

Butler, Margot

Source:

Vancouver Association for Non Commercial Culture, centre d’artistes (1984-1998) (Fonds Vancouver Association for Non Commercial Culture fonds) en la possession de la Morris and Helen Belkin Art Gallery University of British Columbia Contact: Krisztina Laszlo , Archivist Address: University of British Columbia, 1825 Main Mall, Vancouver, B.C. V6T 1Z2 Phone: (604) 822-0001 Fax: (604) 822-6689 EMail: klaszlok@interchange.ubc.ca

Document(s):

Out of Place

Letters From Home

Marie-Claude Langevin — Wed, 01 Apr 2009 14:34:47 +0000

Artwork identification

Artwork creator(s):

Jones, Amy; Naylor, Margaret; Weaving, Jill P.

Artwork creator(s):

Jones, Amy

Naylor, Margaret

Weaving, Jill P.

Text author(s):

Jones, Amy; Naylor, Margaret; Weaving, Jill P.; Leach,Penelope

Text author(s):

Jones, Amy

Naylor, Margaret

Weaving, Jill P.

Leach,Penelope

Installation year:

1992

Remarks on location:

Flyers placed in the leaflet display on British Columbia Ferries, at the tourist information center in the City of Vancouver, postal outlets, community centers and various other locations.

Artwork description

Source: Leigh Butler, Margot (1992), Letters from Home, Vancouver : The Vancouver Association for Non Commercial Culture

Description:

Flyers placed in various displays

Mention(s) légale(s) des illustrations:

Text of the artwork:

[card for the letter "A"]

A a

AWORK

āhĭsto ̸ rĭc (al) adjs. Not historic(al);
Unrelated to history.

Apple

āmŏ ̸ ral a. Unconcerned with or outside
of morals; non-moral.

snAke

āsĕ ̸ xŭal a. Having no distinct sex; also,
produced without sexual agency.

Fig leAf

ā ̸ work (werk) n. Unconcerned with
gender of worker and unrelated to
designation of locale as workplace;
also produced without necessity of
monetary agency.

[ [card for the letter «B»]

B b

Birth

Bread

Not I, not I, not I
and she did.
Not I, not I, not I
and she did.
Not I, not I, not I
and she did.

Young adult men
are the most
resistant to periods
of famine…

[card for the letter «C»]

C c
Claire
A Tale of Right And Wrong.

Claire was a steam engine. She worked hard
every day pulling coaches up and down the
mountain. Her friends were all steam en-
gines too. They met every Friday for din-
ner at the station. Claire loved this time
with her friends.
When Claire was younger she taught
Andy, her little steam engine, to pull
coaches. When he was old enough he went
to work on the prairie, on the other side of
the mountain. After Andy left Claire, she
missed him very much.
One day when Andy was working, he
tooted his horn loud enough that even Claire
could hear it, so far away. Claire sent him a
smoke signal, warning him to save his en-
ergy for pulling the heavy coaches. It seemed
to her, at the time, that she was right to
warn him. After she talked about it with
her friends, however, she wasn’t so sure.
Claire decided to ask Andy if he thought
she was right or if he thought she was
wrong. He said he used to think he knew
the answer, but was sure he didn’t know
the answer now.

[ card for the letter «D»]

Dd

A puppy’s mother
Is called a dog bitch

[card for the letter «E»]

Ee

Experience
(Work Related)

Eight little children having fun,
Their parents have experience with each one.

Experience cooking for Elsa
who will not eat most things.
Experience nursing Egan
who fell down off the swings.
Experience teaching Emma
who’s just learning to walk.
Experience entertaining Elijah
who’s the only kid on his block.
Experience negotiating with Edgar
who will not wear his glasses.
Experience scheduling Elizabeth’s
French and English classes.
Experience counselling Ellen
who wets her bed at five.
Experience researching car seats
to keep Etienne safe and alive.

Eight little children having fun,
their parents have experience with each one.

[card for the letter «F»]

Ff

Foot
of the household

[card for the letter «G»]

Gg

Glove

Goods
Draw a line from each word to the picture
With the same beginning sound.
exchange
trade
barter
sell
value
worth
owner
debtor
borrow
claim

[card for the letter «H»]

Hh

ours

Cut along dotted lines
Punch holes
Attach to circle at dot

[card for the letter «I»]

Ii

you are here

[ card for the letter «J»]

Jj

Job

Dear Roberta,
My friend has
no time for me.
She’s not working
yet she is always
busy. She h
no time off
she’s on […]as
hours […]as
I’ve […]call 24
sp […]a day
[…]uld like to
[…]nd more time
with her but i
don’t understand
this situation.
Can you help?

[card for the letter «K»]

Kk

Kitchen

konstant klutter
kareworn klown
kneads kouch

[ card for the letter «L»]

Ll

Life

[ card for the letter «M»]

Mm

MOTHERHOOD
The township of Hamelin was besieged by rats
who chewed everything from the food in the vats
to the babies in their cradles and men’s Sunday hats.
Mothers pulled off their hoods and raised fists at the vermin
while Mayor and Corporation dressed in ermine
though they scratched their heads no solution could determine.

Then came the Pied Piper who bargained with Mayor and Corporation
to the massive job of Hamelin’s rat extermination.
When he started to play there gathered behind him in formation
all the rats who soon would perish of their watery destination.
But when he returned his rewards to reap
those sneaky official realized with a leap
dead rats can’t back…said his price was too steep!

So the piper raised his pipe and again began to play
but this time it was the children who followed him away.
The townsfolk raged at politicians whose faces had turned grey
The mothers raised their fists then turned and left to fray.

The mothers donned their hoods and so by mortal man unspied
followed children and piper to the mountain-side
where appeared a wondrous portal opened wide.
In marched piper, children and mothers
then a mighty crash shut out all the others.
And ne’er again did Hamelin’s folk see their children or their lovers.

The missing children never did return to that we can attest.
But as for the mothers no-one knows the rest
for as many stories, jokes and stereotypes do suggest
motherhoods long on are almost impossible to divest.

GLOSSARY
Motherhood-Mantle assumed by women most usually after birthing a child. Worn
draped loosely over the head, it seems to render the wearer invisible and inaudible
to other adults. Traditionally available in blue only.

[card for the letter «N»]

Nn

nope, slang. equivalent
to a negative sentence.
1. The answer to your
question is negative, your
request or command will
not be complied with.

Nobel Prize, one
of the annual prizes
(for physics, chemis-
try, physiology or
medicine, literature,
economic sciences,
and the promotion of
peace) awarded from
the bequest of Alfred
Nobel (d.1896),
Swedish inventor of
dynamite.

[card for the letter «O»]

Oo

One

Connect the dots.

[card for the letter «P»]

Pp

Picnic

Table

[card for the letter «Q»]

Qq

Quiet

[card for the letter «R»]

Rr

Rashes

“Children quite frequently
Produce dramatic skin rashes, with no
Other symptoms. They go away as sud-
Denly as they came. Some of these are
Probably allergic reactions; some
May be caused by viruses.”

Penelope Leach
Your Baby And Child
From Birth To Age Five

[ card for the letter «S»]

Ss

Stress

Taking care of children is demanding
work! Taking care of children is de-
manding work! Taking care of children
is demanding work! Taking care of
children is demanding work! Taking care
of children is demanding work! Tak-
ing care of children is demanding
work! Taking care of children is de-
manding work! taking care of chil-
dren is demanding work! Taking care
of children is demanding work! Taking
care of children is demanding work!
Taking care of children is demand-
ing work! Taking care of children is
demanding work! Taking care of
children is demanding work! Tak-
ing care of children is demanding
work! taking care of children is de
manding work! taking care of children
is demanding work! Taking care
of children is demanding work!
Taking care of children is demand
ing work! Taking care of children is
demanding work! Taking care of children
is demanding work! Taking care of children is
demanding work! taking care of children is
[unintelligible]
[unintelligible]
[unintelligible]
[unintelligible]

[ card for the letter «T»]

Tt

TWENTY
There are twenty teeth in
the first set, ten in the
upper jaw and ten in the
lower, comprising eight
incisors, four canines
and eight molars. They
usually come through in
a particular order and
the lower teeth tend to
break through before the
corresponding upper
teeth. The first tooth to
appear is usually a lower
central incisor, at be-
tween five and seven
months, though in some
children it erupts at three
months and in others
not until a year. Next
come the upper central
incisors (6-8 months),
the lower lateral incisors
(7-10 months), the upper lateral incisors
(8-11 months), the
canines (16-20 months),
the first molars (18-24
months) and the second
molars (20-30 months).
At the end of her first
year, the average child
has six to eight teeth.

There are thirty-two teeth
in the second set and these
lie in the jaws beneath the
gums waiting to erupt. The
first through the gums are
the six-year-old or first
molars, and these appear
between six and seven
years. They grow next to
the second molars of the
first set so no first teeth
are distributed. These are
closely followed by the
lower central incisors
which push the central
incisors of the first set out
of the jaw as they ap-
proach the gum. A child
usually loses first teeth in
the order they will be
replaced by the permanent
set. The upper central
incisors and lower lateral
incisors (7-8 years) are
followed by the upper
lateral incisors (8-9 years),
the first premolars (10-12
years), the second
premolars (10-13 years),
the upper canines (11-12
years), the second molars
(11-13 years), the lower
canines (12-13 years) and
the third molars, or
wisdom teeth, in the late
teens or twenties.

[card for the letter «U»]

Uu

UNSNA

The United Nations System of National
Accounts is a system
of economic records
advocated by the
UN for its member
countries.

Traditionally referred
to as “dancemasters”
because of their
distinctive shape,
these inside/outside
calipers-much like
the UNSNA-permit
direct transfer of an
interior measure-
ment to an exter-
ior space.

If people contributing to
the well-being of their
countries by doing
household and child-
rearing work were all
recorded in the UNSNA,
then they would also
be visible in the
distribution of benefit.

[ card for the letter «V»]

Vv

Vote

Ballot

Universal Health Care

Pensions for Homemakers

National Day-care Strategy

Foreign Domestics Program consistent with
Canada’s cultural multicultural policies

Enforcement of Employment
Standards Act for all workers

[card for the letter «W»]

Ww

WORK

Three of these Words belong together.
Which of these Words is not the same?

WORK WORK WAGE WORK
WORK WORK WORK WORE
WORE WARE WORE WORE
WAGE WARE WARE WARE
WAGE WAGE WAGE WORK

[card for the letters «X» and «Y»]

XxYy

XX₁ + XY₁ + xy₁ +xx₁ = family [1]
XX₂ + XY₂ + xy₂ + xx₂= family [2]

Problem:
XX, does the household work and
child-rearing of little xx₁, and xx₂ and
xy₁ and xy₂ from 9 a.m. to 9 p.m.

from Monday to Friday

For this work XX₁ is
paid $15,000 + expenses by XX₂
and $15,000 + expenses by XY₁
for a total income of $30,000 + expenses.

Why

can XY₂ deduct
$8000 from
XY₂’s taxable
income?

can’t XY₁ or XX₂
deduct $8,000
from their taxable
incomes?

is XX₁’s taxable
income before
deductions only
$15,000?

→ and why if XY₁ ceases to reside
with XX₁ and xx₁ and xy₁ does XY₁ no longer pay XX₁ $15,000
even though XX₁
continues to do the same work.

Why does XY₁ only
contribute towards
expenses for xx₁ and
xy₁? And why can XY₁
now deduct the total
paid for expenses from
XY₁’s taxable income.
And why must XX₁ add
an amount = (equal)

to XY₁’s deduction to
XX₁’s taxable income?

[ card for the letter «Z»]

Zz
Zeitgeist

Zeit/geist (tsīt), n. [G., from zeit, time and gesit, spirit.]
The spirit of the time; the moral and intellectual
trend of any age or period.

Of course it’s fun for you, being
Lion hunted. Of course you want to
Stay in the middle of it.

But it could be fun for you too
darling. Making new friends, meeting
Interesting people…

Darling, interesting people
don’t want to make friends
with housewives.

I wish you wouldn’t call yourself
a housewife, you’re so much
more than that!
So is every other
housewife.

Excerpt from the feature film “Please Don’t Eat The Daisies”
Screened at movie theatres when first released, now shown
on network television and available on home video.

©1960 Loew’s Inc. and Euterpe Inc.
©1987 Turner Entertainment Co. and Euterpe Inc.
© 1990 MGM/UA Home Video, Inc.

Text theme:

Realities and stereotypes of domestic and maternal labour; trivialized women’s labour; emotional realities of child rearing; questionning myths on motherhood

Artwork theme:

Realities and stereotypes of domestic and maternal labour; trivialized women’s labour; emotional realities of child rearing; questionning myths on motherhood

History

History:

Event: Exhibition Out of Place, organized by the Association for Noncommercial Culture July 1, 1992-June 30, 1993

Event date(s):

1993

Dimensions

Height:

0.21m

Width:

0.88m

Other information

Source:

8. Vancouver Association for Non Commercial Culture, centre d’artistes (1984-1998) (Fonds Vancouver Association for Non Commercial Culture fonds) en la possession de la Morris and Helen Belkin Art Gallery University of British Columbia Contact: Krisztina Laszlo , Archivist Address: University of British Columbia, 1825 Main Mall, Vancouver, B.C. V6T 1Z2 Phone: (604) 822-0001 Fax: (604) 822-6689 EMail: klaszlok@interchange.ubc.ca

Document(s):

Out of Place

Letters from Home

Close Your Eyes...

Marie-Claude Langevin — Wed, 01 Apr 2009 04:10:41 +0000

Artwork identification

Artwork creator(s):

Edelstein, Susan

Artwork creator(s):

Edelstein, Susan

Text author(s):

Edelstein, Susan

Text author(s):

Edelstein, Susan

Installation year:

1992

Remarks on location:

Installed in brochure racks on the British Columbia Ferries, at the Vancouver Tourist Information Centre and at various other locations

Artwork description

Source: Larson, Jacqueline; Monika Kin Gagnon (1993). Out of Place, Vancouver: Association for Noncommercial Culture

Description:

Flyers placed in various displays

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Detail. Second and third segments of a series of six images accompanied by texts.

Text of the artwork:

Close your eyes and count to 100...

One, two, three, four, five, six, seven, eight,

nine, ten...

---

Ready or not here I come.

She represented a map of meanings to

both sides of her family.

Always careful to conceal or reveal the

tiny silver pendant when she would visit

them.

Making the wrong move could result in broken codes.

---

Step on a crack and break

your mother’s back.

She had been told both families

were fractured by this union.

Marrying outside of the chosen faith

was forbidden.

It broke their mothers’ hearts.

---

Step on a line and break your

mother’s spine.

She remembered walking a fine line

between their beliefs.

One slip would break the connection.

---

Step on a stone and break your

mother’s bones.

She became an expert on navigating

between the obstacles in her path.

She always remembered to wear a

smile.

---

Cross my head and hope to die.

They never spoke about the presence

of difference.

The weight of the chains

made it difficult to breathe.

Text theme:

Mixed mariage, religion, sense of community, racism

Artwork theme:

Mixed mariage, religion, sense of community, racism

History

History:

Exhibition Out of Place, organized by the Association for Noncommercial Culture

Event date(s):

1992

Dimensions

Height:

0.22m

Width:

0.71m

Other information

Artist's biography:

Edelstein, Susan

Source:

Vancouver Association for Non Commercial Culture, centre d’artistes (1984-1998)(Fonds Vancouver Association for Non Commercial Culture fonds)  en la possession de la Morris and Helen Belkin Art Gallery University of British Columbia <table border="0" cellpadding="0" class="MsoNormalTable"> <tbody> <tr> <td valign="top" style="padding: 0.75pt"> Contact: </td> <td style="padding: 0.75pt"> Krisztina Laszlo , Archivist </td> </tr> <tr> <td valign="top" style="padding: 0.75pt"> Address: </td> <td style="padding: 0.75pt"> University of British Columbia, 1825 Main Mall, Vancouver, B.C. V6T 1Z2 </td> </tr> <tr> <td valign="top" style="padding: 0.75pt"> Phone: </td> <td style="padding: 0.75pt"> (604) 822-0001 </td> </tr> <tr> <td valign="top" style="padding: 0.75pt"> Fax: </td> <td style="padding: 0.75pt"> (604) 822-6689 </td> </tr> <tr> <td valign="top" style="padding: 0.75pt"> EMail: </td> <td style="padding: 0.75pt"> klaszlok@interchange.ubc.ca </td> </tr> </tbody></table>

Document(s):

Out of Place

Canboulay

Marie-Claude Langevin — Wed, 01 Apr 2009 04:06:10 +0000

Artwork identification

Artwork creator(s):

Mollineaux, Melinda

Artwork creator(s):

Mollineaux, Melinda

Text author(s):

Mollineaux, Melinda

Text author(s):

Mollineaux, Melinda

Installation year:

1992

Remarks on location:

Installed in brochure racks on the British Columbia Ferries, at the Vancouver Tourist Information Centre and at various other locations

Artwork description

Source: Larson, Jacqueline; Monika Kin Gagnon (1993). Out of Place, Vancouver: Association for Noncommercial Culture

Description:

Flyers placed in various displays

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

[recto]

can·bou·lay

(kan-boo’lă) n. [Patois<Fr.cannes brulées.]

1. Orig. a celebration of freedom from slavery.

2. A traditional nighttime procession with

Costumes, drumming&music to announce the

Beginning of Carribbean Carnival Masquerade.

Var. Mardi Gras, Caribana, Caripeg, Carifest,

Cariwest.

---

At the time carnival flourished the

elite of society was masked or

disguised. The favorite costume of

the ladies was the graceful and costly

'mulatress' of the period, while

gentlemen adopted that of the garden

Negro, in Creole, negue jardin, or

black field slave. At carnival time

our mothers and grandmothers have

even danced the belair to the African

drum whose sound did not offend

their dainty ears, and our fathers and

grandfathers danced the bamboula,

the ghouba and the calinda…Sometimes

also the negue jardin united in bands would

proceed on evenings to the cannes brulees.

Their splendid march with torches through

the town streets imitated what actually took

place on the estates when a plantation was

on fire. In such cases labourers on the

neighbouring estates were conducted there

alternately, day and night, to assist in

grinding the burned canes before they went

sour, thus the cannes brulees.

---

Paris · Orleans · Santo Domingo · Port-Au-Prince

· Pointe-à-Pitre · Soufrière · Roseau · Fort-de-France

Castries · Kingstown · Bridgetown · Scarborough

Port-of-Spain · Kingston · Havana · Rio de Janiero

New Orleans · London · New York · Toronto

Winnipeg · Calgary · Edmonton · Vancouver

[verso]

Canboulay : We dance to the drum whose sound does not offend our dainty ears. Melinda Mollineaux, 1992.

OUT OF

PLACE

A project with the Vancouver Association for Non Commercial Culture.

Thanks to Harry and to Bill Boutin at Key Colour Photo Lab Ltd.

Text theme:

Etymological definition of Canboulay; encyclopaedic or anthropological account of Canboulay; tourist destinations here and abroad

Artwork theme:

Blurring of categories between exotic and domestic and between home and other; ethnocentricism, passivity and commodification of tourism, recreation and leisure.

History

History:

Exhibition Out of Place, organized by the Association for Noncommercial Culture

Event date(s):

1992

Dimensions

Height:

0.22m

Width:

0.1m

Other information

Note(s):

In the text, special characters, which are present in the work in postcard form, are omitted, namely phonetic information on the first letter "a" and on the two "o"s in "(kan-boo 'la)" (second story of the text).

Artist's biography:

Mollineaux, Melinda

Source:

1. Melinda Mollineaux est représentée par la Galerie la petite mort Gallery 306 Cumberland, Ottawa, ON, K1N 7H9 (613)860-1555 Email : guy@lapetitemortgallery.com

Document(s):

Out of Place

Déplacements et autres mouvances

Marie-Claude Langevin — Sat, 07 Mar 2009 21:00:21 +0000

Artwork identification

Artwork creator(s):

Goulet, Rose-Marie E.

Artwork creator(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Text author(s):

Goulet, Rose-Marie E.

Installation year:

2000

Remarks on location:

Temporary intervention, cap d'Ours and a baseball field, Rouyn-Noranda

Artwork description

Source: Goulet, Rose-Marie E. (2005). Projets, archives et documents. Montréal: Centre de diffusion 3D

Description:

Arrows painted on a rocky outcrop in the centre of town point us toward the top of the cape, from where we discover a cityscape dominated by mining facilities. Made up of foreign-sounding names, these arrows recall the many immigrants who came to seek their fortune in this gold-rich region and wound up working in the mines. On the ground, at the top of the cape, we find a ring composed of words written with rocks.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Survivre à l'exploitation

Artwork theme:

The vulnerability of the human presence in the unstoppable cycle of productivity.

Dimensions

Other information

Artist's biography:

Rose-Marie E. Goulet

Document(s):

Projets, archives et documents

Save Me

Marie-Claude Langevin — Thu, 26 Feb 2009 15:59:30 +0000

Artwork identification

Artwork creator(s):

Wonnacott, Justin

Artwork creator(s):

Wonnacott, Justin

Text author(s):

Wonnacott, Justin

Text author(s):

Wonnacott, Justin

Installation year:

1993

Remarks on location:

Ciné-terrasse (a movie screen is mounted on the wall adjacent to the terrace, projections are presented every summer from June.)

Artwork description

Source: Justin Wonnacott (2008). Justin Wonnacott posts (http://www.aregeebee.net/pages/justinp.html)

Description:

Projected images outdoors

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Save me

Text theme:

Call for help

Artwork theme:

Interpretation of moving images (exploration)

History

History:

Exhibition Ex site, New Line 7 = Outside Gallery 101, Ottawa, ON / Hull, QC, from July 9 to August 31, 1993. (Artists: Pierre Dalpé, Diane Génier, André Martin, Richard Nigro, Michael Robinson, Justin Wonnacott, Anne-Marie Zeppetelli. Curator: Richard Gagnier. Curator: Cindy Deachman. Eleven artists have been invited to invest 6 city sites to create works in situ. The screenings were held during the intermission, once a week throughout the summer.)

Dimensions

Other information

Note(s):

"The viewer could take it or leave it. The static nature of the image allowed people to study the image and assign meaning to it in ways that are different from how they would approach the moving images they usually saw presented there. The picture suggests that some action is desired of the reader, i.e.: save me but the "product" is ambiguous and open to many interpretations. The photographs are nineteenth century cartes de visite. The image held in the woman's hand shows a long dead quadriplegic civil war veteran in a studio. The man's hand holds a picture of a black man with what appears to be sugar cane on his shoulder. The red stripes are positioned as if they were a "comp" that would later be the place where the explanatory text would be placed. The image is an extended set of puns intended to connote diverse readings. The overall shape is like a flag, the predominant colours are red and black, the woman's hand is the "distaff" side, the action is in the present but the images proferred refer to memory and the past but their meaning is determined by the present use of them as historical documents. This was the first digital work I produced for exhibition."

Justin Wonnacott (2008). Justin Wonnacott posts
<http://www.aregeebee.net/pages/justinp.html>

Artist's biography:

Justin Wonnacott

Source:

Justin Wonnacott, artiste justinwo@ca.inter.net, justinwo@rogers.com portable : 613 798 3858 domicile : 613 725 2680

Document(s):

Archives. Artistes / Expositions, 1983-1999. Ex-site

More Public Art. Public Art Commissions. Save Me

Spitfire Heroes

Marie-Claude Langevin — Wed, 21 Jan 2009 04:45:43 +0000

Artwork identification

Artwork creator(s):

Foley, Paul; Golden, Cheryl; Kaiser, Melissa; Milne, Andrea; Moffatt, Lynda; Morrell, Kelley ; Weston, Jo Anne

Artwork creator(s):

Foley, Paul

Golden, Cheryl

Kaiser, Melissa

Milne, Andrea

Moffatt, Lynda

Morrell, Kelley

Weston, Jo Anne

Text author(s):

Foley, Paul; Golden, Cheryl; Kaiser, Melissa; Milne, Andrea; Moffatt, Lynda; Morrell, Kelley ; Weston, Jo Anne

Text author(s):

Foley, Paul

Golden, Cheryl

Kaiser, Melissa

Milne, Andrea

Moffatt, Lynda

Morrell, Kelley

Weston, Jo Anne

Collaborator(s):

Mayne, Donna; Pearson, Ryan

Artwork description

Source: Mural Routes (2008). Mural. (http://muralroutes.com/towns/wyandotte/town.htm)

Description:

3-D murals on the South and East walls of Windsor Arena depict Wyandotte Towne Centre’s theme of “Welcoming the World,” as they honour community sports legends and team spirit.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Al Arbour, Gord Haidy, Glen Hall, Marcel Pronovost, Glen Skov, Johnny and Larry Wilson, Bill Bowler, Bobby Brown, Todd Gill, Ernie Godden, Adam Graves, Ed Jovanovski, J.P and Gerry Leroux, Claude Loiselle, Wayne Maxner, Roland Melanson, Scott Miller, Steve Ott, Dave Prpich, Joel Quenneville, Darryl and Darren Shannon, Brad and D.J Smith, Blair Barnes, Irwin Gross, and Jimmy Skinner. […]R […] […]SKINNER HALL […] […]GRAVES LOISELLE […] […]QUENNEVILLE […] […] SHANNON BROWN[…] […]GODDEN JOVANOVSK […] […] MILLER PRONOVOST[…] […] BARNES WILSON HAIDY[…] […] ARBOUR MAXNER[…] […] SKOV BOWLER[…] […] EROUX[…] […] MELANSON[…] […] GROSS[…] […] SMITH[…] […] GILL[…]

Text theme:

Names of the players and coaches of the Spitfires team

Artwork theme:

Teamwork

History

History:

This artwork is part of the fourth phase of the Wyandotte Towne Centre mural project, funded in part by the Government of Canada, with the support of the BIA Wyandotte Towne Centre and the city of Windsor. This project is carried out under the Job Creation Partnerships.

Dimensions

Other information

Source:

2. Kimberly Hurst Cultural Affairs Assistant (assistante de Mary Baruth) Corporation of the City of Windsor (519) 255-6100 ext. 6613 khurst@city.windsor.on.ca 3. Mural Routes [Demander pour Jashvir Sehmbi, assistant de recherche qui aurait documenté l’œuvre pour le site web de Mural Routes] Our office is located at: 1859 Kingston Road Scarborough, ON M1N 1T3 Phone: 416•698-7995 Fax: 416•698-7972 Email: info@muralroutes.com

Document(s):

Mural Map of Canada. Ontario. Windsor. Wyandotte Town Centre Mural Project. Community Spirit. Spitfire Heroes

Circle of Words, Garden of Thought

Marie-Claude Langevin — Sun, 30 Nov 2008 17:06:55 +0000

Artwork identification

Artwork creator(s):

Covit, Linda

Artwork creator(s):

Covit, Linda

Text author(s):

Covit, Linda

Text author(s):

Covit, Linda

Installation year:

2002

Remarks on location:

Some of the boulders (with writing) were placed within the circle, others were placed through the grounds.

Artwork description

Source: Photo provided by Linda Covit

Source: Photo provided by Marc André Brouillette

Source: Photo provided by Marc André Brouillettee

Source: Photo provided by Marc André Brouillette

Source: Photo provided by Linda Covit

Description:

The main component, a wide stone bench, traces a sixty-foot-long arc. The circular movement is reinforced by a stand of light columns and an arc of birch trees along the outside curve of the bench. Narrow lengths of granite, alternating with bands of river stones, form a footpath into the circle.

Mention(s) légale(s) des illustrations:

Photo credits:

Remarks on image:

Image 1: overview, side view Image 2: An overview

Text of the artwork:

heritage

community

trust

friendship

unity

caring

gathering

peace

nurture

diversity

neighbourhood

embrace

belonging

home

traditions

memory

support

harmony

Artwork theme:

Community

History

History:

A shootout took place in 1999. In response, the City Council adopted a strategy and decided to initiate the Jane-Finch community.
March-October 2000: Board establishes fund $150,000 for the creation of a public work of art to encourage community spirit, celebrate cultural diversity and to serve as a meeting place for members of the Jane-Finch community. Following a public consultation, a steering committee, comprised of residents and officials, chose the site of the Driftwood Community Center for the artwork in progress.
On October 12, 2000, Linda Covit was announced as the winner of theJane-Finch Public Art Competition.
The final design of the work occured in the winter of 2000.
The project began in October 2001.
Trees are planted on the site in spring 2002.
The artwork was inaugurated on June 8, 2002, at the Driftwood Community Center.

Dimensions

Other information

Note(s):

"This commission by the City of Toronto (Canada) is installed on the grounds of a community centre in an economically disadvantaged, multicultural neighbourhood. Among other themes developed in consultation with the community, the artwork was expected to create an outside meeting place. My installation sculpts a three-dimensional space to encourage interaction between people. The main component, a wide stone bench, traces a sixty-foot-long arc. The circular movement is reinforced by a stand of light columns and an arc of birch trees along the outside curve of the bench. Narrow lengths of granite, alternating with bands of river stones, form a footpath into the circle. Each granite piece is incised with a thin channel to collect rain or snow. On dry days, the shadowed dark lines evoke the ephemeral liquid lines. Small boulders engraved with words – such as heritage, trust, friendship, gathering – are scattered within this circle, and extend outwards through the adjacent wooded grounds."

- Conversation with artist

• The words were chosen with the contribution of the Driftwood Community Centre.

Artist's biography:

Linda Covit

Owner(s):

City of Toronto

Source:

1. Linda CovitPhone: 514 - 890 - 6243 Fax: 514 - 890 - 6120 Email: lcovit@hotmail.com2. Sarah LougheedConservator Outdoor Public ArtCity of TorontoCulture Division55 John Street24th floor, Metro HallToronto, Ontario M5V 3C6t -416-392-4218 f- 416- 392-3355

Document(s):

D’un septembre à l’autre. From One September to Another

City of Toronto celebrates public art in the Jane-Finch area

City of Toronto unveils Jane-Finch community art project

Linda Covit

The Lethbridge Wind Gauge

Marie-Claude Langevin — Tue, 11 Nov 2008 15:32:59 +0000

Artwork identification

Artwork creator(s):

Henry, James

Artwork creator(s):

Henry, James

Text author(s):

Henry, James

Text author(s):

Henry, James

Installation year:

1985

Artwork description

Source: City of Lethbridge (2008). Sculpture. (http://www.bigthings.ca/alberta/lethbrid.html)

Description:

Giant wind gauge

Mention(s) légale(s) des illustrations:

Text of the artwork:

When ball hangs at 22 degrees a Lethbridgian considers it "Calm"

When ball hangs at 45 degrees a Lethbridgian considers it "Fairly Calm"

When ball hangs at 90 degrees a Lethbridgian considers it "Little Windy"

When chain stretches a Lethbridgian considers it "Kind of Brisk"

When chain breaks a Lethbridgian considers it "Sure is Windy"

Artwork theme:

Weather

History

History:

A salute to Lethbridge's 100th anniversary in 1985.

Dimensions

Height:

5.2m

Diameter:

1.3m

Other information

Note(s):

It was erected by the General Stewart Branch No. 4 Royal Canadian Legion, in cooperation with the Lethbridge Centennial Society.

The ball was once used to float screens in the ocean to prevent submarines from coming closer inland. The chain is anchor chain.

Average wind speed at Lethbridge is 20.6 km/h or 12.7 mph.

When the wind gauge was originally built, it was located over by the high level bridge. Buried underneath it were three time capsules. These were done in conjunction with the wind gauge project. People were invited to purchase envelopes to place in these capsules to be opened in 25, 50 and 100 years. The 25-year time capsules are due to be opened in 2010; the 50-year, in 2035; and the 100-year, of course, in 2085. The time capsules remain at the original site at the top of the coulees on the East end of the high level bridge.

Ancient Movements

Marie-Claude Langevin — Sat, 08 Nov 2008 03:45:18 +0000

Artwork identification

Artwork creator(s):

Williams, Blake

Artwork creator(s):

Williams, Blake

Text author(s):

Williams, Blake

Text author(s):

Williams, Blake

Installation year:

2006

Artwork description

Source: Photo provided by Blake Williams

Description:

Ancient Movements is a photo-screenprinted mural installed on an exterior wall at the Red Deer Recreation Centre.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

actions

seemingly unrelated

have

unexpected

consequences

Red Tailed Hawk ascending

retuning late

winter’s

breath

exhaling

spring

sun rising

Wackasoo

unreal

to real

darkness

light

jumping

rig to rig

no jack jobs

from the flapping of a single wing

Text theme:

There is the odd word interspersed throughout it that reflects the theme of the mural and the building it is mounted on. There is however, a small tile subtly placed that contains a description of this area by one of the first pioneers to settle here.

Artwork theme:

Evoke the magic, mystery, history and potential of the Red Deer region

Dimensions

Height:

4.6m

Width:

18.28m

Other information

Note(s):

"Considering the Recreation Centre is devoted to health, wellness and play, I have used imagery that reflects our search for physical and spiritual health, while evoking a sense of place through depictions of the city’s history and natural environment. My hope is that the images will appeal to people on a personal level but also cause them to reflect from a broader community and cultural perspective."

Blake Williams Web site (2009). Ancient Movements
http://blakewilliams.ca/Ancient 20Movements.html

Artist's biography:

Blake Williams

Source:

Jeff Graves Project Superintendent The City of Red Deer (403) 309-8419 To find out about The City’s Public Art Policy contact: Kristina Getz Culture Superintendent The City of Red Deer (403) 309-2637 To discuss the Ancient Movements mural contact: Blake Williams Ceramic Artist Cell: (604) 831-6263

Document(s):

Public Art brochure

Celebrations

Marie-Claude Langevin — Sat, 08 Nov 2008 03:07:26 +0000

Artwork identification

Artwork creator(s):

Amos, Barbara

Artwork creator(s):

Amos, Barbara

Text author(s):

Amos, Barbara

Text author(s):

Amos, Barbara

Installation year:

2004

Artwork description

Source: Barbara Amos (2007). Public art. (http://www.barbaraamos.com/PublicArt/Celebrations.html)

Description:

Brilliantly-colored figural pieces are interspersed with abstract components depicting the activities that take place in the recreation facility. Calligraphic marks and stripes are integrated into the panels, lending a spontaneous gestural quality to the work. The piece as a whole is meant to reflect the note of celebration felt throughout the building, as well as the excitement, anticipation and intense focus found there.

Mention(s) légale(s) des illustrations:

Photo credits:

Text of the artwork:

Calligraphic marks

Artwork theme:

Illustrates the impression of celebration prevailing in the building

Dimensions

Height:

7.3m

Width:

27.4m

Other information

Note(s):

The artist was chosen through an open call process, which invited all interested artists to submit an application for the project.
The budget for Celebrations was $26,000.
The project was a collaborative initiative by the Public Art Program and City of Calgary Recreation, the business unit sponsor.
The capital project through which the funding was made available was the construction of the Cardel Place recreation facility.
Celebrations was completed in September 2004.

Artist's biography:

Barbara Amos

Document(s):

The City of Calgary: Celebrations

Wins/Losses/Ties

Marie-Claude Langevin — Fri, 03 Oct 2008 03:47:34 +0000

Artwork identification

Artwork creator(s):

Lexier, Micah

Artwork creator(s):

Lexier, Micah

Text author(s):

Lexier, Micah

Text author(s):

Lexier, Micah

Installation year:

1999

Remarks on location:

Located outdoors over the East entrance (Bay Street entrance) of The Air Canada Center. Easily viewed.

Artwork description

Source: Photo provided by Micah Lexier

Source: Photo provided by Marc André Brouillette

Source: Photo provided by Micah Lexier

Source: Photo provided by Marc André Brouillette

Source: Photo provided by Micah Lexier

Description:

Each of the 67 seasons played by the Maple Leafs at the Gardens is represented by three stainless steel columns depicting wins, losses and ties. These 201 columns are grouped by decade and extend down from the ceiling for a length which is proportional to the related statistic. Below each grouping of columns there is a corresponding inlaid granite floor tablet which provides additional statistical information.

Mention(s) légale(s) des illustrations:

Photo credits:

History

History:

• Commissioned by Maple Leaf Sports & Entertainment Limited & Air Canada, for the Air Canada Center in Toronto.

• Permanently installed in 1999. At the Air Canada Center in Toronto ever since.

Dimensions

Other information

Note(s):

December 16, 1998. Public Art pieces unveiled at the Air Canada Centre; media availability with artists John McEwen, sculptor of the steel conical work titled Search Light, Star Light, Spot Light, and Micah Lexier, sculptor of Wins, Losses and Ties, a hanging sculpture that chronicles the Maple Leafs' 67-year history.

Wins/Losses/Ties: A sculpture depicting the statistical record of the Toronto Maples for the sixty seven seasons played entirely at Maple Leaf Gardens

Budget: $370,000

Wins/Losses/Ties is located at the Bay Street entrance to the Air Canada Centre in Toronto and is a three dimensional, physical manifestation of the statistics of the Toronto Maple Leafs during their tenure at Maple Leaf Gardens.

Artist's biography:

Micah Lexier

Owner(s):

Maple Leaf Sports; Entertainment Limited & Air Canada

Architect(s):

Brook, Brisbin; Beynon Architects

Source:

Micah Lexier 464 W23rd St. Apt.#5F New York, NY USA 10011 Phone (212) 243-4028, Fax (212) 243-4032 mail@micahlexier.com      Sandra Lougheed Conservator Outdoor Public Art City of Toronto Culture Division 55 John Street 24th floor, Metro Hall Toronto, Ontario M5V 3C6 t -416-392-4218 f- 416- 392-3355